MALAYSIAN & SOUTHEAST ASIAN ART

15 MARCH 2020
LOT 66 AWANG DAM IT AH MAD, Tenaga Hidup I, 1993
 I M P O R TA 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 HBAA guide.

Catalogue descriptions do not state any imperfections. However, condition

reports can be obtained by contacting the personnel listed below. This service
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C O N TA C T I N F O R M AT I O N

Polenn Sim Elizabeth Wong General

+6016 273 3628 +6013 355 6578 +603 2691 3089
[email protected] [email protected] [email protected]

2
MALAYSIAN &
SOUTH EAST ASIAN ART

AUCTION DAY
Sunday, 15 March 2020, 1 PM

VIEWING
5 - 14 March, 2020
10 am - 6 pm daily

Galeri Prima, Balai Berita Bangsar

31, Jalan Riong, Bangsar, 59100 Kuala Lumpur, Malaysia

LIVE ONLINE BIDDING

3
LOT 137 AHMAD ZAKII ANWAR, Red Legong, 2004
LOT 67 SHARIFAH FATIMAH SYED ZUBIR, DATO’, Song Of Songs 5, 1998
CONTENTS

002
CONTACT INFORMATION & IMPORTANT NOTICE

003
AUCTION INFORMATION

009
LOT DIRECTORY

018 - 223
LOT 1 - LOT 173

224 - 232
BUYING AT HBA A & CONDITIONS OF BUSINESS

238
BIDDER REGISTRATION FORM

239
TELEPHONE / ABSENTEE BID FORM

240
INDE X OF ARTISTS

7
LOT 158 ABDULLAH ARIFF, After The Monsoon Cloudburst, 1955
LOT D I R EC TO RY

1 2 3 4 5
A.B. IBRAHIM SHAFIE HASSAN KHALIL IBRAHIM TAN CHOON GHEE ALEX LEONG
Pantai Beserah,
Ketenteraman Kg Kuala Sg. Besar, East Coast Series Hong Kong
Kuantan, Pahang, 2007;
Rimbulan Malam Kelantan 1992 1973 Sg Lembing, Kuantan,
c. 1960 1989 2007

6 7 8 9 10
TEW NAI TONG TEH SIEW JOO RAFIEE GHANI LOT WITHDRAWN KHALIL IBRAHIM

Blooming, undated; Untitled Fruit And Cake Untitled

Blooming, undated; undated 1996 1990
Village, 1981

11 12 13 14 15
KHALIL IBRAHIM MAAMOR JANTAN SHAFURDIN HABIB RAHMAT RAMLI RAFIE ABDUL
RAHMAN
Yue Liang Dai Biao
Untitled Ladies Market Series
Wo De Xin (The Moon
1998 2001 2014 Untitled
Represents My Heart) III
2002
2016

16 17 18 19 20
MOHD ZAIN IDRIS YAP KIM BOON HAMDAN SHAARANI ZAINAL ABIDIN MUSA RAPHAEL SCOTT
AHBENG
Untitled A Tree Planted Riak Alam #9 Batu Rakit - Tengkujuh
c. 1970s By The River 1995 2012 Goldmine
2011 2007

9
 21 22 23 24 25
RAPHAEL SCOTT JACK TING LONG THIEN SHIH LONG THIEN SHIH NIK ZAINAL ABIDIN
AHBENG
Musician Warriors’ Trophies Dalang Untitled
Batu Caves 2004 1990 1964 1963
2014

26 27 28 29 30
LEE JOO FOR, JOHN YONG MUN SEN YONG MUN SEN KHAW SIA CHIA YU CHIAN

Horses And Hopes Untitled Untitled Bali Padi Field Sisters

1966 1950s 1953 1982 1955

31 32 33 34 35
PETER HARRIS CHUAH THEAN TENG, CHUAH THEAN TENG, ISMAIL MAT HUSSIN ISMAIL MAT HUSSIN
DATO’ DATO’
Untitled Fresh From The Sea Gasing
1958 Country Folk Come, Sing To Me 2012 2007
c. 1959 1965

36 37 38 39 40
CHUAH THEAN TENG, M. SUKRI DERAHMAN FATIMAH CHIK KHALIL IBRAHIM FENDY ZAKRI
DATO’
Sisters Playing Congkak Siri Nusantara Untitled Pagi
Marketplace 2017 1990 2000 2019
1950s

41 42 43 44 45
FAUZUL YUSRI CH’NG HUCK THENG WONG PERNG FEY YEOH CHOO KUAN FAZRIN ABD RAHMAN

Man And Primitive Surprise! Abstract Work #15 Thursday Blues Maze 8
2008 2007 2014 2014 2016

10
46 47 48 49 50
SAMSUDIN WAHAB ISMAIL AWI SHAFIQ NORDIN SHAFIQ NORDIN MEOR SAIFULLAH
LULAED
The Last Supper Let Me Come Out The Tale Of The Great The Tax Theft
My Imagine (Self Portrait
2011 2017 Con Man 2015 As Superhero Roboto)
2017
2011

51 52 53 54 55
BAYU UTOMO AHMAD FUAD OSMAN AHMAD FUAD OSMAN AHMAD FUAD OSMAN MASNOOR RAMLI
RADJIKIN MAHMUD
Nol Parasite Untitled
Infinity II 2008 1995 1999 Apocalypse Prophecy
2007 2012

56 57 58 59 60
HAMIR SOIB HAMIR SOIB AHMAD SHUKRI AHMAD SHUKRI ZULKIFLI YUSOFF
MOHAMED MOHAMED
Battle Of The Insider The Culture After Meeting
2010 2017 Bar Code II Untitled 1997
1998 1999

61 62 63 64 65
REDZA PIYADASA SYED AHMAD JAMAL, JOLLY KOH TAJUDDIN ISMAIL, TAJUDDIN ISMAIL,
DATUK DATO’ DATO’
Malay Woman With Untitled
Cigarette, 1908 Ruang Biru 2001 Blue Landscape Gridscape (Boxscape
1982 2001 2003 Series), 1991

66 67 68 69 70

AWANG DAMIT SHARIFAH FATIMAH SHARIFAH FATIMAH MUSTAPA HAJI TAN TONG
AHMAD SYED ZUBIR, DATO’ SYED ZUBIR, DATO’ IBRAHIM
Sweet Spring In Paris
Tenaga Hidup I Song Of Songs 5 Untitled Madu Rasa 2004
1993 1998 1974 1988

11
 71 72 73 74 75
TEW NAI TONG CHUNG CHEN SUN HUANG YAO JOSEPH TAN ERIC PERIS

Beijing Olympic Games Home With Surplus Poetic Serene Scenery Studies For Landscapes Form, Design, Colour
2008 2014 undated 1998 2008
2008

76 77 78 79 80
SULTAN ISMAIL AMRON OMAR RONNIE MOHAMAD AHMAD ZAKII ANWAR HISYAMUDDIN
NASIRUDDIN SHAH ABDULLAH
Pertarungan Tug Of War Series Triplicity
Silat, By The Sea 1999 2014 1999 Ucapan Plastik
c. 1955 2014

81 82 83 84 85
CHONG AI LEI NIK MOHD HAZRI FADILAH KARIM YUKI THAM SUHAIDI RAZI

Cling I See The Altered Truth 2 Motion II Obscure Sweet December

2011 2017 2010 2017 2017

86 87 88 89 90
GAN CHIN LEE TEW NAI TONG ANTHONIE CHONG AZMAN YUSOF, DATO’ KOW LEONG KIANG

Frontal Reclining Nude Nude 22; Nude 23 Monumental - Agony Untitled Dreamer 4
2012 2007 c. 1990s 2013 2004

91 92 93 94 95
HENG EOW LIN GAN TEE SHENG ILHAM FADHLI SHAIMY GRACE HARRIS RIBUT
A.K.A. KOJEK SELVANAYAGAM
At Play No Face Auntie & Boy Balik Dari Perigi
1998 2011 Untitled Untitled 2007
2011 1960

12
96 97 98 99 100
RUDY MARDIJANTO KARTIKA AFFANDI NYOMAN GUNARSA ONIB OLMEDO JEIHAN SUKMANTORO

Lomba Burung Mother And Child Pemain Biola Guitarist Juwita

(Bird Competition) 1970 2011 1993 1982
2013

101 102 103 104 105

ARIE SMIT RUDOLF BONNET DZULKIFLI BUYONG HAMIDAH SUHAIMI HAMIDAH SUHAIMI

Boy A Portrait Of Two Self Portrait Budak Melayu Gadis Dengan Labu Air
1986 Dancers 1971 1996 1998
1972

106 107 108 109 110

MAZ LI MAT SOM SAMJIS MAT JAN LIEW CHOONG KHALIL IBRAHIM FUNG YOW CHORK
CHING
Gadis Melayu Lady In Green Pantai Kundu I Kuala Selangor River
Orang Asli Series:
1977 1996 Sitting With A Cat 1999 1979
1998

111 112 113 114 115

PETER LIEW CHONG HON FATT, LUI CHENG THAK ONG KIM SENG ALEX LEONG
DATO’
Malacca River Series My Heart Is Open Kathmandu Series Little India Hawkers
2004 Masjid Nagore, Penang 2013 2007 Stall, Penang
1994 2009

116 117 118 119 120

ANISA ABDULLAH ANISA ABDULLAH REDZA PIYADASA LUI CHENG THAK LUI CHENG THAK

Si Kain Pelekat Bukit Bintang Straits Chinese Jalan Hang Kasturi, Bread Vendor, Penang
2013 2012 Dwelling Melaka 2003
1990 2018

13
 121 122 123 124 125
YUSOF GHANI YUSOF GHANI ZULKIFLI YUSOFF ZULKIFLI YUSOFF ABDUL LATIFF MOHIDIN

Topeng Series - Wajah Series - Gaza Kuda Dan Tuannya; Pahlawan Yang Berani Rimba Series
Anak Alam 2008-2009 Pilih Saya Dari Pasir Salak 1997
1995 1999 2007

126 127 128 129 130

SHARIFAH FATIMAH SHARIFAH FATIMAH SHARIFAH FATIMAH ABDUL LATIFF IBRAHIM HUSSEIN,
SYED ZUBIR, DATO’ SYED ZUBIR, DATO’ SYED ZUBIR, DATO’ MOHIDIN DATUK
Madame Le Chair
Hymns Of The Earth 9 Mindscape 6 Untitled; Leaves Honeymoon
(Pago-Pago Series)
1996 2011 undated 1974
1969

131 132 133 134 135

TAJUDDIN ISMAIL, DATO’ SUZLEE IBRAHIM RAFIEE GHANI LATIF MAULAN CHONG SIEW YING
Innerspace — Homage To
Candle In The Wind She Has Gone Untitled Fish Talk
Matisse III;
Interiorscape With Flower, 2011-2012 1996 1997 2005
1992

136 137 138 139 140

AHMAD ZAKII ANWAR AHMAD ZAKII ANWAR JALAINI ABU HASSAN JALAINI ABU HASSAN STEPHEN MENON

Pendet, Peliatan; Red Legong The Mother Of The Panas Telinga_ Fake News Wawasan 2020
Legong, Peliatan 2004 Great European Art 2018 undated
2009 2016

141 142 143 144 145

STEPHEN MENON NORMA ABBAS, ROSLISHAM ISMAIL ROSLISHAM ISMAIL AZIZI LATIF
PUAN SRI (ISE) (ISE)
Mahathir 1 Keith Haring
2012 Woman And Cat Superfiction Keluar 90 Hari 2017
2015 2008 2007

14
146 147 148 149 150
POODIEN EKO NUGROHO HASANUL ISYRAF IDRIS WAN AMY NAZIRA SYED THAJUDEEN

Long Live Death: Zero Point Welcome Dude! DIY Empire Happiness The Paths Longing For Love
(Biting The Hand That Feed) 2005 2014 2017 1991
2010

151 152 153 154 155

KHALIL IBRAHIM IBRAHIM HUSSEIN, YUSOF GHANI ZULKIFLI YUSOFF ZULKIFLI YUSOFF
DATUK
Hujan Lembing III;
Modesty Series Siri Tari Two Figures
Dari Mata Turun Ke Hati III;
1989 Little Things 1993 2001 Dari Mata Turun Ke Hati IV,
1995
2008

156 157 158 159 160

CHANG FEE MING JOLLY KOH ABDULLAH ARIFF JAAFAR TAIB SABIHIS MD PANDI

Chord Of Friendship Tuaran Falls After The Monsoon Leopard (2) Pompeii
1986 1981 Cloudburst 2011 2015
1955

161 162 163 164 165

UGO UNTORO SAMSUDIN WAHAB GAN TEE SHENG KHAIRUDIN ZAINUDIN RAJA AZHAR IDRIS

Poem Of Blood Tuhan Memberkati Kamu Sofa Heritage Drummer Silat

2008 2008 2017 2014 2002

166 167 168 169 170

YAU BEE LING NIZAR KAMAL ARIFFIN MOHD KHAIRUL IZHAM ISMAIL LATIFF TANG HONG LEE

House & I Mask Series - Dari Tanah Itu Skymoon… The Blue Golf Field
1999 Acquired #46 2016 Mountain 2013
2003 2002

15
 171 172 173
YEOH KEAN THAI NGO VAN SAC ANTHONIE CHONG

Liner Series - Eco On The Way To The Market Untitled; Self 3

2016 2019 undated; 1996

16
LOT 153 YUSOF GHANI, Siri Tari, 1993
17
 1
A.B. IBRAHIM
b. Kedah, 1925 - d. 1977

Ketenteraman Rimbulan Malam,

c. 1960
The proximity to nature can be felt in this landscape work executed with poetic

signed (lower left) sentiments and confident strokes. This work with light and fluid brush strokes is

watercolour on paper typical of the artist’s style and his favourite subject of kampong vistas.

27 x 37cm
A.B. Ibrahim held a solo exhibition in Dewan Besar Perniagaan Cina, Ipoh in 1962.
PROVENANCE Group exhibitions include exhibitions of Persatuan Pelukis Melayu, Singapore (1945-
Private collection, Malacca 1970), Penang Trade Fair (1948), and 4th Malayan Artists Association Exhibition,
British Council, Kuala Lumpur (1958). He was the founder member of Persatuan
RM 1,200 – 2,200 Pelukis Melayu, Malaya based in Singapore.

18
2

SHAFIE HASSAN
b. Kedah, 1958 Depicted in the scene what seems like father and son hanging birdcage in front
of their wooden house. It looks like living in a village is peaceful, less hassle, fresh
Kg Kuala Sg. Besar, Kelantan, 1989 breeze everyday and people find happiness in the smallest thing. This piece is
beautifully captured by Shafie Hassan probably during his visits to Kelantan.
signed and dated (lower left)
watercolour on paper Shafie teaches art at the St. John’s Institution in Kuala Lumpur. He was trained at
52 x 75cm the Teachers Training College in Kota Bharu from 1978 to 1979 and the Specialist
Teachers Training Institute in 1986. He obtained his BFA at Universiti Sains
PROVENANCE Malaysia, Penang in 1994. Recognised for being one of the finest watercolourists
Private collection, Selangor in Malaysia, his awards include First Prize in the Permodalan Nasional Berhad
Competition in 1985, the Unity of Mankind Award (UNESCO) in 1986, and the
RM 3,500 – 6,500 Malaysian Watercolour Society Award in 1990.

19
 3 Khalil Ibrahim’s iconic East Coast Series is on offer featuring men and women at work
by the beach. The locals’ participation in fishing is evident in the east coast states
KHALIL IBRAHIM of Kelantan and Terengganu; they fish mainly from the shore or in shallow protected
b. Kelantan, 1934 - d. Selangor, 2018 waters using simple hand-operated gears such as hooks and lines, scoop nets or traps.

East Coast Series, 1992 Khalil Ibrahim graduated with a National Diploma of Design in Fine Arts at the
prestigious St. Martin’s School of Art and Design in London in 1964 (post-graduate in
signed and dated (lower right) 1965). He turned into a full-time artist in 1966. Khalil was co-founder of the Malaysian
watercolour on paper Watercolour Society and had his first double solo of London works and Malaysian batiks
30 x 39cm at Samat Art Gallery, Kuala Lumpur in 1970. That year, he also had a solo exhibition in
Indonesia, the first Malaysian to have done so. He has participated in numerous solo
PROVENANCE and group exhibitions in Malaysia, Singapore, Indonesia, Switzerland and his works have
Private collection, Selangor been collected by the National Museum in Singapore, Fukuoka Museum of Art in Japan,
New South Wales Museum of Art in Sydney, Royal National Art Gallery of Jordan, and
RM 7,500 – 12,000 National Art Gallery Malaysia.

20
 This piece by Penang legendary watercolorist Tan Choon Ghee is illustrated in a
monochromatic manner which depicts a scene of a calming river somewhere in Hong
Kong. It’s probably sketched during one of travels or solo exhibitions in Hong Kong.
4
Tan Choon Ghee completed his secondary education from Chung Ling high school
TAN CHOON GHEE in 1948 and graduated from the Nanyang Academy of Fine Art in Singapore in 1951.
b. Penang, 1930 - d. 2010 He then attended the Slade School of Fine Art in London from 1957 to 1959. He had
received a German government painting scholarship and an Australian government
Hong Kong, 1973 television set design scholarship. He had worked for TV Singapore and TV Broadcast
Ltd in Hong Kong prior to becoming a full time artist. He had held numerous solo
ink and wash on paper shows with his first in 1956 at the Hooi Ann Association, Penang followed by in 1958,
58 x 47cm 1962 and 1963 organised by the British Council, Penang; National Library in Singapore
(1962 and 1970); Australian High Commission in Kuala Lumpur (1983 and 1993) among
PROVENANCE others. Tan had also been honoured with two retrospective exhibitions in 1996 and
Private collection, Selangor 2000; a tribute show in Kuala Lumpur (2009) and a recent posthumous solo exhibition
titled A Lifetime Of Drawings showcasing his sketchbooks and paper works at the
RM 2,000 – 3,600 Penang State Art Gallery (2014).

21
 5
ALEX LEONG
b. Penang, 1969

On offer here are two of the must visit places in Kuantan painted in the
Pantai Beserah, Kuantan, Pahang, 2007; artist’s perspective. Pantai Beserah offers a beautiful beach, famous
Sg Lembing, Kuantan, 2007 for its keropok lekor and seafood delicacy. Whilst, Sg Lembing offers
magnificent waterfalls. It’s always a bliss to be closer to nature.
signed and dated (lower right)
watercolour on paper Alex Leong, born in 1969 in Penang, is catching the attention of
53 x 34cm; 26 x 34cm collectors in these recent years, especially when his works are
successfully auctioned off at various local art auction houses. With a
PROVENANCE few solo exhibitions along his journey as an artist, he has been actively
Private collection, Selangor participating in exhibitions locally and abroad, e.g. Singapore, China,
Indonesia, and Korea. His watercolour compositions of famous street
RM 2,000 – 3,800 scenes in Malaysia are well sought after by collectors.

22
6

TEW NAI TONG

b. Selangor, 1936 – d. Kuala Lumpur, 2013

Blooming, undated;
Blooming, undated;
Village, 1981 This set of three watercolours by Tew Nai Tong with pale washes features delicate sets of
flowers and a beautiful green landscape.
signed (lower right);
signed (lower left); Nai Tong returned to Malaysia, and had his first solo at the British Council in Kuala Lumpur

signed and dated (lower left) in 1964, the year he won 2nd Prize in the Chartered Bank mural design competition. He

watercolour on paper furthered his studies at the Ecole Nationale Superieure des Beaux-Arts (1967-68). The

31 x 27cm; 38 x 55cm; 39 x 54cm 1980s saw him winning several awards including the Shell Best Award (watercolour, 1981),
Esso Best Award (1982) and Dunlop Best Award (watercolour, 1983). He taught at various
PROVENANCE art academies namely the Malaysian Institute of Art (1969-1980), Central Academy of Art
Private collection, Selangor (1982-1985) and the Saito Academy of Art (1986-1988) before he decided to go fulltime in
1992. In 2007, he had a major survey exhibition at the National Art Gallery Malaysia, called
RM 2,000 – 3,600 Odyssey. In 2009, he won the Asia Art Award in Seoul, South Korea.

23
 7

TEH SIEW JOO

b. Penang, 1930
Teh Siew Joo is best known for his paintings of flowers in watercolour, and this work

Untitled, undated demonstrates his robust handling of the medium. The artist successfully captures the
blossoming flowers in a translucent vase compliments an on point lighting and soft pastel
signed (lower right) yellow hues of the flowers. It leaves a pleasant feeling to the whole scene.
watercolour on paper
56 x 61cm Teh Siew Joo has held numerous solo art exhibitions in Malaysia, Singapore and Australia.
He was a graduate from the China Central Academy of Fine Arts in Beijing in 1954 and
PROVENANCE has held several art-related positions in Shanghai and Hong Kong, including animation art
Private collection, Selangor designer, publisher of children’s art books, commercial artist and many others. He worked as
an interior designer in Malaysia for over 20 years and was appointed by His Majesty the Yang
RM 1,500 – 2,800 di-Pertuan Agong to design the interior of the Pekan Palace.

24
8

RAFIEE GHANI
b. Kedah, 1962

Fruit And Cake, 1996

signed (lower left)

mixed media on canvas
97 x 74cm

PROVENANCE
Private collection, Selangor

RM 8,000 – 14,000

Most of Rafiee Ghani’s paintings in the 1990s depict the interior domestic scenes of still-life objects, plants and flowers in vibrant
colours. The artist once quoted, that to him these are mere symbols of everyday objects that surround us, bringing with them a deep
sense of comfort that are frequently forgotten or taken for granted in our everyday life.

Rafiee Ghani is one of the most well-travelled and cosmopolitan artists, on land, traversing central and western Asia, besides Europe
and the United States, all adding to his visual colour bank which he synthesizes in his works. He got a degree overseas first, at the
De Vrije Academic, Voor Bildeende Kunst, The Hague (1980) before returning to retake his Diploma, Mara Institute of Technology,
1985, (majoring in Printmaking trained under Ponirin Amin). He followed up with a MA (Fine Prints) at the Manchester Polytechnic,
England, in 1987. His accolades include the Minor Award in the Salon Malaysia (1991) and twice in the Young Contemporary Artists
competition (1984 and 1985). He also won 2nd Prize in the Malaysian Art Open in 1994. His artwork prices skyrocketed at foreign
auction houses in recent years.

25
 9

LOT WITHDRAWN

This Lot has been withdrawn from the sale.

26
10
This work depicts the peaceful countryside overlooking the sea, with hint of blue sky, deeply
KHALIL IBRAHIM enhancing the sensation of nature and its moods. Rendered with confident brushstrokes,
b. Kelantan, 1934 - d. Selangor, 2018 beautiful colours of green and yellow hues, the overall impression given by the painting is
that of a detailed study of nature.
Untitled, 1990
Khalil Ibrahim graduated with a National Diploma of Design in Fine Arts at the prestigious
signed and dated (lower right) St. Martin’s School of Art and Design in London in 1964 (post-graduate in 1965). He turned
watercolour on paper into a full-time artist in 1966. Khalil was co-founder of the Malaysian Watercolour Society
55 x 75cm and had his first double solo of London works and Malaysian batiks at Samat Art Gallery,
Kuala Lumpur in 1970. That year, he also had a solo exhibition in Indonesia, the first Malaysian
PROVENANCE to have done so. He has participated in numerous solo and group exhibitions in Malaysia,
Private collection, Selangor Singapore, Indonesia, Switzerland and his works have been collected by the National
Museum in Singapore, Fukuoka Museum of Art in Japan, New South Wales Museum of Art
RM 15,000 – 25,000 in Sydney, Royal National Art Gallery of Jordan, and National Art Gallery Malaysia.

27
 11

KHALIL IBRAHIM
b. Kelantan, 1934 - d. Selangor, 2018

Untitled, 1998

signed and dated (lower right)

oil on board; oil on board; oil on canvas
13 x 13cm; 13 x 17cm; 19 x 26cm (set of 3)

PROVENANCE
Private collection, Selangor

RM 18,000 – 32,000

One of the three sets on offer here features

a pure landscape of the East Coast featuring
a group of fishermen working on daily basis
while the other two offers a green landscape of
a magnificent view of a kampung.

Khalil Ibrahim graduated with a National

Diploma of Design in Fine Arts at the prestigious
St. Martin’s School of Art and Design in London
in 1964 (post-graduate in 1965). He turned into
a full-time artist in 1966. Khalil was co-founder
of the Malaysian Watercolour Society and
had his first double solo of London works and
Malaysian batiks at Samat Art Gallery, Kuala
Lumpur in 1970. That year, he also had a solo
exhibition in Indonesia, the first Malaysian to
have done so. He has participated in numerous
solo and group exhibitions in Malaysia,
Singapore, Indonesia, Switzerland and his
works have been collected by the National
Museum in Singapore, Fukuoka Museum of Art
in Japan, New South Wales Museum of Art in
Sydney, Royal National Art Gallery of Jordan,
and National Art Gallery Malaysia.

28
 The Moon Represents My Heart is a Mandarin song sung by an evergreen
Taiwanese singer Teresa Teng. It is a beautifully written love song that was
admired as one of the greatest Chinese songs of all time. The soft romantic
hues in this piece further enhance the mood of the setting whilst people
12 seem to indulge deeply in the moment. The fusion of Eastern and Western
musical instruments!
MAAMOR JANTAN
b. Kedah, 1961 In Malay art circles, he is known as Mr. Cakcibor (The Dragonfly Man),
although everyone knows his name, Maamor Jantan. A protégé of Khalil
Yue Liang Dai Biao Wo De Xin Ibrahim, Maamor Jantan has come of his own through sheer diligence and
(The Moon Represents My Heart) III, practices. He would go all around the country to paint, often with his group of
2016 friends and at one time with Khalil himself. He has set a palette of mauve hues
from light to darker (nocturnal scenes) with delicate transparency. Whether
signed and dated (lower right) it is a Malay kampung scene, kenduri, fishing village, the country landscapes,
watercolour on paper his Cakcibor will be there, large and small. Mentored by Khalil in 1984 when
73 x 101cm he was an apprentice machinist, it took him nearly 30 years before he had his
first solo, titled Figment Of Imagination at Universiti Malaya Art Gallery, in
PROVENANCE April 2014, showing some 150 works. He was a resident artist there, and also
Private collection, Selangor had a stint at Belanda Gallery in Langkawi. He is also from the core Conlay
group of artists. He is also a musician, leading a traditional keroncong (Malay
RM 4,000 – 7,000 orchestra) group which even performs in Indonesia.

29
 13

SHAFURDIN HABIB
b. Perak, 1961

Ladies, 2001

signed and dated (lower left)

oil on canvas
69 x 100cm Inspiration comes in many forms, and for Shafurdin Habib, it
is the countryside of Malaysia and its picturesque landscape.
PROVENANCE Depicted in the scene a group of ladies wearing bright color
Private collection, Selangor batik. Shafurdin Habib was born in 1961 Kampung Basong, Perak.
He is a member of Malaysian Watercolour Organization and also
RM 2,000 – 3,600 a good friend of the late Khalil Ibrahim.

30
14

RAHMAT RAMLI
b. Thailand, 1964 Illustrating a peaceful village scene, this exquisite work depicts a
group of women selling fruits, chit-chatting with customers, while
Market Series, 2014 enjoying a fresh sea breeze under the shades. These women look
simply beautiful donning Malay traditional attire kurung, kebaya
signed and dated (lower right) paired with batik sarong and scarves covering their heads. Rahmat
oil on canvas Ramli cleverly captured lighting, with his impeccable skill.
106 x 175cm
Rahmat Ramli was once promoted by AP Gallery. Rahmat’s name
PROVENANCE was mentioned as the artist of the painting, How Much For One
Private collection, Selangor Bunch Of Bananas?, (p. 42) in Professor Muliyadi Mahamood’s
book, Modern Malaysian Art From The Pioneering Era To The
RM 7,000 – 12,000 Pluralist Era (1930s - 1990s) (Utusan Publications).

31
 15 Rafie Abdul Rahman has been active in the art scene since
decades ago, and has participated in a large number of exhibitions.
RAFIE ABDUL RAHMAN An impressionistic scene in a village is shown here, capturing his
b. Negeri Sembilan, 1947 observations of nature. The simple pleasures of country life are
wonderfully depicted in this work. The lighting effect shows the
Untitled, 2002 artist’s impeccable painting skill.

signed and dated (lower left) A self-trained artist, Rafie Abdul Rahman had guidance from
oil on canvas Hoessein Enas and Mazli Mat Som during the 1960s, via classes
43 x 63cm organised by Angkatan Pelukis SeMalaysia (APS). He is well-versed
in various art mediums, including watercolour, oil, pastels and
PROVENANCE acrylic. Aside from the Romantic leanings he picked up from his
Private collection, Selangor exposure with APS, he also draws inspiration from American and
British artists; Frank Webb, Philip Jamison, Richard Chamberlain
RM 3,000 – 5,000 and Sir William Russel Flint to name a few.

32
 The hard life of fishermen was something close to artist M. Zain’s heart, for he had
16 experienced it himself. This magical oil beachscape shows his deft handling of colours
and play of light, and here a brilliant composition of a distant light from a strategic
MOHD ZAIN IDRIS cloudburst against an azure sky, framed by the mood-inducing slanting long trunks of
b. Terengganu, 1939 - d. 2000 the coconut trees, shunting part of a ramshackled hutment of the fishermen to the far
right. Now you know why he was a favourite painting partner of Khalil Ibrahim.
Untitled, c. 1970s
Though little is known about M. Zain Idris, he was a rare State artist appointed by the
signed (lower left) Terengganu State Government. The Chief Minister afforded him a studio and residence
oil on canvas in Kuala Terengganu, complete with a stipend. As an artist, he was driven by a wanderlust,
60 x 120cm and often travelled outside the State to paint, Kelantan and even as far as Kuala Lumpur.
Dubbed the Fisherman Artist, Zain had become a fulltime artist after he was discovered
PROVENANCE by the pioneer gallerist, art critic cum promoter Frank Sullivan, who even gave him a
Private collection, Selangor solo at his Samat Art Gallery. Sullivan was then Press Secretary to Tunku Abdul Rahman,
Malaya’s first prime minister. He had joint exhibition with Kasim Abas at the Equatorial
RM 5,000 – 8,000 Hotel KL in 1984, and at the Shangri-La Hotel KL in 1987.

33
 17

YAP KIM BOON

b. Kuala Lumpur, 1961

A Tree Planted By The River, 2011

Rendered in green and a hint of red suggesting its fruits the

signed and dated (lower left) tree stands tall against the stunning landscape, by the river. It

oil on canvas gives us a sweet taste of nature at its best. Yap Kim Boon, better

61 x 61cm known as the Heliconia Man, is an expert of vast landscapes and

architectural heritage, with his thick impastos using palette knife.
PROVENANCE Of main concern to him is the sense of movement with an almost
Private collection, Selangor 3D textures, and the light. In recent years, he has also tackled the
bougainvillea, the paper flowers. He has been a full time artist for
RM 3,000 – 5,500 some 20 over years now.

34
18

HAMDAN SHAARANI
b. Perak, 1967
Hamdan Shaarani paints on Nature usually from an aerial view with some water

Riak Alam #9, 1995 element, focusing on the water reflection. Illustrated in the scene using rich green
color suggested the clear water is under the shade of a tree. An object was thrown
signed and dated (lower right) into the water triggered its resting mode thus creating a marvelous splashing /
acrylic on canvas ripple effects in the water. Hamdan’s most memorable triumph in a competition
127 x 127cm was 1 st Prize in the Kenyir Eco-Fest 99 (Consolation in 1994) in Terengganu in
1999. He also won 1 st Prize for Drawing in the Shah Alam Landscape competition
PROVENANCE in 1995 (Consolation for Watercolours in 1996), besides 2nd Prize for Shah Alam
Private collection, Selangor Cactus Drawing (1993), and Consolation Prize in the Formula Malaysia (2000)
contest. A lecturer of Universiti Perak, he graduated with BFA at UiTM in 1995
RM 2,000 – 3,500 and 2000 (Hons).

35
 19

ZAINAL ABIDIN MUSA

b. Perak, 1960

Batu Rakit — Tengkujuh, 2012

Batu Rakit is located in Kuala Terengganu. Rainy season generally begins from
November to January. It’s not a good time to travel to east coast as most of the
signed and dated (lower right)
beach will be closed. It’s not safe to do any activities as the tide gets high during
acrylic on canvas
the time. Captured in the scene here is a figure (holding an umbrella) riding his
107 x 134cm
motorcycle clearly ignoring the heavy rain. The artist’s painting skill is impeccable.
EXHIBITED
Zainal Abidin Musa — Tengkujuh, With a deep interest in art, Zainal Abidin Musa enrolled at Institut Teknologi
Artelier Gallery KL, 2014 MARA to pursue a degree in Fine Art. He graduated in 1983 with a promising
career as an artist, having won an award from the Malaysian Young Contemporary
PROVENANCE Artist competition. Formerly working in advertising, he has now returned to his
Private collection, Selangor first love — painting, once again taking up the brush, with no signs of slowing down
or stopping. He has been active since the 2000s, with entries in various group
RM 15,000 – 25,000 exhibitions, as well as having had solo exhibitions in Kuala Lumpur.

36
 Goldmine illustrates Raphael Scott Ahbeng’s signature composition
20 exhibiting his unique ability to depict the spirit of his surroundings and
inject his own personality into his works. Raphael Scott Ahbeng celebrates
RAPHAEL SCOTT AHBENG the enchanting beauty of Nature through his paintings, creating a vivid
b. Sarawak, 1939 - d. 2019 landscape using distinctive bold linear strokes and vivid hues.

From his secluded studio in Bau, Sarawak, Raphael Scott Ahbeng still paints
Goldmine, 2007
on a variety of subjects and styles, with his métier being abstract. Given
his first solo in 1954, he took up an Art and Photography course at the
signed and dated ‘RSA ‘07 ’ (lower right)
Bath Academy of Fine Art in England (1964-1967). He also took up Drama
acrylic on board
in London in 1973 under a Sarawak Government scholarship. His awards
43 x 58cm
include 1 st Prize in the Sarawak Shell Open (1959, 1982, 1983), and 3 rd Prize
in the Natural Malaysia art competition in Kuala Lumpur in 1991. A Bidayuh,
PROVENANCE
RSA, as he is sometimes known, is an artist (professional since 1990), a
Private collection, Kuala Lumpur
teacher, a photographer, a newspaper cartoonist and a radio producer. His
♦ PINKGUY Conservation Framing for this lot solo exhibition Legend: A Borneo Artist at PINKGUY Gallery, showcases
the complete oeuvre of Raphael’s 60 years of work. This is a magnificent
RM 2,500 – 4,500 example of Nature at its best.

37
 Raphael Scott Ahbeng is one of the most established artists from Sarawak. The lyrical and
21 expressive brushstrokes of Raphael depict a landscape of Batu Caves. The artist’s love for
the subject is translated through array of different strokes, rich surface textures, and bright
RAPHAEL SCOTT striking colors. Amazing as it seems the artist succeeded to capture the colourful facades
of Batu Cave in his own unique way.
AHBENG
b. Sarawak, 1939 - d. 2019 It is hugely remarkable that Raphael Scott Ahbeng still keeps painting at his secluded studio
in Bau after all these years, at the age of 80 and with a host of ailments. It is as if painting is a
Batu Caves, 2014 great therapy although it is his passion that keeps the white canvas filled. Form, composition
and colours – the tripod structure behind his art, whatever the subject or medium. He has
signed and dated ‘RSA ‘14’ been practically painting since the age of 9, and professionally from 1990. It’s standard to
(lower right) peg his art career from 1964, when he took up an Art and Photography course at the Bath
acrylic on canvas Academy of Fine Art in Britain, until 1967. But in 1954, he already had his first solo. Raphael
60 x 89cm is truly a legend, who is adept in painting in oil, acrylic and watercolours, besides drawings
and doing cartoons for newspapers, which show up his humorous side. He had also been
PROVENANCE a teacher and radio producer, from a Sarawak Government grant to do a Drama course in
Private collection, Kelantan London in 1973. In 1959, he won 1st Prize in the Shell Open art competition and was 3 rd in the
Natural Malaysia competition in Kuala Lumpur in 1991. It’s a great loss to the art scene as he
RM 3,000 – 5,500 departed last year.

38
22

JACK TING
b. Sarawak, 1968 Judging from where he came from Sarawak has one of the most unique music in
the world. A traditional instrument known as Sape sounds effortlessly beautiful
Musician, 2004 when a person plays it. If you look closely at this piece in an abstract style he
manages to capture hints of image suggested to be Sape, Sarawakian motives
signed and dated (lower right) and feathers.
oil on canvas
97 x 130cm Jack Ting graduated from Kuala Lumpur College of Art with a Diploma of
Fine Art in 1992. Since then, he has won several awards in the 1990s, as well as
PROVENANCE multiple solo exhibitions which include Ceremonies at Art Salon, Kuala Lumpur
Private collection, Kuala Lumpur in 1998, and Drifted Glimpses at the Gallery @ Starhill, Kuala Lumpur in 2008.
He is a member of the Malaysian Watercolour Organisation, Malaysian Artist
RM 5,000 – 9,000 Association and Federation of Malaysian Artist.

39
 23

LONG THIEN SHIH

b. Selangor, 1946

Warriors’ Trophies, 1990

signed and dated (lower right)

watercolour on paper One of Malaysia’s most renowned printmakers, Long Thien Shih creates

17 x 25cm works influenced by the natural environment and social issues. This image
depicts a proud warrior standing before skeletons which are regarded as his
PROVENANCE trophies. In Iban culture a minority group in Sarawak is renowned for practice
Private collection, Kuala Lumpur in headhunting as to tribal / territorial expansion. The more heads you collect
the more fearsome people will be. It also represents power and authority. This
RM 2,000 – 4,000 culture has long faded.

40
 The dalang is the puppeteer in wayang kulit performance. He sits behind a
24 screen made of white cotton stretched on a wooden frame. Above his head,
hanging from beams attached to the top of the screen, is the lamp, which
LONG THIEN SHIH projects the shadows onto the screen. His job is to tell stories and usually uses
b. Selangor, 1946 Kelantan dialect as the main language. As can be seen in this piece he was
accompanied by a group of musicians which makes the shows more exciting to
Dalang, 1964 watch. Together with his artist friend Nik Zainal Abidin, both have highlighted
the enigmatic quality and tradition of wayang kulit.
signed and dated (lower right)
oil on board Long Thien Shih won a French government scholarship to study art in 1966
33 x 43cm and was enrolled in the internationally renowned printmaking studio Atelier 17,
founded by William Stanley Hayter, a prominent figure in British Surrealism and
PROVENANCE Abstract Expressionism. He presented a retrospective exhibition titled Man Of
Private collection, Selangor The Times at National Art Gallery Malaysia in 2014. In 2018, he participated in a
group exhibition titled The Art Of Printmaking: Lasting Impressions, which was
RM 3,500 – 7,000 held at Bank Negara Malaysia Museum and Art Gallery, Kuala Lumpur.

41
 Back in the days before we had the internet, movies, television, wayang kulit was
one of many entertainments people looked forward to watching. A combination
of shadow and light accompanied by traditional musical instrument left viewers
mesmerised in the hour. The plot and storyline is usually about evil versus good.
But what’s fascinating about it is that it combines humour, magic and adventure
25 all in one long storyline. Nik Zainal Abidin was one of the first modern artists to
highlight the enigmatic quality and tradition of a faded traditional heritage of
NIK ZAINAL ABIDIN wayang kulit.
b. Kelantan, 1933 - d. Kuala Lumpur, 1993
Self-taught Nik Zainal Abidin represented Malaysia in the World Expo in Osaka,
Untitled, 1963 Japan, in 1970, the same year he was sent on a German cultural tour. He was
a member of the Wednesday Art Group. He won 1 st Prize in the Merdeka
signed and dated (lower center) Independence Art in 1967, and had his first two solos at the Samat Art Gallery in

watercolour on paper 1970 (June) and 1971 (October-November) respectively. He designed the Kunci

34 x 50cm Ibu Kota, cokmar (royal mace) and the royal throne of the Yang di-Pertuan
Agong. He worked as a RTM set designer from 1960 to 1987. Wrote Dolores
PROVENANCE Wharton in Contemporary Artists Of Malaysia: A Biographical Survey: “There
Private collection, Selangor are many who tried their hands at painting wayang kulit but none has unlocked
the vitality of drama or acquired the skills of painting the figures that Nik Zainal
RM 8,000 – 14,000 does so effortlessly.”

42
26
Lee Joo For was a multitalented and versatile artist and playwright. The artist
LEE JOO FOR, JOHN used spontaneous lines in the composition. This work shows his elaborate style,
b. Penang, 1929 - d. 2017 combining architecture, human figures and animals in poetic movement.

Horses And Hopes, 1966 Lee Joo For was awarded a Malayan Government scholarship to study at the
Brighton College of Art, England in 1959. He furthered his studies at the Camberwell
signed and dated (lower center) School of Art, London in 1962, and at the Royal College of Art, London in 1963 where
mixed media on paper his fellow students included David Hockney. On his return, he taught at the St.
60 x 50cm Xavier’s Institution in 1948. He is famous for original plays such as The Flood, Son
Of Zen, and his best-known play in Australia is The Call Of Guadalupe. He was given
PROVENANCE a Retrospective by The Art Gallery, Penang in 1995. In 2008, the Penang State Art
Private collection, Kuala Lumpur Gallery honoured him with a major Retrospective. He also won the Best Playwright
of the Year (Malaysian Drama Festival) titles from 1969 to 1971, and Best Radio
RM 8,000 – 12,000 Playwright (Singapore) in 1969.

43
 Yong Mun Sen’s iconic watercolour paintings capture the grandeur of nature rendered
27 in swift and deft strokes. This artwork is an impression of a river landscape, and the
reflections of the sky and bridge on the surface of the water exemplifies the artist’s
YONG MUN SEN impeccable skill. Delicate colours of green and blue convey a sense of tranquillity,
b. Sarawak, 1896 - d. Penang, 1962 producing an atmospheric composition.

Untitled, 1950s The legendary Yong Mun Sen is one of the earliest watercolorists, but one with profound
influence and high visibility. He was referred to as the Father of Malaysian Painting by
signed ‘MUN SEN’ (lower left) dealer-gallerist-artist-writer-publisher Dato’ Dr. Tan Chee Khuan in several of his books
watercolour on paper on pioneer artists. Born Yong Yen Lang, Mun Sen (the name he adopted in 1922) returned
28 x 38cm to China briefly (1914) before picking up art on his return to his hometown Sarawak. He
had stints in Singapore before settling in Penang (1922), where he set up a photography
PROVENANCE studio cum gallery. He co-founded the Penang Chinese Art Club and the Singapore
Private collection, Kuala Lumpur Society of Chinese Artists. He was accorded posthumous memorials by Singapore (1966),
the National Art Gallery Malaysia and the Penang State Art Gallery (PSAG) in 1972, and
RM 7,000 – 12,000 the PSAG followed it up with a retrospective in 1999.

44
 This 1953 watercolour of the Kek Lok Si Temple complex truly strikes Yong Mun Sen, dubbed
the Father of Malaysian Painting, for his immaculate composition, deft attention to details
and superb control of the medium, especially in the rendition of the clouds to exude the
spirituality and good feng shui and which takes up nearly half of the work. The panoramic
sweep was obviously painted from a vantage point on a higher elevation. Centrepiece is the
seven-tier pagoda of a thousand buddhas (built 1930) surrounded by lush vegetation on
28 Crane Hill. The first phase of the temple complex was completed in 1904, and the prime-
mover behind the construction, Venerable Beow Lean, made its first chief abbot. The year
YONG MUN SEN 1953, the chief abbot, the third, Ven. Yuan Ying, died, leaving no successor, until it was filled
b. Sarawak, 1896 - d. Penang, 1962 by Ven. Pai Sheng of Taiwan, in 1968. It was not until 2002 that the chief abbot, the 6th , was
a Malaysian, Ven. Jit Heng, who was instrumental in building the bronze Guan Yin statue.
Untitled, 1953 It was in 1953 that Mun Sen formed the Penang Art Society, together with philanthropist
Loh Cheng Chuan, who assumed the presidency with Mun Sen as vice-president. The next
signed and dated (lower right) year, Mun Sen suffered a mild stroke, and a full stroke in 1956. The great Xu Beihong lavished
watercolour on paper praise on Mun Sen as one of the few top artists in the tropics.
55 x 74cm
Mun Sen was a Taipu Hakka, a fourth-generation Malayan. Born Yen Lang, he changed his name
PROVENANCE to Mun Sen in 1922. He only started painting in watercolours in 1930. He died of stomach cancer in
Private collection, Kuala Lumpur 1962, and was given a Memorial exhibition in Singapore in 1966 and by Gallery 11 in Kuala Lumpur
in 1966, followed by two in 1972 by the National Art Gallery Malaysia and the Penang State Art
RM 17,000 – 30,000 Gallery (PSAG). A more complete retrospective was given by the PSAG in 1999.

45
 29

KHAW SIA
b. China, 1913 - d. 1984

Bali Padi Field, 1982

signed and dated ‘K .SIA. 1982.’ (lower left)

with one seal of the artist
acrylic on canvas
62 x 89cm

PROVENANCE
Private collection, Kuala Lumpur

RM 11,000 – 19,000

Khaw Sia first went to Bali, Indonesia, in 1954, after the much
ballyhooed 1952 field trip to Bali by the Singaporean Big Four,
namely Cheong Soo-Pieng, Chen Wen-hsi, Chen Chong Swee
and Liu Kang. This work, with Mount Agong in the backdrop, is
dated 1982, and it is not certain if the flamboyant artist did it from
memory or had visited the place again before the work. Khaw Sia’s
first solo in Penang, on his coming-over to Malaya in 1937, was of
Balinese women and landscape.

Trained at the Sin Hwa Art Academy in Shanghai in 1925-32, Khaw

Sia came under the informal coaching of Sir Russel Flintin London
in 1933. He was given a posthumous retrospective by the Penang
State Art Gallery in 1998. As indication of his expertise and stature,
his works were accepted by the Le Salon Paris in 1956, Summer
Salon at the Royal Institute Galleries in London in 1957, and
National Society Exhibition in London in 1958.

46
47
 30

CHIA YU CHIAN
b. Johor, 1936 - d. Kuala Lumpur, 1990

Sisters, 1955

signed ‘Yu Chian’ (upper left)

oil on masonite board
66 x 52cm

PROVENANCE
Private collection, Kuala Lumpur

RM 42,000 – 68,000

This work is a portrait of female bonding, sisters, in good

relationship. One can tell the siblings are very closed, what they
went through and how they supported each other, the good
and bad times together, how their sisterhood was defined and
tested. The patterns and cuts of their dresses / clothes betray a
1950s / 1960s period apart from the Fauvist spread. And you can
almost hear the upbeat mood song, Ye Shanghai (Shanghai Night)
originally sung by the great actress-songbird Zhou Xuan, blaring
from a transistor radio in the background.

Since the first Henry Butcher Art Auction in 2010, Chia Yu Chian
has emerged as the perennial auction darling. He was the first in
the Straits Settlement to have received a French Government
scholarship to study at the Ecole Nationale Superieure des Beaux
Arts in Paris (1959-1962). He excelled himself there with rare (for
an Asian then) honorary mentions in the Salon des Independents
and the Societe des Artistes Francaise, apart from having been
accepted for exhibitions a record 15 times, besides solos at the
Galerie de Villiers and the Salon de Paris in Paris. He was honoured
with Memorial exhibitions by The Art Gallery Penang (1997) and
the National Art Gallery (Kuala Lumpur, 2002). The Nanyang
Academy of Fine Art (NAFA) hosted a posthumous Chia Yu Chian
in Nanyang exhibition in Singapore in 2009 (although he was not
a NAFA alumni). He was commissioned to do a grand mural, Life In
Malaysia for Malaysian High Commission in Paris, in 1962, and the
same year, his homecoming solo at the British Council Penang saw
all 110 paintings sold (for a total of RM12,000), and since then he
had had solos all over Europe, Thailand and India. The exhibition
Chia Yu Chian: Private Lifes held at Ilham Gallery last year was well
organised, showcasing his paintings from the late 1960s until his
passing in 1990.

48
49
 31

PETER HARRIS
b. England, 1923 - d. 2009

Untitled, 1958

signed and dated ‘PH 58’ (lower right)

oil on board
121 x 89cm

PROVENANCE
Private collection, Kuala Lumpur

RM 24,000 – 40,000

Is that a flipperty-flopperty hat, and all in red; a pantomime game in

jest, nocturnal at best? A scarlet pimpernel with broad chin and half
the head covered in some outlandish headgear or a mangled heap
of ruffled cloth may not be ideal what with the gender ambiguity. But
then, on a night like this, there’s magic in the air and yes, mischief’s
afoot as can be gleaned from the sly look of the figure dominating
the canvas. The figure is in the open, with palms swaying in the wind.
Apart from his portrait sketches in pastels, Peter Harris is known for
his surrealistic bent and imaginative allegorical narratives akin to
poet-artist William Blake in his major works.

Peter Harris is a pioneering artist-academician best known for

his setting up of the Wednesday Art Group in 1952. He helped
set up the foundation of art education in the then Malaya as art
superintendent from 1951 to 1960, and returned to teach at Gaya
College in Sabah from 1962 to 1967. He was accorded the country’s
first Retrospective by the National Art Gallery, Kuala Lumpur, in
1960, and was given a comeback Retrospective at GaleriWan, Kuala
Lumpur, in 1997, and by The Art Gallery, Penang (TAGP), in 2001.
TAGP held a tribute Memorial exhibition for him in 2009 at Art
Salon@SENI, Kuala Lumpur, after his demise on March 14. Peter
Harris was educated at the West of England College of Art (1939)
and was awarded the MBE (Member, Order of the British Empire)
by Queen Elizabeth II of England in 1963.

50
51
 32

CHUAH THEAN TENG, DATO’

b. China, 1912 – d. Penang, 2008

Country Folk, c. 1959

batik
45 x 34cm

EXHIBITED
Commonwealth Institute UK, 1959

PROVENANCE
Private collection, UK

RM 20,000 – 35,000

A significant major early batik by Dato’ Chuah Thean Teng has returned to our shores. It was first
shown at the Commonwealth Institute in the United Kingdom in 1959. Teng, as he is popularly known,
transformed the millenia crafts tradition into fine art in 1953, and held the first solo of his batik art
at the Arts Council in Penang in 1955. Teng was to show at the Commonwealth Institute again in
1965 and in 1977 was the only Malaysian invited to show among the greats in the Commonwealth
Artists of Fame exhibition in London marking Queen Elizabeth II’s Silver Jubilee. He is known for his
Mother & Child theme – a devotion to his beloved mother. The two figures with conical hats seem
happy to be working on the paddy fields, and Teng injects some wry humour as usual, showing the
shadows around the eyes like the Mask of Zorro.

Dato’ Chuah Thean Teng is a world acclaimed art legend, dubbed the ‘Father of Batik Painting’ by
the then Singapore-based Professor Michael Sullivan (Chinese Art in the 20 th Century, 1959). The
Penang State Government awarded him the Dato’ title in 1998, the Living Heritage status in 2005,
and a Retrospective in 1994 (Penang State Art Gallery). He was also given a Retrospective by the
National Art Gallery, Kuala Lumpur, in 1965, and a Memorial Exhibition in 2008. He was trained in
art at the Xiamen (Amoy) Art Institute, China (uncompleted), and moved to Penang in 1926. He set
up his batik museum, Yahong Art Gallery, Batu Ferringhi, in 1974, from its earlier base in Leith Street
in 1953. Images of two of his works, Two Of A Kind and Tell You A Secret, were chosen for UNICEF’s
greeting cards in 1968 and 1988 respectively. Since auctions started in Malaysia in 2010 (Henry
Butcher), Teng’s works have hit six digits seven times, the highest being a premium of RM176,000 in
the Henry Butcher October 2012 auction.

52
53
 33

CHUAH THEAN TENG, DATO’

b. China, 1912 – d. Penang, 2008

Come, Sing To Me, 1965

signed ‘Teng’ (lower left)

batik
90 x 62cm

EXHIBITED
Batik Paintings by Chuah Thean Teng of Malaysia,
Commonwealth Institute, UK, 1965;
First Solo Exhibition, National Art Gallery Malaysia, 1965

PROVENANCE
Private collection, Selangor

RM 30,000 – 55,000

Prized for its plumage beauty and its mellifluous singing voice, a singing bird, especially the
ubiquitous merbok (doves) are popular among the Malays in the kampung where they are bred for
competitions, and excellent warblers could fetch up to even RM100,000! Usually, the men are the
ones training the birds for delivering the best starting, middle and ending notes besides the melody.
Here, the artist Dato’ Chuah Thean Teng shifts the focus to the mother and child, with the squatting
woman cooing the bird to show off what it can do, while another woman, probably a neighbour,
bends over anxiously, her ears perked up. The inquisitive Junior, in the buff, props himself on some
makeshift stool to get closer to the action. The bright colours used add to the chirpy mood, but
the durians, with one pried open, do look incongruous. Certainly, it’s no bird food, for its pungent
smell would put off any recital. This work was the featured cover piece on the exhibition catalogue
in Teng’s solo at the Commonwealth Institute Gallery in Kensington in London in 1965, his second
after his first in 1959, with the cover essay written by pioneering art promoter cum gallerist Frank
Sullivan.

Dato’ Chuah Thean Teng is a world acclaimed art legend, dubbed the ‘Father of Batik Painting’ by
the then Singapore-based Professor Michael Sullivan (Chinese Art in the 20 th Century, 1959). The
Penang State Government awarded him the Dato’ title in 1998, the Living Heritage status in 2005,
and a Retrospective in 1994 (Penang State Art Gallery). He was also given a Retrospective by the
National Art Gallery, Kuala Lumpur, in 1965, and a Memorial Exhibition in 2008. He was trained in
art at the Xiamen (Amoy) Art Institute, China (uncompleted), and moved to Penang in 1926. He set
up his batik museum, Yahong Art Gallery, Batu Ferringhi, in 1974, from its earlier base in Leith Street
in 1953. Images of two of his works, Two Of A Kind and Tell You A Secret, were chosen for UNICEF’s
greeting cards in 1968 and 1988 respectively. Since auctions started in Malaysia in 2010 (Henry
Butcher), Teng’s works have hit six digits seven times, the highest being a premium of RM176,000 in
the Henry Butcher October 2012 auction.

54
55
 34

ISMAIL MAT HUSSIN

b. Kelantan, 1938 – d. 2015

Fresh From The Sea, 2012

signed and dated ‘ISMAIL MAT HUSSIN 2012’ (lower right)

batik
110 x 122cm

PROVENANCE
Private collection, Kelantan

RM 30,000 – 55,000

In Ismail Mat Hussin’s oeuvre, there is the unmistakeable myriad

highlights from the patterns of the sarong or the basketry weave
or the nets or even the idle boats by the beach. They function like
stars in a multi-hued sky, sometimes rendered in monochrome,
and since he is also a musician, like contrapuntal notes in a score.
Ismail stays close to things close to his heart and locale with the
subjects often the fishermen, the beach and traditional Malay
pastimes, though there were times he strayed to the towns, and
even then the trishaws would get his attention instead of motor
vehicles. Once the fishermen hit shore, the women would take
over — as sorters, sellers and buyers, that is until the middlemen
took over and take the haul for more profits in the towns and cities,
packed in ice for longer journey.

Self-taught artist Ismail Mat Hussin learnt watercolours from

school-teacher Nik Mahmood in school (Padang Garong) in
1954-1955 and later from Khalil Ibrahim. He boasted of a Grade V
certificate in violin from the Royal School of Music (London) and
worked part-time as a musician at Radio Televisyen Malaysia Kota
Bharu. From 1979 to 1991, he worked as a graphic designer cum
illustrator for Syarikat Percetakan Dian in Kota Bharu. Ismail joined
the Angkatan Pelukis SeMalaysia and the Persatuan Senilukis
Kelantan (Peseni).

56
57
 35

ISMAIL MAT HUSSIN

b. Kelantan, 1938 – d. 2015

Gasing, 2007

signed and dated ‘ISMAIL MAT HUSSIN 2007 ’

(lower right)
batik
74 x 89cm

PROVENANCE
Private collection, Kuala Lumpur

RM 20,000 – 35,000

Ismail Mat Hussin, although self-taught, was adept with the

human anatomy – the postures, gestures, action and the cultural
pastimes and occupations of the ordinary people, especially in his
home State in Kelantan. Top-spinning contests are still popular
in Kelantan with the contestants using over-sized tops that can
weigh up to 5kg! The tops are made of wood or hard fruit, iron
and lead. Although the younger generation does not have the
patience to master the skills of top-spinning, the Kelantan Gasing
Uri Association has been trying hard to preserve this tradition even
beyond Malaysian shores.

Self-taught artist Ismail Mat Hussin learnt watercolours from

school-teacher Nik Mahmood in school (Padang Garong) in
1954-1955 and later from Khalil Ibrahim. He boasted of a Grade V
certificate in violin from the Royal School of Music (London) and
worked part-time as a musician at Radio Televisyen Malaysia Kota
Bharu. From 1979 to 1991, he worked as a graphic designer cum
illustrator for Syarikat Percetakan Dian in Kota Bharu. Ismail joined
the Angkatan Pelukis SeMalaysia and the Persatuan Senilukis
Kelantan (Peseni).

58
59
 36

CHUAH THEAN TENG, DATO’

b. China, 1912 – d. Penang, 2008

Marketplace, 1950s

signed ‘Teng’ (lower left)

batik
90 x 70cm

PROVENANCE
Private collection, Singapore

RM 32,000 – 60,000

This must be one of the best composed of Dato’ Chuah Thean

Teng’s batiks, with the white blob of dress of the bent-over woman
top head at an angle taking center stage against an effusive
laminate-top cork-coloured backdrop. The splash of red sarong
reveals she’s squatting to pick or scrutinize something, edible or
no, at the crowded marketplace. The cork colours also act as an
embalming shadow with figures all around etched out by lines that
dovetail the batik cracking technique. Teng always has an eye for
the little things of kampung folks at work and at leisure in the rural
areas, which he often depicts with love and humour.

Dato’ Chuah Thean Teng is a world acclaimed art legend, dubbed

the ‘Father of Batik Painting’ by the then Singapore-based
Professor Michael Sullivan (Chinese Art in the 20 th Century, 1959).
The Penang State Government awarded him the Dato’ title in 1998,
the Living Heritage status in 2005, and a Retrospective in 1994
(Penang State Art Gallery). He was also given a Retrospective by
the National Art Gallery, Kuala Lumpur, in 1965, and a Memorial
Exhibition in 2008. He was trained in art at the Xiamen (Amoy)
Art Institute, China (uncompleted), and moved to Penang in 1926.
He set up his batik museum, Yahong Art Gallery, Batu Ferringhi,
in 1974, from its earlier base in Leith Street in 1953. Images of two
of his works, Two Of A Kind and Tell You A Secret, were chosen
for UNICEF’s greeting cards in 1968 and 1988 respectively. Since
auctions started in Malaysia in 2010 (Henry Butcher), Teng’s works
have hit six digits seven times, the highest being a premium of
RM176,000 in the Henry Butcher October 2012 auction.

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61
 37

M. SUKRI DERAHMAN
b. Kelantan, 1975
Intricately composed with fine details, a group of ladies what the title suggests

Sisters Playing Congkak, 2017 sisters playing a traditional game called congkak. The women are dressed
in traditional batik sarong that are beautifully decorated with vivid colours
signed and dated (lower right) and patterns. The two sisters are competing while the other one watches and
batik awaits her turn. The wau and batik sarong at the background shows the artist’s
113 x 117cm hardworking effort in beautifying the artwork composition.

PROVENANCE An art teacher, M. Sukri Derahman was a protege of the late Ismail Mat Hussin,
Private collection, Kuala Lumpur whom he learned batik from. He has exhibited at City Art Gallery, Kuala Lumpur
in the group exhibition Lambaian Kelantan in 2015, and the Gelora Timur
RM 5,000 – 8,000 Exhibition at Dita Colour Gallery, Kuala Lumpur in 2016.

62
 This Nusantara Series work by Fatimah Chik is intriguing for its colour play, intricate
38 design and subtle overlaps over its core centrifugal mandala. Two squares are tilted at
diagonals, one as a light shadow covered at the truncation and the other ooh-so-light
FATIMAH CHIK as if in the foremost ground piques the composition. In two bands, designs in white
b. Johor, 1947 simulating khat calligraphy, provide a pattern matric, the peripheral one snuffed out by
the diagonal rectangle band. In her Nusantara Series, Timah, as she is better known,
Siri Nusantara, 1990 draws liberally from her block printings culled from her research and modifications from
the cultures of Dayak, Batak, Toradja, Sumba, the Celebes and the Malays.
signed and dated (lower left)
batik Fatimah Chik has brought great innovations into batik painting with her block printing
81 x 110cm based on studies of Southeast Asian traditional cultures. She won the Juror’s Choice in
the Malaysian level competition of the Philip Morris Asean Art Awards in 1996 and was
PROVENANCE chosen for the 3 rd Asia-Pacific Triennial in Brisbane, Australia, in 1999. She won 1st Prize in
Private collection, Kuala Lumpur the National Sejadah Design competition in Kuala Lumpur in 2002, and 2nd Prize (batik
category) in the Permodalan Nasional art competition in 1985. Timah graduated with a
RM 10,000 – 18,000 Bachelor of Design (Textile) from the Mara Institute of Technology in 1971.

63
 39

KHALIL IBRAHIM
b. Kelantan, 1934 - d. Selangor, 2018

Untitled, 2000

signed and dated (lower right)

batik
60 x 47cm

PROVENANCE
Private collection, Kelantan

RM 6,000 – 10,000

Besides watercolour and oil painting, Khalil experimented with batik. His batik combines the traditional and the contemporary.
Such was the popularity of batik art that he gave demonstrations all over the world including in Australia, Singapore, Paris (Maisons
et Jardins) and Germany (Cologne) in the early years. It was something he picked up by himself in Kelantan and from helpful tips
by a supplier of batik dyes. He was able to infuse figuratives into his repertoire. While he did play on the cracked and crinkled
effects prevalent in batik paintings, he also dabbled with using cut newspapers to shape textures as collage. Although this collage
technique was first developed by Seah Kim Joo, who is now in Singapore, Khalil was working independently and separately. He had
also done portraits on batik.

Khalil Ibrahim graduated with a National Diploma of Design in Fine Arts at the prestigious St. Martin’s School of Art and Design in
London in 1964 (post-graduate in 1965). He turned into a full-time artist in 1966. Khalil was co-founder of the Malaysian Watercolour
Society and had his first double solo of London works and Malaysian batiks at Samat Art Gallery, Kuala Lumpur in 1970. That year,
he also had a solo exhibition in Indonesia, the first Malaysian to have done so. He has participated in numerous solo and group
exhibitions in Malaysia, Singapore, Indonesia, Switzerland and his works have been collected by the National Museum in Singapore,
Fukuoka Museum of Art in Japan, New South Wales Museum of Art in Sydney, Royal National Art Gallery of Jordan, and National
Art Gallery Malaysia.

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40

FENDY ZAKRI Fendy Zakri’s new works follow a minimalist artistic path. The artist is settled in creating
b. Perak, 1982 art that contains more self-searching and deep reflection. Presented here in an irregular
shape minimalist piece is fascinating to watch. The combination of blue, orange and grey
Pagi, 2019 complimented each other giving it a modern twist.

signed and dated on verso Fendy Zakri, a self-taught artist who’s an engineer by training, won the Incentives Award
acrylic on canvas in the Mekar Citra Gallery in Shah Alam in 2013 and was a resident artist at the Beranda
91 x 91cm Art Colony in Langkawi. He was given two solo exhibitions by Richard Koh Fine Art (Kuala
Lumpur) namely Seeing The Unseen and Hyphen Jocund in 2014 and 2016 respectively.
PROVENANCE He is a finalist in the Malaysia Emerging Artists Award in 2011. He graduated with a Diploma
Private collection, Selangor in Civil Engineering at the Engku Omar Polytechnic in Ipoh, in 2003. He believes that “the
thought behind an artwork is more important than the skills in creating it.” His latest solo was
RM 4,000 – 7,000 held at Taksu KL in 2019.

65
 41
FAUZUL YUSRI
b. Kedah, 1974 If there is a method in naivette, it must have manifested in Fauzul Yusri’s paintings of raw
lines, odd blotches and shapes, and random scribblings. It’s like a festival of conteng
Man And Primitive, 2008 (wild scrawlings), yet the composition shows a design and a purpose diametric to the
chaos. He offers a clue into how he works: “I first try to deform or disfigure my canvas by
signed and dated colour, line, space or drawing and then try to solve the mess I created. The solution lies
‘Fauzul Yusri 2008’ (lower left) in resolving the rhythm, proportion, forms and balance.”
mixed media on canvas
135 x 209cm Fauzul Yusri graduated from the Mara Institute of Technogy in 1999, majoring in Drawing.
His solos include Works On Canvas, Cages, Pop Primitive, Neolithic, Ground, Raw,
PROVENANCE Coreng, Guris and Whiteground. His early success was the Incentive Award in the Galeri
Private collection, Selangor Shah Alam Open Show in 2000, and Special Mentions in the Young Contemporary Artists
(2002) and Kijang Awards (2014) competitions. His artworks are often commissioned by
RM 7,000 – 12,000 hotels, for the lobby / corridors / rooms.

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42

CH’NG HUCK THENG

b. Penang, 1972

Surprise!, 2007

signed and dated (lower left)

acrylic on canvas
183 x 122cm

ILLUSTRATED
Ch’ng Huck Theng, The Journey,
The Phoenix Press Sdn. Bhd, 2007, p. 97

PROVENANCE
Private collection, Selangor

RM 12,000 – 20,000

Ch’ng Huck Theng’s style is a combination of Eastern methods and Western philosophy, merged with free flowing aesthetic details.
The qualities of motion and stillness are thoughtfully applied in this canvas, resulting in an emotive work. In his own unique style
using dynamic contrasts of black and white, the artist creates an artwork that is surprisingly beautiful (image formed from splashing,
dripping, natural flow effect etc)

With a Bachelor and Masters in Commerce from Wollongong University, Ch’ng Huck Theng is a man wearing many hats — businessman,
publisher, painter, sculptor and founder of CHTNetwork. As an artist, Ch’ng is famous for his contemporary bronze sculptures and
abstract paintings that are collected by important art institutions (Ecole Nationale Superieure des Beaux-Arts in Paris, Singapore Art
Museum, Hong Kong University Museum & Gallery, Shanghai Art Museum, and National Art Gallery Malaysia) around the world and
presented as national gifts by the government of Malaysia. He was a recipient of the Asia Art Award 2010, presented by Korea Culture
Art Research Institute in Seoul, Korea. He was a Member in the Board of Trustee of National Art Gallery Malaysia (2009-2011), and
has been leading the Penang Art Society (the oldest art society in Malaysia) in recent years. His first solo bronze sculpture exhibition
(2016) in Melbourne, and the recent solo show in Australia exhibiting large size paintings achieved great success.

67
 43

WONG PERNG FEY

b. Kuala Lumpur, 1974

Abstract Work #15, 2014

oil on canvas
92 x 61cm

PROVENANCE
Private collection, Kuala Lumpur

RM 10,000 – 18,000

Wong Perng Fey is an experimental and versatile painter who graduated from the Malaysian Institute of Art in 1998 under scholarship.
He was awarded the Artist Residency in Rimbun Dahan, Kuang in 2002. His works are well sought after by collectors and in many
prominent public collections such as the National Art Gallery Malaysia; Bank Negara Malaysia Museum And Art Gallery, and Galeri
Petronas. He lives and works in Beijing.

Perng Fey’s gestural paintings of figures, nature, and natural vistas fluctuate between abstraction and figuration with an acute sensitivity
to colors, layers and textures. His works consist of a diverse subject matter, ranging from traditional landscape and portraiture to
abstraction that exhibits a talented and confident brush play. His works become more than a picture plane and is transformed from
the documentation of actions and mistakes into a plane that records gestures and mental states.

68
44

YEOH CHOO KUAN

b. Kuala Lumpur, 1988 Yeoh Choo Kuan lives and works in Kuala Lumpur. His work is an exploration of the possibilities
through mark-making. He has explored a variety of themes including domesticity, sexuality,
Thursday Blues, 2014 the human body, as well as death and the subconscious. His early autobiographical works
illustrate the purging of unrest and hidden emotions left by traumatic experiences through
signed and dated on verso mark-making on painted imageries. His approach had since shifted toward gestural
oil and lacquer on canvas abstraction with highly textured strokes, which is referred to as his self-coined “Fleshing
120 x 100cm Abstraction” — a synthesis of disintegration set in contrast as the tension and forces are
weighted on the oil surfaces.
PROVENANCE
Private collection, Kuala Lumpur Informed by distinctive visual languages accumulated over the course, he is currently
drawing inspiration from nature to discover the potential of landscaping and pictorial means.
RM 20,000 – 30,000 His artwork prices are skyrocketing in foreign, prestigious auction houses.

69
 45

FAZRIN ABD RAHMAN Aluminium has become the main medium that Fazrin used in most of his works.
b. Johor, 1989 It’s not an easy material to work with. It gives an industrial look and feel, unique
in its own way.
Maze 8, 2016
Fazrin obtained his Diploma in Fine Arts from UiTM Sri Iskandar in Perak followed
signed and dated on verso by B.A. in Fine Art (Sculpture) in UiTM Shah Alam, Selangor, Malaysia. Recently,
spray paint on aluminium he was awarded the Malaysia Emerging Artist Award. In 2016 he had his first solo
88 x 88cm exhibition which was held in Taksu titled Maze. He also participated in countless
group exhibitions, among which are: Locals Only! by Taksu , Art Expo Malaysia
PROVENANCE (represented by Taksu), ADA Show by Segaris Art Center , Bilateral Bonds by
Private collection, Kuala Lumpur Taksu in Singapore, The Unreal Deal: Six Decades of Malaysian Abstract Art by
Bank Negara Malaysia Museum and Art Gallery (KL) and View From The Six by
RM 2,800 – 5,000 G13 Gallery.

70
46

SAMSUDIN WAHAB
b. Perak, 1984

The Last Supper, 2011

signed and dated (lower right)

acrylic and bitumen on canvas
123 x 96cm

EXHIBITED
Culture Vulture, Taksu, October 2011

PROVENANCE
Private collection, Kuala Lumpur

RM 18,000 – 32,000

Hail, the New ‘King’! Long Live The ‘King’! The tired refrain installs a new Skull leader, fancy coat and red tie et al, to the ‘throne’ but
one booby-trapped with spikes and springs. With knife and fork in hand, the new supremo is fawned at with a choice slice of meat but
has the Skull King appetite for the bait or will this be his biblical ‘Last Supper’ with his detractors bent on poisoning him? This typical
political scenario lives in perpetuity in the wake of ego, conspiracies and corruption, so unless there are drastic bold reformations, it’s
status quo and déjà vu.

Samsudin Wahab, one of the most consistent of the younger artists, finally hit paydirt by clinching the Major Award of the Bakat Muda
Sezaman (Young Contemporary Artists) competition in 2019, after winning the Juror’s Award in 2013! Earlier wins were Consolation
Prize in the Tanjung Heritage competition in 2005 and 2nd Prize in Goethe-Institut’s Saloon Meet Art competition in 2007. Dealing
with paint and sculptures, he is also into performance, and his works impinge on socio-cultural issues related to self and the larger
national context. Coming from parents who are paddy farmers in Semanggol, Samsudin graduated with a diploma in Fine Arts at the
UiTM Seri Iskandar, Perak (2002-2005) and BFA (Majoring in Printmaking, 2005-2007). In 2008, he held his first solo, Enough, at
Taksu, Kuala Lumpur. He was a resident artist of Rimbun Dahan in 2009, the year he won the Malaysia Emerging Artists Award. He was
also resident artist of HOM in April-June 2008 and Khazanah Nasional’s in Mumbai, India, in 2010. He was co-founder of the Cetak
Kolektif, focusing on printmaking, and is a member of the Sebijipadi Studio and experimental sound and performance group SO.

71
 47 Ismail Awi’s stimulating dreamscape is a vision of fantasy. Let Me Come Out illustrates a
winged t-rex burst out of a pile of wooden blocks eager to go out. But what is eerie about
ISMAIL AWI it is that it looks like an image of a person appearing in the centre of the dino or maybe
b. Terengganu, 1987 there’s a person inside wearing a dinosaur costume? Either or lots of peculiar creatures
can be seen lingering around every corner of this piece. Ismail Awi draws heavily on
gothic, surrealism and street culture, weaving them into his own intriguing narrative.
Let Me Come Out, 2017

Ismail Alwi is an up-and-coming artist who was among 12 artists featured in the Tanah
signed and dated (lower right)
Air Ku showcase at the Malaysian Embassy in Phnom Penh, Cambodia. It was organised
oil and acrylic on canvas
by Galeri Chandan and all the works belong to the Embassy. In July-August 2016, his
123 x 153cm
work also made it to the Curate Henry Butcher exhibition called A Raya Celebration Of
PROVENANCE Generations In Art, and in January 2018, The Young Contempo Showcase II (organised
Private collection, Selangor by Curate Henry Butcher) held at Galeri Prima. His first debut in Sotheby’s Hong Kong
auction sale in April 2018,saw his pricing skyrocketed. His works are well sought after by
RM 11,500 – 18,000 local and foreign important collectors.

72
48
This work is illustrated in the artist’s signature style which mimics the effects of
SHAFIQ NORDIN woodcut prints using coarse outlines to produce a sharp effect. A gallant animal
b. Negeri Sembilan, 1989 warrior journeys through a mythical forest. Shafiq’s work reflects his observations
on contemporary society, reinterpreted in a stimulating visual language.
The Tale Of The Great Con Man,
Shafiq Nordin is one of the fastest rising young artists since graduating with a
2017
BFA at the Universiti ITM, Shah Alam, in 2012 (he did his diploma at the Lendu
campus in 2010). He won the Malaysia Emerging Artist Award (MEAA) in 2013 and
signed and dated (lower right)
had the Imperium MEAA solo at the HOM Art Trans in 2016. He was represented
oil on jute
in Art Expo Malaysia for consecutive years. The year 2015 saw him taking part in
153 x 153cm
art fairs in Sydney and Istanbul under Yavuz Gallery, while the Mizuma Gallery
PROVENANCE featured him in The Collective Young From Southeast Asia, Gillman Barracks,
Private collection, Singapore Singapore. He was represented in Art Stage Singapore and Art Kaohsiung in 2017,
Hotel Art Fair Bangkok 2018, Art Busan South Korea 2018 and 2019, as well as Art
RM 10,000 – 16,000 Fair Philippines 2020.

73
 49

SHAFIQ NORDIN
b. Negeri Sembilan, 1989

The Tax Theft, 2015

signed and dated (lower right)

acrylic on jute with wood frame
97 x 136cm

PROVENANCE
Private collection, Selangor

RM 5,500 – 9,500

Shafiq has created imaginative works highlighting animals / reptiles in a fantasy landscape. Perched on a tree, chameleon has a highly
developed ability to change colour for camouflage purposes. The chameleon could suggest an attempt in hiding the criminal act
of stealing taxpayers’ money. Flying banknotes are seen in the background. The Tax Theft is an intricate composition painted in his
signature style, with techniques that resemble the characteristics of woodblock printing, presenting metaphors for his observations
of issues related to politics and society.

Shafiq Nordin is one of the fastest rising young artists since graduating with a BFA at the Universiti ITM, Shah Alam, in 2012 (he
did his diploma at the Lendu campus in 2010). He won the Malaysia Emerging Artist Award (MEAA) in 2013 and had the Imperium
MEAA solo at the HOM Art Trans in 2016. He was represented in Art Expo Malaysia for consecutive years. The year 2015 saw him
taking part in art fairs in Sydney and Istanbul under Yavuz Gallery, while the Mizuma Gallery featured him in The Collective Young
From Southeast Asia, Gillman Barracks, Singapore. He was represented in Art Stage Singapore and Art Kaohsiung in 2017, Hotel
Art Fair Bangkok 2018, Art Busan South Korea 2018 and 2019, as well as Art Fair Philippines 2020.

74
50

MEOR SAIFULLAH
LULAED
b. Perak, 1984

My Imagine (Self Portrait

As Superhero Roboto),
2011

signed and dated (lower left)

mixed media on canvas
152 x 124cm

PROVENANCE
Private collection, Kuala
Lumpur

RM 6,000 – 10,000

Meor Saifullah Lulaed is known for his surreal figurative works which combine animal
creatures with human elements. From the artist’s point of view, his work is about the diversity
between social groups and they are inspired by culture, proverbs and Malay paradigms. This
whimsical self-portrait contains animals, helicopters and science fiction elements, revealing
his interest for experimental and imaginative compositions.

Meor graduated with a BA (Hons) in Fine Art from the University Mara Institute of Technology
in 2008. He teaches Visual Communications Design at the Muadzam Shah Polytechnic in
Pahang while studying for his Masters. He held a two-men show with Mahadi Ayob called
The Tale Of Two Cities. He is featured in exhibitions such as Young and New Part 3 at HOM
Art Trans in 2009; Uncut – Malaysian Art in Copenhagen (Gallery Shambala, 2009), and was
a finalist of the Malaysian Emerging Artist Award.

75
 51

BAYU UTOMO RADJIKIN

b. Sabah, 1969

Infinity II, 2007

signed and dated (lower left)

acrylic on canvas
149 x 118cm

PROVENANCE
Private collection, Kuala Lumpur

RM 22,000 – 38,000

What does the modern hulubalang or pendekar entail in the Malay

world of the 21 st Century and the 3 rd Millennium, with modern
challenges and the computer gnomic code? Since his award-
winning Bujang Berani sculpture in the 1991 Young Contemporary
Artists Awards, Bayu Utomo Radjikin has inserted and projected
his own persona, often singular and large and in pugilistic poses,
into his repertoire. The ancient Malay martial art silat is linked to
the early Malay civilisation and gains great popularity with the rise
of Islam in the archipelago in the 15th century. In this Infinity Series,
the warrior is depicted deep in thought and the headgear bears a
patchwork of modern patterns, and more colourful.

Bayu Utomo Radjikin followed up his 1991 Major Award with a Minor
Award in the prestigious Salon Malaysia 1991-1992. In 2005, he won
a Special Award in the One World – No War competition organised
by the Kuala Lumpur City Hall. At the Malaysian level of the Philip
Morris Asean Art Awards, Bayu won Honourable Mention twice, in
1994 and 1995. Off-canvas, Bayu established the HOM Art Trans
gallery for young artists and set up the Malaysian Emerging Artist
Award jointly with Galeri Chandan. He also initiated art residences,
the MARS (Malaysian Art Archive and Research Support) and the
Art Triangle of contemporary artists from Malaysia, Indonesia and
the Philippines. Bayu graduated with a BFA at the Universiti ITM
in 1991, but he is best known as a founding member of the cult art
collective Matahati. His auction record was set at the June 2013
Auction, for RM126,500.

76
77
 Nietzsche, the great German philosopher, cultural critic, composer, poet, philologist,

52 scholar of Latin and Greek whose work has exerted a profound influence on modern
intellectual history, is portrayed here in this artwork. The artist imagines Nietzsche this
AHMAD FUAD OSMAN character as an intellectual who traps himself on his own ideology that prioritises on
status, position, power, titles of the world, neglecting the spirituality matters. He is too
b. Kedah, 1969
proud of his intelligence and intellectual stimulation that influences the mass public
with his theories. The last door to the spirituality dimension couldn’t be opened by
Nol, 2008 him because he is only looking for ‘answers’ and ‘truth’ through his mind capability and
thoughts. The artist painted the lost, struggling figures (at the bottom of the painting) in
signed and dated (lower right) a room, in a chaotic atmosphere... a reflection of being stuck, creating an unease feeling...
acrylic on canvas
76 x 76cm Ahmad Fuad Osman’s mid-career survey exhibition, At The End Of The Day Even Art
Is Not Important, at the National Art Gallery Malaysia was a great success, positioning
ILLUSTRATED
him as the leading contemporary artist in Malaysia. He was artist-in-residence at Rimbun
MEA CULPA, RA Fine Arts,
Dahan (2007-2008), Goyang Art Studio, South Korea (2005-2006) and the Vermont
April 2008
Studio Centre, United States (2004). He won the Juror’s Choice award (one of three)
PROVENANCE at the APB Signature Art Prize in Singapore (2008) and the Malaysian awards in the
Private collection, Selangor Philip Morris Asean Art Awards in 2000 and again 2003. Fuad was educated at the
Mara Institute of Technology (1991). His auction record was set at the Henry Butcher
RM 13,000 – 23,000 November 2019 auction, for RM 123,200.

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53

AHMAD FUAD OSMAN

b. Kedah, 1969

Parasite, 1995

signed and dated

‘A. FUAD OSMAN ‘95’ (lower center)
mixed media on paper
121 x 91cm

PROVENANCE
Private collection, Kuala Lumpur

RM 20,000 – 35,000

Ahmad Fuad Osman and his Matahati brethren were known for their parodies on contemporary socio-political issues. Here, going
by the title, Parasite, is difficult to tell who is providing succour to whom, although the figures encased inside the orb on top look
effete, with a listless arm dropping out. An umbilical cord serves as a conduit of nutrients and sustenance, and is tightly held by the
nondescript ‘creature’ at the bottom. It’s aspersions against the hangers-on, right-wing political NGOs perhaps serving their masters’
bidding in return for financial support. Fuad’s credo is that he does not subscribe to a single-thought process, style, medium or
material, over another. “Art becomes a window through which I am given a freedom to get to know life, the world and its Creator,” he
intoned.

Born in Baling, Kedah, Ahmad Fuad Osman was a member of the Matahati artist’s collective. He had won the Juror’s Choice Award
in the Malaysian-level Asean Art Awards in 2000 and 2003, and also the Juror’s Choice in the APB Signature Art Prize (Singapore) in
2008. He had residency at Rimbun Dahan (2007-2008); Goyang Art Studio, South Korea (2005-2006); and Vermont Studio Centre,
USA (2004). He had his art tutelage at the Mara Institute of Technology in 1991. His recent show at National Art Gallery Malaysia is
totally impressive!

79
 So much pain, twitching and writhing in agony, caused by the barbed wire... a result of war
that leads to destruction, torture, and annihilation of mankind (where weapons of mass
destruction are used). The blood stained fingerprints on the wall cause one to tremble and
shiver... there seems to be no way out, from the brutality, enormity, cruelty of the world.
54
Ahmad Fuad Osman intoned: “To me art is a journey like life itself. It is something transient
AHMAD FUAD and must not set in black and white, cemented in, or immutable. Apart from my moral and
religious uphold, I have never set any limitation or boundaries in the pursuit of creating
OSMAN art. I do not believe in single thought process, style, medium or material, over another. Art
b. Kedah, 1969 becomes a window through which I am given a freedom to get to know life, the world and
its Creator.”

Untitled, 1999
Ahmad Fuad Osman’s mid-career survey exhibition, At The End Of The Day Even Art Is
Not Important, at the National Art Gallery Malaysia was a great success, positioning him
signed and dated (lower right)
as the leading contemporary artist in Malaysia. He was artist-in-residence at Rimbun
oil on canvas
Dahan (2007-2008), Goyang Art Studio, South Korea (2005-2006) and the Vermont
90 x 121cm
Studio Centre, United States (2004). He won the Juror’s Choice award (one of three) at
PROVENANCE the APB Signature Art Prize in Singapore (2008) and the Malaysian awards in the Philip
Private collection, Kuala Lumpur Morris Asean Art Awards in 2000 and again 2003. Fuad was educated at the Mara Institute
of Technology (1991). His auction record was set at the Henry Butcher November 2019
RM 24,000 – 40,000 auction, for RM 123,200.

80
55 The odd conjunctions of a frond of bananas, sumo wrestlers, a 100 €uro currency, a
classical European (Baroque-Rococo) facade and an excerpt from the writings of seer-
MASNOOR RAMLI physicist Nostradamus may seem a potent witch’s brew. It’s Masnoor Ramli Mahmud’s
take on the Humpty-Dumpty nature of the global financial system, making even the
MAHMUD staple currencies into banana notes with echoes of a banana republic. The blueprint of
b. Kedah, 1968 Bretton Woods led to the formation of the International Monetary Fund (IMF) to provide
a framework of economic stability after the Great Depression of the 1930s, but alternative
hedges like gold, silver, bonds and even Bitcoin have tried to challenge a still volatile
Apocalypse Prophecy, 2012
system.

signed and dated (lower left)

Masnoor Ramli Mahmud is involved in most unusual art assignments, being embedded
acrylic and print on canvas
in the two-week expedition from North America to Europe (on a single-engine Pilatus
130 x 245cm
PC-12) in 2012, and the 55-day Petronas Nusantara 4x4 expedition (exhibition at Galeri
PROVENANCE Petronas in 2007). He also worked as assistant scenic partner for the Hollywood movie,
Private collection, Kuala Lumpur Anna And The King. He won Honorable Mentions twice in the Asean Art Award Malaysian-
level competition in 1994 and 1995. Masnoor, a graduate from the ITM Class of 1991, was
RM 25,000 – 45,000 a member of Matahati.

81
 56

HAMIR SOIB
b. Johor, 1969

Battle Of The Insider, 2010

signed and dated on verso

oil, acrylic and bitumen on canvas
122 x 91cm

PROVENANCE
Private collection, Kuala Lumpur

RM 20,000 – 36,000

It’s a devastating blow to the hull, as thick billows of smoke rise amidst the fallen masts. The setting recalls the 18th or 19 th century with
the sepia tint of the bitumen providing the aura, and with the man-of-war in the foreground making a last-gasp stand before sinking
into oblivion. A ship in the distance sailing towards viewer and coming from the blindside, glides in for the final kill. Human history is
replete with the totality of Might, which is Right, the laws of the jungle. Naval superiority is inextricably tied to the glory of empires,
which rise and fall on strategems and sometimes, the weather. The battle also reflects infighting within the political parties, certain
communities, etc.

Hamir Soib’s large canvases usually comment on Politics, Pollution, Corruption and Social Ills. In 2017, he held a solo called Small
Works at the Segaris Art Center. He has also excelled as set designer for theatre and films and won Best Art Director for Perempuan
Melayu Terakhir (in collaboration with Zuraini Anuar) in the Malaysian Film Awards in 1999. In 2005, he founded Gudang, an alternative
space cum studio, which staged his first solo, Pameran Tunggal. Hamir was a Finalist in the Sovereign Art Prize in Hong Kong in 2007,
and won the Galeri Shah Alam Young Incentive Award in 2005. He was an artist in residence at Malihom in 2007. His auction record
was set at the April 2016 Sotheby’s Hong Kong auction for The Stitches, with a premium of approximately RM146,000.

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HAMIR SOIB
b. Johor, 1969

The Culture, 2017

signed and dated (lower right)

oil on canvas
46 x 30cm

PROVENANCE
Private collection, Selangor

RM 5,500 – 9,000

Enigmatic and distinctive, Hamir’s works are visual commentaries on social issues. Depicted in the scene is a drainage bag which used
to collect urine but what is creepy is that there’s a snake clinging on top of it.

Hamir Soib is known for his works with sharp socio-political commentary about issues and events at home. He founded The Gudang
warehouse art space in 2002 and he held his first solo at The Gudang in 2005. He is also active in theatre and film productions,
besides painting. He won the Best Art Director award with Zuraini Anuar in Erma Fatima’s Perempuan Melayu Terakhir in the 14th
Malaysia Film Festival. In 2005, he won the Incentive Award in the Shah Alam Gallery Open. Hamir was a finalist in the Sovereign Art
Award Hong Kong in 2007. As a Matahati icon, he was from the same ‘Class of ‘91’ graduation from the Mara Institute of Technology.
He won a Consolation Prize in the Dokumentasi Kemiskinan competition in 1990. In May 2017, Hamir held a successful solo called the
self-explanatory Small Works at the Segaris Art Center in Kuala Lumpur.

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AHMAD SHUKRI
MOHAMED
b. Kelantan, 1969

Bar Code II, 1998

signed and dated (lower right)

mixed media and collage on canvas
173 x 130cm

PROVENANCE
Private collection, Selangor

RM 30,000 – 50,000

Butterflies are one of the most amazing transformations (metamorphosis) of Nature,

emerging with such beauteous colours and flying off from ugly crawly caterpillars. They
help by pollinating flowers, but their beauty is also their biggest flaw. They are captured
and chloroformed to preserve as cabinets of death. A work from the Butterfly Series won
Ahmad Shukri Mohamed the Major Prize in the Malaysian Art Open in 1994, while Insect
Diskette, still with images of the papillon, won the Juror’s Choice Award in the Philip Morris
Asean Art Awards finals in 1997. The butterfly image is also used in the Target Series, Bar
Code Series, Diskette Series in the 1990s, and later in his Golden Gate Series. This work has
the same pedigree as those shown in Shukri’s solo exhibition, 939495969798 at Art Salon,
Kuala Lumpur, in 1998.

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AHMAD SHUKRI
MOHAMED
b. Kelantan, 1969

Untitled, 1999

signed and dated (lower right)

mixed media on paper
28 x 29cm, set of 6

PROVENANCE
Private collection, Selangor

RM 4,500 – 8,000

Ahmad Shukri has been consistently creating awareness on the environment and the balance with other living entities like insects
and animals through his inimitable works. This set is evident of that, with the dominant use of butterflies and flora as the core motif.

Ahmad Shukri graduated from the Mara Institute of Technology in 1991. He first tasted success when he won the 1st Prize in the one-
off Malaysian Art Open at Galeri Petronas in 1994, with his work of chloroformed butterflies. In 1997, he won the Major Award in the
Young Contemporary Artists (Bakat Muda Sezaman) competition and the Juror’s Choice Award in the Philip Morris Asean Art Awards.
He was also in the top 5 Malaysian-level winners in the 1999 Asean Art Awards. He was chosen for the Asean Art Show at the Fukuoka
Art Museum in 1994. Shukri took part in the Sharjah Biennale (2003), residencies like Rimbun Dahan (2003), the Echt in Amsterdam,
the Netherland (2013), and workshops in Bangladesh and Denmark (2002). His solos include 92939495969798 and Ahmad Shukri
(Art Salon, KL, 1998 and 2001), Boy And Girl (Taksu, KL, 2002), Virus (Art Seasons Singapore, 2003), Fitting Room (XOAS, KL, 2005),
Golden Gate (Pace Gallery, 2012), Kaki Jual (Nadine Fine Art, 2016), Made In Malaysia (The Edge Galerie, 2017), and Monuments
(Segaris Art Center, 2019). The exhibition, Warning: Tapir Crossing, marked the opening of the Patisatu gallery and studio in 2009.

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ZULKIFLI YUSOFF
b. Kedah, 1962

After Meeting, 1997

signed and dated (lower right)

mixed media on canvas
153 x 153cm

PROVENANCE
Private collection, Selangor

RM 42,000 – 70,000

Political infighting and one-upmanship, often on sensitive

issues and with lots of vitriol, dominates the scenario of Zulkifli
Yusoff’s Reformasi Series which impacted economic growth and
undermined a stable society. The rule of law must be upheld at all
costs, otherwise abuse of power and chaos will reign. What good
are meetings if they could not resolve the prickly issues? As the
Daumier-like caricatures amply show, it’s the egos and closed
mentality of the protagonists in any bickering that are the main
stumbling blocks.

At 58, Zulkifli Yusoff looks among the front-runners for the

mantle of Malaysian art. He showed at the 1998 Venice Biennale’s
Modernities and Memories: Recent Works from the Islamic
World and the 2019 edition. He won the Grand Minister’s Prize in
the Salon Malaysia III in 1992, and the Major Award in the Young
Contemporary Artists in 1988 and 1989 (jointly). He was accorded
the National Academic Award (Visual Art) in 2007. He was selected
for the Asia-Pacific Triennial in Brisbane, Australia, in 1993, and
the Singapore Biennale in 2013. Trained at the Mara Institute of
Technology, Zulkifli graduated with a Masters at the Manchester
Polytechnic in 1991.

86
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 61

REDZA PIYADASA
b. Pahang, 1939 - d. Selangor, 2007

Malay Woman With Cigarette, 1908, 1982

signed and dated (upper left)

mixed media collage
45 x 60cm

PROVENANCE
Private collection, Kuala Lumpur

RM 25,000 – 45,000

The controversial use of a conservative Malay woman in tudung

with a cigarette on her left hand (though this could have been
a reverse of a readymade image) reveals the insidious nicotine
marketing among women with slimmer and lighter cigarettes.
This could be Malaysia’s version of the iconic Marlboro Man,
touted as a symbol of individualism, independence and
capitalism. Virginia Slims entered the market as early as 1968
and went into sponsorship of the international women’s tennis
tournament which carried its name. However, the competition
was discontinued in 1994 after nearly 20 years of sponsorship.
Women’s smoking of cigarettes peaked in 1965 with 33.9%.
Cigarette advertisements date back to 1894-1907 with the
Ogden’s Guinea Gold cigarettes.

Artist, art-critic and historian Redza Piyadasa won the Major Prize
in the Malaysian Landscape competition in 1974, and the Minor
Award ( jointly with Lee Kian Seng) in the 1979 Salon Malaysia.
In 1998, he was awarded the Prince Claus Award, and in 2001,
the National Art Gallery, honoured him with a Retrospective. He
also won the Australian Cultural Award in 1987 and the Japan
Foundation travel grant in 1992. He was also a co-founder of the
Five Arts Centre in 1983. In 1991, he was artist-in-residence at the
Canberra Institute of Art. Piyadasa graduated with a MFA from
the University of Hawaii, Honolulu (1977) and a BFA from the
Hornsey College of Art, London (1967). He graduated from the
Malayan Teachers College, Brinsford Lodge, Wolverhampton,
Britain in 1959, and the Specialist Teachers Training College,
Kuala Lumpur, in 1962.

88
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 62

SYED AHMAD JAMAL, DATUK

b. Johor, 1929 - d. Kuala Lumpur, 2011

Ruang Biru, 2001

signed and dated (lower right)

acrylic on canvas
102 x 145cm

PROVENANCE
Private collection, Selangor

RM 270,000 – 400,000

A shower of meteor, like the cascades of stars in Datuk Syed Ahmad Jamal’s similarly veined works like Lailatul Qadr (Night of Power)
and 99 (presumably the 99 appellations of Allah) is a cleansing ritual, warding against or suppressing evil. It is a symbolic manifestation
of Good and the Virtuous against what is Evil and Devious. While the pelts in abundantly gorgeous colours do not come in orderly
streams, there is that overpowering sense of Beauty, with the velocity and luminosity emanating a great sense of power. It follows the
trajectory of a heaven drop or a cloudburst, and sometimes he uses the centrifugal force or the fountain spray effect. All things big or
small and all things “that are between the heaven and the earth”. This masterpiece manifests Datuk Syed Ahmad Jamal as a symbolist
and a colourist par excellence.

Datuk Syed Ahmad Jamal towers over Malaysian art as artist-sculptor, administrator, curator, writer-critic, educator and designer. He
was awarded a Retrospective at the National Art Gallery (NAG) in 1975, and Syed Ahmad Jamal: Artist exhibition in 2009. In 1994-
95, the Nanyang Gallery of Art organised his Historical Overview 1954-1994. He was the only visual artist so far to be awarded the
National Artist Award, in 1995. In 1996, he was conferred the Panglima Jasa Negara, which carries the title ‘Datuk ’. He was a director
of the Asian Cultural Centre in Universiti Malaya, KL (1979-1983), and the National Art Gallery (NAG, 1981-1991). He taught at the
Specialist Teachers Training Institute in Kuala Lumpur from 1961 to 1972, becoming its principal in 1964. He did two monumental public
sculptures, one in Laman Asean in the Lake Gardens, Kuala Lumpur, and the other, Lunar Peaks, which had since been torn down by
the Kuala Lumpur City Hall. He designed the décor and costumes for the stage plays Desaria (1981), z:oo-m (1984), Tok Perak (1992),
Puteri Gunung Ledang (1995) and Keris (2007). He wrote two major books namely Rupa Dan Jiwa (1992), which was translated into
English, and the autobiographical Kunang-Kunang (1999). His education was at the Birmingham School of Architecture (1950-1951),
Chelsea School of Art (1951-1955), the Institute of Education, London University (1955-1956), and the School of the Art Institute
Chicago (1963-1964) and University of Hawaii, Honolulu (1973-1974). He was also in the Arts Council from 1960 to 1972 serving as
deputy chairman from 1968; chairman of the Wednesday Art Group and the Angkatan Pelukis SeMalaysia in 1969, and president of
the Malaysian Artists Association. He was also honoured with country awards from India (1962), the United States (1963-1964), France
(1970), and Australia (1984).

90
91
 Whereas Dr. Jolly Koh mostly has his gorgeous monochromes in vertical awe of height,
distance and light, this over-powering expanse of Rothko-ian rectangle of resplendent
orange: mysterious, seductive and divine! The bottom dark realm titillates with movements,
presumably of fauna and flora and Nature’s gestated beauty. Dr. Jolly Koh is of course
63 one of the most consummate colourists in the land and a devotee in the meditative joy
of colours and all the intrinsic beauty. On his colours, he had intoned in his book, Artistic
JOLLY KOH Imperatives (Maya Press, 2004): “My objective of utilising colour is to evoke or objectify
b. Singapore, 1941 feelings. Colour also evokes memories and other associations. Colour relationships can
visually objectify emotions.”

Untitled, 2001
Artist-academician Jolly Koh is an 8 th generation Baba, born in Singapore and growing
up in Malacca, and spending nearly two decades in Australia, teaching for 12 years. He
signed and dated
was educated at the Hornsey College of Art, London (1959-1962), London University
‘Jolly Koh 01’ (lower left)
(art teacher’s certificate, 1962-1963), Indiana University (Ed.D and MSc, 1973-1975), and
oil on canvas
teaching associate thereafter. He had taught at the Mara Institute of Technology, Sabah’s
80 x 90cm
Gaya College, and from 1976-1988 in Melbourne and Adelaide, before taking up the post of
PROVENANCE senior lecturer at MSC College (now SeGI, 2000-2004). In 2017, he had a major exhibition
Private collection, Kuala Lumpur (organised by Henry Butcher Art) at MAP Publika, Kuala Lumpur, which saw the publication
of an important book detailing 60 years of his art, a far cry from his first solo at the British
RM 35,000 – 65,000 Council Kuala Lumpur in 1957 when he was only 16!

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64

TAJUDDIN ISMAIL,
Dato’ Tajuddin’s paintings are a curious state of mind, lolling between modulated stupor
DATO’ and suspended wakefulness. In the pools of phlegmatic calm, there is emotion in motion.
b. Negeri Sembilan, 1949 For Dato’ Tajuddin, his sense of stillness, this sense of deep open spaces represents the
harmony he seeks, and oneness he achieves, with Nature and things around him, and
with himself.
Blue Landscape, 2003

Dato’ Tajuddin graduated in Graphic Design at the Art Centre College of Design in
signed and dated (lower right)
Los Angeles, the United States, in 1974. He did his Post-graduate Interior Architecture
oil on canvas
at the Pratt Institute in New York in 1979-81. His accolades include the Major Award,
152 x 138cm
National Drawing Competition in 1977; Minor award, National Graphic Art, National Art
PROVENANCE Gallery, 1978; Minor Award, Salon Malaysia, 1979; and Minor Award, National Design
Christie’s Hong Kong, Asian 20 th Council, 1994. He set up TJ Fine Art in 2004. After teaching at the University Mara
Century Art, 31 May 2015, Lot 670 Institute of Technology for several years, he joined Sunway University as Fine Arts
Private collection, Selangor Department Associate Professor and Academic Adviser. His solo exhibition, Ambiguity
was organised in collaboration with Segaris Art Center and TJ Fine Art in 2018. Many of
RM 30,000 – 55,000 his masterpieces were exhibited at the VIP Lounge in Art Expo Malaysia 2019.

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 65

TAJUDDIN ISMAIL, DATO’

b. Negeri Sembilan, 1949

Gridscape (Boxscape Series), 1991

signed and dated (lower right)

mixed media on canvas
198 x 198cm

PROVENANCE
Private collection, Kuala Lumpur

RM 38,000 – 68,000

Studies of abstract shapes in architectonic forms and shapes are

the mainstays of Dato’ Tajuddin Ismail’s Boxscape Series in the late
1980s. With his background in Interior Architecture, Dato’ Tajuddin
explored the intricacies of forms and space by contemporary
architects like Richard Meier, Tado Ando, Frank Gehry and Zaha
Hadid, in stand-alone drawings arranged in horizontal grids.

This artwork previously had a L-shape tear of approximately 5cm by

2cm. It is now properly restored.

Dato’ Tajuddin graduated in Graphic Design at the Art Centre

College of Design in Los Angeles, the United States, in 1974. He
did his Post-graduate Interior Architecture at the Pratt Institute
in New York in 1979-81. His accolades include the Major Award,
National Drawing Competition in 1977; Minor award, National
Graphic Art, National Art Gallery, 1978; Minor Award, Salon
Malaysia, 1979; and Minor Award, National Design Council, 1994.
He set up TJ Fine Art in 2004. After teaching at the University
Mara Institute of Technology for several years, he joined Sunway
University as Fine Arts Department Associate Professor and
Academic Adviser. His solo exhibition, Ambiguity was organised
in collaboration with Segaris Art Center and TJ Fine Art in 2018.
Many of his masterpieces were exhibited at the VIP Lounge in
Art Expo Malaysia 2019.

94
95
 66

AWANG DAMIT AHMAD

b. Sabah, 1956

Tenaga Hidup I, 1993

signed and dated (lower right)

mixed media on canvas
107 x 92cm

PROVENANCE
Private collection, Kuala Lumpur

RM 65,000 – 110,000

The need for co-existence and even making concessions to

Nature, for a harmonious balance and survival, comes through
in this significant work from the seminal Essence Of Culture
(Intipati Budaya) (1985-1996) series by artist-academician Awang
Damit Ahmad. Even with the vagaries of natural phenomena,
an enlightened human being understands the vigilance and
exigencies of taking the right actions, or face irreparable
destruction. This multi-layered reality of causality is best
exemplified and propounded in Seyyed Hossein Nasr’s Man
And Nature: The Spiritual Crisis in Modern Man. Awang Damit
manifests his case in a lopsided duality of the physical and the
spirituality, between the natural life in a mock pohon hayat, and a
more ambiguous and nebulous space. Even with the uncertainties
of change and mortality, the decision lies with Man. One could feel
the lively energy in this masterpiece.

A relative late-starter in art, Awang Damit Ahmad proved his worth

to win the hugely coveted Major Award in the 1991 Salon Malaysia
with his work, Nyanyian Puteri Gunung, on top of his 2nd Prize
from the Malaysian Banks Association art competition in 1988, the
year he was included in the Contemporary Paintings of Malaysia
exhibition in Pasadena, United States. After graduating from the
Mara Institute of Technology in 1983, he pursued his Master’s at
the Catholic University in Washington DC, in 1990. To think that
it was only in 1975 that he quit his job as technician at Telekom
Malaysia to pursue studies in art. He was to teach at UiTM from
1985 until he retired as Associate Professor in May 2011. His solo
show at Galeri Prima (in collabration with Henry Butcher Art) this
July will be officiated by the King and Queen of Malaysia.

96
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 67

SHARIFAH FATIMAH SYED ZUBIR, DATO’

b. Kedah, 1948

Song Of Songs 5, 1998

signed and dated on verso

acrylic on canvas
119 x 119cm

PROVENANCE
Private collection, Selangor

RM 65,000 – 90,000

Songs in Dato’ Sharifah Fatimah Zubir’s art resonates not only with
sounds but movements and colours. They are internalised chords
as well as the rhythms of the environs, especially Nature, distilled
and meshed into a clockwork of shapes, colours and sounds.
This work comes after her spiritually tinged Chasm Of Light and
Nursiyah series with Islamic overtones. Song Of Songs 5 is featured
in the monograph (Page 104) of her Pancawarna Selected Works
1990-2012 exhibition at the National Art Gallery Malaysia.

Dato’ Sharifah comes from the pioneering batch of fine-art

students from the Mara Institute of Technology (ITM, now a
university), graduating in 1971. She completed her BFA at Reading
University, England (1973-1976), and MFA at Pratt Institute, New
York (1976-1978), under the JDR III Fund fellowship. She is dubbed
as the First Lady of Malaysian Art. Her career has been consistent
and sterling with awards such as the Minor Award in the Malaysian
Landscape competition (1972) and the Young Contemporary
Artists (BMS, 1981) and culminating in the Major Award in the 1979
Salon Malaysia. She also won 3 rd Prize in the Islamic World Painting
Biennial in Teheran, Iran, in 2003. For her contributions, she was
conferred a Dato’ship by the Sultan of Kedah in 2006. She has come
a long way since her first solo at the Alpha Gallery in Singapore in
1972. She is also a later member of the Utara Group, formed in 1977.
In recent years, her artworks prices have skyrocketed at local and
foreign auction houses.

98
99
 A most intriguing early work by Dato’ Sharifah Fatimah Zubir has come back to our shores
after a lapse of 46 years! It was from the collection of her German-born tutor Peter Kalkhof
(1933-2014), when she was studying in Reading, England, in 1975-1976, and it had been
68 passed over to another collector who is now based in Austria. Kalkhof, who was also an artist
known for his abstract, taught officially at Reading University from 1966 to 1999. This work
SHARIFAH FATIMAH developed post-ITM with an odd combination of tubular organic shapes and ambiguous
geometric forms. Unusual in Dato’ Sharifah’s repertoire we know today are the streaky
SYED ZUBIR, DATO’ lines seemingly haphazard but contained within certain shapes bordered by a broad green
b. Kedah, 1948 stanchion on the right, and a freehand reddish top bar with a perpendicular drop on the left.

Dato’ Sharifah comes from the pioneering batch of fine-art students from the Mara Institute
Untitled, 1974
of Technology (ITM, now a university), graduating in 1971. She completed her BFA at Reading
University, England (1973-1976), and MFA at Pratt Institute, New York (1976-1978), under the
signed on verso
JDR III Fund fellowship. She is dubbed as the First Lady of Malaysian Art. Her career has been
acrylic on canvas
consistent and sterling with awards such as the Minor Award in the Malaysian Landscape
80 x 111cm
competition (1972) and the Young Contemporary Artists (BMS, 1981) and culminating in the
PROVENANCE Major Award in the 1979 Salon Malaysia. She also won 3 rd Prize in the Islamic World Painting
Private collection, Austria Biennial in Teheran, Iran, in 2003. For her contributions, she was conferred a Dato’ship by
the Sultan of Kedah in 2006. She is also a later member of the Utara Group, formed in 1977.
RM 50,000 – 80,000 In recent years, her artworks prices have skyrocketed at local and foreign auction houses.

10 0
69

MUSTAPA HAJI IBRAHIM

b. Perak, 1946 Influenced by the flowing biomorphic forms of Nature, Mustapa Haji Ibrahim
incorporates organic shapes into his images. The undulating planes resemble
microscopic organisms, and express the essence or spirit of the universe. By
Madu Rasa, 1988
using a bright colour palette and subtle gradations of colour, the artist succeeds
in creating a sense of vitalism, movement, and sweetness (like honey).
signed and dated (lower right)
acrylic on canvas
Mustapa Haji Ibrahim enrolled in Gombak Lane School, Gombak, Selangor in
90 x 130cm
1951, and Maxwell Secondary School, Kuala Lumpur in 1964. He attended art
PROVENANCE classes with Mazli Mat Som, A.P.S, and was a member of the Kumpulan Anak
Private collection, Kuala Lumpur Alam. He held his first solo exhibition at British Council Kuala Lumpur in 1973.
His fourth solo exhibition was titled Mustapa Haji Ibrahim, Paintings, 1968 –
RM 8,000 – 14,000 2008 held at RA Fine Arts in 2008.

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TAN TONG
b. Selangor, 1942 - d. 2013

Sweet Spring In Paris, 2004

signed on verso
mixed media on canvas
120 x 100cm

PROVENANCE
Private collection, Selangor

RM 22,000 – 40,000

Tan Tong’s documentation of the China-France Culture Year in 2004, illustrates

symbolic pictograms. The artwork is composed in a grid like composition of 9 squares.
It contains two illustrations of women in graceful poses, and a drawing of the Eiffel
tower, celebrating exchange between the Oriental and Western civilisations.

Tan Tong was given a retrospective by the Soka Gakkai Malaysia (SGM) called
Homage To Tan Tong: His Life And Times, at its Kuala Lumpur headquarter from Dec
17, 2011 to Jan 1, 2012. This follows another major exhibition, Homage To Picasso, also
hosted by SGM, in 2006. Tan Tong was given a French Government scholarship to
study at the Ecole Nationale Superieure des Beaux Arts (ENSBA), Paris, in 1964-1969,
and he graduated with a double diploma (Painting and Drawing) in 1974 and 1975.
In 1974, he won the Fondation Rocheron Award at ENSBA. He won the Consolation
Prize for Painting at the National Art Gallery in 1991. Altogether, he had held 17 solo
exhibitions since his first at the Foyer des Artistes Galerie, Montparnasse, Paris, in
1967. His other international solo was at the Meyer Art Gallery in Singapore 1970.
He taught at the Malaysian Institute of Art for 26 years, retiring as head of the
Department of Art and Design in 2002.

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71

TEW NAI TONG

b. Selangor, 1936 - d. Kuala Lumpur, 2013

Beijing Olympic Games 2008,

2008

signed (lower left)

oil on canvas
122 x 92cm

PROVENANCE
Private collection, Selangor

RM 12,000 – 20,000

This is a kind of Rah-Rah-Rah celebratory work on China’s success in organising the 2008 Olympic Games and the triumph of the
human spirit among the 10,942 athletes from 204 participating nations in 28 sports in the pursuit of the Olympic ideals of Citius, Altius
and Fortius, which is Latin for ‘Faster, Higher and Stronger’. China topped the medals tally for the first time with a record medal haul
of 51 golds, 21 silvers and 28 bronzes.

Tew Nai Tong, who was among the 250 artists who took part in the marathon painting of the 888-feet banner tribute to the China
Olympic organisers, was among those selected in the large Malaysian delegation prior to the Olympic Games to present the banner
to the Chinese Olympic Committee honorary president, H.E. He Zhenliang, in July. Perfect sponsored the delegation (led by
Datuk Vincent Sim) there as rewards and also to paint their impressions of the preparations and places they visited in China. The
91,000-capacity China Olympic Stadium, dubbed the Bird’s Nest, is the focal point with a selection of national flag emblems as
floorboards, and with Nai Tong’s floating figures on top — some flying to greater heights while others diving (descending) into the whirl
of competitions. Nai Tong’s floating figures, often naked, are one of his favourites to represent freedom to act and from encumbrances.

103
 72
CHUNG CHEN SUN
b. Malacca, 1935
Home With Surplus seeks to convey a world of abundance, wealth, enlivened
through the forms of animals and still life. The varied elements are carefully
Home With Surplus, 2014 composed, in a style that reflects his mastery of lines and effects. This artwork
is timely as it is the year of the Rat, for Chinese.
signed and dated (upper left)
Chinese ink and colour on paper Chung Chen Sun founded Malaysian Institute of Art (MIA) in 1967. He
50 x 100cm established the International Contemporary Ink Painting Association in 1982.
He devoted his time here and worked tirelessly to modernise Chinese ink
PROVENANCE
painting and to promote the development of Malaysian Chinese culture and
Private collection, Kuala Lumpur
facilitate international exchanges. A graduate from Nanyang Academy of Fine
♦ PINKGUY Conservation Framing for this lot Arts Singapore, his works have been showcased in international exhibitions
held in more than 20 countries. His recent solo exhibition Background was
RM 20,000 – 32,000 held at PINKGUY gallery in 2018.

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73

HUANG YAO
b. China, 1917 - d. Kuala Lumpur, 1987

Poetic Serene Scenery, undated

Chinese ink and colour on paper

120 x 57cm

PROVENANCE
Private collection, Selangor

RM 25,000 – 45,000

Huang Yao’s ancestor can be traced to Huang Xiang,

a filial son of the Eastern Han Dynasty and through his
father, Huang Hanzhong, he was taught the traditional
Chinese arts of calligraphy, painting, classical
literature, philology, history and philosophy. He was
raised in an environment that strongly appreciates arts
and culture. In 1935, Huang Yao became Art Editor of
the Shanghai Post and drew a huge following with his
cartoon character, Niubizi, which had also become
his nom de plume from 1934 to 1956. He had written
and published numerous educational books namely
A Chinese Soldier (1941) for the army during the war
in China, Ten Talks on Niubizi for art classes in schools
which was later translated into Malay language as
Eight Talks on Niubizi, Chongqing in Cartoon (1943)
and many more. Niubizi, It Is Time To Come Home this
exhibition is currently held at Jia Shan Museum from
January to April, commemorating the 85th Anniversary
of Huang Yao’s Niubizi Cartoon Series.

He travelled extensively during his lifetime, leaving

China for Vietnam before moving to Thailand,
Singapore and finally settling down in Malaysia.
His legacy has seen a great resurgence since his
retrospective exhibition in Singapore and Shanghai,
China in 2001 and 2011 respectively. More major
museums are including works of Huang Yao into their
list of pantheons. They include the British Museum,
Ashmolean Museum, the National Palace Museum
of Taiwan and the Shanghai Museum in China. A
special memorial show titled The Remarkable Guest
of Malaya was displayed at the National Art Gallery
Malaysia in 2013.

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 74

JOSEPH TAN
b. Penang, 1941 - d. Pahang, 2001

Studies For Landscapes, 1998

signed and dated (lower left)

mixed media on paper mounted on cardboard
18 x 15cm; 15 x 18cm (set of 2)

PROVENANCE
Private collection, Kuala Lumpur

RM 8,000 – 14,000

Works of Joseph Tan, a giant 4As in Malaysian Art (Activist, Joseph Tan excelled in multiple roles in art besides being
Administrator, Academician, Artist), are hard to come by, the last an artist. He was acting director of the National Art Gallery
and only time being the Henry Butcher Oct 28, 2012 auction. (Oct 1974 to May 1976) and a member of its board trustee for
This companion pair of works was featured at the Joseph Tan five terms; general manager of the Hong Leong’s Nanyang
Retrospective at the National Art Gallery Malaysia, in 2006. In Gallery of Art (1992-1995); Director of Studies in Land and
a career spanning four decades, he held only two solos, in 1968 General Company (1996-1998), which included a 1996 AusAsia
(Samat Gallery, KL) and 1973 (Universiti Malaya, KL) respectively, conservation programme; senior lecturer / coordinator of the
but had featured in numerous major national exhibitions at home Mara Institute of Technology for 25 years, from 1969 to 1992,
and abroad including the Malaysian Art Travelling to Australia and was also Head of Foundation Studies. After his Fine Art
and New Zealand in 1969 and the Contemporary Paintings of diploma at the New South Wales National School (1963-1966),
Malaysia exhibition in Pasadena, California, in 1988. This was he was awarded a Fulbright Hayes scholarship for a BFA at
part of his painstaking exploration of space, forms, surface and the Art Institute of Chicago (1969-1972) including a stint as a
patterns on his Dungun and Formation Series, inspired by the graduate assistant. When in New South Wales, he also taught
mossy green rocks of Dungun when he was in Terengganu as the for a year at the Granville Boy High School (1967). His major
Mara Institute of Technology’s foundation course coordinator national exhibitions include the 1988 Pasadena show; Sydney
(1976-1980). In his ground-breaking landscape works, he made Biennale (1974); Malaysian Art Since Independence (1977); 4th
studies and experiments in “building up the surface and looking Indian Triennial (1978); Malaysian Art (Commonwealth Institute,
at the effects and stopping it from being porous and to effect a 1978); 1 st Contemporary Asian Art Show (Fukuoka Art Museum,
luminous quality.” In an interview with art-writer Ooi Kok Chuen 1980); Baghdad International Art Festival (1988); Malaysian Art
in the New Straits Times in 1991, he opined: “I like the interaction in Germany (1991); and Rupa Malaysia (London, 1998).
of colours and surface, of the form melting into the void, at
times becoming the void... My Dungun office faced the South
China Sea. Day in and day out, I saw the sky and the horizon, the
changing light, especially during the monsoon time, the sea, the
sand and the wide expanse of space.”

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107
 75

ERIC PERIS
b. Johor, 1939

Form, Design, Colour, 2008

signed and dated (lower right)

on the mount
hand coloured gelatin silver print
50 x 40cm

PROVENANCE
Private collection, Kuala Lumpur

RM 4,000 – 7,000

Nature has a way of offering endless designs which can be used to express one’s interaction with Nature. One source that I found
very exciting were those designs that appear on the barks of the trees, decayed trunks, interaction of light between leaves, the flow
of natural design between plants life, the play of shadows. I used the original form and from there create a design in black-and-white
and plan out the colours as I ‘see’ them’ (according to Eric Peris’ statement on website).

Eric Peris is one of the leading fine-art photographers specialising in a poetic divine kind of humanism. He worked first in black-
and-white before turning to hand-tinting and other technical ‘deconstructions’ like in his ukiyo-e pictures. He was a photojournalist
since 1969 when he joined a magazine called Fanfare and retired as Photo Editor of The New Straits Times (1991-1995). He had been a
columnist, co- ordinator, director, consultant and adviser of numerous local and regional photography societies, competitions, events,
excursions, programmes and conducted several photojournalism courses. He has held more than 33 solo exhibitions since Through
The Windows And Doorways in 1982. His book Images Of Gitanjali, a photographic interpretation of Rabindranath Tagore’s prize-
winning literary work is as much a collector’s item as the photography tribute. He studied Physics (Nuclear Physics and Cosmology)
at the Singapore University from 1963 to 1969. His parents were also both artists. His Paris-trained father, O. Don Peris (1893-1975),
served as royal artist in the Johor court of Sultan Sir Ibrahim. In 2018, he presented a solo exhibition Divinity Within in commemoration
of his father at Sutra Gallery. On display were 16 photographs that captured the inner force driving traditional and ritualistic dancers.

108
 At a time when there was no television, even black and white, such spectacle of
silat combat drew large crowds among the rural folks, with many treating it like a
picnic and family gathering. Sultan Ismail Nasiruddin Shah managed to capture
76 one such friendly fight demonstration from a distance, against the shady casuarina
trees of Batu Burok beach in Terengganu. He seemed to be incognito, preferring
SULTAN ISMAIL the anonymity to hone his photography craft rather than to let the rakyat fuss over
him providing him a royal seat complete with an ice-cream umbrella for shade. A
NASIRUDDIN SHAH few foldable chairs are available with some spectators preferring to sit cross-legged
b. Terengganu, 1907 - d. 1979 on the sand, while others formed an arc at the back. The subject is silat, and this
precedes Ismail Mustam’s The Last Duel (1961) and Amron Omar’s copious works
of silat pugilistic stances, from the 1980s. This work was featured on Page 74 in
Silat, By The Sea, c.1955
the book HRH Sultan Ismail Nasiruddin Shah Pioneering Malaysian Photography
1923-1971, written by his grandson Raja Mohd Zainol Ihsan Shah, who is vested with
signed, numbered and stamped
the archive and collection of his works. He remembers his grandfather’s darkroom
photographer’s estate on verso
where film negatives and photographic papers were stored in airtight glass jars and
gelatin silver print, warm tone satin finish
glass cabinets, in controlled temperature.
33 x 48cm, edition 2 of 3

PROVENANCE Sultan Ismail Nasiruddin Shah, the 4th Yang di-Pertuan Agong (September 21, 1965
Private collection, Kuala Lumpur - September 21, 1970), was installed the 14th Sultan of Terengganu on December
16, 1945. Sultan Ismail, who was an avid photographer since the 1930s, died on
RM 4,000 – 7,000 September 20, 1979.

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 77

AMRON OMAR
b. Kedah, 1957

Pertarungan, 1999

signed and dated (lower right)

charcoal on paper
54 x 37cm

PROVENANCE
Private collection, Selangor

RM 12,000 – 20,000

A reflection of Amron Omar’s personal battle in life, Pertarungan stems from the Malay tradition — particularly from the world of
martial arts — which shows the spirit and character of the Malay community in the local context. The silat theme symbolises strength,
determination and confidence: the key elements in overcoming challenges in life. Amron is known as one of the most proficient
figurative painters due to his sharp observation in depicting his subject matter in a realistic manner.

Amron Omar attended Institut Teknologi MARA (ITM) from 1976 to 1980. He was awarded the Young Contemporary Artists Minor
Award (for Self Portrait) in 1982 and received the Silver Award at the Sime Darby Art Asia Exhibition, Kuala Lumpur in 1985. In 2012,
Amron presented a major solo exhibition entitled Pertarungan that showcased over 150 artworks at National Art Gallery Malaysia and
was officiated by Tun Daim Zainuddin.

110
78 The tug-of-war, just like hand-wrestling, is a test of strength and strategy, the
first between two equally matched contending groups and the latter between
RONNIE MOHAMAD two opponents. In the tug-of-war, the game is to drag the opposing team across
b. Johor, 1978 a halfway line. The anchor stays at the back as a stanchion against the team’s
removal. Teamwork, trust and discipline are as important as brute strength to
ensure superiority.
Tug Of War Series, 2014

Self-taught Ronnie Mohamad has established himself as one of the main

signed and dated (lower right)
proponents of figure paintings especially in charcoal since he started at the
mixed media on canvas
Conlay art colony some two decades ago when the prices of his works were only
91 x 244cm, diptych
two-digits to now hitting six digits! He held his first solo, An Exploration, at the
PROVENANCE PurpleHouz Gallery in 2013, and another at the National Art Gallery Malaysia in
Private collection, Kuala Lumpur May 2018. He got his break in 2016 when he took part in the Hong Kong Art Fair
and Tourism Malaysia promoted his works in Helsinki, Finland. In 2017, he was
RM 20,000 – 36,000 selected for the 1 st Kuala Lumpur Biennale.

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 79

AHMAD ZAKII ANWAR

b. Johor, 1955

Triplicity, 1999

signed and dated (lower right)

acrylic on linen
120 x 266cm, triptych

EXHIBITED
Barbara Greene Fine Art, New York, 1999
Disclosure: Galeri Petronas, 2008

ILLUSTRATED
Ahmad Zakii Anwar: Disclosure,
Galeri Petronas, 2008, p. 140

PROVENANCE
Private collection, Kuala Lumpur

RM 40,000 – 70,000

The well-endowed physique, Male or Female, is both a celebration and a denigration. The well-toned musculature in the right places
could only be had with a disciplined regime of right exercises, but to others conservative and unexposed and ignorant, it is an object
of opprobrium. It is interesting to see such Adonis measure of beauty is something admired and feared, celebrated and vilified. Film-
maker U-Wei Bin Saari was right when he revealed that Ahmad Zakii Anwar’s figure types are imbued with a theatricality in the silent
poses. The anatomy is revealing of the characteristics that aid certain physical movement and action. Arrayed in three dramatic poses
— front, back and sideways in the centre — there is a certain Godlike quality about it.

Ahmad Zakii Anwar’s mid-career survey exhibition, Disclosure, at Galeri Petronas in 2008, is one of the most compelling, encapsulating
a world-view and career told in still-life, animals, traditional dances and the dark side of urban life. After quitting a lucrative advertising
career, he made a huge impact with his Smokers Series in Kuala Lumpur in 1997. He graduated from the Mara Institute of Technology
in 1977. His solos abroad included Presence (1999) and Bones And Sinews (2011) in the United States, Kota Sunyi (Indonesia, 2007),
Shadowland (Hong Kong, 2001) and Baik Art (South Korea, 2013), apart from his Singapore Tyler Print stint in 2007.

112
113
 80

HISYAMUDDIN ABDULLAH Figurative painter Hisyamuddin Abdullah’s works often contain narratives
b. Terengganu, 1989 about his observations on life and society. Ucapan Plastik illustrates a symbolic
portrayal, containing a figure of a young male (the artist himself), highlighting
issues of self-reflection and artistic identity. The face and body of the figure
Ucapan Plastik, 2014
is rendered with soft chiaroscuro and delicate tones, enhancing the overall
composition, displaying the young artist’s technical skill.
signed and dated (lower left)
charcoal and acrylic on canvas
Hailing from Marang, Terengganu, Hisyamuddin Abdullah attained his BA
183 x 153 cm
of Fine Arts (Hons) from UiTM Shah Alam, Selangor in 2012. He held his first
PROVENANCE solo exhibition SArKAs at Taksu, Kuala Lumpur in 2014. He has participated in
Private collection, Selangor numerous group shows namely #SKULL (2019) and Axis By Praxis: Identity In
Transition (2018) at G13 Gallery; Human Being by F Klub (2019); XIX Nineteen
RM 8,000 – 14,000 at Segaris Art Center (2019), and more.

114
 Welcome to a woman’s inner space, a safe space which afford glimpses of her personality,
character and habits, like the popular realtime social-media roomview popular among the
young, and a new form of exhibitionism. Though this is a static one-clip voyeuristic view, it
81 affords some touch points with the personified: a young woman sitting on her bed having an
intimate distraction with her favourite cat. Painted in a monochromatic colour scheme, the
CHONG AI LEI artiste enhances the presence of the subject.
b. Johor, 1985
After graduating from the Dasein Academy of Art in 2005, she worked freelance as a graphic
designer and then briefly, as a gallery assistant before going fulltime in 2010. She had her
Cling, 2011
first three solos overseas: PINK at Yogyakarta’s leading Sangkring Art Space (2013), In The
Room at Galerie Canna in Jakarta (2016) and in Hong Kong in 2017, before her first Malaysian
signed and dated ‘AILEI 2011’
solo, When I See You Again, at The Edge Galerie in January 2018. She won the Malaysian
(lower left)
Emerging Artists award in 2011 after being a finalist in 2009, and won Honorable Mentions
oil on canvas
in the Freeman Fellowship Asian Artists Programme in the United States in 2010 and 2011.
89 x 104cm
Her international profile is astounding: Art Stage in Singapore (2015) and Jakarta (2016),
PROVENANCE START Art Fair in London (2014), Art Busan and Art Taipei (both in 2016), Affordable Art Fair
Private collection, Kuala Lumpur Singapore (2013), Kembara Jiwa (Bandung and Yogyakarta, 2012), Young Guns Singapore
(2014) and Concurrence (Manila, 2014). Her auction record of RM35,000, was set at Christie’s
RM 8,000 – 14,000 Hong Kong in November 2013 for True Romances II.

115
 82

NIK MOHD HAZRI

b. Kelantan, 1988

I See The Altered Truth 2,

2017

signed and dated (lower right)

acrylic and oil on jute
153 x 122cm

PROVENANCE
Private collection, Kuala Lumpur

RM 6,000 – 10,000

A promising young artist, Nik Mohd Hazri’s signature style is his expressions of large-scale portraits that captures his subject’s
emotions. The work depicts a figure of a young girl standing in disbelief. Her expression shows 1001 questions lingering in her head as
what seems as a truth is regarded as false and its vice versa especially in the world of social media.

Nik Mohd Hazri obtained a Diploma of Fine Art from Univerisiti Teknologi MARA (UiTM) in Machang, Kelantan, where he studied from
2008 to 2011. He then pursued his Bachelor of Fine Art (Painting) at UiTM, Shah Alam, Selangor where he graduated in 2014.He has
participated in numerous group exhibitions such as Human Being by F Klub at Ken Gallery, Kuala Lumpur (2019); Bintang 5 Volume
III, Segaris Art Center, Publika (2018); We Are 5: Artemis Art’s 5th Anniversary Exhibition, Publika (2017); Nik Brothers: Art Trio, G13
Gallery, Selangor — where he exhibited with his brothers Nik Mohd Shazmie and Nik Mohd Shahfiz. He has also participated in several
international art fairs namely Art Kaohsiung, Art Stage Singapore, Art Stage Jakarta, and Art Expo Malaysia etc. He was awarded
the Vice Chancellor’s Award, Bachelor Degree in Fine Arts (Hons), UiTM Shah Alam, Selangor (2014) and the Dean’s List Award for
Semesters 3 and 4, Bachelor of Fine Art, UiTM Shah Alam in 2012. A member of the Intuitive Art Group, he was involved with a mural
project at Publika alongside other group members.

116
 Fadilah Karim is recognised as one of Malaysia’s most talented figurative painters,
83 exhibiting technical virtuosity in the medium of drawing and painting. Presented here
is a momentary glimpse of a young lady captured in transient motion. The figure is
FADILAH KARIM composed in a unique cinematic mode and is imbued with an enigmatic expression of
b. Johor, 1988 movement in space and time.

Fadilah Karim obtained her Masters in Fine Art, majoring in painting, at University
Motion II, 2010
Institute Teknologi MARA in 2013. She held her first solo exhibition titled Vague at
Pace Gallery, Selangor (2012), and her second solo Secret Lies at Taksu KL (2016). Her
signed and dated
group exhibitions include Bintang 5 Volume III with Segaris Art Center (2018), Figure
‘Fadilah Karim 10’ (lower right)
In A Room by The F Klub (2017), ConFiguraTion Parallel Universe with G13 Gallery
oil on canvas
(2017), Being Human: Figuratism of 16 Malaysian Artists, Art Stage Singapore (2015),
122 x 183cm
Deceitful Truth, Galeri Chandan KL (2011), Transit A4, HOM Art Trans KL (2012), Young
PROVENANCE Guns KL (2013), Sekaki, Segaris Art Center KL (2013), Young Guns, Penang, Singapore
Private collection, Selangor (2014), and Myst{EO}ry, HOM Art Trans (2014). Her awards include: Incentive Award,
Shah Alam Open 2008; Malacca Governor Portrait competition; runner-up Tanjung
RM 7,000 – 12,000 Heritage competition; Young Guns Award etc.

117
 84

YUKI THAM
b. Johor, 1992

This piece titled Obscure was exhibited in Yuki’s first solo exhibition where she captured
Obscure, 2017
human emotions through her experience. This piece depicts an emotion of uncertainty or
concealing the truth about a certain agenda. Something about that pretty face of the girl
signed and dated (lower right)
hides a thousand uncertainties about things in life.
oil on canvas
80 x 135cm
Yuki Tham, born in 1992 in Johor, graduated from Dasein Academy Of Art in Kuala Lumpur.
PROVENANCE Her recent solo exhibition Beauty Behind The Madness was held at G13 Gallery, Kuala
Private collection, Kuala Lumpur Lumpur. She has participated in many international art fairs including Art Expo Malaysia,
Art Kaohsiung in Taiwan, etc. She also joined group exhibitions namely Victress Niche with
RM 4,800 – 8,000 G13 Gallery (2019), Human Being by F Klub at Ken Gallery (2019), etc.

118
85 Set against an atmospheric rainy day, the artist captures a scene from childhood. A young
girl is situated amidst a vast landscape, while a pair of lambs are standing beside her. The girl
SUHAIDI RAZI is dressed in a cute wonder woman ensemble, holding a floral patterned umbrella. A herd of
b. Sarawak, 1977 cows can be seen nearby, amidst an impressive rural terrain.

Suhaidi Razi graduated with a BFA in 1999 and MFA in 2005 at UiTM Shah Alam. He has won
Sweet December, 2017
several prizes but the major one is the Nokia Art Award in 2002. He also won the Major Award
in the Pahang painting competition (2003), Johor Historical Building (2004) and numerous
signed and dated (lower left)
Minor Awards, Grand Prize in Life-drawing (Pesta Anggerik, Galeri Shah Alam, 2004),
oil on canvas
Traditional Malay House Design (Malacca, 2006), Historical Painting Johor (2008), Nature
122 x 151cm
Terengganu (2008), Historical Terengganu (2009). His first solos Rainforest and A Sanctuary,
PROVENANCE were held at the Batang Ai Longhouse Resort and KL Hilton respectively in 1997. Then
Private collection, Selangor came Passage at NN Gallery in 2011, Dream Pipes at Galeri Chandan in 2012, Imagine The
Imagination at White Box Publika in 2013, and Paradox (organised by Curate Henry Butcher)
RM 5,000 – 9,000 at Galeri Prima in 2017. He was selected for a solo show booth in Art Expo Malaysia 2017.

119
 86
Here, the lady lies on her back, against a mattress dispersed in a stream of vivid
GAN CHIN LEE colours. Based on her pose and the layout of the furniture, it would seem that she is in
b. Kuala Lumpur, 1977 her private space — no need for rigid or awkward poses, just her in a state of relaxation.

A finalist in the Saksi Competition in 2003, he got into the winning circle big-time
Frontal Reclining Nude, 2012
when he was one of the five who won the Malaysian Emerging Artist Award (MEAA) in
2009, the others being Mohd Al-Khuzairie Ali, Poodien, Samsudin Wahab and Bakir
signed and dated (lower left)
Baharom. After his Diploma in Illustration at the One Academy of Communication
oil on board
Design, he went to China for his Advanced Studies in Mural Painting (2005) and
92 x 184cm, diptych
Masters in Fine Art (2008, where he also won the Graduate Creation bronze prize) at
PROVENANCE the prestigious Central Academy of Fine Arts. In 2010, he won the Platinum Awards
Private collection, Kuala Lumpur by the One Academy, where he lectures now. His works No Place For Diaspora
and Islamophobia Is A New Form Of Racism were exhibited at Dhaka Art Summit’s
RM 35,000 – 55,000 program Bearing Points, alongside works by Raqib Shaw, Liu Xiaodong etc.

120
87

TEW NAI TONG

b. Selangor, 1936 - d. Kuala Lumpur, 2013 Here rendered in oil, is a pair of nudes in two seated poses. The work demonstrates
the artist’s ability to suggest volume, weight, and with deft brush strokes.

Nude 22; Nude 23, 2007

Nai Tong is known for his Nanyang Style figures with doleful eyes and elongated
limbs. He followed the typical route of students trained at the Nanyang Academy
signed (lower left)
of Fine Art (NAFA) in Singapore (1957-1958), and furthering his studies at the Ecole
oil on jute
Nationale Supérieure des Beaux-Arts (1967-68). On his return, he taught at several
30 x 30cm each (set of 2)
academies namely the Malaysian Institute of Art (1969-1980), Central Academy of
PROVENANCE Art (1982-1985), and the Saito Academy of Art (1986-1988), before he became a full
Private collection, Selangor time artist in 1992. His first exhibition was at the British Council in Kuala Lumpur in
1964. His career culminated in a survey exhibition called Odyssey at the National Art
RM 6,000 – 10,000 Gallery Malaysia in 2007. In 2009, he won the Asia Art Award in Seoul, South Korea.

121
 88

ANTHONIE CHONG
b. Perak, 1971

Monumental — Agony, c. 1990s

oil on canvas
122 x 91cm

PROVENANCE
Private collection, Selangor

RM 14,000 – 24,000

Anthonie Chong’s early figurative works translate complex and powerful emotions.
Painted in the artist’s iconic style of this period, the artwork illustrates a sombre
figure looking down as if giving up is the only option, immersed in his own sadness
the figure is left static in his seat, in agony emotionally.

Anthonie Chong graduated in Graphic Design from the Perak Institute of Art in
1991. He won the Philip Morris Asean Art Award, Malaysia in 1998. In 2000, he
switched to caricature-like iconography fusing eastern surrealism with digital
technology, namely his e-monk creations which morphed into @-monk in 2010,
which was represented in three series — Community, Gaia and Mechanism. He
had his first solo at the X Pub and Gallery in Penang. He had worked as an art
teacher (Art Design, Kuala Lumpur), graphic designer, illustrator and lecturer at Art
Direction (1992-1995), before helping out a relative in his business. His art prices
have been soaring in recent auctions.

122
89

AZMAN YUSOF, DATO’

b. Kelantan, 1955

Untitled, 2013

signed and dated (lower right)

mixed media on cardboard
120 x 89cm

PROVENANCE
Private collection, Selangor

RM 15,000 – 28,000

The scent of a woman with the allure of some revealing flesh, Dato’ Azman Yusof is one of the founders of the legendary
back turned for a certain demure quality, as she apparently gets Creative Enterprise, which started the Golden Age of
up with the sarong, the Malay tapestry of seduction, slipping oh Comicdom. It was established in 1976 together with Jaafar Taib,
so gently. The tousled hair adds to the seductive quality, while Meow Shariman Meor Hassan a.k.a. Mishar and Zainal Buang
the sarong is held up with one hand like a peek-a-boo prop. The Hussein, and the early publications were Murni and Bambino, an
mood is good for a dance... and it brings to mind Kylie Minoque’s then the Gila Gila humour magazine. He is a leading cartoonist
2000 hit song, On A Night Like This. The lyrics of the chorus and illustrator for Malaysian comics and novels. He started by
refrain goes like this: illustrating for Amier Enterprise, which published the magazines
Love Story and Sarina, and contributed the Fold-Fold posters
On a night like this and calendars like Malay Warrior 5 Brothers. In painting, he
I wanna stay forever, stay forever works in oil, acrylic, watercolours and airbrush. For his skills in
On a night like this portraiture, Sultan Sharafuddin Idris Shah of Selangor made him
Just want to be together a Royal painter on March 18, 2010.
The romance of the moment adds:
You kiss me, I’m falling
It’s your name I’m calling
You touch me, I want you
Feels like I’ve always known you.

123
 When a girl is curled up in a foetal position, she wants to be left alone in her own cocoon
of thoughts and safe space or she must have been too disturbed and traumatised by
some deprivations or ill luck befalling closed ones. As this looks like a nubile young girl,
she might be in love, or even out of love. The act of turning away, isolating, distancing and
disengaging is as good as putting up a big sign saying, ‘Scram, Don’t Come Anywhere
Near Me!’ Or probably, she is having a dream...
90

KOW LEONG KIANG The canvases of Kow Leong Kiang, who is known to have scoured the East Coast States
to paint fetching portraits of kampung girls in his early years, goes beneath the skin and
b. Selangor, 1970
beyond innocence. The work was also inspired by his visits to Bali in his formative years
when he marvelled over the accomplished nude paintings of the Indonesian masters.
Dreamer 4, 2004
Kow Leong Kiang won Southeast Asia’s highly coveted art accolade when his work, Mr.
signed and dated (lower left) Foreign Speculator, Stop Damaging Our Country, clinched the Grand Philip Morris Asean
oil on canvas Art Award in the finals in Hanoi, Vietnam, in 1998. He also won the Minor Award in the
90 x 180cm Young Contemporary Artists competition in 1992 and the Major Award in the National
Day competition. He had been selected for art residencies at the Vermont Studio Centre,
PROVENANCE
USA 2004 and Tembi Contemporary in Yogyakarta besides participation in major events
Private collection, Selangor
such as Art Busan, Art Formosa, Art Stage Singapore and Art Expo Malaysia. He was
commissioned to paint the cover of Ooi Kok Chuen’s novel, MAHSURI A Legend Reborn
RM 25,000 – 40,000
(2016). He graduated from the Kuala Lumpur College of Art in 1991.

124
91

HENG EOW LIN Heng Eow Lin, is one of the early stalwarts of Nanyang Art and his paintings, varies in
b. Kedah, 1946 execution in Realism and also in abstract, or combining both. In this work titled At Play
showed a group of kids (and parents) in a semi abstract way cramped together on top of
one another participating in the game, indulging themselves, having good quality family
At Play, 1998
time. In 2015 (June 27 - July 12), Lin, as the Kedah-born artist is popularly known, was given
a major Retrospective by Soka Gakkai Malaysia. It was called A Journey Of 47 Years. In all
signed and dated (lower left)
these years, he keeps on painting, sculpting and taking part in exhibitions, workshops and
oil on canvas
art camps all over the world, particularly in Thailand. Lin is a full time artist all his life. When
70 x 80cm
he graduated from the Nanyang Academy of Fine Art in Singapore in 1970, he was given
PROVENANCE a solo in 1977 by the Singapore Art Museum. His first home solos were at the Malaysian
Private collection, Selangor Institute of Art, Kuala Lumpur, and Dewan Sri Pinang, Penang in 1992. He had done a
major sculpture commission for the Malacca Museum, monumental sculpture work at
RM 6,000 – 10,000 Karpal Drive, and for other institutions.

125
 In this work, a haunting figure stands in front of a boy facing the wall that is full with
92 unfold clothes. The boy clinging to her body made her crouch a little. The woman’s
face is hollow as part and pieces of her are on the floor. It looks like the woman is
GAN TEE SHENG probably under a lot of stress as house chores are piling up and at the same time
b. Johor, 1984 she needs to look after the clingy boy. Another figure is seen laying on the floor
facing the women. A man is seen standing at the corner as if waiting to be served by
the women. The artwork leaves a mysterious atmosphere that unravels the hidden
No Face Auntie & Boy, 2011
complexities of human nature.

signed and dated

Gan Tee Sheng won two of the most highly coveted awards, UOB Painting of the
‘Gan Tee Sheng 2011’ (lower left)
Year (twice) and the Malaysian Emerging Artists Award, and catapulted him to the
oil on canvas
cream of young artists. He was a Fukuoka Asian Art Museum artist-in-resident in
130 x 164cm
2014 besides a six-month residency at HOM Art Trans. He took part in Art Stage
PROVENANCE Singapore and Art Busan both in 2016, Art Gwangju 2015, Art Kaoshiung (2015,
Private collection, Selangor 2016), and the Art Expo Malaysia for consecutive years. He is a graduate of the
Dasein Academy of Art in 2008. In the Henry Butcher (April 2017) Art Auction, his
RM 12,000 – 20,000 oil on canvas, Family, sold for a premium of RM31,360.

126
93

ILHAM FADHLI SHAIMY

A.K.A. KOJEK
b. Kelantan, 1980

Untitled, 2011

signed and dated (lower right)

mixed media on paper
65 x 50cm

PROVENANCE
Private collection, Kuala Lumpur

RM 3,000 – 5,000

Described by his wife, installation artist Azliza Ayob, as “fascinating, promising and uncertain”, Ilham Fadhli’s characters aptly define
his work too. Also known as Kojek, he is a multi-dimensional artist with an inexorable imagination, taking his viewers on an edgy yet
arresting adventure to an unfamiliar land beyond earth with his dark and surreal landscapes. On offer here is an obscure landscape
with figures depicted in Kojek ’s signature palette. His trademark miniature human going about their activities enhance the dreamlike
composition.

Ilham Fadhli graduated with a Degree in Fine Arts from Universiti Institut Teknologi MARA, Shah Alam in 2003. Subsequently, he
has frequently exhibited in galleries across Kuala Lumpur and had spent a term as the 16th Artist in Residence at Rimbun Dahan from
2010 to 2011. Ilham’s work addresses contemporary issues through an absurdist or surrealist narrative. He has held a two-man show
with fellow artist Haslin Ismail titled Friction in Kuala Lumpur (2008) and a solo exhibition held at Pace Gallery (2010). His collages
often incorporate delicate figures, dramatic colours and the use of scale to create these narratives and invite the viewer to discuss the
issues raised. He has participated in a group exhibition in Singapore (2011), curated by the artist and curatorial collective called Flying
Karpet Company founded by contemporary artists Aswad Ameir, Saiful Razman and Shahrul Jamili. His work was also featured in a
group exhibition titled Kembara Jiwa Fukuoka: Expanded Passion organised by Galeri Chandan that was presented in Fukuoka, Japan
in 2013. Segaris Art Center booth in Art Expo Malaysia 2019 showcased his latest artworks, and received good remarks from visitors.

127
 94

GRACE SELVANAYAGAM
b. Negeri Sembilan, 1936

Untitled, 1960

signed and dated (lower right)

oil on masonite board
46 x 14cm

PROVENANCE
Private collection, Kuala Lumpur

RM 8,000 – 12,000

Grace Selvanayagam is one of Malaysia’s early textile artists,

and a songket textile scholar. This work of an Indian woman
carrying brass pots of water on her head (a typical village scene
in India) is unique because it is a rare figurative early work by
her. Painted in warm colours, the artwork is a celebration of
daily life, expressed through the diligent nature of the lady.

Grace Selvanayagam was a graduate in Textile art from the

University of Bristol, UK. She taught in Specialist Teacher’s
Training Institute in Cheras, KL together with Syed Ahmad
Jamal. In her later life, she lived in JB and had also taught in
Singapore. She wrote the book, Songket: Malaysia’s Woven
Treasure. She did her research in East Coast with the support
of Prof Ungku Aziz. Grace was very much an abstract artist. Her
works were displayed at the NUS Museum, Singapore in 2017.

128
95

HARRIS RIBUT
b. Selangor, 1951 This scene shows a group of people just came back from washing their clothes at the well.
Well can only be seen nowadays in rural areas. It is used to store a large amount of water
that later can be shared among the community. Waters from the well are always fresh and
Balik Dari Perigi, 2007
cool especially in the morning. Thus, they look especially fresh as they probably have just
taken bath too.
signed and dated (lower left)
oil on canvas
Harris started being a street artist and started learning painting at the Angkatan Pelukis
76 x 76cm
SeMalaysia (APS) base. He worked as a paste-up artist in a publishing house. He then
PROVENANCE joined a Bahasa Malaysia daily as a graphic artist, then art director, and was even a reporter
Private collection, Selangor and a sub-editor. At one time, he had a pondok base at the artist’s colony in Conlay, under
the Malaysian Handicraft Centre, Kuala Lumpur. His wife, Fauziah Ismail, also paints, but of
RM 3,000 – 5,500 exaggeratedly thin women.

129
 Bird-keeping is deeply rooted in Indonesian society, especially in Java
96 and Bali. The artist seeks inspiration from peasant lives in rural Java and
creates stylistic figures engrossed in ritual themes or daily activities.
RUDY MARDIJANTO Through the composition of communal life, the artist conveys how
b. Indonesia, 1967 tradition and culture is still retained and treasured in modern times.

Born in Blora, Central Java, Rudy Mardijanto graduated from the Art
Lomba Burung (Bird Competition), 2013
Academy ISI (Institute Seni Indonesia), Yogyakarta. Since 1986, Rudy has
actively participated in various art exhibitions within Indonesia namely
signed and dated (lower right)
in Jakarta, Yogyakarta, Solo, Malang, Surabaya and Bali. He received an
oil on canvas
award from ISI Yogyakarta in 1987 and was a finalist in the Philip Morris
100 x 150cm
Indonesian Art Award in 2001. He had solo exhibitions in Singapore
PROVENANCE since 2007. H Gallery from Jakarta has represented Rudy in Art Expo
Private collection, Kuala Lumpur Malaysia from 2008 to 2013. He held his first solo exhibition in Malaysia
titled Indonesian Rural Society In Transition at Interpr8 Art Space, Kuala
RM 6,000 – 10,000 Lumpur in 2014.

130
97

KARTIKA AFFANDI
b. Indonesia, 1934

Mother And Child, 1970

signed and dated

‘Kartika 1970’ (lower right)
oil on canvas
98 x 78cm

PROVENANCE
Private collection, Selangor

RM 20,000 – 35,000

The Mother-and-Child theme is one of the most predominant in art. Being a figurative artist like her world-renowed iconic father,
Affandi (1907-1990), Kartika paints penetrating portraits including those of her father, ordinary and marginalised people and menial
workers. Her oil-impasto style resembles that of her father, to whom she was apprenticed since the age of 7. Like her father too, she
abandoned the paintbrush, preferring to use her bare hands. She was married twice and twice divorced, to artist R.M. Saptohoedojo
(at the age of 17, arranged marriage) and Austrian Gerhard Koberl. She became a feminist icon when she filed a divorce against
Saptohoedojo, with whom she had eight children. Her son, Didit, also paints, as did her mother Maryati, who was Affandi’s first wife.
Rukmini, Affandi’s daughter from his second marriage to Rubiyem, also paints. By 1970, Kartika was fairly well-developed as an artist,
having had her first solo in Jakarta in 1969 and helping Affandi complete a mural in the East-West Centre in Hawaii in 1967. In 1971, she
had a solo at the Samat Art Gallery in Kuala Lumpur. She fought against male chauvinism to become an artist in her own right. Her
father had famously told her: “It is a shame you were born a female and my daughter, because as a woman you will never be able to
be accepted as an artist in this country. And if somehow you are, then you will always be cursed as my offspring to live in my shadow.”

Artist-trained conservationist Kartika Affandi is the subject of a documentary, Kartika Affandi: 9 Ways of Seeing, by Christopher
Basile. Since 1977, she has been the curator of the Affandi Museum. She had a stint at the Tagore University in Shantineketan, India,
and took up Sculpture at the Polytechnic School of Art in London (1952). She studied mechanical preservation and restoration of art
objects at the Austrian Academy of Fine Arts in Vienna (1980), and also the International Centre of the Preservation and Restoration
of Cultural Property in Rome (1984). She also set up a women’s art museum in Yogyakarta.

131
 The expressionistic works of Indonesian maestro Nyoman Gunarsa are inspired
by folk tales from Balinese culture and Hindu Legends. He is recognised as one of
98 the pioneers of modern Indonesian art which allows insight to understanding the
philosophy and beliefs of Indonesian society. The artist’s formal explorations in
NYOMAN GUNARSA composition are based dominantly on the rich artistic heritage of Bali, with themes
b. Indonesia, 1944 - d. 2017 centered on local dances, gamelan music and wayang puppets combined with
western academic art principles. His signature aesthetic highlights technical mastery
in portraying lines, complemented by a strong sense of colour which enhance the
Pemain Biola, 2011
lyrical movement of the painting.

signed and dated (lower right)

Nyoman Gunarsa was given Bali’s Dharma Kusuma Cultural Award in 1994, and the
oil on canvas
President of Indonesia’s Satyalan Cana Cultural Award in 2003. His other awards
95 x 95cm
include the Pratisara Affandi Adi Karya Art Award (1976) and the Lempad Prize (1980).
PROVENANCE He also won the Jakarta Biennale II and IV award in 1978 and 1980 respectively.
Private collection, Kuala Lumpur Nyoman studied at the Indonesian Academy of Fine Arts (Asri) in Yogyakarta in 1976.
He was a founding member of the Sanggar Dewata (Superior Artist Studio) in Bali in
RM 10,000 – 18,000 1970, which is dedicated to helping Indonesian artists.

132
99

ONIB OLMEDO
b. Philippines, 1937 - d. 1996

Guitarist, 1993

signed and dated (lower right)

pastel on paper
70 x 56cm

PROVENANCE
Private collection, Kuala Lumpur

RM 12,000 – 20,000

Onib Olmedo’s world is filled with the denizens of marginalized society, lurking like lepers on the suburbs of active high life. They
are depicted in darkened shadows, their faces misshapen sulky, sullen and framed in a scowl, with a kind of ennui and desolation
about them. At times, their eyes are accusing, like the cover of John Steinbeck ’s Grapes of Wrath. He is remembered as one of the
Philippines’ Figurative Trinity, with Ang Kiu Kok and Solomon Saprid. He used art as a tool to probe the depths of the human character,
and critic Alice Guillermo wrote that his distortions were “to entrap the fierce and elusive demons of the private psyche”. His widow,
Bettina, had said that Olmedo “created a body of works that utilizes the figurative expressionist technique of distortion to portray the
inner torment experienced by modern. His paintings have a disturbing but ennobling effect on the viewer, celebrating the ultimate
triumph of the human spirit in the face of intense pain and anguish. His paintings are soul portraits of the denizens of Sampaloc and
Ermita, Manila’s red light and entertainment district man, as well as people from the upper strata of society.”

Onib Olmedo studied for his BSc in Architecture at the Mapua Institute of Technology but after 12 years, switched to fulltime painting
in 1970. He won gold medals in two Art Association of the Philippines competitions and a Mobil Oil Award and he was one of the 13
Artists honoured by the Cultural Centre of the Philippines. He also won an award in the Cagnes Sur Mer art competition in France in
1992. Works of Onib Olmedo were featured in the Art Fair Philippines 2020 recently.

133
 100 Jeihan Sukmantoro is dubbed “soul-catcher” by art-writer Ooi Kok Chuen (Interview in
Bandung, published in The Sunday Star, Oct 23, 2011) for his prescience in capturing the
JEIHAN intrinsic qualities and enigmatic aura of the portraited, just by using black blobs or slits for the
eyes. The black eyes device was first used in his 1965 work, Gadis, and was described by Ooi as
SUKMANTORO a “black hole of emotional DNA”. In the interview, he told Ooi: “We are all walking and working
b. Indonesia, 1938 - d. 2019 in darkness and mystery. We don’t know where we are going, what will happen tomorrow.”
Eyes are deemed the windows to one’s soul. As Johann Wolfgang von Goethe, in his Theory
Of Colour, wrote: “The eye has to thank light for its existence.” Here, the female sitter looks a
Juwita, 1982
mite uncomfortable and despite a frail physique and reserved demeanor, embodies sterner
qualities within as might be suggested by the reddish hues used as the backdrop.
signed and dated (middle left)
oil on canvas
The multidisciplinary Jeihan Sukmantoro was a sculptor, ceramist, printmaker (woodcuts)
40 x 40cm
and painter (acrylic, watercolours, pastels) and a published poet. A rebel, he studied at the
PROVENANCE Bandung Institute of Technology (1960-1966) but did not complete. His best known book of
Private collection, Selangor poetry is MATA MBeling Jeihan (2000). Besides in all over Indonesia, he had solo exhibitions
in Rome (Italy), Rotterdam (Netherlands), New Jersey (United States), Paris (France), Zurich
RM 5,000 – 8,000 (Switzerland) and Kuala Lumpur (Malaysia).

134
1 01

ARIE SMIT
b. Netherlands, 1916 - d. 2016

Boy, 1986

signed and dated (lower right)

oil on board
47 x 39cm

PROVENANCE
Sotheby’s Singapore, Southeast Asian
Paintings, 2 April 2000, Lot 23
Private collection, Kuala Lumpur

RM 20,000 – 35,000

The swarthy young lad looks a regular model of the Bali-based Arie Smit, often depicted with only loose loincloth or draped sarong
but this time resplendent with a silver necklace and pendant, marking a slightly improved economic means or perhaps a gift from
somebody. With hair snaking down to his neck base and a thin moustache, and reasonably well-built, cuts an Orientalist picture
of a people close to Nature and presumably untainted by the trappings of modernity. There is a re-creation of a utopia of Tahitian
naturalism reminiscent of Gauguin’s. Balinese or Javanese, he may be one of the wannabe artists from Arie Smit’s loose collective of
the Young Artists of Penestanan in Ubud, a group he created in 1960, or probably a close friend. The dour colours contrast with the
usual vibrant riot in his linear flashes of sceneries and Balinese architecture.

Dutchman Arie Smit has become part of the Balinese myth and folklore, having decided to take up Indonesian citizenship two years
after the republic’s Independence. In 1992, he received Bali’s highest honour, the Dharma Kusama, and in 1994, he was accorded the
Arie Smit Pavilion at the Neka Museum. After studies in Graphic Design at the Academy of the Arts in Rotterdam, Arie Smit joined
the Royal Netherlands East Indies Army in Batavia doing maps in lithographs. In World War II, he was captured by the Japanese and
sent to work in the forced labour camps in River Kwai. He survived and returned to Indonesia, to teach graphics and lithographs at the
Bandung Institute of Technology, before he was invited by Rudolf Bonnet to move to Bali in 1956, and took up the former residence of
Walter Spies. Arie Smit died at the age of 99, only three weeks short of hitting the centurion mark.

135
 1 02 This drawing of two young dancers in the northern Dutch town of Laren was done by
Rudolf Bonnet when he was 77, six years before his demise in Laren. It is as if he was
RUDOLF BONNET recapturing his youth, when he was young and fancy free and the world was his oyster,
b. Netherlands, 1895 - d. 1978 where he travelled to north Africa and eventually Bali, where he had spent a total of
two decades of his life painting and helping the local community as he was a friend of
Cokorda Gde Agung Sukawati and Indonesian president Sukarno, who had collected
A Portrait Of Two Dancers, 1972
14 of his works but had him expelled, in 1957, when he refused to finish a commissioned
portrait of Sukarno. He was instrumental in the Pita Maha movement and the design of
signed and dated (lower right)
the Museum Puri Lukisan. The best epilogue is that his ashes were brought back to Bali
pastel on cardboard
where he was burnt together in a grand cremation ceremony with his friend Cokorda.
53 x 51.5cm

PROVENANCE Rudolf Bonnet was one of the great personalities who fueled the Balinese legend as an
Christie’s Amsterdam, Netherland, artist’s paradise, having helped set up the Pita Maha movement (with Walter Spies and
Art From The 19 th - 20 th & 21 st Centuries - Gusti Nyoman Lempad), and the Museum Puri Lukisan, and received posthumously,
Indonesian Art - Graffiti Art - Vrig Beelden the Dharma Kusuma Art Award, Indonesia’s highest cultural award. He was educated
And Creatie, 8 March 2011, Lot 166 at the Rijksakademie van Beeldende Kunsten in Amsterdam, and arrived in Bali in 1929
Private collection, Kuala Lumpur where he had stayed until 1940. After time in internment camps in Pare-Pare, Bolong
and Makassar, he returned to Bali and set up base in Campuan, where Antonio Blanco
RM 12,000 – 22,000 was. After his 1957 ban, he was to return to Bali in 1972 to complete work on the museum.

136
1 03

DZULKIFLI BUYONG
b. Kuala Lumpur, 1948 - d. 2004
Rare to obtain in the market, this self portrait of Dzulkifli Buyong is painted with vigour
using exquisite shades of blue and orange hues. Dzulkifli Buyong was a wunderkind
Self Portrait, 1971
of the Wednesday Art Group which he joined from 1962 to 1966. He is known for his
mini psychological dramas of children at play and in the rural home surroundings,
signed and dated (lower right)
and often with a cat in tow or sometimes with the cat taking centrestage itself. He
watercolour on paper
first excelled in 1962 when he won the Best Overall Entry award presented by the
31 x 24cm
Raja Permaisuri Agong and then prime minister Tunku Abdul Rahman. His other
PROVENANCE awards include: 1 st , 2nd and 3 rd Prizes (pastels), Young Friends’ Art Competition
Private collection, Kuala Lumpur 1962; 3 rd Prize (oil) and 3 rd Prize (pastel), Mother & Child competition 1963; 1 st and
2nd (pastels), Young Friends Competition 1963; 3 rd Prize, Bahasa Kebangsaan Month
RM 12,000 – 18,000 Poster Competition, 1964; 2nd Prize (pastel), Joy of Living competition, 1964.

137
 104

HAMIDAH SUHAIMI
b. Singapore, 1935 - d. 2015

Budak Melayu, 1996

signed and dated (lower right)

pastel on paper
72 x 52cm

PROVENANCE
Private collection, Kuala Lumpur

RM 18,000 – 32,000

Tradition dies hard, and this seems more prevalent in rural areas. Urban centres tend to have more techy percussion instruments
whereas one can expect natural sounds from musical instruments used in the kampung, and for more sacred and ceremonial rituals.
And the two-headed gendang, a membranophone combined usually with a gamelan orchestra, is a favourite among traditional Malay
communities in Malaysia and Indonesia. The Indians use a somewhat similar instrument called the mridangam. The Malays have a
strong aptitude to musical instruments, traditional and modern, and in (Tan Sri) P. Ramlee movies, one can find the violins being
popular. As the somewhat extreme Malay adage goes, ‘Biar mati anak, jangan mati adat’ (Let the child be sacrificed, but not the
customs (culture). The boy in resplendent pink-orange baju melayu with a mandarin collar looks all set to drum up some rousing
beats for the occasion. Hamidah Suhaimi, like her husband Mazli Mat Som, was already accomplished in portraits in the 1990s but
took second fiddle to Mazli probably because of gender bias. She made frequent trips down from Singapore where she was originally
based, to take lessons from Dato’ Hoessein Enas of Angkatan Pelukis SeMalaysia.

138
105

HAMIDAH SUHAIMI
b. Singapore, 1935 - d. 2015

Gadis Dengan Labu Air, 1998

signed and dated (lower left)

pastel on paper
72 x 52cm

PROVENANCE
Private collection, Kuala Lumpur

RM 15,000 – 28,000

Hamidah Suhaimi consistently highlighted Malay cultural heritage in her works, mostly in her métier pastels. Her works showed up
a combination of her two main themes, figuratives and cultural objects, in this case the famed ebony labu (water pitcher) sayong of
Perak, which got its colour from burning discarded rice husks. The woman looks regal despite a simple coiffure. Cradling a large labu
sayong, she exudes the sophistication of a collector perhaps. The transparent light tangerine blouse she wore over her dress shows
that she is not the typical kampung girl or even a potter. And she obviously looks tall, which adds to her stature.

Hamidah Suhaimi, who was of Syrian stock, was a religious teacher in Singapore. Self-taught, she espoused the portrait tradition, and
joined Angkatan Pelukis Aneka Daya in Singapore under Syed Mahadar, and the Angkatan Pelukis SeMalaysia (APS) in Kuala Lumpur
under the guidance of Dato’ Hoessein Enas. She later married Mazli Mat Som, the de facto No. 2 to Dato’ Hoessein and who later
helmed APS. Two of her pastels, Kebaya (1970) and Aida (1971), are in the collection of the National Art Gallery Malaysia. She did not
have any solo, but her recent-years exhibitions include Aku (Self-Portraits, 1999), Three Contemporaries (2012) and Salut 55 (2014).

139
 1 06

MAZLI MAT SOM

b. Kuala Lumpur, 1938 - d. 1990

Gadis Melayu, 1977

signed and dated (lower left)

oil on canvas
101 x 76cm

PROVENANCE
Private collection, Kuala Lumpur

RM 30,000 – 50,000

‘Bathers’ in the alfresco is a favourite theme among artist, both East and West. Here, Mazli Mat Som seems wary of avoiding the style
of his mentor Dato’ Hoessein Enas’ Misty Morning Series of sarong-clad women bathing by a secluded waterfall. Dato’ Hoessein’s
compositions were in turn inspired by the Indonesian Basuki Abdullah. The woman, back tilted to viewer and seated on a cluster of
rocks, is taking a dip in what looks like a seaside with the top of the dress slightly lowered revealing the smooth tones of her back, and
with her hands clasping the front. The wavy line bands of her dress have a lulling effect of the sea waves lapping the shore. What is at
odds with her apparent modesty, is that she is boldly depicted looking back at viewer. It is a nice azure day.

Mazli Mat Som, who succeeded Dato’ Hoessein Enas to helm the Angkatan Pelukis SeMalaysia (previously SeMenanjung), is best
known for his two iconic works in the collection of the National Art Gallery: Menanti Nelayan (1961) and Yati (Noriati, 1964). As a
protégé of Dato’ Hoessein, he upheld and promoted the best figurative traditions but died five years before his mentor. Among those
active during his time were Idris Salam, Mohd Sallehuddin, Sabtu Mohd Yusof and his wife Hamidah Suhaimi, who painted similarly
well in the figurative tradition. In his second outing in the Henry Butcher Art Auction on Nov 3, 2019, his Malay Boy (1970) raised a
premium of a record RM38,080.

140
141
 1 07

SAMJIS MAT JAN

b. Malacca, 1952

Lady In Green, 1996

signed and dated (lower right)

oil on canvas
105 x 73cm

PROVENANCE
Private collection, Kuala Lumpur

RM 95,000 – 155,000

The sweet lady in green is a regular model on Samjis Mat Jan’s canvas, with her head slightly tilted. Samjis, a portraiture legend from
the Angkatan Pelukis SeMalaysia (APS), cleverly plays on blends of greens to subdue and assuage whatever’s the emotions affecting
her, with radiant yellow added to her Baju Kurung for subtle body accentuations. Her hands are clasped, her left hand revealing
freckles and they are propped at the end of the head of the chair rest for support. Softness is the key to the work even as the lone
female figure in what looks like a Drama Minggu Ini episode is wrapped up in her own world. Professor Muliyadi Mahamood in his
book, Modern Malaysian Art From The Pioneering Era To The Pluralist Era, 1930s-1990s, wrote that Samjis “refines his portraits in a
natural and realistic manner. He documents precise moments by depicting his model’s personal traits.” Samjis himself had opined that
Figurative painting gives him more freedom to exercise creativity.

Samjis Mat Jan differs from his APS predecessors like Dato’ Hoessein Enas and Mazli Mat Som in the way he chooses and treats his
subjects, while he still paints portraits of Malay women, mostly primly dressed. While Dato’ Hoessein and Mazli preferred landscapes,
Samjis turns his brushes to urban life, focusing on restless Malay youths in jeans ‘lepak-ing’ (loitering), which he started in the 1980s in
iconic works such as Rendezvous (1984) and Missing Link. He is also sought-after for portraits, and has done portraits of Dr. Mahathir
Mohamed (Tun), Musa Hitam (Tun), the 1 st Yang di-Pertuan Agong Tuanku Abdul Rahman, the 8 th Yang di-Pertuan Agong Sultan
Iskandar Ismail and Raja Permaisuri Agong Sultanah Zanariah, and the royal families of Selangor, Kedah and Perlis. He has also done
socio-historical works like Merdeka Declaration Of Independence. Samjis studied at the Mara Institute of Technology, failing in
Architecture (School of Building) but with a diploma in Fine Art (1981). He had his primary education in Malacca and secondary
education in Terengganu.

142
108

LIEW CHOONG CHING

b. Pahang, 1953

Orang Asli Series:

Sitting With A Cat, 1998

signed and dated (lower left)

oil on canvas
68 x 53cm

PROVENANCE
Private collection, Selangor

RM 3,000 – 5,000

Known as a figurative painter, Liew Choong Ching has been working as a full
time artist since 1999. The orang asli (aborigine) is shown in a contemplative
mood, and is modelled using delicate strokes through the skilful treatment of
light. The subtle tones of the body has allowed the intricate patterns on the
fabric to stand out.

Liew Choong Ching received his education from Kuala Lumpur College of Art
in 1994. His solo exhibitions include Tropical Fragrance, Balai Berita NSTP, KL
(2009), Shadow & Light, Galeri Seni Mutiara, Penang (2010), and Secret Battle,
ArtSeni Gallery, KL (2011). Selected exhibitions include Safari Asian Watercolour
Expression, Bentara Budaya Jakarta (2012) and Impression of Malaysia
Contemporary Art Exhibition (2010). Selected Public Collections include
Kontena Nasional Malaysia and PNB (Permodalan Nasional Berhad) Malaysia.

143
 1 09
Khalil Ibrahim strays from his usual painting hunting ground of Kelantan and
KHALIL IBRAHIM Terengganu to visit Pantai Kundu, off the coast of Malacca, in this portrait of a
fisherman looking more like an urban dweller clad in a jersey with blue stripes instead
b. Kelantan, 1934 - d. Selangor, 2018
of torn t-shirts they are often seen with. There is a cheery mood about, the fisherman
looking well and contented, the blue skies matched by the blue stripes on the jersey,
Pantai Kundu I, 1999 and even the fishing boats are painted in bright colours. It’s been said that one can
even go night fishing in the kelong (offshore platform built by fishermen). This work is
signed and dated (lower right) illustrated in the Khalil Ibrahim: The Art Journey coffee-table book.
acrylic on canvas
20 x 25.5cm A southpaw, Khalil Ibrahim is truly one of Malaysia’s most gifted artist who worked
excellently in watercolours, acrylic, batik, oil, pastels and pen, and was also adept
ILLUSTRATED
at figures, landscapes, still-life and abstracts. Although he won a Pahang State
Khalil Ibrahim - A Continued Dialogue,
scholarship to study for his National Diploma of Design in Fine Arts at St Martin’s
Balai Seni Lukis Negara, p. 80
School of Art and Design in London, 1963 (postgraduate 1965), he never had to work
PROVENANCE to repay but instead turned fulltime in September 1966 on his return. In 1970, he held
Private collection, Selangor a solo in Indonesia, the first Malaysian to have done so, and was given a double solo
at the Samat Art Gallery, Kuala Lumpur. He was also a co-founder of the Malaysian
RM 28,000 – 48,000 Watercolour Society.

144
11 0 Illustrated here is an alluring scene at a port jetty in Kuala Selangor River, a small coastal
village known for recreation activities for nature lovers. Fung Yow Chork has skilfully
FUNG YOW CHORK captured calming jetty depot alongside a kampung house, and boats moored at the
b. China, 1918 - d. 2013 dockside. His use of vibrant palette — consisting of light blue for the sky, shades of
brown for the wooden stilt depot and bright red and pastel yellow for the boats and
green across the picture plane — create a picturesque view of an otherwise monotonous
Kuala Selangor River, 1979
setting, a testament to his artistic flair.

signed and dated (lower left)

Fung Yow Chork is considered one of the finest impressionists in the country. At the
oil on board
age of 13, he was taught by a teacher who had studied impressionism in Japan. He
40 x 50cm
befriended Professor Chung Pak Mook of the Nanyang Academy of Fine Art, Singapore.
PROVENANCE His solo exhibitions were held at The Art Gallery, Penang (1998), Rupa Gallery, Kuala
Private collection, Selangor Lumpur (1983), Australian High Commission, Kuala Lumpur (1982), Chin Woo Gallery,
Kuala Lumpur (1981). He was awarded Second Prize, Merdeka Independence Trade
RM 3,500 – 6,500 Fair’s Art and Photographic Exhibition (1957).

14 5
 The Malacca Series represents one of the early successes of Peter Liew in his
paintings of landscapes and the panorama. There is also the rawness of his strokes
where he cut and sculptured the paintings with his palette knife, and his palette
111 of sombre colours that marked his impecunious state when starting and painting
fulltime again in October 1994. The Malacca Series is in his major exhibition in
PETER LIEW Journey Into Landscape, complete with a catalogue, at Galeri Maybank in 1997. He
b. Perak, 1955 plays on the chiaroscuro with a little spot of colour in the furrows of stilt houses by
the river. What is afoot and what stirs amidst the darkened rows? A traveller artist,
Peter Liew has travelled all over for his intrinsic impressions of the landscapes: the
Malacca River Series, 2004
United States, New Zealand, China, Vietnam, Europe, Macedonia, Turkey, Russia...

signed and dated (lower left)

Peter Liew was educated at the Malaysian Institute of Art (MIA, 1976-1979, Best
oil on canvas
Student 1978), where he taught from 1981 to 1994. His other works revolve around
152 x 274cm
old architecture, quaysides and recently, landscape portraits. He has several solos
PROVENANCE since his first at Art House Gallery, Kuala Lumpur, in 1981, including in Art Expo
Private collection, Selangor Malaysia and a solo in Skopje, Macedonia, in 2002, after invited to the art colony in
Debrca, Belchrista and Macedonia in 2000. His recent solos were held at National
RM 90,000 – 160,000 Art Gallery Malaysia & Wisma Kebudayaan Soka Gakkai Malaysia.

146
 The Nagore durgha (dargah) or shrine was built in the early 1800s around the same time as

11 2 the Kapitan Keling Mosque, in honour of Syed Shahul Hamid, a popular 13 th Century Sufi
saint in coastal Nagore in Tamil Nadu. Lying at the junction of King Street and Chulia Street
CHONG HON FATT, in Penang, it stands out by its whitish paintwork, like the White Mosque.

DATO’ A star pupil of art pioneer Lee Cheng Yong (1913-74) at the Chung Ling High School in
b. Penang, 1941 Penang, Chong Hon Fatt was conferred the Darjah Setia Pangkuan Negeri (which carries
the title Dato’) by the Penang Yang di-Pertua Negeri.
Masjid Nagore, Penang,
Previously, his highest point was the Retrospective given in his honour by the Penang
1994
State Government in 2012, back at the revered institution after a solo there in 1997. In 2007
and 2009, he was commissioned by the Chinese authorities under the Fortified Towers
signed and dated (lower right)
Under The Sun Project, to paint the World Unesco tulou (tower fortress buildings) sites in
oil on canvas
Guangdong and Fujian respectively. He had done a total of 50 works, from several trips. He
51 x 61cm
is noted as a painter who chases the sun and would pack up if it is the rainy season.
PROVENANCE
Private collection, Selangor Other topical focus included the Penang Jetties (postcards), the Mosques In West
Malaysia (Art Case Galleries, 2001) and calendar commissions by the Kelang Terminal
RM 3,000 – 5,500 (1990), Malaysia Smelting and Kontena Nasional (both 1991).

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LUI CHENG THAK

b. Negeri Sembilan, 1967

My Heart Is Open, 2013

signed and dated (lower right)

oil on canvas
76 x 101cm

PROVENANCE
Private collection, Kuala Lumpur

♦ PINKGUY Conservation Framing for this lot

RM 20,000 – 32,000

Lui Cheng Thak ’s works are influenced by traditional architecture

in urban areas and collective memories. The well-known artist
is known to document unique colonial buildings from states
like Penang, Malacca as well as Kuala Lumpur. Here, the artist
illustrates the facade of a heritage building, portraying a scene
from everyday life. The view is animated with a subtle play of light,
featuring his signature elements of the birdcage and batik sarong.

Lui studied at the Kuala Lumpur College of Art from 1987 to 1989.
His early solos were As I Was Passing (Hotel Istana, organised by
Pelita Hati), Our Heritage (Rusli Hashim Fine Art, 2001), As I Was
Passing II (Galeri Citra, 2006), Circles: Nostalgia and Collective
Memory (White Box Publika, 2014). This was followed by ten
consecutive solos with PINKGUY Gallery. He had a record of sort
in his Redeem solo exhibition at PINKGUY in 2014 when all 12
works were sold within 18 minutes of opening!

148
149
 The delicate play of light and shadows is well caught in this diagonal take of a street scene in
Kathmandu near the New Road financial hub. Foreground is a stupa of cut bricks while the
centre has barefooted devotees in prayers making their way past the entrance of a Hindu
temple (mandir) in the typical Newar style of architecture. The pervasive wash of yellow
clay for mortar envelops the whole composition. The afternoon heat is intense and the
11 4 unpaved roads suggest a dusty scenario though no fume-emitting vehicles are seen. What
is most interesting is the broken-mosaic broken-brick façade of the temple on the right top
ONG KIM SENG diagonal. It was the watercolours of Nepal, especially Kathmandu, that virtually launched
b. Singapore, 1945 the career of world-acclaimed watercolourist Ong Kim Seng who went fulltime in 1985.

Self-taught Ong Kim Seng has travelled all over the world to paint quaint scenes of romance.
Kathmandu Series, 2007
Such is his skills that he is the first Asian outside of the United States to be made a member
of the American Watercolour Society, and after winning a total of six different awards made
signed and dated (lower right)
a Dolphin Fellow in 2000 (he is a member since 1992). In Singapore, he was accorded the
watercolour on paper
Cultural Medallion (1990) and the Arts Supporters Award (2001) for being adviser to the
52 x 73cm
National Arts Council since 1998. He is also president of the Singapore Watercolour Society
PROVENANCE from 1991 to 2001, and organising chairman of the Asian Watercolours 1997. His collectors
Private collection, Kuala Lumpur include Queen Elizabeth II, former UN secretary-general Kofi Anan, and former prime
ministers of Thailand, Japan and India. In the Hong Kong Sotheby’s auction on April 2, 2017,
RM 25,000 – 45,000 his acrylic on canvas, Nepal, sold for a premium of HK$735,000.

150
11 5
ALEX LEONG
b. Penang, 1969 Little India Hawkers Stall is famous for its Indian cuisine. Located in the
heart of Georgetown, this place is a must visit when it comes to Penang
Little India Hawkers Stall, Penang, hawker street food. The street is always buzzing with people and sounds of
bollywood music can be heard upon entering Little India and it gets more
2009
happening by night time.

signed and dated (lower right)

Alex Leong, born in 1969 in Penang, is catching the attention of collectors
watercolour on paper
in these recent years, especially when his works are successfully auctioned
38 x 56cm
off at various local art auction houses. With a few solo exhibitions along his
PROVENANCE journey as an artist, he has been actively participating in group exhibitions
Private collection, Kuala Lumpur locally and abroad, e.g. Singapore, China, Indonesia, and Korea. His
watercolour compositions of famous street scenes in Malaysia are well
RM 2,500 – 4,500 sought after by collectors.

151
 116

ANISA ABDULLAH
b. Poland, 1985

Jalan Tun HS Lee, formerly known as Jalan Bandar (and High Street before
Si Kain Pelekat, 2013
that), runs through Kuala Lumpur Chinatown, and remains a commercial
hotspot to this day. The road spans 1.8km, and starts from Jalan Gereja to Jalan
mixed media and collage on canvas
Syed Putra. Heritage buildings and landmarks are still present, though the
121 x 214cm
wave of commercialisation has changed the locale, with commercial activity
PROVENANCE concentrated near the Masjid Jamek LRT station. The artist here depicts the
Private collection, Kuala Lumpur many changes that have transformed the street, as evidenced by the multiple
street signs that dictate traffic flow. One wonders how Jalan Tun HS Lee will
RM 8,000 – 12,000 further transform...

152
117

ANISA ABDULLAH
b. Poland, 1985 Bukit Bintang is carefully constructed using multiple viewpoints to suggest spatial
depth. Being an ultimate tourist spot in a bustling city, the artist used local cars such
as the hardy Proton Saga, and street signs to depict Bukit Bintang in this composition.
Bukit Bintang, 2012
As the eyes are directed towards the centre, a trishaw suggests the development of
vehicles that ranges from the traditional to modern.
signed (lower right)
mixed media on canvas
Born in Warsaw in Poland, Anisa spent her early life following her diplomat father’s
76 x 153cm
posting in Poland, Pakistan and Saudi Arabia. She graduated with a Diploma in Fine Art
PROVENANCE from IKIP College, Kuantan, Pahang, in 2005-2008, and a BFA from the Universiti Mara
Private collection, Kuala Lumpur Institute of Technology, majoring in Painting, in 2008-2010. She was awarded a NAFA
artist’s residency in Yogyakarta, Indonesia, in 2012. Her first solo, Cebis-Cebis, was at
RM 4,500 – 7,500 the Galeri Chandan on April 8-May 8, 2013.

153
 11 8

REDZA PIYADASA
b. Pahang, 1939 - d. Selangor, 2007

Straits Chinese Dwelling, 1990

signed and dated (middle left),

signed and dated on verso
mixed media collage
100 x 76cm

PROVENANCE
Private collection, Kuala Lumpur

RM 50,000 – 80,000

At a glance, this Redza Piyadasa silkscreen collage of a Straits

Chinese terraced residence frontage resembles the one sold
at the Henry Butcher June 30, 2019, auction for a premium of
RM61,600. It’s a different version from the same image used with
slightly different colour schemes on the front pillar balustrades,
the eaves, the doric columns and the triple louvred-window
ensemble upstairs. It has a short frontage setback from the
streetline but which has space only for conventional two-
wheelers. It has the Baroque rojak of a foldable iron grille gate
grafted as the main door – certainly, not in any way a concession
to aesthetic, but the changing security demands of later years of
the 20 th century.

Artist, art-critic and historian Redza Piyadasa won the Major Prize
in the Malaysian Landscape competition in 1974, and the Minor
Award ( jointly with Lee Kian Seng) in the 1979 Salon Malaysia.
In 1998, he was awarded the Prince Claus Award, and in 2001,
the National Art Gallery, honoured him with a Retrospective. He
also won the Australian Cultural Award in 1987 and the Japan
Foundation travel grant in 1992. He was also a co-founder of the
Five Arts Centre in 1983. In 1991, he was artist-in-residence at the
Canberra Institute of Art. Piyadasa graduated with a MFA from
the University of Hawaii, Honolulu (1977) and a BFA from the
Hornsey College of Art, London (1967). He graduated from the
Malayan Teachers College, Brinsford Lodge, Wolverhampton,
Britain in 1959, and the Specialist Teachers Training College,
Kuala Lumpur, in 1962.

154
155
 119
LUI CHENG THAK Best known for his works of quaint architectural facades, Lui paints the
happenings and scenes typically found around old Chinese shophouses. Here
b. Negeri Sembilan, 1967
we see a colonial shophouse, with the first floor used as a commercial shop
that conserve its heritage. The artist has captured the relaxing atmosphere of
Jalan Hang Kasturi, Melaka, 2018 a local street with superb attention for detail. The artwork contains Lui Cheng
Thak ’s signature style, with skillful treatment of light and shadow cast on the
signed and dated (lower left) buildings, local people and rattan objects.
oil on canvas
44 x 44cm Lui studied at the Kuala Lumpur College of Art from 1987 to 1989. His early
solos were As I Was Passing (Hotel Istana, organised by Pelita Hati), Our
PROVENANCE
Heritage (Rusli Hashim Fine Art, 2001), As I Was Passing II (Galeri Citra,
Private collection, Kuala Lumpur
2006), Circles: Nostalgia and Collective Memory (White Box Publika, 2014).
♦ PINKGUY Conservation Framing for this lot This was followed by ten consecutive solos with PINKGUY Gallery. He had a
record of sort in his Redeem solo exhibition at PINKGUY in 2014 when all 12
RM 9,000 – 13,000 works were sold within 18 minutes of opening!

156
120

LUI CHENG THAK

b. Negeri Sembilan, 1967

Bread Vendor, Penang, 2003

signed and dated (lower left)

oil on canvas
27 x 20cm

PROVENANCE
Private collection, Kuala Lumpur

RM 3,000 – 5,500

Best known for his works of quaint architectural facades, here we see an old man
selling bread on a mobile carrier going around town. This image brings back
nostalgic memories of the old days and how we miss the simplicity of it.

Lui studied at the Kuala Lumpur College of Art from 1987 to 1989. His early solos
were As I Was Passing (Hotel Istana, organised by Pelita Hati), Our Heritage (Rusli
Hashim Fine Art, 2001), As I Was Passing II (Galeri Citra, 2006), Circles: Nostalgia
and Collective Memory (White Box Publika, 2014). This was followed by ten
consecutive solos with PINKGUY Gallery. He had a record of sort in his Redeem
solo exhibition at PINKGUY in 2014 when all 12 works were sold within 18 minutes
of opening!

157
 Humans are the most complex creatures on earth. Rarely do they show their real faces in public,
but often hide behind a mask, which if worn too long becomes their real face, one etched with all
the misdeeds of the real self. This is especially so with unscrupulous politicians and the ruthless
climbing the corporate ladder. Yusof Ghani was inspired in his Topeng (Masks) series by the
ceremonial and curing rituals of masks worn by the Kayan and the Kenyah tribes, which, however,
121 seemingly grotesque, help protect against evil spirits. This work stems from Yusof Ghani’s second
instalment of Topeng, which he unveiled at GaleriCitra, Kuala Lumpur. The title suggests it could
YUSOF GHANI possibly be referring to the Anak Alam art group comprised of members like Latiff Mohidin, Khalil
b. Johor, 1950 Ibrahim, Mustapha Ibrahim, Ali Rahamad, Siti Zainon etc.

Topeng Series — Yusof Ghani was involved in art-related jobs for 10 years despite not having any formal education
and even without having to go through the Mara Institute of Technology Fine Arts mill. He was
Anak Alam, 1995
artist-illustrator at the Agriculture Ministry (1967), instructor in the Fisheries Institute, Penang
(1971) and a graphic artist at Radio-Television Malaysia (1977). His big break came when he got
signed (lower right)
a scholarship to study for his BFA at the George Mason University in the United States (1981),
oil on canvas
and MFA at the Catholic University in Washington, USA (1983). On his return, he lectured at the
62 x 92cm
Universiti ITM with the rank of Associate Professor, but unleashed some of the most memorable
PROVENANCE art series: Tari, Topeng, Wayang, Hijau, Segerak, Biring, Wajah and Ombak. He singlehandedly
Private collection, Selangor organised the Shah Alam Biennale involving artists from 15 countries on Sept 21-Oct 1, 2016. Yusof
Ghani made his London foray with an exhibition, Segerak VI – Transcendent Figures, at the Asia
RM 28,000 – 40,000 House, on April 3-7, 2017. His solo Segerak VIII in August 2019 was a great success.

158
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YUSOF GHANI
b. Johor, 1950

Wajah Series — Gaza, 2008-2009

signed and dated (lower right)

mixed media on canvas
117 x 59cm

PROVENANCE
Private collection, Selangor

RM 15,000 – 28,000

The main observance about Yusof Ghani’s Wajah Series, done roughly between 2006 and 2010, is the absence of eyes in the phalanx
of faces, heavily textured with different colours, profile or frontal. The eyeless device is to confer anonymity and as a concealment,
for eyes are purportedly windows to the soul. But the way it is rendered borders on the caricatures, meaning that it is not something
complimentary like a benign or smiling face. Notice that the faces are segmented into two strata, with the top showing a boss-
like detachment, while the bottom half is riddled by sourpuss faces to the point of insolence. Unlike his other series, Yusof Ghani
introduced his Wajah Series abroad, in Canada, as Wajah: Faces Of Life, at the Richmond Art and Cultural Center, Vancouver in 2009.
As the artwork title suggests, this piece depicts the emotions of people who have sympathy and empathy towards the sufferings
happening in Gaza.

159
 The chant of Reformasi resonated throughout the political landscape of the
country at the end of the last millennium. It was turbulent times with daily
123 quarrels and threats across the political divide. Dissent and opposition were duly
suppressed, and the play-actors were the minions perpetuating the fascist farce.
ZULKIFLI YUSOFF The artist as a chronicler could only hint at the mayhem and even then in typical
b. Kedah, 1962 Bangsawan ways with meaning and intent generalized and perhaps satirized.
These were challenging uncertain times and the actors in this grand powerplay,
Kuda Dan Tuannya; Pilih Saya, wherever they were from did not come off smelling of roses, but had only the
contempt of the very people they had pledged to serve.
1999

At 58, Zulkifli Yusoff looks among the front-runners for the mantle of Malaysian
signed and dated (lower right);
art. He showed at the 1998 Venice Biennale’s Modernities and Memories: Recent
signed and dated (lower left)
Works from the Islamic World and the 2019 edition. He won the Grand Minister’s
oil on canvas
Prize in the Salon Malaysia III in 1992, and the Major Award in the Young
40 x 35cm each (set of 2)
Contemporary Artists in 1988 and 1989 ( jointly). He was accorded the National
PROVENANCE Academic Award (Visual Art) in 2007. He was selected for the Asia-Pacific
Private collection, Selangor Triennial in Brisbane, Australia, in 1993, and the Singapore Biennale in 2013.
Trained at the Mara Institute of Technology, Zulkifli graduated with a Masters at
RM 8,500 – 14,000 the Manchester Polytechnic in 1991.

160
124

ZULKIFLI YUSOFF
b. Kedah, 1962

Pahlawan Yang Berani Dari

Pasir Salak, 2007

signed and dated (lower right)

acrylic on canvas
152 x 117cm

PROVENANCE
Private collection, Kuala Lumpur

RM 24,000 – 42,000

The caption refers to the first flush of Malay nationalism and resistance to British
imperialism. It marks both a triumph and a tragedy in the events leading to, and the
aftermath of, the assassination of J.W.W. Birch (1826-1875), the 1 st British Resident of
Perak, which led to the Perak War and a proliferation of British rule in the peninsula.
The Sultan (Abdullah) was banished to the Seychelles while Dato Mahajalela and his
followers behind the assassination were executed by hanging. Dato Mahajalela is
celebrated as a folk hero, though a memorial was built for Birch in Ipoh, while a road
in Kuala Lumpur is renamed Jalan Mahajalela over the original Birch Road, although
this ‘Birch’ was the son of the Birch speared while bathing in his boathouse of his boat,
SS Dragon, moored on the Perak river bank in what is today’s Teluk Intan. He died
two days short of his first anniversary as British Resident. The sultan was insulted by
Birch’s interference with religion and custom, and usurped the privilege of collecting
taxes, although opposing argument had him paid the price for trying to abolish the
prevalent slavery. The Birch Incident was famously revisited in Kee Thuan Chye’s 1994
play, We Could **** You, Mr Birch.

161
 125

ABDUL LATIFF MOHIDIN

b. Negeri Sembilan, 1938

Rimba Series, 1997

signed and dated ‘Latiff 97 ’ (lower left)

oil on board
96 x 86cm

PROVENANCE
Private collection, Kuala Lumpur

RM 210,000 – 360,000

In Latiff Mohidin’s trinity of gestural paintings, the Rimba Series ranks as a transition of consolidation and
recollection before the dreamy flotsams into his Voyage Series. It’s a spot of respite, in reassessing and
reattuning to the natural environs and the outgrowth of foliage, rehashing the cycle of birth, rejuvenation
and decay, and the struggles therein. The brushstrokes are more glacial and coarse, with antithetical
force, unlike the splotchy skeins of thick yellow ochres in full sound and fury of the preceding Gelombang
Series. Staunch phalanxes, some in vertical bulwarks, stem the once vigorous splatters, but if there was
sound and fury, it likes in the crackling snaps of twigs, triggered from within the natural elements itself,
like the strong winds. Nature is always something inherent and implicit in Latiff ’s oeuvre, and in Rimba,
there seems to be an attempt to reconnect, to nurture and sustain, for an uncertain balance.

Latiff Mohidin is a great Southeast Asian icon in art and literature (poetry). After his major Retrospective,
dubbed 60 Years Latiff Mohidin in December 2012-June 2013, his actual second at the Kuala Lumpur
National Art Gallery, he hit a new peak when his celebrated Pago-Pago Series was chosen as the first
feature showcase from Southeast Asia, at the exalted Pompidou Centre in Paris, in 2018. For his poetry,
he clinched the Malaysian Literary Awards consecutively from 1972 to 1976, the SEA Write Award in 1984
and 1986. He was appointed Guest Writer at Dewan Bahasa dan Pustaka in 1988. His fluency in Deutsche
when taking his art studies at the Hochschule fur Bildende Kunst in West Berlin saw him translate
Goethe’s Faust later. Latiff had also won the John D. Rockefeller III Fellowship (1965) and the French
Culture Ministry to study printmaking at the Atelier Lacouriere-Frelaut in Paris (1969). His art repertoire
comprises drawings, prints, paintings and sculptures. His first break was when he won 2nd Prize (Graphic)
in the 1968 Salon Malaysia.

162
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 1 26

SHARIFAH FATIMAH SYED ZUBIR,

DATO’
b. Kedah, 1948

Hymns Of The Earth 9, 1996

acrylic and modelling paste on board

60 x 45cm

PROVENANCE
Private collection, Kuala Lumpur

RM 12,000 – 20,000

Inspired by rock formations in nature, broad strokes are rendered

with palette knife. The technique of using modelling paste for its
textural quality was inspired by the Indonesian artist A.D. Pirous. In
this work, colours of different tones and hues are applied, creating
mesmerizing layers of depth.

Dato’ Sharifah Fatimah Zubir is without doubt one of the greatest

women artists in Malaysia today, with a body of astonishing
unequalled works. She is from the pioneering batch of fine art
students from the Mara Institute of Techbology (now a university)
graduating in 1971. She studied for her BFA at the Reading
University, England, in 1973-1976, and her MFA at the Pratt Institute,
New York, in 1976-1978, under the JDR III Fund fellowship. She won
the Minor Award in the Malaysian Landscape competition in 1972
and the 1981 Bakat Muda Sezaman. In 1979, she won the coveted
Major Award in the Salon Malaysia. In 2007, she was conferred the
Dato’ title by the Sultan of Kedah. Her other awards include 3 rd
Prize 2nd Biennial of Contemporary Painting of the Islamic World
in Tehran, Iran, in 2003. Prices of her artworks have been soaring
high recently in auction houses locally and abroad.

164
165
 127

SHARIFAH FATIMAH
SYED ZUBIR, DATO’
b. Kedah, 1948

Mindscape 6, 2011

signed on verso
acrylic on paper
38 x 28cm

PROVENANCE
Private collection, Selangor

RM 4,500 – 7,500

Colours and the play of light are the main components of Dato’ Sharifah Fatimah’s
work. For her, colour is energy while light symbolises existence. The artist manifests
the dynamic interactions of colours, combining elegant strokes applied in multiple
directions. She is strongly influenced by Nature’s movements, producing contemplative
works which suggest an underlying philosophical ideal.

166
128 These works on paper were created when the artist was studying art abroad,
and is a testament to her early talents. The artist’s exploration of space is well
SHARIFAH FATIMAH expressed through the forms and colours, resulting in a poetic composition
of balanced elements.
SYED ZUBIR, DATO’
b. Kedah, 1948 Dato’ Sharifah Fatimah Zubir is without doubt one of the greatest women
artists in Malaysia today, with a body of astonishing unequalled works. She
is from the pioneering batch of fine art students from the Mara Institute of
Untitled; Leaves, undated
Techbology (now a university) graduating in 1971. She studied for her BFA
at the Reading University, England, in 1973-1976, and her MFA at the Pratt
signed (lower right)
Institute, New York, in 1976-1978, under the JDR III Fund fellowship. She won
acrylic on paper; etching on paper, A/P
the Minor Award in the Malaysian Landscape competition in 1972 and the 1981
24 x 21cm; 24.5 x 32cm
Bakat Muda Sezaman. In 1979, she won the coveted Major Award in the Salon
PROVENANCE Malaysia. In 2007, she was conferred the Dato’ title by the Sultan of Kedah.
Private collection, Austria Her other awards include 3 rd Prize 2nd Biennial of Contemporary Painting of
the Islamic World in Tehran, Iran, in 2003. Prices of her artworks have been
RM 6,000 – 10,000 soaring high recently in auction houses locally and abroad.

167
 1 29

ABDUL LATIFF MOHIDIN

b. Negeri Sembilan, 1938

Madame Le Chair (Pago-Pago Series), 1969

inscribed ‘Paris 69 Madame Le Chair’ (lower left & center),

signed and dated ‘AL.69’ (lower right)
ink on paper
17 x 11cm

PROVENANCE
Private collection, Selangor

RM 45,000 – 80,000

This rare Pago-Pago drawing by Abdul Latiff Mohidin was done in

Paris in 1969, with the ‘Le Chair’ probably referring to the “flesh”
and with the pergola arch of strokes referencing the Arc de
Triomphe. How you make of the front monolith of thorny strokes
will be interesting in deciphering an attempt at abstraction.

Latiff Mohidin is a great Southeast Asian icon in art and literature

(poetry). After his major Retrospective, dubbed 60 Years Latiff
Mohidin in December 2012-June 2013, his actual second at the
Kuala Lumpur National Art Gallery, he hit a new peak when his
celebrated Pago-Pago Series was chosen as the first feature
showcase from Southeast Asia, at the exalted Pompidou Centre
in Paris, in 2018. For his poetry, he clinched the Malaysian Literary
Awards consecutively from 1972 to 1976, the SEA Write Award in
1984 and 1986. He was appointed Guest Writer at Dewan Bahasa
dan Pustaka in 1988. His fluency in Deutsche when taking his art
studies at the Hochschule fur Bildende Kunst in West Berlin saw
him translate Goethe’s Faust later. Latiff had also won the John D.
Rockefeller III Fellowship (1965) and the French Culture Ministry
to study printmaking at the Atelier Lacouriere-Frelaut in Paris
(1969). His art repertoire comprises drawings, prints, paintings and
sculptures. His first break was when he won 2nd Prize (Graphic) in
the 1968 Salon Malaysia.

168
169
 13 0

IBRAHIM HUSSEIN, DATUK

b. Kedah, 1936 - d. Kuala Lumpur, 2009

Honeymoon, 1974

signed and dated (lower left)

acrylic on paper
28 x 37cm

PROVENANCE
Private collection, Selangor

RM 30,000 – 50,000

In the 1970s, Datuk Ibrahim Hussein produced a series of works fusing figures as tumbling torsos in
suggestive couplings ore simulating a symbolic journey. Ib, as the artist is popularly known, has partly
explained his figures to art-writer Ooi Kok Chuen, in an interview: “Life is a Monorobos, of human beings
passing from one entanglement to another.” (New Sunday Times, March 13, 1986). It was a time when he
was a resident artist at Universiti Malaya (Fifth College, 1971-1978).

The artwork was given by Ib to his friend who was staying at the same Fifth College, as a congratulatory
gift, wishing the newly-wed couple happy marriage and honeymoon. Thus, this artwork titled Honeymoon
is of embalming hazy ambience and noctural tryst. To lovers, the night is always young as they whisper
sweet nothings to each other’s ear, but then the start of a commitment to a relationship is always fraught
with imponderables. There is the silhouette of the moon again, as a witness to the union as well as a
spiritual protector.

Datuk Ibrahim Hussein is the most internationally high-profiled with international decorations to boot:
The Japan Foundation Cultural Award (1981), Venezuela’s Order of Andres Bello (1993), Chile’s Order of
Bernardo O. Higgins (1996) and the highly prestigious World Economic Forum’s Crystal Award (1997).
He founded the Ibrahim Hussein Museum in Langkawi, launched in 2000, but it had closed because of
mounting high maintenance. He captured celebrity status when he was selected to exhibit with Andy
Warhol and Salvador Dali at the Dhalat Abdulla Al-Salam Gallery in Kuwait in 1977. He was accorded a
Retrospective by the National Art Gallery Malaysia in 1986. He was educated at the Byam Shaw School of
Drawing and Painting in London (1963) and the Royal Academy (1966) in London. He visited the United
States on a Fulbright scholarship (1967) and the John D. Rockefeller III Fund fellowship (1967-68).

170
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 131
For Dato’ Tajuddin the work of art is the visual manifestation of the artist’s
TAJUDDIN ISMAIL, DATO’ intellectual journey. In this context, his work reflects his admiration for the
b. Negeri Sembilan, 1949 great french artist Henri Matisse and the way he sees an installation of flowers
in a certain setting. Both are executed in his signature style, blocks of colors
Innerspace — Homage To Matisse III; and geometric shapes are united to form a vibrant composition.

Interiorscape With Flower, 1992

Dato’ Tajuddin graduated in Graphic Design at the Art Centre College of
Design in Los Angeles, the United States, in 1974. He did his Post-graduate
signed and dated (lower right)
Interior Architecture at the Pratt Institute in New York in 1979-81. His
mixed media on paper
accolades include the Major Award, National Drawing Competition in 1977;
42 x 39cm; 40 x 37cm (set of 2)
Minor Award, National Graphic Art, National Art Gallery, 1978; Minor Award,
PROVENANCE Salon Malaysia, 1979; and Minor Award, National Design Council, 1994. He
Private collection, Kuala Lumpur set up TJ Fine Art in 2004. After teaching at the University Mara Institute
of Technology for several years, he joined Sunway University as Fine Arts
RM 6,000 – 10,000 Department Associate Professor and Academic Adviser.

172
 Abstract painter Suzlee Ibrahim gains inspiration from travelling the globe. His
13 2 gestural paintings focus on brushstrokes and colour palette. On offer here is a
good example with strokes of red, yellow, blue, white and black cramped against
SUZLEE IBRAHIM each other to make up an elegant composition. He graduated from the Mara
b. Terengganu, 1967 Institute of Technology in 1987, but started lecturing in his alma-mater from 1993
to 2009 (part-time 1993-1996), after a stint in advertising. He is now lecturing at
the National Academy of Arts, Culture and Heritage (Aswara). He has taken part
Candle In The Wind, 2011-2012
in exhibitions in more than 20 countries including solos in Denmark (Remise
Academy, Brande) and Macedonia (Kicevo art colony). In 2010, he took part in
signed and dated (lower right)
the Tunisia Art Festival Workshop in Monastir. He had a mini survey show called,
oil and acrylic on canvas
Suzlee Ibrahim: 30 Years Journey, at The Art People Gallery in Klang, from July
123 x 122cm
to September 2016. His awards include: Tokoh Seni Anugerah Citra Kencana
PROVENANCE UKM in 2011; the Japan-Malaysia Art Friendship Ambassador (2007) and the
Private collection, Selangor Emaar Art Symposium Outstanding Creative Excellence Award, Dubai, United
Arab Emirates (2005). Sotheby’s Hong Kong April 2018 auction sale saw his
RM 18,000 – 34,000 work sold for HKD 237,500.

173
 It looks like one of Rafiee Ghani’s interiors with Matissean gaiety of colours from his
series of The Painted Garden until one read the title, She Has Gone, and there’s a
poetic and whimsical air in the emptiness — the empty chair and the pair of slippers,
13 3 probably worn by the artist’s model. Three paint brushes are stood on a container in
the centre, yes, the work ’s done, and there’s a round wicker chair on the right for the
RAFIEE GHANI artist to repose. It’s night, after all. The ‘studio’ cum living quarters look makeshift,
with sparing painting materials, in a rented sea-side abode in Dungun. The scene is
b. Kedah, 1962
somewhat reminiscent of Vincent Van Gogh’s painted Bedroom In Arles. Professor
Muliyadi Mahamood wrote: “Rafiee’s Intimism possesses international aesthetic
She Has Gone, 1996 qualities which suit viewers regardless of geographical or cultural boundaries.”

signed (lower center) Rafiee Ghani was a two-time winner of the Minor Award in the Young Contemporary
oil on canvas Artists (BMS) exhibition in 1984 and 1985, and followed it up with the Minor Award
94 x 150cm in the prestigious Salon Malaysia in 1991. He was 2nd in the Malaysia Art Open
(MAO) with his work, One Day In Marang I, a Juror’s Choice winner in the Philip
ILLUSTRATED
Morris Asean Art Award – Malaysia, both in 1994. He first studied at the De Vrije
The Painted Garden, Rafiee Ghani, Rusli
Academie Voor Bildeendie Kunst at the Hague, the Netherlands, in 1980, but did
Hashim Fine Art, Kuala Lumpur, 1996, p. 73
not complete. He finally obtained his Diploma of Fine Art at the Mara Institute
PROVENANCE of Technology (1981-1985), and a Master’s (Fine Prints) from the Manchester
Private collection, Selangor Metropolitan University (Manchester Polytechnic) in Britain (1986-1987). He had
taught at the UiTM from 1986 to 1988 and 1989 to 1990, and had a teaching stint in
RM 15,000 – 28,000 Mahe, the Seychelles, in 1991-1993.

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LATIF MAULAN
b. Pahang, 1974 On offer here is a scene comprising the king of fruits and stunning waterfalls in a lush
deep green tropical forest. Durian is regarded as Malaysian favourite fruits. To be eating
tropical fruit durian accompanied by gushing waterfalls is the best that life could offer.
Untitled, 1997
This piece is captured with such tranquility from the artist’s perspective.

signed and dated (lower right)

Self-taught Latif Maulan made headlines when he won the Redbull EhWauBulan
acrylic on canvas
showcase in 2016 though he has been known for his topsy-turvy figure under water. He
80 x 105cm
was also a finalist in the prestigious Malaysia Emerging Artist Award competition in 2009.
PROVENANCE Stints in New York (2000), Australia (2001) and Britain (2002, 2013) including a solo at
Private collection, Kuala Lumpur the Barbican Gallery in Plymouth enhance his reputation. He made a great debut in the
Henry Butcher art auction when a painting (marbles) sold for a premium of RM14,300 on
RM 6,000 – 10,000 April 21, 2015.

175
 In the first part of this diptych, two catfishes can be seen swimming towards viewer at
the bottom, probably gossiping about potential choice food, from the stems of the lotus
rooted in mud perhaps. The lotus is shown as its shower-head pod and in bloom. The
lotus signifies long life, health and good luck, and purity of heart and mind, adapting
and surmounting its muddy environs. The work is lyrical imbuing the ethereal qualities
of Chinese brush painting with a gentility that is fresh and delicate. There is languor and
13 5 a feeling of sweet forgetfulness. In the catalogue of Many Splendoured Things where
this work was shown at Valentine Willie Fine Art (March 23 - April 8, 2006), J. Anurendra
CHONG SIEW YING wrote: “...Siew Ying distils from these elements a language without temporal limit, a
b. Kuala Lumpur, 1969 universalising mode. In these new drawings, form bespeaks content and content, form,
in a unity rarely achieved in contemporary art.”

Fish Talk, 2005

Chong Siew Ying pursued her destiny in art by leaving for France in 1990 to study art
at the L’Ecole des Beaux-Arts, Versailles (1991-1994) and then L’Atelier 63 (1994-1996),
signed and dated (lower center)
supporting herself by working part-time as an au pair. She first graduated with a Diploma
charcoal on paper
in Graphic Design at the Petaling Jaya College of Art and Design. She was given
107 x 142cm
residencies on her return, first at Rimbun Dahan (1999-2000) and then the Vermont
PROVENANCE Studio Centre, United States (2001, Freeman Asian Artist Fellowship). In 2002, she won
Private collection, Kuala Lumpur a Special Award in the Young Contemporary Artists (BMS) competition, and she was
a finalist in the Hong Kong Sovereign Art Prize in 2009. In Paris, she was given solos at
RM 17,000 – 30,000 the MaisonTch’A, Atelier d’ Maravel and Gallery CafePanique.

176
13 6

AHMAD ZAKII ANWAR

b. Johor, 1955

Pendet, Peliatan; Legong, Peliatan,

2009

signed and dated (lower right)

pen and wash on paper
31 x 23cm each (set of 2)

PROVENANCE
Private collection, Selangor

RM 6,000 – 10,000

Illustrated here are studies of Balinese Pendet and Legong

dancers swiftly and precisely captured by Ahmad Zakii Anwar.
The difference between Pendet and Legong dance is that Pendet
is regarded as a welcome dance whereas Legong is a classical
dance that used to be a royal entertainment. Traditional Balinese
dancers learn the craft as children from their mothers as soon as
they are born, in the womb they are played the Balinese music
and are taught to dance with their hands before they can walk.
Executed in refined strokes, the artist succeeds in capturing the
alluring dances of Bali.

A graduate of Graphic Design from the Mara Institute of

Technology in 1977, Ahmad Zakii Anwar left his successful
advertising career in pursuit of becoming a full-time artist. He
came to attention with his virtuosity and command of a spectrum
of media from charcoals to oils, building a reputation for stunning
photorealistic still-life paintings and expressive portraits
making him a master of Urban Realism. His career milestones
were noted in 2007 when he joined the premier ranks in the
artist’s workshop project at the Singapore Tyler Print Institute
and a mid-career survey exhibition Disclosure held at Galeri
Petronas, KualaLumpur in 2008. He has had a number of notable
exhibitions abroad such as Bones And Sinews, Andrewshire
Gallery (USA,2011), Kota Sunyi, C.P. Art Space (Indonesia, 2007),
Shadowland, Plum Blossoms Gallery (Hong Kong, 2001) and
Presence, Barbara Greene Fine Art (USA, 1999). He participated
in an artist residency program hosted by Baik Art in Jeju Island,
Korea in October 2013. Stoned In Paris, a joint-exhibition
featuring the lithographic prints of Ahmad Zakii Anwar and Jalaini
Abu Hassan was organised by Fumanart in Cult Gallery in 2018.

177
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AHMAD ZAKII ANWAR

b. Johor, 1955

Red Legong, 2004

signed and dated (lower right)

acrylic on canvas
122 x 183cm

PROVENANCE
Private collection, Kuala Lumpur

RM 80,000 – 140,000

The Legong dance is one of the most mesmeric of the Balinese

repertoire with the ting-tong refrain of the gamelan. The grace
and poise, even seductive allure, with controlled movements of
the eyes, neck, fingers, torsos and hips are a great delight. It
is reminiscent of the Sanghyang, and traditionally performed
by specially selected and trained pre-pubescent women clad
tightly in sarong and chest cloth, with gilded red or blue lines,
and with a striking headdress with red tassle blobs to boot.
These dancers were coveted for ideal spouses in Bali among the
higher hierarchy, and even the passing Caucasian expatriates.
Nowadays, older women are even used to dance for tourists.
Drawn from the Malat heroic romance folklores, the Legong
keraton and Legong Lasem are among the more popular of the
some 15 types.

A high water mark was set by Ahmad Zakii Anwar in his midcareer
survey exhibition Disclosure at Galeri Petronas, Kuala Lumpur,
in 2008, which encapsulates his world-view in still-lifes,
animals, traditional dances and the dark side of urban life. After
quitting a lucrative advertising career, he made a huge impact
with his Smokers Series in Kuala Lumpur in 1997. He graduated
from the Mara Institute of Technology in 197 7. His solos abroad
included Presence (1999) and Bones and Sinews (2011) in the
United States, Kota Sunyi (Indonesia, 2007), Shadowland
(Hong Kong, 2001) and Baik Art (South Korea, 2013), apart from
his Singapore Tyler Print stint in 2007. His auction record, of
HK$427,500 (US$54,000), was set at the Christie’s Hong Kong
Nov 2007 auction.

178
179
 13 8

JALAINI ABU HASSAN

b. Selangor, 1963

The Mother Of The Great European Art, 2016

signed and dated (lower right)

mixed media on canvas
120 x 211cm

EXHIBITED
Semangat X: Visual Expressions Of South-East Asian Identity,
Galeri Petronas, 2016

PROVENANCE
Private collection, Kuala Lumpur

RM 45,000 – 60,000

This was a caprice, one of the few works where Jalaini Abu Hassan collaged a fabric print of 17th Century Dutch artist Bartholomeus van
der Helst named the Banquet of the Amsterdam Civic Guard in Celebration of the Peace of Munster (1648-49) and painted his mother
over it, like a reclining maya, fully clothed. The juxtaposition recalls Datuk Ibrahim Hussein’s My Father & The Astronaut and Ahmad
Fuad Hassan’s self-injection into past historical events – though of different trajectory of ideas. Seeing his mother on a rattan mat on
the floor of his parents Taiping abode, it inspired Jai, as the artist is popularly known, to enter his mother into his painting repertoire,
which is often autobiographical. One might try to link his mother to the momentous event that saw the end of the 80-year war and
freedom from Spanish Catholic rule, and the flowering of the Dutch Golden Age, but such insertion is also reminiscent of Ismail
Hashim’s Tidur Punya Ralit Bom Meletup Pun Tak Sedar. This work was shown at the Semangat X: Visual Expressions Of South-East
Asian Identity exhibition at Galeri Petronas, Kuala Lumpur, in December 2016.

Jalaini Abu Hassan has a double Masters in Painting from the Slade School of Fine Art, London (1988) and the Pratt Institute, New
York (1994) after his BFA at the Mara ITM in 1985. He excelled when he won the Major Award in the Young Contemporary Artists (BMS)
competition in 1985 followed up with the Gold Award in the Hongkong and Shanghai Bank art competition in 1991. He also won the
1 st Prize in the Murray Hill drawing competition in New York in 1994 and the Rado Switzerland competition in 2005. He was a member
of the Anak Alam artist’s group which started in 1985. His auction record was set at the Nov 25, 2007 Christie’s Hong Kong where his
work, Halal (2007), fetched HK$391,500 (RM196,000).

180
181
 139

JALAINI ABU HASSAN

b. Selangor, 1963

Panas Telinga_ Fake News, 2018 The proliferation of Fake News not only in the cyberspace but also in the print
and broadcast media is most worrying as it could lead to damaging reactions. In
signed and dated (lower right) ventilating the issue, Jalaini Abu Hassan has used former Singapore premier Lee
acrylic and bitumen on canvas Kuan Yew (LKY) as an example as he was known to have taken immediate legal
183 x 153cm actions against anyone who spread news that might be deemed false against him,
i.e. “hot ears” which are sensitive to ‘khabar angin’ (rumours). False news is often
EXHIBITED
sensational and deceitful, sometimes seen as a mischievous spin of the truth, and
RUPA-RUPA (NYA...), Fergana Art, 2018
have no basis in fact but are presented as being factually accurate. This work was
PROVENANCE shown in the Rupa-Rupa(nya) exhibition organised by Fergana Art at White Box
Private collection, Kuala Lumpur Publika, Kuala Lumpur, in March-April 2018. For artistic and dramatic ends, LKY
is shown in a ghoulish portrait, the way, say, Dato’ Ibrahim Hussein painted his
RM 35,000 – 45,000 portrait of the Indonesian poet Chairil Anwar.

182
 This is the man behind Malaysia’s vision 2020, who made it clear in 1991 that Malaysia
140 will achieve a great deal of achievement in 2020. Although, upon reaching 2020
we didn’t manage to achieve all of them, we have witnessed a lot of development
STEPHEN MENON eversince. Nevertheless we should feel proud to be a Malaysian citizen.
b. Pahang, 1972
Having obtained a Diploma in Graphic Design from Kuala Lumpur College of Art in
1993, Stephen Menon started his career as a fine art artist combining portraiture and
Wawasan 2020, undated
spiritualism in a search for meaning. Stephen creates self-portraits that are personal
depictions of the state of his inner self. Stephen has taken part in numerous group
acrylic and silkscreen ink on paper
exhibitions including the Open Show at Galeri Shah Alam (2006 and 2007), Malaysian
30 x 42cm
Art Award in Penang (2007), Beautiful People at Core Design Gallery (2010), Asean
PROVENANCE Art Show in Tokyo, Japan (2010), Winds Of Desire at Annexe Gallery (2010) as well
Private collection, Kuala Lumpur as Absolut 18@8 at Wei-Ling Gallery(2010). He won the 2006 Major Award from the
Galeri Shah Alam Open Show and was a finalist in the Young Contemporary Art Award
RM 4,000 – 7,000 held by National Art Gallery Malaysia in 2006 and 2007.

183
 141
Artist-curator Stephen Menon has done a suit of works on Malaysian icons such as Tan Sri
STEPHEN MENON P. Ramlee (1929-1973), Tunku Abdul Rahman (1903-1990) and Tun Dr. Mahathir Mohamad
b. Pahang, 1972 (b.1925). In his series on Tun Dr. Mahathir, he had done 15, all in different colour schemes.
Tun Dr. Mahathir was Malaysia’s longest serving Prime Minister, from 1981 to 2003, and he
is now the world’s oldest Prime Minister when he assumed office as the 7 th Prime Minister
Mahathir 1, 2012
on May 10, 2018. Whereas he previously headed Umno, he now heads Parti Pribumi
Bersatu which he founded, and Pakatan Harapan. As 4th Prime Minister, he served under
signed and dated (lower right)
six monarchs, and was instrumental in the Multimedia Super Corridor, National Car
mixed media on canvas
Project (Proton), North-South Highway, Petronas Twin Towers, KLIA, and the Formula
61 x 61cm
One Circuit in Sepang. The Tun Dr. Mahathir works were shown in the Wawasan 2020 —
PROVENANCE The Malaysian Dream exhibition in Singapore in 2012. Stephen Menon graduated with a
Private collection, Kuala Lumpur Diploma in Graphic Design from the Kuala Lumpur College of Art in 1993, after which he
was mentored for a time under Amron Omar. He was the Universiti Malaya resident artist
RM 6,000 – 10,000 and has had five solo exhibitions.

184
142
NORMA ABBAS, Puan Sri Norma Abbas had a mini-retrospective at the Bank Negara Malaysia Museum
And Art Gallery in June 2016. Her colours are unusually bright with a dark backdrop. A
PUAN SRI thin white line connects all the elements in the picture with a certain endearment, while
b. Kuala Lumpur, 1951 her composition veers towards a semi-abstraction. One could feel the affection, close
relations between the woman and the cat.

Woman And Cat, 2015

Puan Sri Norma Abbas has been a fulltime artist since 1987, and boasts of an art
education background that informs her kind of work – diaristic, closed-space intimacy,
signed and dated (lower right)
enigmatic, honest, playful and humorous. She was educated in public schools in Barnes
mixed media on canvas
and Kensington in London. Back home, she continued her secondary education at
117 x 116cm
the Convent of Holy Jesus Bukit Nanas, Kuala Lumpur. She studied for a Pre-Diploma
PROVENANCE Foundation Studies at the Mara Institute of Technology (1968-1969) and graduated with
Private collection, Kuala Lumpur a BA in Printed and Woven Textiles at the Manchester Polytechnic of Art, England (1972-
1975) and MA in Autographics Printmaking at the Chelsea School of Art, London (1981-
RM 20,000 – 38,000 1982). She worked as head of department in a local printing company from 1984-1987.

185
 143

ROSLISHAM ISMAIL (ISE)

b. Kelantan, 1972 - d. 2019

Superfiction, 2008

signed and dated

‘Ise 2008’ (lower right) on the mount
Kodak endura E paper, edition 6 of 8
41 x 28.5cm

PROVENANCE
Private collection, Selangor

RM 3,800 – 6,000

This work was presented at Ise’s Super Fiction solo exhibition His conceptual works centre around his personal experiences
in Japan at JFKL Gallery (2008) and is inspired by the artist’s and the culture of urban communities. Ise produces interactive
visit to Japan. Ise created an illusive and fictional image of the events that encourages dialogue through working with comic
cityscape using photographs he took of the city. Skyscrapers, narratives and material that reflects popular culture. His solo
fighter jets and superheroes or monsters are all elements in exhibitions include The Laundromat Project, New York (2016),
the piece that brings to mind imagery usually seen in Japanese Bangkok University Gallery (2014), Super Fiction at the Japan
superhero movies from the 80s — a place that holds a particular Foundation (2008), Time Capsule at Kedai Kebun Forum in
fascination for the artist since watching Ultraman as a youngster. Indonesia (2007) and Keluar 90 Hari at Gallery 4A in Sydney,
Super Fiction expresses Ise’s interest and love for the “Japanese Australia (2006). In 2015, he was commissioned to create an
urban condition” as well as the energy of the “super” modern installation titled Sira Pisang for National Gallery Singapore’s
city. Ise considers himself an observer and is interested in opening. A few of his significant group exhibitions consist of
different people, cultures and backgrounds as well as the life, Pattani Semasa, Ilham Gallery, Kuala Lumpur (2018), Sunshower:
conditions and particular energy that is found in modern urban Contemporary Art From South-East Asia 1980s To Now at the
environments. Super Fiction shows a fractured sense of the Mori Art Museumin Tokyo (2017), Secret Archipelago exhibition
city, a place of many distractions and sights — at one moment at Palais de Tokyo, Paris (2015), Philip Morris Art Awards at the
a number of incidents occur simultaneously, capturing the National Art Gallery, Dual Games an Asian residency project
energy that attracts Ise to cities. The looming “monster” in the in South Korea (2008), Streaming Festival 3 rd Edition Super
background hovers over the general population as a seemingly Fiction at the Hague in the Netherlands (2008), as well as A
destructive force while people appear to carry on without a care Starting Point: Intrude 366 - Dynamic Of Change And Growth at
in the world. The imagery gives the impression that perhaps one Zendai Moma in Shanghai, China (2009). Ise was awarded artist
of Ise’s observations is that in our modern world where people are fellowship awards allowing him travel grants to Tokyo (2007) and
bombarded with images and information incessantly, life goes Sydney (2006) along with honourable mentions in the Philip
on and daily occurrences will continue as normal, unaffected. Morris awards in Malaysia.

186
144

ROSLISHAM ISMAIL (ISE)

b. Kelantan, 1972 - d. 2019

Keluar 90 Hari, 2007

signed and dated

‘Ise 2007 ’ (lower right) on the mount
Kodak endura E paper, edition 4 of 4
81 x 56cm

PROVENANCE
Private collection, Selangor

RM 7,000 – 12,000

Roslisham Ismail, or better known as Ise, was perhaps one of the most well-travelled Malaysian artists invited to all parts of the world,
but who died last year at the age of 47. In this work, he collaged text and images partly using comicdom’s bendot made popular by Pop
artist Roy Lichenstein. A pretty face of a blonde girl face dominates the whole picture, with the thought bubble with street credo, ‘...
you’ve got to ask yourself one question, ‘Do I feel lucky? Well, do ya punk?’ A wry humour is suggested with the text, Ha Ha, but what’s
so funny? The bigger text, Think Global, throws a read herring into this inconsequential enactment.

Roslisham Ismail had guested in major art events such as the Singapore Art Biennale (2011), Asia Triennale in Manchester, UK (2011),
Asia-Pacific Triennale in Brisbane, Australia (2012), Jakarta Biennale (2009), Istanbul Biennale (with Indonesian Collaborative
Ruangrupa) (2005), the Asian Art Biennale in Taiwan in 2013, and the Gunnery Studio Art Space in 2006. He set up the alternative
art space, Parking Project in Kuala Lumpur and founded the Sentap art publication. His solos included Super Fiction (2008), Time
Capsule (Indonesia, 2007) and Keluar (Sydney, Australia, 2006). He graduated from the Mara Institute of Technology in 1997. He was
featured in Henry Butcher’s The Young Contempo Auction on Sept 29, 2012.

187
 145

AZIZI LATIF
b. Selangor, 1988

Keith Haring, 2017

acrylic, collage &

spray paint on canvas
109 x 79cm

PROVENANCE
Private collection, Kuala Lumpur

RM 4,000 – 7,000

Created using paper quilling technique, this portrait of Keith Haring involves meticulous
arrangement of densely rolled and coloured paper strips. The curves that define the
subject’s facial planes resemble shifting waves. Presented in a minimal colour palette, the
portrait is visually stimulating upon closer inspection. At the background is Keith Haring’s
iconic figures. A promising young artist, Azizi Latif won the Silver Award (Established
Category) at the UOB Painting Of The Year 2015. He obtained his Bachelor of Fine Arts
from UiTM.

188
146

POODIEN
b. Kelantan, 1979

Long Live Death: Zero Point

(Biting The Hand That Feed), 2010

signed and dated ‘Poodien 2010’ (lower right)

oil, acrylic, silkscreen and collage on canvas
156 x 117cm

PROVENANCE
Private collection, Kuala Lumpur

RM 6,000 – 10,000

Poodien graduated with a Diploma in Fine Art from UITM, Perak and is a multidisciplinary artist working in painting, drawing,
performance art, video as well as installation art. Diverse in both choices of media and interests, this eccentric artist takes his
influences from Malaysiakini to Slavoj Zizek and postmodernism to the writings of Farish A. Noor. Confrontational in style, Poodien’s
work engages audiences with ideas of individual freedom and emphatic opinions of truth along with amalgamations of culture, identity
and space. He puts to test and questions the power of art and artists in everyday predicaments and social environments, exposing the
realities and absurdities of contemporary circumstances.

Poodien’s work has been shown at various galleries in Malaysia: Al Kesah / Once Upon A Time In Malaysia at MAP, Publika, 1xSuitcase:
Memory.Travel.In.Transit at Annexe Gallery as well as the Kuala Lumpur Film Festival and Art Exhibition at Central Market, all in 2009.
Other notable exhibitions include Merapi Eruption at House of Matahati and 3 Young Contemporaries at Valentine Willie Fine Art as
well as a solo exhibition at Galeri Chandan entitled All The Cliches Art True, all in 2010. In 2009, he received the Malaysian Emerging
Artist Award. He has been commissioned to create works on art spools on display at MAP, Publika in Kuala Lumpur as well as for
Revolusi Merah, Portret Sejarah Kiri Pustaka Kiri for Parti Sosialis Malaysia (PSM) both in 2010. Known also for his performance art,
Poodien is part of a performance art collective called Buka Kolektif.

This piece is a work made in connection with previous performances. During the performance, the artist painted a portrait of his own
body and invited audiences to draw and write over his work. The figure in the painting is of his own body depicted as Michelangelo’s
David holding a dismembered arm up to his face while his visage gazes into the distance. Here, Poodien’s body becomes the canvas
and the boundaries between the personal and public are made indefinite and vague. The provocative words in Long Live Death: Zero
Point are a collaboration between the artist’s own verbal consciousness along with words and thoughts written by audience members.
The work paints a bleak picture, as the artist’s disconnection with current affairs — politics, racism etcetera and is mainly concerned
with the topic of death. Unconventional, shocking, eye-catching and thought provoking, this dramatic piece is a condensation of
Poodien’s multidisciplinary practices.

189
 1 47

EKO NUGROHO
b. Indonesia, 1977

Welcome Dude!, 2005

signed and dated (lower left)

acrylic on canvas
80 x 60cm

PROVENANCE
Private collection, Singapore

RM 12,000 – 18,000

Eko Nugroho ‘comfortizes’ and conceals real emotions, using masks (from 2000) and a trademark diamond head as caricatures, graffiti
and animation in his works referencing socio-political, environmental and cultural issues past and present. He is one of the most visible
contemporary Indonesian artists today.

Eko Nugroho is named Best Artist of the Year 2005 by Tempo magazine. He represented Indonesia in the 2013 Venice Biennale and was
selected for prestigious events such as the Asia-Pacific Triennial in 2006 and the Taipei Biennale in 2006; the Rotterdam Architecture
Biennale, the Lyon Biennale and the Miami Art Fair all in 2009; the Setouchi Triennale (2019); besides the Jogja and Jakarta biennales,
ArtJog, Bali Biennale (2005), Yogya and Indonesian art festivals. At the Valentine Wille Fine Art in Kuala Lumpur, he featured in the
Three Young Contemporaries (2005) and Wonderland (2007). He has had residencies in The Hague (2005, 2009), Singapore (2008,
2013), China (2009), Australia and the United States (2011), Germany and France (2012), and South Korea (2013). He was commissioned
by Louis Vuitton to design its scarf. He was educated at the Indonesian Art Institute, Yogyakarta, from 1997 to 2006.

190
148

HASANUL ISYRAF IDRIS

b. Perak, 1978

DIY Empire Happiness, 2014

signed (lower right)

mixed media on paper
139 x 81cm

EXHIBITED
Hasanul Isyraf Idris — Back From Planet Luvox,
Richard Koh Fine Art, Kuala Lumpur, 2014

PROVENANCE
Private collection, Kuala Lumpur

RM 5,000 – 8,000

Hasanul Isyraf Idris was trained at Mara University of Technology (UiTM), in Perak. He has received a number of awards, including the
Young Contemporary Arts Award in 2007 at the National Art Gallery Malaysia the Incentive Award at the Open Show held at the Shah
Alam Gallery and the Consolation Prize for the Young Talent Art Exhibition at the Penang Art Gallery, Penang. Hasanul produces works
in a variety of media, from paintings and meticulously crafted drawings to painted oven-baked clay sculptures. Gathering inspiration
from within and well as local folklore and regional myths, he articulates his personal struggles as an artist by personifying them as
strange characters that inhabit his invented universes. Influenced by the graphics of underground comic books, 1960s science fiction,
fast food, street art and fashion, he juggles pop-culture references with a personal viewpoint. Recurring topics in his practice are the
meaning of life and death, memories and fantasies, sin and reward.

191
 1 49

WAN AMY NAZIRA

b. Selangor, 1989

The Paths, 2017

signed ‘Amy.nazira’ (lower right)

and dated ‘2017 ’ (lower left)
oil and charcoal on canvas
152.5 x 122cm

PROVENANCE
Private collection, Selangor

RM 3,200 – 5,200

Comical looking figure has always been the signature of Amy Nazira’s subject. Depicted here in The Paths is a sweet innocent looking
girl hugging an Art book whilst on one hand she held a feather duster. It’s obvious which path has become her choice as she seems to
pull the art book close to her chest. All she needs to do is exit and follow that path. The common challenges for female artists’ career
are house chores, pregnancy followed by delivery and raising up the kids, etc.

Wan Amy Nazira received her Bachelor (Hons) Fine Art Majoring in Painting at UiTM ShahAlam Selangor in 2015. Amy Nazira has
participated in numerous group exhibitions including Sketsa Alam, Melaka River Pirate Park, Melaka (2012), Muda Mudi at Segaris Art
Center, Malaysia (2016), Art Expo Malaysia with G13 Gallery (2017-2019), Enthrall exhibition at TAPG (The Art People Gallery), Klang.
Her recent group exhibitions include Filling The Void: A Conversation Between Man And Space at G13 Gallery (2018), Sensation,
Segaris Art Center (2017), and the Locals Only exhibition at Taksu, Kuala Lumpur (2017). The artist won the Bronze Award, Emerging
Artist Category in UOB Painting of The Year (2016). Recent group exhibitions include In Sync: Artist Couples, G13 Gallery and Figure
It Out, Segaris Art Center, KL.

192
 The lone amorous lover in all coquettish poses is a favourite of Syed Thajudeen in his
paeans to love with a pastoral setting. His works often include unique stylized figures
and romantic treatment of subject matter. In this work, an elegant beauty is surrounded
by thriving plants, illuminating the lush atmosphere. Most of his art pieces feature bold
150 colours and unique arrangement of figures that evoke emotions.

SYED THAJUDEEN Born in Alagam Kulam village near Madurai, South India, Syed Thajudeen joined
b. India, 1943 his Malaysian-born parents in Penang when he was 11 and stayed on until his lower
secondary education. He returned to Madras to study at the Government College of
Arts and Crafts (1967-1974), with a Diploma in Painting (1973) and a Post-Diploma in
Longing For Love, 1991
painting (1974). He held his first solo at the Penang State Art Gallery (PSAG) in 1975
followed by another at the Samat Gallery in Kuala Lumpur. In 2015, the PSAG honoured
signed and dated (lower right)
Syed Thajudeen with a retrospective. His other notable solos include Seroja (2002),
oil on canvas
Love And Its Many Splendoured Things (2004), Cinta Tercipta, There Is Love (2006,
86 x 86cm
2007), Women In Kebaya (2007), Paintings On Love (2010). He was selected for the
PROVENANCE Bangladesh Biennale in 1983; the Contemporary Paintings of Malaysia in Pasadena,
Private collection, Selangor the United States, in 1988; and the Olympic Games art show in London in 2012. His
latest exhibition titled Splendours Of Love was held at Wisma Kebudayaan Soka Gakkai
RM 30,000 – 50,000 Malaysia (2018).

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KHALIL IBRAHIM
b. Kelantan, 1934 – d. Selangor, 2018

Modesty Series, 1989

signed and dated ‘Khalil Ibrahim 89’ (lower left)

acrylic on canvas
101 x 123cm

PROVENANCE
Private collection, Selangor

RM 65,000 – 110,000

Khalil Ibrahim’s Modesty Series projects nudes in a new light, with

the colours concealing the body forms with exquisite colour blend,
with the faces rendered ambiguous to focus on the beauty of
feminine body contours and anonymity. Putting svelte bodies au
naturel, often by the beachside, in a modern version of the mandi
safar ritual perhaps, with the sun, the sea, sand and the breeze
blowing, is a rapturous moment. This is the most beautiful piece
from the series, with the tonal play and colour nuances, unlike his
Canangsari Series which uses slivers of coloured strips.

Khalil Ibrahim was the first to be awarded a Pahang State

scholarship to study for his National Diploma of Design in Fine
Arts at St. Martin’s School of Art and Design in London, 1963,
postgraduate 1965. On his return in September 1966, he decided
to become a full time artist. In his double solo at the Samat Art
Gallery in 1970, he exhibited his batiks and his London works, and
he was also the first Malaysian to have a solo in Indonesia, in 1970.
Khalil was a co-founder of the Malaysian Watercolour Society.

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 152

IBRAHIM HUSSEIN, DATUK

b. Kedah, 1936 – d. Kuala Lumpur, 2009

Little Things, 1995

signed and dated ‘ibrahim hussein 1995’ (lower right)

acrylic on canvas
126 x 126cm

PROVENANCE
Private collection, Kuala Lumpur

RM 350,000 – 550,000

Little things coalesce to make a monumental whole. Fragmentary,

disparate and broken even, the accidental tentacular hooks or
stray loose lines sometimes enjoin or are meshed by the radiance
of the colours at bay to make a cohesive tapestry. Little things,
when combined together, have strength and a unity of purpose
besides power. Most of all, there can be power in little things, with
all their intricate connections or distractions. In this work, Datuk
Ibrahim Hussein was easily into the second decade of his play of his
intrinsic ribbons of rhythmic lines.

Datuk Ibrahim Hussein is the most internationally high-profiled

with international decorations to boot: The Japan Foundation
Cultural Award (1981), Venezuela’s Order of Andres Bello (1993),
Chile’s Order of Bernardo O. Higgins (1996) and the highly
prestigious World Economic Forum’s Crystal Award (1997). He
founded the Ibrahim Hussein Museum in Langkawi, launched in
2000, but it had closed because of mounting high maintenance.
Ib, as he is popularly known, captured celebrity status when he
was selected to exhibit with Andy Warhol and Salvador Dali at the
Dhalat Abdulla Al-Salam Gallery in Kuwait in 1977. He was accorded
a Retrospective by the National Art Gallery Malaysia in 1986. He
was educated at the Byam Shaw School of Drawing and Painting in
London (1963) and the Royal Academy (1966) in London. He visited
the United States on a Fulbright scholarship (1967) and the John D.
Rockefeller III Fund fellowship (1967-68).

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 153

YUSOF GHANI
b. Johor, 1950

Siri Tari, 1993

signed and dated (lower right)

oil on canvas
127.5 x 137.5cm

PROVENANCE
Private collection, Kuala Lumpur

RM 150,000 – 250,000

Yusof Ghani was onto the second batch of his hugely popular Siri Tari
(Dance) in the transition towards Topeng (Masks), the first two of which
were launched at Galeri Citra, Kuala Lumpur, and the third and last
at Takashimaya Gallery, Singapore. The Tari Series was first unveiled
at Galeri Citra in 1989. He had a mild stroke in 1990 but recovered
to release a follow-through, and this work reveals more aggression
from the postures and stances of the camouflaged bandaged figures.
More static is the figure on the left, a supporter or instigator perhaps.
It’s a maelstrom of movement in conflict and choppy, signifying the
struggles and obstacles in life. At the same time, one could feel the
swift energetic vigorous movements of the figures from all angles
(front, back, side), an awesome show of liveliness, indicating things
get better.

Yusof Ghani was involved in art-related jobs for 10 years despite not
having any formal education and even without having to go through
the Mara Institute of Technology Fine Arts mill. He was artist-illustrator
at the Agriculture Ministry (1967), instructor in the Fisheries Institute,
Penang (1971) and a graphic artist at Radio-Television Malaysia (1977).
His big break came when he got a scholarship to study for his BFA at
the George Mason University in the United States (1981), and MFA at
the Catholic University in Washington, USA (1983). On his return, he
lectured at the Universiti ITM with the rank of Associate Professor,
but unleashed some of the most memorable art series: Tari, Topeng,
Wayang, Hijau, Segerak, Biring, Wajah and Ombak. He singlehandedly
organised the Shah Alam Biennale involving artists from 15 countries
on Sept 21-Oct 1, 2016. Yusof Ghani made his London foray with an
exhibition, Segerak VI – Transcendent Figures, at the Asia House, on
April 3-7, 2017. His latest solo (organised by Henry Butcher Art, Galeri
Prima and PINKGUY) Segerak VIII: Utopia received good remarks
and was a great success.

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 154

ZULKIFLI YUSOFF
b. Kedah, 1962

Two Figures, 2001

Who do the caricatures in this Zulkifli Yusoff’s work represents? The ‘alim’ fornicator,
the corrupted judge, the unscrupulous businessman, the lazy lecturer (‘Professor
signed (lower right)
Katak ’), the ‘sick ’ politician... With the violently disfigured visages, the characters
oil on canvas
can’t be any good, and in pairs, it’s worse. The two are either colluding on some
135 x 105cm
schemes (only to stab each other in the back later) or quarrelling over the most
PROVENANCE trivial of things, or capitalizing on the power of numbers (even if only two). These
Private collection, Selangor figures are an offshoot of Zulkifli’s bandaged figures and chess tin pieces when he
broke into the mainstream with his Major Award in the 1988 Young Contemporary
RM 24,000 – 42,000 Artists competition in 1988.

20 0
155 They look like three giant teardrops but are symbolic of the jantung pisang
(banana flower) and because of the specific allusion to an historical event, the
ZULKIFLI YUSOFF assassination of J.W.W. Birch, the first British Resident of Perak, they conjure
the shape of a spear head, the instrument used to kill the first British Resident
b. Kedah, 1962
of Perak when he was having a bath on his boat on Nov 2, 1875. By themselves,
though, they would look like some odd bulky lanterns. Made of fibreglass
Hujan Lembing III; Dari Mata Turun
and resin, these pendulous objects are embellished and studded for an ‘arty’
Ke Hati III; Dari Mata Turun Ke Hati IV,
polish, but they would gain more currency and significance given a proper
2008 ambience or setting.

Fibreglass and resin At 58, Zulkifli Yusoff looks among the front-runners for the mantle of Malaysian
123 x 51cm; 97 x 93cm; 130 x 67cm art. He showed at the 1998 Venice Biennale’s Modernities and Memories:
Recent Works from the Islamic World and the 2019 edition. He won the Grand
EXHIBITED
Minister’s Prize in the Salon Malaysia III in 1992, and the Major Award in the
Icons : Zulkifli Yusoff, Wei-Ling Gallery, 2008
Young Contemporary Artists in 1988 and 1989 (jointly). He was accorded the
PROVENANCE National Academic Award (Visual Art) in 2007. He was selected for the Asia-
Private collection Pacific Triennial in Brisbane, Australia, in 1993, and the Singapore Biennale
in 2013. Trained at the Mara Institute of Technology, Zulkifli graduated with a
RM 80,000 – 140,000 Masters at the Manchester Polytechnic in 1991.

201
 156

CHANG FEE MING

b. Terengganu, 1959

Chord Of Friendship, 1986

signed and dated (lower center)

mixed media on wood
64 x 120 x 4cm

PROVENANCE
Private collection, Kuala Lumpur

RM 130,000 – 230,000

For two consecutive years in 1986 and 1987, Chang Fee Ming Dr. Mahathir Mohamad’s 1985 visit to China, following up on the
departed from his usual watercolour métier of exotic Asian and epochal 1974 visit by then prime minister Tun Abdul Razak. This
African places, to produce stunning works that won the coveted work was re-shown at the Imbas Kembali BMS in 1999.
Minor Awards of the Young Contemporary Artists (Bakat Muda
Sezaman, BMS) both times. The winning 1986 mixed media An extraordinary artist working mainly in watercolours, the
work, Chord Of Friendship, is a double-edge weapon with wanderlust Chang Fee Ming has a string of accolades that
undercurrents of tension using 16 innocuous newspaper clip inscribes his pre-eminence: the Sime Darby Art Asia Award (Gold
excerpts of peace and rapprochement. As the Latin adage goes, / Overall Asean Prize, 1985); the Malaysian Watercolour Society
Si vis pacem, para bellum (If you want peace, prepare for war). Award in 1984 and 1985); the PNB Malaysian Art Competition
The work of newspaper, fishing net, strings, hooks and wood fits (1 st Prize, 1985) He also received Awards of Distinction from the
the theme of International Year of Peace. The taut tug of strings Rockport Publishers USA (1997) and Dom Perignon Malaysia
from the weaver’s shuttles suggest an ever-present tension, (1999), and was a co-winner (Malaysia) of the Winsor & Newton
while the irony of the shuttles’ shape of pen nibs symbolically World Millennium Competition in 1999. In the Larasati Jan 26,
used to ink peace looking like missiles is not lost. Friendship 2013 auction in Singapore, his seminal work, Mandalay from
among nations is not a permanent thing and this is borne out the 1995 Road to Mandalay exhibition in Jakarta, Indonesia,
by the effects of globalization from an erstwhile bipolar world sold for a premium of S$103,700 (RM255,924) – a record for a
of the Cold War in the second half of the 20 century. The main
th
watercolour in Southeast Asia.
pictures are taken from newsclippings of then prime minister

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 1 57

JOLLY KOH
b. Singapore, 1941

Tuaran Falls, 1981

signed and dated ‘Koh 81’ (lower right)

oil on canvas
132 x 69cm

PROVENANCE
Private collection, Selangor

RM 40,000 – 70,000

There is something therapeutic about waterfalls, especially when

the cascades of water can be felt, if not observed. It is presented
as an optical avalanche of white with the mossy rocks on which it
plunges and glides rendered in a fuzzy mirage — so unlike an earlier
work put up at the Henry Butcher Art Auction where it is a straight
dip down, dividing the canvas. The cooling and curative sounds of
water as what scientists call “white noise” are inescapable, what
with a perceived sense of cleansing of the body and mind. In the
great waterfalls, one is also in the presence of the Almighty, with
the sense of awe and reverence. So it is no wonder that at one time
lightboxes featuring ‘moving’ waterfalls have become a living-
room antidote to stress.

Artist-academician Jolly Koh is an 8th generation Baba, born

in Singapore, growing up in Malacca, and spending nearly two
decades in Australia, teaching for 12 years. He was educated at
the Hornsey College of Art, London (NDD, 1959-1962), London
University (art teacher’s certificate, 1962-1963), Indiana University
(Ed.D and MSc, 1973-1975), and teaching associate thereafter.
He had taught at the Mara Institute of Technology, Sabah’s Gaya
College, and from 1976 to 1988 in Melbourne and Adelaide, before
taking up the post of Senior lecturer at MSC College (now SeGI,
2000-2004). In 2017, he had a major exhibition (organised by
Henry Butcher Art) at MAP Publika, Kuala Lumpur, which saw the
publication of an important book detailing 60 years of his art, a far
cry from his first solo at the British Council Kuala Lumpur in 1957
when he was only 16!

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 158

ABDULLAH ARIFF
b. Penang, 1904 - d. 1962

After The Monsoon Cloudburst, 1955

signed and dated (lower left)

watercolour on paper
38 x 56cm

EXHIBITED
National Gallery Singapore, ARTIST AND EMPIRE: (EN)COUNTERING
COLONIAL LEGACIES (organised in association with Tate Britain)

PROVENANCE
Private collection, Singapore

RM 55,000 – 85,000

Works by Abdullah Ariff are hard to come by, and this, After The Monsoon Cloudburst (1955), shows up the self-taught artist for
an unusually immaculate composition with the deft play of light filtering through the sparse overhanging twine-drop branches and
pocket shimmers from the waterfall and running stream amongst boulders, besides the judicious depth in an ambient alcove. The
locale bears discernible similar elements from a bigger work done in 1958, in the collection of the Sultan of Selangor, with an equal
degree of atmospheric accomplishments.

Abdullah Ariff is one of the most accomplished pioneer artists working mainly in watercolours. Although self-taught, he had served
as an art teacher at the Anglo Chinese School (1932-1941), was an illustrator and pioneer political cartoonist, and had set up his
own advertising agency, Ariff Advertising. His cartoons, first pro-Japanese under the Japanese Occupation, had been featured in
publications such as the Penang Daily News, Dewasa, Suara Malaysia, and later the Straits Echo. He had the distinction of having had
two one-man shows in Charlotte in North Carolina, at the Myers Park Methodist Church and the Mint Museum, both in 1954, and
another at the Malayan Embassy in Washington in 1955. If he was prodigious, which is unlikely, precious few of his works in watercolours
survived, much less his oils which can be counted with the fingers on one hand. This could have to do with his more onerous duties as
an appointed municipal councillor representing Jelutong, Penang, from 1955 to 1957. He had the distinction as the only artist to have
had two roads named after him in Ayer Itam, namely Jalan Abdullah Ariff and Lintang Abdullah Ariff, although the honours were linked
to his being in Government. Abdullah was also one of two locals invited to the closed expatriate art group, Penang Impressionists,
because his services were needed to tutor in art, while the other was accepted for her philanthropy.

206
207
 A leopard (panthera pardus) at rest signifies contentment and abundance, its hunger
satiated until the next kill. Ensconced on a higher mound in the thick forest, it contemplates
on nothing in particular, just the instincts of watchfulness and alertness to any inherent
1 59 danger or opportunities. It looks regal with its well reticulated rosettes, like a polished
ceramic toy. Leopards are nocturnal creatures that can be found in the national parks
JAAFAR TAIB of Belum-Temengor, Taman Negara and Endau-Rompin. Despite having short legs and
b. Malacca, 1952 long body, it can still give its prey a run of its life, and its large head invests it with greater
strength in force and bite. Jaafar Taib is one who likes to go into the periphery forests to
observe and paint birds and animals, though avoiding the dangerous types.
Leopard (2), 2011

Jaafar Taib is one of the founders of the legendary Creative Enterprise, which started the
signed and dated (lower left)
Golden Age of Comicdom. It was established in 1976 together with Dato’ Azman Yusof,
oil on canvas
Meow Shariman Meor Hassan a.k.a. Mishar and Zainal Buang Hussein, and the early
76 x 122cm
publications were Murni and Bambino, and then the Gila Gila humour magazine. A noted
PROVENANCE cartoonist, illustrator and businessman, he is known for his paintings of animals and birds
Private collection, Selangor in their natural habit, and have produced a book, Birds Of Malaysia, with more than 120
species. He created Jungle Jokes for Gila Gila in 1978. He started off with Utusan Melayu
RM 45,000 – 80,000 and Kumpulan Varia Pop. In 2015, he received the Anugerah Perdana Kampung Boy.

208
 Pompeii is an ancient Roman city famous for its archeology site. It was in the year of 79
A.D the city witnessed a gruesome incident when a nearby volcano erupted and caused
160 thousands of people died and the city was buried under thick volcanic ashes. Perhaps
this piece is a depiction in the artist’s perspective of the city’s most dreadful event.
SABIHIS MD PANDI
b. Pahang, 1988 Sabihis has been a full time artist since he graduated from the Universiti ITM with a
BFA, majoring in Printmaking, in 2011 (Diploma in UiTM Machang in Kelantan, 2009).
He made headlines when his woodcut print, Awang Hitam, won him the Malaysian
Pompeii, 2015
Emerging Artist Award competition in 2013. In 2014, he won the Bronze Award for
Established Artists category of the UOB Painting of the Year. He was in the Studio
woodcut on MDF board
Pisang group with Shafiq Nordin and Hisyamuddin Abdullah featured in the Attract
122 x 153cm
Retract exhibition at G13 Gallery in November 2015. He has been represented in Art
PROVENANCE Expo Malaysia since 2014. He took part in the 2015 Art Bazaar Jakarta, and was selected
Private collection, Selangor for the exhibition called The Collective Young From Southeast Asia at Mizuma Gallery,
Gillman Barracks, Singapore in 2015. He won the Young Guns Award in 2017. With 3
RM 4,500 – 7,500 Awards under his belt, being the ‘Award Collector’, he still remains humble.

209
 161

UGO UNTORO
b. Indonesia, 1970

Poem Of Blood, 2008

signed and dated (center)

mixed media on canvas
200 x 150cm

PROVENANCE
Private collection, Singapore

RM 30,000 – 50,000

In the lexicon of relationships, it tends to get ambiguous in one that involves humans and animals, and this can be seen in films such
as Lassie, Beethoven and National Velvet. That is the trajectory of Ugo Untoro’s Poem Of Blood painting oeuvre here when his horse,
Badia Lembut, was killed in a horse-racing accident. The works spanning 2006-2007, were shown at the Yogyakarta Cultural Park and
the Galeri Nasional Jakarta in 2007, the SH Contemporary Art Fair in September 2008 and the Rome Contemporary Art Fair in April
2009. Existential questions about the complexities about such relationships, how they are perceived, presented and the symbolisms
both general and personal. Given the tragedy, there is not even a hint of grief in some of the works. As Ugo Untoro intoned: “I paint
on anything, with anything, using whatever technique, about anything that’s here inside me when I am face-to-face with something
to paint on.”

Painter-sculptor-video-maker and performing artist Ugo Untoro was named Man of the Year in 2007 by Tempo magazine. He is
remembered in Malaysia for his Short Short Stories exhibition held at Valentine Willie Fine Art, Kuala Lumpur, in 2006, which was
repeated in Art Forum in Singapore in 2007. He studied at the Indonesian Art Institute (ISI) in Yogyakarta in 1988-1996, but already
had his first solo at Bentara Budaya Yogyakarta in 1995. He won the Philip Morris Asean Art Awards, Indonesia in 1998. His latest solo,
Rindu Lukisan, was held at the National Gallery, Gambir, Central Jakarta.

210
162

SAMSUDIN WAHAB
b. Perak, 1984

Tuhan Memberkati Kamu, 2008

signed (lower right)

linocut print on paper, edition 1 of 5
147 x 103cm

PROVENANCE
Private collection, Kuala Lumpur

RM 5,000 – 8,000

Samsudin Wahab is known for his socio-political parodies of local and international events. His subjects contain reflections on social
commentary and presents a conflation of symbols and iconography, comic book and tattoo-styled imagery to interpret and narrate
global events. His works involve a diverse range of multiple art disciplines, including painting, printmaking, installation and sculpture.

Samsudin Wahab achieved double success in 2009 when he won the Malaysian Emerging Artist Award and was chosen resident-
artist at Rimbun Dahan. He was chosen as resident-artist at HOM in April-June 2008. He was supported by Khazanah Nasional in
his India residency in 2010. In 2013, he won the Juror’s Award in the Young Contemporary Artists competition. He won 2nd Prize in
Goethe Institut’s Salon Meets Art in 2007, and a Consolation Prize in the Tanjong Heritage competition in 2005. He received his BFA,
Majoring in Printmaking at the Mara Institute of Technology in 2005-2007, and a Diploma at its Seri Iskandar campus in 2002-2005.
He co-founded the printmaking collective, Cetak Kolektif, and was a member of Sebiji Padi Studio and SO Sound, under which he did
several art performances. Samsudin won the Bakat Muda Sezaman competition held by National Art Gallery Malaysia in 2019.

211
 16 3 First thing that comes to mind when we hear the word sofa immediately we
imagine comfort, soft or how great if we can lay down on it all day everyday. Unlike
GAN TEE SHENG what is captured here in the scene is an old sofa in piles of branches. Perhaps it
b. Johor, 1984 was thrown into the woods and forgotten. Only what’s left is memories.

Gan Tee Sheng is a rare double winner of the UOB Painting of the Year Award
Sofa, 2017
(Malaysia), winning the Established Artist Major Award in 2013 and the Gold
Award in 2016. His other major accolade is the Malaysian Emerging Artists Award
signed (lower left) and dated (lower right)
in 2011. He took part in the artist’s residency at Fukuoka Asian Museum, Japan
oil on canvas
(2014) and the HOM’s Adopted Artist-In-Residence. He had taken part in art fairs
130 x 160cm
like Art Gwangju (2015), Art Kaoshiung (2015, 2016), Art Stage Singapore (2016),
PROVENANCE Art Busan (2016) and Art Expo Malaysia from 2013 to 2019. He held his first solo,
Private collection, Kuala Lumpur Withdrawn, in Taksu Kuala Lumpur in 2014, and his second, Delusions, at Taksu
Singapore, in 2017. Tee Sheng obtained his Fine Art Diploma from the Dasein
RM 9,000 – 15,000 Academy of Art, Kuala Lumpur.

212
16 4

KHAIRUDIN ZAINUDIN In Heritage Drummer, the musical beats and movement of musicians reveal the
b. Kelantan, 1987 joyful celebration of tradition and communal life. The artwork is rendered with
bold lines, and energetic strokes fluidly blending with the various figures. A
multitude of movements made by his subjects are wonderfully crystallised in a
Heritage Drummer, 2014
single drawing, expressing the beauty of his surroundings.

signed and dated (lower right)

Khairudin Zainudin is an upcoming rising star in the Malaysian art scene. At a
mixed media on canvas
young age, he has had 3 solo exhibitions up to date. Besides actively participating
130 x 205cm
in various group exhibitions locally, his works have been exhibited at numerous
PROVENANCE art fairs such as Art Expo Malaysia, Art Stage Singapore, Art Taipei, Art Kaohsiung,
Private collection, Singapore and Bazaar Art Jakarta. His complex figurative composition with lines often
captivates the audiences. His recent works are inspired by his exposure and
RM 15,000 – 25,000 experiences abroad.

213
 165

RAJA AZHAR IDRIS Raja Azhar Idris has worked shapes and images into and from fused, textural hot
b. Perak, 1952 colour glass, a process he exacted from patient and methodical experimenting.
After getting the shapes or images desired, the glass is fired at 760 ° Celsius. Here,
two pugilists of silat are in combative poses.
Silat, 2002

Raja Azhar spent many years in Australia, first at the Victoria College of the Arts in
signed and dated (lower right)
Melbourne (1979-1981). There, he made a name for himself winning awards like the
handpainted glass
St Kilda in Melbourne (1980, 1981), Melbourne Lord Mayor’s Prize (1981), Victoria
151 x 122cm
Artist Society’s Artist of the Year, Gippsland Miniature Art Prize (1982) and the
PROVENANCE Greyhound Art Prize (1989). He even set up an art gallery called Raya in Melbourne.
Private collection, Selangor But after 14 years, he decided to return to Malaysia in 1992 when he set up Art Case
Galleries and resumed his art practices. His first solo was in 1976, when he displayed
RM 28,000 – 48,000 his batik works.

214
 Yau Bee Ling’s drawings tend to be a visual diary of stages of her life and things
that happen around her. Family values and relationships are expressed subtly in this
16 6 intimate setting. Using a warm colour palette, family life is well represented through
the arrangement of subjects and furniture in living spaces.
YAU BEE LING
b. Selangor, 1972 Yau Bee Ling graduated from the Malaysian Institute of Art in 1995 with a Diploma
in Fine Art (Major in Painting). She was awarded Kuandu Artist in Residence,
Kuandu Museum of Fine Arts, Taipei, Taiwan in 2016. Bee Ling’s first big break was
House & I, 1999
when she was selected for the 9 th Asian Art Biennale in Dhaka, Bangladesh in 1999.
The recognition followed when she was selected for prestigious exhibitions such
signed and dated (lower right)
as the Singapore Sculpture Square (2000), the 2nd Fukuoka Triennial, Fukuoka Art
mixed media on paper
Museum, Japan (2002) and the Soul of Asia: Fukuoka Asian Art Museum Collection
90 x 90cm
exhibition in Hokkaido, Japan (2004). Her solo exhibitions Interwoven Terrains (2019),
PROVENANCE By Hands (2016), The Women (2013), Portraits Of Paradox (2008) were held at Wei-
Private collection, Kuala Lumpur Ling Gallery, Kuala Lumpur. Public collection includes Fukuoka Asian Art Museum,
Kuandu Museum of Fine Arts, Taipei National University of The Arts, National Art
RM 10,000 – 16,000 Gallery Malaysia, and Galeri Petronas.

215
 167
For Nizar Kamal Ariffin, the mask embodies his interpretation of inner beauty,
NIZAR KAMAL ARIFFIN state of mind, and faces of humans and their humanity. Here, the artist uses
b. Pahang, 1964 muted colors rendered with spontaneous strokes of the brush to heighten the
vitality and emotional qualities of the painting.

Mask Series — Acquired #46, 2003

Nizar became active when he joined Senika (Pahang Art Society) in 1984 and
became a resident artist at the Taman Seni Budaya in Pahang, and the next
signed and dated ‘NIZAR 03’ (lower right)
year, he had dual first solos in Kuantan (Hyatt Hotel) and Kuala Lumpur (City
acrylic on canvas
Hall). He graduated with a BFA at the Universiti Sains Malaysia in 1986 and
91 x 91cm
moved to Kuala Lumpur in 1993. He joined the Conlay Art Colony commune
PROVENANCE in Kuala Lumpur in 1998. In 1999 and 2000, he received Honourable Mentions
Private collection, Selangor in the Philip Morris Asean Art Awards, Malaysia competitions. His artworks
are included in private and public collections such as Sime Darby Convention
RM 2,000 – 3,600 Centre, Citibank, and Hilton Sentral.

216
16 8

MOHD KHAIRUL IZHAM

b. Pahang, 1985

Dari Tanah Itu, 2016

This intricate painting is comprised of a collection of seemingly random household

signed and dated (lower right)
objects, and artefacts that represent events and memories. Though looking
acrylic on canvas
random, these objects and mementos hold sentimental value and prompt one to
152 x 152cm
remember something significant from their own homeland. Mohd. Khairul Izham
PROVENANCE graduated with B.A. of Fine Arts (Painting) from Universiti Teknologi Mara (UiTM)
Private collection, Kuala Lumpur Shah Alam. He has participated in shows like Dis-chromatic (2010), Malaysian
Emerging Artist Award (2011), Deceitful Truths (2011) and shows held at Taksu,
RM 5,500 – 9,000 Whitebox Publika, Curate Henry Butcher, etc.

217
 169
A common theme in Ismail Latiff’s body of work is a small circle (a celestial body)
ISMAIL LATIFF shining in the midst of a pattern of his inspiration, usually against a landscape,
b. Malacca, 1955 skyscape or flora. In this piece, it’s against a mountain, and the sky is illustrated
with a mix of blue, yellow and white.

Skymoon…The Blue Mountain, 2002

Ismail Latiff graduated with a Diploma in Art and Design from Malaysia Institute,
MARA Institute of Technology, Selangor in 1979 and has exhibited internationally
signed and dated (lower right)
since 1977. He was awarded the Frank Sullivan Award, Salon Malaysia at National
acrylic on canvas
Art Gallery Malaysia in 1979. In 1984, he held his first solo art exhibition in
65 x 65cm
Kuala Lumpur followed by few others namely Nine Years with Art Salon, Kuala
PROVENANCE Lumpur (1993), Magic In The Sky, Kuala Lumpur (2005) and Come Fly With Me,
Private collection, Selangor Kuala Lumpur (2008). He participated in a group exhibition titled The Prayer
organised by NN Gallery in 2012 and his work was featured at the Affordable Art
RM 5,000 – 8,000 Fair, Singapore in 2014.

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170

TANG HONG LEE

b. Pahang, 1963

Golf Field, 2013

signed and dated (lower left)

oil on canvas
100 x 37cm

PROVENANCE
Private collection, Kuala Lumpur

♦ PINKGUY Conservation Framing for this lot

RM 5,000 – 8,000

Tang Hong Lee is known for his charming paintings that

contain a peaceful atmosphere through expressions of
nature. Golf Field contains all of Tang Hong Lee’s signature
elements, featuring undulating hills, clouds and trees in soft
pastel hues. The artist used an exuberant palette consisting
of the colours green, blue, yellow, purple and pink to achieve
a soothing landscape.

Tang Hong Lee graduated with a Bachelor of Arts (Visual Art)

in Printmaking from the Canberra Institute of Arts, Australia,
in 1989-90, after obtaining a Diploma in Art in 1986 from the
Kuala Lumpur College of Art. He received the Incentive
Award in the Galeri Shah Alam Open exhibition in 2000
and also an Honourable Mention in the 1999 Philip Morris
Asean Art Awards (Malaysian sector). His first solo called
Rhythm of Colours was held at the Momentous Gallery in
Singapore. Other solo exhibitions include Dreamland, held
at PINGKUY gallery in 2013, and Spectacles Of Nature at
Momentous Arts Singapore in 2016.

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 Liner Series — Eco presents a lively dimensional play of lines, exploring the

17 1 dimension between inner and outer space. His works call to attention for the
conservation of the global environment, where natural landscape is corrupted
YEOH KEAN THAI by human development and intervention. The artist illustrates with detail a fine
depiction of still life comprised of a traditional oil lamp, with an environmentally
b. Penang, 1966
themed message embedded in the work.

Liner Series — Eco, 2016 Yeoh Kean Thai has garnered international recognition through prestigious
awards, including the Phillip Morris Art Award (Malaysia), the Freeman
signed and dated (upper right) Fellowship, 2008 and the Commonwealth Award - International Artist
ink and acrylic on canvas Residency (2009). His solo exhibitions include Code Red: Action to Neutralise,
30 x 30cm SGFA Gallery Residence, Kuala Lumpur (2011) and Links, SGFA, The Private
Gallery, Kuala Lumpur (2007). His group exhibitions include Tashkent Biennale
PROVENANCE
International Exhibition, Uzbekistan (2005), International Asian Art Fair, Park
Private collection, Kuala Lumpur
Avenue, New York (2008), Paths Of Thought, Gallery II Ramo d’oro, Naples,
♦ PINKGUY Conservation Framing for this lot Italy (2008) and Vermont Studio Center Show, USA (2008). He was also the
first artist from Malaysia to have work featured during New York ’s Asian Art
RM 2,000 – 3,500 week in 2008.

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 Ngo Van Sac is a Vietnamese contemporary artist who creates works of art that
are made from complex techniques such as wood cut combined with newspaper
collage, acrylic, and wood burn. Constructed by wood burn methods and
newspaper collage incorporation of various local children faces , Ngo Van Sacs’s
succesfully captured the joy and simplicity of these children while on his way to
the local market.
17 2
Ngo Van Sac has gained recognition in Vietnam and internationally for his unique
NGO VAN SAC artworks. In 2008, the artist completed his Master of Fine Arts at Vietnam Fine
b. Vietnam, 1980 Arts University and is a member of the Vietnam Fine Arts Association. He has
held solo exhibitions in Canada, Japan, Hungary, South Korea, Vietnam, Malaysia
and Singapore. Notable solo exhibitions include Slices, Craig Thomas Gallery,
On The Way To The Market, 2019
Ho Chi Minh City (2017), In The Midst Of Life 2, A Gallery, Ho Chi Minh City
(2016), In Opposite, Work Room 4, Hanoi (2015), Between Two Generations,
signed and dated (lower right)
The East Gallery, Toronto, Canada (2013). His recent group exhibitions include
mixed media collage on wood
Vietnam-Thailand Contemporary Exhibition, Contemporary Art Central,
80 x 120cm
Bangkok, Thailand (2017), Octonary Carousal, CTG 8th Anniversary Exhibition,
PROVENANCE Craig Thomas Gallery, Ho Chi Minh City (2017). His works are also collected by
Private collection, Singapore institutions such as the Bank Negara Malaysia Museum and Art Gallery, Kuala
Lumpur. The artist won the First Prize of Dogma SelfPortrait Award in 2012. He
RM 13,000 – 20,000 has been represented few times in Art Expo Malaysia.

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 17 3

ANTHONIE CHONG
b. Perak, 1971

Untitled, undated
Self 3, 1996

unsigned; signed and dated on verso

oil on canvas
61 x 46cm each (set of 2)

PROVENANCE
Private collection, Kuala Lumpur

RM 8,000 – 14,000

Anthonie Chong’s early figurative works translate complex and

powerful emotions. Painted in the artist’s iconic style of this period,
the artwork illustrates a set of figures in a mundane mode, lost in
each individual thought. Anthonie Chong graduated in Graphic
Design from the Perak Institute of Art in 1991. He won the Philip
Morris Asean Art Award, Malaysia in 1998. In 2000, he switched
to caricature-like iconography fusing eastern surrealism with
digital technology, namely his e-monk creations which morphed
into @-monk in 2010, which was represented in three series —
Community, Gaia and Mechanism. He had his first solo at the X
Pub and Gallery in Penang. He had worked as an art teacher (Art
Design, Kuala Lumpur), graphic designer, illustrator and lecturer
at Art Direction (1992-1995), before helping out a relative in his
business. His art prices have been soaring in recent auctions.

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223
 B U Y I N G AT H B A A & C O N D I T I O N S O F B U S I N E S S

These conditions set out below and all other “buyer” shall mean the person who makes the range;
terms, conditions and notices set out in the highest bid or offer accepted by HBAA, or that
catalogue of Henry Butcher Art Auctioneers person’s disclosed principal; “sales commission” shall mean the commission
Sdn Bhd (hereafter referred to as “HBAA”), or payable to HBAA by a seller at a percentage as
announced by the auctioneer or posted in the “buyer’s premium” shall mean a payment of specified in the Consignment Form together with
sale room by way of notice (hereinafter referred premium calculated at 12% of the hammer price all applicable taxes as may be set and revised by
to as the ‘Conditions of Business’) form the terms and payable by a buyer to HBAA, together with the Malaysian government from time to time;
on which HBAA contracts, as auctioneers, with all applicable taxes as may be set and revised by
actual and prospective sellers and buyers. They the Malaysian government from time to time; “seller” shall mean the owner or consignor who
may be amended or supplemented by posted is offering the lot for sale including their agents,
notices in the sale room or oral announcements “catalogue” shall mean the auction catalogue executors or personal representatives or the
made during the sale. The Conditions of Business prepared by HBAA describing and illustrating all owner’s agent or the person in possession of the
apply to all aspects of business regarding the lots for sale by HBAA; lot consigned. If there are multiple owners or
sale, purchase or holding of property provided agents or persons in possession, each shall assume,
by HBAA. The Conditions of Business would “estimated price range” shall mean the estimated jointly and severally, all obligations, liabilities,
also apply to any sellers or buyers who require price a lot may achieve at the auction and does representations, warranties and indemnities as set
inspection, appraisal or valuation of property. not include the buyer’s premium; forth in these Conditions of Business.
Any future dealings with HBAA shall be governed
by the Conditions of Business current at that “expenses” in relation to the sale of any lot shall 1. GENERAL
particular time. By bidding at the auction, you mean HBAA’s costs including but not limited
agree to be bound by these terms. to legal expenses, charges and expenses for 1.1. CATALOGUE
insurance, catalogue and other reproductions A catalogue shall be prepared by HBAA
HBAA generally acts as agent for the seller. and illustrations, any customs duties, advertising, describing and illustrating all lots for sale at the
Any concluded contract of sale is made directly packing or shipping costs, reproduction rights’ auction, and will be made available to prospective
between the seller and the buyer. All relevant fees, taxes, levies, costs of testing, searches buyers prior to the sale and before they register
factual material pertaining to items offered for or enquiries relating to any lot, or costs of as bidders. References in the catalogue entry
sale is derived from the seller. HBAA cannot and collection from a defaulting buyer together with are for guidance only and prospective bidders
does not undertake full due diligence on every any applicable taxes imposed by the Malaysian are encouraged to evaluate and verify the
item sold. Buyers are responsible to carry out government from time to time. information provided by personally inspecting
their own inspection and investigations on the any lots they are interested in or by employing
items offered for sale which they are interested “full amount due” shall mean the hammer price in a knowledgeable representative to do so before
in buying. respect of the lot sold, together with the buyer’s placing a bid. Prospective bidders may order an
premium and any charges, fees, interest, taxes and auction catalogue from HBAA by contacting the
It is the general policy of HBAA to act as an agent expenses due from a buyer or defaulting buyer. office at +603-2691 3089 / +6016-273 3628 or
only for the seller. However on occasions, HBAA email [email protected] or download a copy of
may offer a lot which it owns in whole or in part. “HBAA” shall mean Henry Butcher Art the catalogue from www.hbart.com.my.
Such property is identified in the catalogue with Auctioneers Sdn Bhd (Company no. 835541-K);
the symbol * next to its lot number. Any illustrations in the catalogue are solely for
“hammer price” shall mean the highest bid identification and the guidance of prospective
All potential buyers are to take particular note accepted by HBAA by the fall of the hammer buyers and should not be relied upon in terms
of Conditions 2.2 and 2.3 which limit the extent or, in the case of a post-auction sale, the agreed of tone or colour or necessarily to reveal
to which HBAA and the seller may be liable. In sale price; in both instances excluding the buyer’s imperfections in any lot. While HBAA takes
addition, all sellers are to take particular note of premium, any applicable taxes and any expenses; an effort to research and investigate into the
Conditions 3.1, 3.2.1, 3.2.2 and 3.2.3 which set out authenticity, provenance and background of each
the basis of the relationship between HBAA and “lot” shall mean each piece of property as lot, such efforts cannot be taken as absolute and
the seller and limit the extent to which HBAA described in the catalogue; exhaustive and as such, prospective buyers are
may be liable to the seller. encouraged to carry out their own due diligence
“net sales proceeds” shall mean the hammer and not rely solely on any information given by
DEFINITIONS price of the lot sold to the extent received by HBAA in the catalogue.
Unless the contrary intention appears, the HBAA in cleared funds, less sales commission and
following expressions shall have the meaning expenses; 1.2. CONDITION REPORTS
respectively assigned to them in this Condition of The catalogue descriptions do not state any
Business: “purchase price” shall mean the hammer price imperfections in the lot(s) and prospective buyers
and buyer’s premium; are strongly encouraged to request for condition
“bidder” shall mean a person who considers, reports from HBAA, which are provided as a
makes or attempts to make a bid by whatever “reserve price” shall mean the confidential convenience to its clients free of charge.
means at the auction and includes buyers; minimum price at which the seller has agreed to
sell a lot and will not exceed the estimated price

224
References in the condition report to damage inspection by the bidder or a knowledgeable (ii) is able to transfer good title to HBAA free
or restoration are for guidance only and representative. The absence of such a reference from any third party claims arising after the date
should be evaluated by personal inspection by does not imply that an item is free from defects of the sale to the buyer; and
the prospective bidder or a knowledgeable or restoration, nor does a reference to particular (iii) return the lot to HBAA in the same condition
representative. The absence of such a reference defects imply the absence of any others. as at the date of sale, provided that, in any event,
does not imply that an item is free from defects no refund shall be available if either:
or restoration, nor does a reference to particular 2.1.2. Buyer’s responsibility (a) the catalogue description at the date of the
defects imply the absence of any others. All property is sold “as is” without any sale was in accordance with the generally accepted
representation or warranty of any kind by HBAA opinions of scholars and experts at that time or
1.3. ESTIMATES (and its employees or agents) or the seller. Buyers the catalogue description indicated that there was
Each lot is given an estimated price range in are responsible to examine a lot prior to the sale a conflict of such opinions; or
Ringgit Malaysia, described as “Estimate” in the and to satisfy themselves as to the condition of (b) the only method of establishing that the lot
auction catalogue. The estimated price range is the lot and that the lot matches any written or was a counterfeit at the date of publication of
based upon the opinion of expert consultants oral description provided by the seller or HBAA. the catalogue was by means of processes which
and known recent transactions for a comparable Any illustrations in the catalogue are solely for either were not generally accepted for use until
property, condition, rarity, quality and provenance identification and the guidance of buyers and after the publication of the catalogue or else
and is subject to change and may be revised should not be relied upon in terms of tone or were unreasonably expensive or impractical or
anytime without prior notice. The estimated colour or necessarily to reveal imperfections in likely to have caused damage to the lot or likely,
price range of the lot should not be relied on as any lot. in HBAA’s reasonable opinion, to have caused loss
a statement that this is the price at which the lot of value to the lot. An item shall be considered
will sell or its value for any other purpose. Buyers The prospective buyer undertakes: counterfeit where, in HBAA’s reasonable opinion,
should not and cannot rely upon the estimated (i) to inspect and satisfy himself prior to the sale it is a deliberate modern forgery i.e. an imitation
price range as the representation or guarantee of as to the condition and description of the lot; created since 1970 with the intention of deceiving
actual selling prices. Estimated price range does (ii) to rely on his own judgment as to whether the as to authorship, origin, date, age, period, culture
not include the buyer’s premium. lot accords with its description; or source (where the correct description of such
(iii) to seek any independent expert advice matters is not reflected by the description in the
1.4. RESERVES reasonable (in the light of the prospective buyer’s catalogue) and which, at the date of sale, had a
The reserve price is the confidential minimum particular expertise and the value of the lot) value materially less than it would have had if the
price at which the seller has agreed to sell a lot to satisfy himself as to authorship, attribution, item had been in accordance with the description
and will not exceed the estimated price range. authenticity, genuineness, origin, date, age, in the catalogue. No lot shall be considered a
provenance or condition of the lot; and counterfeit by reason only of any damage and/or
1.5. PRE-AUCTION VIEWING (iv) not to rely on any illustration in any catalogue. restoration and/or modification work of any kind
All lots on offer at the auction will be exhibited (including repainting or overpainting).
prior to the sale, for public viewing free of The buyer will be deemed to have knowledge of
charge. HBAA personnel will be available to assist all matters which he could reasonably have been It is HBAA’s general policy, and HBAA shall have
prospective buyers at the public viewing times expected to find out given his particular expertise the right to request the buyer to obtain at the
or by appointment for private preview sessions. and the exercise of his reasonable due diligence. buyer’s cost the reports of two independent
We strongly encourage prospective buyers to and recognised experts in the field, mutually
examine the lots thoroughly and to request for 2.2. LIMITED WARRANTY BY HBAA IN acceptable to the buyer and to HBAA, setting
condition reports from HBAA. RESPECT OF COUNTERFEIT LOTS out the reasons why the lot in question is
In the event the sale of a lot subsequently proves considered to be counterfeit and HBAA agrees
All lot(s) will be sold “as is” without any to be a counterfeit and: that it will give due consideration to any such
representation or warranty of any kind by HBAA a) if the buyer at the time has not yet paid the expert reports. However, HBAA reserves the
(and its employees or agents) or the seller. Buyers full amount due, HBAA shall have the right to right to seek additional independent advice itself
are responsible to examine a lot prior to the sale terminate the sale; or in making its final determination as to whether
and to satisfy themselves as to the condition of b) if HBAA has at that time paid the seller the the lot is a counterfeit and HBAA shall not be
the lot and that the lot matches any written or whole or part of the full amount due to him, bound by any expert report produced by the
oral description provided by the seller or HBAA. then the seller undertakes to refund to HBAA, buyer. If HBAA agrees with the buyer that the lot
on demand, the full amount paid. HBAA shall be is a counterfeit, HBAA shall refund to the buyer
2. CONDITIONS FOR BUYERS entitled to exercise a lien over any properties of the costs of obtaining two independent expert
the seller in its possession pending settlement reports incurred by the buyer provided that (i)
2.1. BEFORE THE SALE of all outstanding sums due from the seller to such costs were approved by HBAA in advance
HBAA, of obtaining such reports; and (ii) the buyer
2.1.1. Examination of property could not reasonably have obtained independent
Solely as a convenience, HBAA may provide Provided that, no later than three (3) years after opinions prior to the sale. The benefit of this
condition reports. Neither HBAA (and its the date of the sale, the buyer: guarantee is not capable of being transferred and
employees or agents) nor the seller provides (i) notifies HBAA in writing of the number of is solely for the benefit of the buyer.
any guarantee in relation to the nature of the the lot, the date of the auction at which it was
property. purchased and the reasons why the buyer 2.3. HBAA’S LIABILITY TO BUYERS
considers the lot to be counterfeit, within three
References in the catalogue entry or the condition (3) months of any information causing the buyer Notwithstanding Condition 2.2 above given by
report to damage or restoration are for guidance to question the authenticity or attribution of the HBAA to the buyer and the buyer’s rights in
only and should be evaluated by personal lot coming to the buyer’s attention; relation to the conduct of auctions as set out in

225
 Condition 2.5.12: • Companies/corporations/institutions: a Please refer to the catalogue for the Absentee
certificate of incorporation. Bid Form. The lots will be bought at the lowest
(a) HBAA gives no guarantee or warranties to the • For other business structures such as trusts, possible price taking into account other bids
buyer and any implied warranties or conditions offshore companies or partnership, please contact placed and the reserve price. If written bids on a
are excluded (save in so far as such obligations HBAA for advice on the information which should particular lot are received by HBAA for identical
cannot be excluded by statute); be supplied by the prospective buyer. amounts, and at the auction these are the highest
(b) In particular, any representations, written • A financial reference in the form of a recent bids on the lot, it will be sold to the person whose
or oral and including those in any catalogue, bank statement, a reference from the prospective written bid was received and accepted first.
report, commentary or valuation, in relation to buyer’s bank, and/or the prospective buyer’s HBAA’s obligation in relation to such written bids
any aspect or quality of any lot, including price or banker’s contact information. is undertaken subject to their other commitments
value, (i) are statements of opinion only and (ii) • Persons registering to bid on behalf of a third at the time of sale and the conduct of the sale may
may be revised prior to the lot being offered for party who has not previously bid or consigned be such that HBAA is unable to bid as requested.
sale (including whilst the lot is on public view); and with HBAA should bring identification documents HBAA cannot accept liability for failure to
(c) None of HBAA, any HBAA’s affiliated not only for themselves but also for the party on make a written bid for any reason. Telephoned
company, or any agent, employee or director whose behalf they are bidding, together with a absentee bids must be confirmed no later than
thereof shall be liable for any errors or omissions signed letter of authorization from the party. 24 hours before the sale by letter or fax. In such
in any such representations. circumstances, HBAA reserve the right to require
2.5.4. Registering to bid on behalf confirmation of relevant details in writing before
Without prejudice to Conditions 2.1.1 and 2.2 Person bidding on behalf of a prospective HBAA agrees to do so. Absentee bidders shall be
above, and save in so far as it relates to any liability buyer should bring a signed letter from the required to pay an earnest deposit amounting to
which HBAA may have for personal injury or prospective buyer authorizing the bidder to act 5% of the lower end of the estimate price range
death, any claim against HBAA by the buyer shall on the prospective buyer’s behalf. Please note indicated in the auction catalogue, in the form of a
be limited to the hammer price and the buyer’s that HBAA does not accept payment from third bank draft, personal cheque, credit card payment
premium actually paid by the buyer to HBAA with parties. HBAA can only accept payment from the or telegraphic transfer into HBAA’s account.
regard to that lot. buyer, and not from the person bidding on their HBAA must receive confirmation from its bank
behalf. Official receipts and any acknowledgement that the earnest deposit has been credited into
2.4. SELLER’S LIABILITY TO BUYERS of sale will be issued in the name of the buyer HBAA’s bank account before the absentee bidder
The seller’s obligations to the buyer are limited (not the person bidding on behalf of the buyer). is allowed to participate in the bidding. HBAA
to the same extent as HBAA’s obligations to shall not in any way be held liable to the bidder
the buyer. Any express or implied conditions or In the event a person who is bidding does not if he is not allowed to participate in the bidding
warranties are excluded save in so far as it is not inform HBAA that he is acting as agent on behalf on account that his earnest deposit not yet been
possible to exclude obligations implied by statute. of an identified third party acceptable to HBAA, credited into HBAA’s bank account before the
it will be deemed as though the person is bidding start of the auction. In the event none of their
2.5. AT THE SALE as principal and will be held personally and solely bids are successful, the earnest deposit shall be
liable for the bid, in particular to pay the purchase returned to the absentee bidders in full. HBAA
2.5.1. Refusal of admission price, including the buyer’s premium and all shall not be responsible for the failure of any
HBAA has the right, at its absolute discretion, to applicable taxes, plus all other applicable charges. telephone bid for any reason. HBAA reserve the
refuse admission to any person to the premises right to record telephone bids. The auctioneer
or participation of any person in any auction and 2.5.5. Bidding as principal may also execute bids on behalf of the seller up to
to reject any bid. In making a bid at auction, a bidder is doing so the amount of the reserve price. The auctioneer
as principal and will be held personally and solely will not specifically identify bids placed on behalf
2.5.2. Registration before bidding liable for the bid, in particular to pay the purchase of the seller. Under no circumstances will the
Prospective buyers who wish to bid in the price, including the buyer’s premium and all auctioneer place any bid on behalf of the seller
saleroom can register in advance of the sale, or applicable taxes, plus all other applicable charges, above the reserve price. Execution of written bids
can come to the saleroom on the day of the unless it has been explicitly agreed in writing and telephone bids is a complimentary service
sale at least one (1) hour before the start of the with HBAA before the commencement of the undertaken subject to other commitments at
sale to register in person. A prospective buyer sale that the bidder is acting as agent on behalf the time of the sale and HBAA does not accept
must complete and sign a registration form and of an identified third party acceptable to HBAA. liability for failing to execute a written bid or for
provide identification before bidding. HBAA may In such circumstances, both the bidder and the any errors and omissions in connection with it.
require the production of bank or other financial third party will be jointly and severally liable for all
references. obligations arising from the bid and the third party To allow sufficient time for processing, new
shall be bound by the Conditions of Business by clients are encouraged to register at least three
2.5.3. Bidder registration the bidder’s bid as his agent in the same way as if (3) working days in advance of a sale. Prospective
Prospective buyers who have not previously bid he were bidding personally. buyers should register for a numbered bidding
or consigned with HBAA should bring along the paddle at least one (1) hour before the sale is
following documents when registering in person 2.5.6. Absentee bids scheduled to begin.
at the sale room: HBAA will use reasonable efforts to carry out
• Individuals: government-issued photo telephone bids or written bids delivered to 2.5.7. Telephone bids
identification (such as national identity card, HBAA prior to the sale for the convenience of Prospective buyers may bid by telephone during
driving license or passport) and, if not shown on clients who are not present at the auction in the sale although prior arrangements must be
the ID document, proof of current address, for person, by an agent or by telephone provided that made and concluded with HBAA at least twenty
example a utility bill or bank statement will be such written bids are sufficiently clear in HBAA’s four (24) hours before the sale by contacting
required. opinion. Bids must be placed in Ringgit Malaysia. HBAA at +603-2691 3089 / +6016-273 3628.

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Arrangements for telephone bids can also be exchange rates. HBAA does not accept liability in the case of errors or dispute, and whether
made by completing the absentee bid form to bidders who follow the currency converter during or after the sale, to determine the
and indicating on the form the lot(s) which the rather than the actual bidding in the sale room. successful bidder, to continue the bidding, to
prospective buyers wish to bid by telephone and cancel the sale or to reoffer and resell the lot
giving HBAA a number to call during the course 2.5.11. Video or digital images in dispute and/or take any such actions as he
of the sale. Telephone bidders shall be required At some auctions there may be a video or reasonably thinks fit in the circumstances. If any
to pay an earnest deposit amounting to 5% of the digital screen in operation for the convenience dispute arises after the sale, the sale record of
lower end of the estimate price range indicated of both buyers and sellers. Errors may occur in HBAA is conclusive.
in the auction catalogue, in the form of a bank its operation and in the quality of the image and
draft, personal cheque, credit card payment HBAA does not accept liability either for the 2.5.14. Successful bid and passing of risk
or telegraphic transfer into HBAA’s account. quality of the image reproduced on the video Subject to the auctioneer’s discretion, the highest
HBAA must receive confirmation from its bank screen, or for the correspondence of the screen bidder accepted by the auctioneer will be the
that the earnest deposit has been credited into image to the original. buyer and the striking of his hammer marks the
HBAA’s bank account before the absentee acceptance of the highest bid and the conclusion
bidder is allowed to participate in the bidding. 2.5.12. Conduct of the auction of a contract for sale between the seller and the
HBAA shall not in any way be held liable to the The auctioneer will commence and advance the buyer. Risk and responsibility for the lot (including
bidder if he is not allowed to participate in the bidding in levels that he considers appropriate in frames or glass where relevant) passes to the
bidding on account that his earnest deposit not the light of the value of the lot under auction and buyer at the expiration of seven (7) calendar days
yet been credited into HBAA’s bank account of competing bids. The auctioneer may continue from the date of the sale or upon collection by
before the start of the auction. HBAA shall not to bid on behalf of the seller up to the amount the buyer, whichever is earlier.
be responsible for the failure of any telephone of the reserve price, either by placing consecutive
bid for any reason. Execution of written bids bids or by placing bids in response to other While invoices are sent out by mail after the
and telephone bids is a complimentary service bidders, although the auctioneer will not indicate auction, HBAA does not accept responsibility for
undertaken subject to other commitments at during the auction that he is making such bids on notifying the buyer of the result of his bids. Buyers
the time of the sale and HBAA does not accept behalf of the seller. Unless otherwise indicated, all are requested to contact HBAA by telephone
liability for failing to execute a written bid or for lots are offered subject to a reserve price, which or in person as soon as possible after the sale
any errors and omissions in connection with it. is the confidential minimum price below which to obtain details of the outcome of their bids
the lot will not be sold. The reserve price will not to avoid incurring unnecessary storage charges.
2.5.8. Bidding exceed the estimated price range printed in the Successful bidders will pay the full amount due
The auctioneer will accept bids from registered catalogue. If any lots are not subject to a reserve plus any applicable taxes and costs.
bidders present in the saleroom, from telephone price, they will be identified with the symbol
bidders or by written bids left with HBAA in * next to the lot number. With respect to lots 2.6. AFTER THE SALE
advance of the auction. The auctioneer may that are offered without reserve price, unless
also execute bids on behalf of the seller up to there are already competing bids, the auctioneer, 2.6.1. Payment
the amount of the reserve, either by placing in his or her discretion, will generally open the Successful bidders will be required to sign a buyer’s
consecutive bids or by entering bids in response bidding at 50% of the estimated price range acknowledgement form upon the fall of hammer
to bids from the saleroom, telephone and/or for the lot. In the absence of a bid at that level, and to make payment of 5% of hammer price (or
written bids. The auctioneer will not specifically the auctioneer will proceed backwards in his or RM500, whichever is greater) as a non-refundable
identify bids placed on behalf of the seller. Under her discretion until a bid is recognised, and then earnest deposit before leaving the sale room. For
no circumstances will the auctioneer place any bid continue up from that amount. Absentee bids bidders who have placed an earnest deposit with
on behalf of the seller at or above the reserve. will, in the absence of a higher bid, be executed at HBAA at the point of registration, the successful
approximately 50% of the estimated price range bidder will be required to top up the 5% earnest
2.5.9. Successful bids or at the amount of the bid if it is less than 50% of deposit immediately after the auction by paying
The fall of the auctioneer’s hammer indicates the the estimated price range. In the event that there the difference between the earnest deposit that
final and highest bid, at which time, the buyer is no bid on a lot, the auctioneer may deem such he has placed with HBAA and the equivalent
assumes full responsibility for the lot. The results lot unsold. The buyer acknowledges the rights amount of 5% of the successful bid price for the
of absentee bids will be sent by fax one (1) day of the auctioneer and the seller set out in this lot. The balance of the full amount due (which
after the auction. Successful bidders will be Conditions of Business and waives any claim that includes the hammer price in respect of the lot
required to sign a buyer’s acknowledgement form he might have in this connection against HBAA sold, together with the buyer’s premium and any
upon the fall of hammer and to make payment or the seller. charges, fees, interest, taxes and expenses due
of 5% of hammer price (or RM500, whichever from a buyer) shall be payable no later than seven
is greater) as a non-refundable earnest deposit 2.5.13. Auctioneer’s discretion (7) days after the auction. HBAA can only release
before leaving the sale room. Failure to sign the Notwithstanding Conditions 13 and 14 above, the the lot to the buyer upon full payment made in
form and make payment for the earnest deposit auctioneer has the absolute and sole discretion at good cleared funds.
will render the sale to be null and void and the any time to:
auctioneer may re-offer the lot for sale. (a) refuse any bid which does not exceed the In the event the full payment has not been made
previous bid by at least 5% or by such other and the lot remains uncollected by the buyer
2.5.10. Currency converter proportion as the auctioneer will in his absolute at the end of seven (7) days after the auction,
Auctions are conducted in Ringgit Malaysia (RM), discretion direct, HBAA shall arrange for storage of the lot at the
but HBAA may provide a currency converter in (b) to advance the bidding in such a manner as he buyer’s expense, which may involve removal of
the sale room for the convenience of bidders. may decide, the lot to a third party storage facility. The lot shall
The figures shown in foreign currencies are only (c) to withdraw or divide any lot, only be released upon full payment of all storage,
approximates and do not represent the exact (d) to combine any two or more lots and, transportation, additional insurance and any other

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 costs incurred, together with payment of all other +603-2691 3089 / +6016-273 3628, no earlier number of the lot.
monies due to HBAA. than one (1) day after the auction and no later
than three (3) days after the auction. 2.6.8. Transfer of risk
To avoid delivery delays, prospective buyers are Any lot purchased is entirely at the buyer’s risk
encouraged to supply bank or other suitable 2.6.5. Collection of purchases from the earlier of:
references before the auction. Please note that Upon payment of the full amount due, the buyer (a) the time the buyer collects the lot purchased;
HBAA will not accept payments for the purchased shall collect the purchased lot(s) in person (or by or
lots from any party other than the registered an authorised person with a letter of authorisation (b) the time that the buyer pays to HBAA the full
buyer, unless otherwise agreed between the from the buyer), at his own expense, from HBAA’s amount due for the lot; or
buyer and HBAA prior to the sale. sale room no later than seven (7) days after the (c) seven (7) calendar days after the day of the
auction unless otherwise agreed between HBAA sale.
Payment shall be made in Ringgit Malaysia either and the buyer.
in cash, or by bank/personal cheque, credit card The buyer shall be solely responsible for insuring
or telegraphic transfer direct to Henry Butcher If the lot remains uncollected at the end of such the lot purchased from the time risk passes to
Art Auctioneers Sdn Bhd’s account at: period, HBAA shall arrange for storage of the the buyer. The buyer will be compensated for
lot(s) at the buyer’s expense, which may involve any loss or damage to the lot which occurs after
Malayan Banking Berhad removal of the lot(s) to a third party storage sale but prior to the time risk passes to the buyer.
No 1,2 & 5, Medan Tuanku 1, 50300 Kuala facility. The lot(s) shall only be released upon full The maximum amount of compensation shall be
Lumpur, Malaysia payment of all storage, transportation, additional the hammer price of the lot, and shall exclude
Account Name: Henry Butcher Art Auctioneers insurance and any other costs incurred, together any indirect or consequential loss or damage.
Sdn Bhd with payment of all other monies due to HBAA. However, HBAA will not, in any circumstances,
Account No: 514347-608317 be liable for any loss or damage caused to frames
Swift No.: MBBEMYKL Delivery and shipping of the purchased lot(s) or to glass which is covering prints, paintings or
can be arranged as a convenience to buyers other works unless the frame or glass is, in itself,
Please quote invoice number and client number who are unable to collect in person, although the object sold at auction.
with all transactions. written instruction must first be given to HBAA
and arrangements made no later than three (3) 2.6.9. Packing, handling and shipping
Personal cheques may be accepted at the discretion working days prior to the expiry of the seven The packing, handling and shipping of lots is
of HBAA and, unless prior arrangements have (7) days after the auction. The packing, handling entirely at the buyer’s risk and expense (which
been made, all cheques must be cleared before and delivery/shipping of lot(s) is entirely at the shall be paid in full before the lot is shipped
delivery of any purchase. buyer’s risk and expense (which shall be paid in out) and HBAA shall not, in any circumstances,
full before the lot is shipped out) and HBAA shall be responsible for the acts or omissions of the
Payment for auction purchases may also be made not, in any circumstances, be responsible for the packers or shippers. In circumstances where
by credit card (Visa or MasterCard). However, acts or omissions of the packers or shippers. In HBAA proposed handlers, packers or carriers
bank fees will be incurred on all credit card circumstances where HBAA proposed handlers, if so requested, HBAA shall also not accept
payments for auction purchases. packers or carriers if so requested, HBAA shall responsibility or liability for their acts or omissions.
not accept responsibility or liability for their acts
All mailed payments should be sent to: or omissions. 2.6.10. Export license
No. 25, Jalan Yap Ah Shak, Off Jalan Dang Wangi, The export of any lot from Malaysia or import
50300 Kuala Lumpur, Malaysia. 2.6.6. Insurance into any other country may be subject to one or
HBAA provides insurance cover for sold lot(s) at more export or import licences being granted. It
Please direct all inquiries to the administration the sale room location for a maximum of seven is the buyer’s responsibility to obtain any relevant
office at (tel.) +603-2691 3089 / +6016-273 (7) days after the auction or until the lot(s) has/ export or import licence. Lots purchased shall
3628 and (fax) +603-2602 1523 have been collected (whichever is earlier). If a lot be paid for in accordance with Condition 17
remains uncollected from the sale room after the above and the denial of any export or import
2.6.2. Buyer’s premium expiry of the said period, the lot(s) will be entirely licence required or any delay in the obtaining
HBAA will charge to the buyer a 12% premium at the buyer’s risk. of such licence shall not justify the rescission or
of the hammer price of each lot sold, together cancellation of the sale by the buyer or any delay
with all applicable taxes as may be set and revised 2.6.7. Passing of title by the buyer in making payment of the full amount
by the Malaysian government from time to time. The buyer shall always remain liable for the full due for the lot. HBAA shall not be obligated to
amount due and shall not acquire title to the lot rescind a sale nor to refund any interest or other
2.6.3. Tax sold until payment of the full amount due has been expenses incurred by the buyer where payment
All sums payable by the buyer to HBAA are made in full in respect of that lot and HBAA has is made by the buyer in circumstances where an
exclusive of any goods or service tax or any other applied such payment to the lot (even if, without export license is required.
applicable taxes as may be set and revised by the prejudice to Condition 18, HBAA exercise their
Malaysian government from time to time. If any discretion to release it to the buyer). Other than 2.6.11. Remedies for non payment or failure to
such tax applies, the buyer shall pay the tax at the where HBAA has agreed with the buyer to the collect purchases
rate and time as required by the relevant law. contrary, and subject to Condition 23(m) below, If the buyer without the prior agreement of
any monies received from the buyer shall be HBAA fails to make payment of the full amount
2.6.4. Auction results applied in order of the oldest debt owed by the due or any part of it on any lot in accordance with
The auction results will be published online at buyer to HBAA or the oldest purchase made Condition 17 above, HBAA shall be entitled in
www.hbart.com.my or a faxed copy may be by the buyer at HBAA or any HBAA affiliated their absolute discretion and without prejudice to
requested from HBAA office by contacting company having regard to the date of sale and the any other rights which HBAA and the seller may

228
have, be entitled, both for HBAA and as agent k) to retain that or any other lot sold to the same that at all relevant times (including but not limited
for the seller, to exercise one or more of the buyer at the same time or at any other auction to the time of the consignment of the lot and the
following rights or remedies: and release it only after payment of the full time of the sale):
amount due; (a) the seller is the true owner of the lot, or are
a) to charge the buyer, the seller’s and HBAA’s l) to apply any payments made by the buyer to properly authorised to sell the lot by the true
reasonable legal and administrative costs incurred; HBAA or to any HBAA’s affiliated company owner;
b) to charge interest at a rate not exceeding 8% towards settlement of the full amount due (b) the seller is able to and shall, in accordance with
(eight per cent) per annum on the full amount or otherwise towards any costs or expenses these Conditions of Business, transfer possession
due to the extent that it remains unpaid for more incurred in connection with the sale of the lot; to the buyer and good and marketable title to the
than four (4) weeks after the date of the auction; m) to apply any payments made by the buyer lot free from any third party rights or claims or
c) to forfeit the buyer’s earnest deposit as to HBAA or to any HBAA’s affiliated company potential claims including, without limitation, any
required under Condition 14; towards settlement of the full amount due or claims which may be made by governments or
d) to hold the defaulting buyer liable for the full otherwise towards any other debts owed by the governmental agencies;
amount due and to commence legal proceedings buyer to HBAA or to any other HBAA affiliated (c) the seller has provided HBAA with all
for its recovery together with interest, legal fees company in respect of any other transaction; information concerning the provenance of the lot
and costs to the fullest extent permitted under n) to take such other action as HBAA deems and has notified HBAA in writing of any concerns
applicable law; necessary or appropriate. expressed by third parties in relation to the
e) cancel the sale of the lot; ownership, condition, authenticity, attribution, or
f) to arrange and carry out a re-sale of the lot 2.6.12. Remedies for failure to collect purchases export or import of the lot;
by public auction or private sale in mitigation of If the buyer does not collect a purchased lot within (d) the seller is unaware of any matter or
the debt owed by the buyer to HBAA. The buyer seven (7) calendar days after the sale, HBAA may allegation which would render any description
and the seller hereby consent to and authorise arrange for storage of the lot at the buyer’s risk given by HBAA in relation to the lot inaccurate
HBAA to arrange and carry out such re-sale and expense. This shall apply whether or not the or misleading;
on the Conditions of Business applicable at the buyer has made payment of the full amount due. (e) where the lot has been moved to Malaysia
time of the re-sale and agree that the level of the HBAA shall release the purchased lot only upon from another country, the lot has been lawfully
reserve and the estimates relevant to such re-sale full payment by the buyer of all storage, removal, imported into Malaysia; the lot has been lawfully
shall be set at HBAA’s sole discretion. The net insurance and any other costs incurred, together and permanently exported as required by the laws
sales proceeds will be applied in reduction of the with payment of all other amount due to HBAA of any country in which it was located; required
buyer’s debt. If a re-sale should result in a lower including, if applicable, the full amount due. HBAA declarations upon the export and import of the
price than the original hammer price obtained, shall, in their absolute discretion, also be entitled lot have been properly made; any duties and taxes
HBAA and the seller shall be entitled to claim the to exercise any of the rights or remedies listed in on the export and import of the lot have been
balance from the buyer together with any costs Condition 23(a), (c), (d), (f), (g), (h) and (l) above, paid;
incurred in connection with the buyer’s failure provided that HBAA shall not exercise their right (f) the seller has or will pay any and all taxes
to make payment. If the re-sale should result in under Condition 23(f) above for a period of and/or duties that may be due on the net sale
a higher price than the original hammer price ninety (90) days following the relevant sale. In proceeds of the lot and the seller has notified
obtained, the surplus shall be paid to the seller. In the event that HBAA exercise their rights under HBAA in writing of any or all taxes and for duties
such case, the buyer waives any claim which the Condition 23(f) above, HBAA undertakes to that are payable by HBAA on behalf of the seller
buyer may have to title to the lot and agree that hold to the buyer’s order the net sales proceeds in any country other than the country of the sale;
any re-sale price shall be deemed commercially received by HBAA in cleared funds less all (g) unless HBAA is advised to the contrary in
reasonable; storage, removal, insurance and any other costs writing at the time the lot is delivered by the seller
g) set-off any amounts owed by HBAA or any or taxes incurred. to HBAA, there are no restrictions, copyright or
HBAA’s affiliated company to the buyer against otherwise, relating to the lot (other than those
any amounts owing by the buyer to HBAA or any 3. CONDITIONS CONCERNING SELLERS imposed by law) and no restrictions on HBAA’s
HBAA’s affiliated company, whether as the result rights to reproduce photographs or other images
of any proceeds of sale or otherwise; 3.1. Seller’s warranties of the lot.
h) exercise a lien over any of the buyer’s property This Condition governs the seller’s relationship
which is in HBAA’s possession or in possession of with both the buyer and HBAA. If HBAA or 3.2. BEFORE THE SALE
any HBAA’s affiliated company for any reason until the buyer considers any of the warranties listed
payment of all outstanding full amount due to below to be breached in any way, either HBAA 3.2.1. Preparation for sale
HBAA have been made in full. HBAA shall notify or the buyer may take legal action against the The seller agrees that HBAA shall have sole and
the buyer of any lien being exercised and the seller. The seller agrees to indemnify HBAA and absolute discretion as to:
amount outstanding. If the amount outstanding any HBAA’s affiliated company, their respective (a) the way in which property may be combined
then remains unpaid for fourteen (14) days servants, directors, officers and employees and or divided into lots for sale;
following such notice, HBAA shall be entitled the buyer against any loss or damage resulting (b) the way in which lots are included in the sale;
to arrange and carry out the sale of any such from any breach or alleged breach of any of the (c) the way in which any lot is described and
property in accordance with (f) above; seller’s representations or warranties, or other illustrated in the catalogue or any condition
i) to insure, remove and store the lot either at terms set forth in these Conditions of Business. report;
HBAA’s premises or elsewhere at the buyer’s sole Where HBAA reasonably believes that any (d) the date and place of the auction; and
risk and expense; breach of such representation or warranty has (e) the manner in which any sale is conducted.
j) to reject future bids made by or on behalf of occurred, the seller hereby authorise HBAA in its
the buyer at any future auction or render such sole discretion to rescind the sale. HBAA reserves the right to consult with and rely
bids subject to payment of a deposit to HBAA on any outside experts, consultants or restorers
before such bids are accepted; The seller warrants to HBAA and to the buyer of their choice in relation to the property and to

229
 carry out such other inquiries or tests in relation shall be held by HBAA at the seller’s expense, In the event the reserve price has not been
to the property either before or after the sale until the title claim or lien, as applicable, has been mutually agreed between the parties and
as HBAA may, in their absolute discretion, deem finally resolved to HBAA’s satisfaction. confirmed by the seller in writing prior to the
appropriate. This is however, a matter for HBAA’s auction date, HBAA shall have the right to, in its
discretion and HBAA is under no duty to carry 3.2.7. Withdrawal fee sole discretion, set the reserve price of the lot.
out such consultation, inquiries or tests. If the lot is withdrawn because the circumstances
described in any of (i) to (iv) of Condition 31 3.3.2. Bidding at the sale
3.2.2. Estimates above occurs, HBAA reserves the right to charge The seller may not bid for his own property.
Any estimate given by HBAA, whether written or an administrative fee equivalent to 0.5% of reserve Although HBAA shall be entitled to bid on behalf
oral, is a matter of opinion only and is intended price or RM500, whichever is greater) and the of the seller up to the amount of the reserve
only as a guide. An estimate shall not be relied lot shall be returned to the seller at the seller’s price, the seller shall not instruct or permit any
upon as a guarantee of the anticipated selling expense provided that there is no adverse title other person to bid for the property on behalf of
price. Any estimate given (whether written or claim on the lot. If however the lot is withdrawn the seller. If the seller should bid on his own behalf
oral and whether in a catalogue or any marketing for any other reason, the seller shall pay HBAA a (or instruct someone else to do so), HBAA may
materials, receipt, letter or otherwise) may, in withdrawal fee equivalent to 10% of the reserve treat the seller as the successful bidder. In those
HBAA’s absolute discretion, be revised from time price, together with insurance and expenses. circumstances, the seller shall not be entitled to
to time. HBAA shall not be obliged to withdraw any lot the benefits of Conditions 4 and 35 above and
from sale or to return it to the seller unless the the seller shall pay to HBAA a sum representing
3.2.3. Exclusion of liability seller has paid HBAA the withdrawal fee. the total of the sales commission, the buyer’s
Any representations, written or oral and including premium and all expenses which was incurred
those in any catalogue, report, commentary or 3.2.8. Loss or damage by HBAA in connection with the sale of the lot.
valuation in relation to any aspect or quality of HBAA is unable to accept responsibility for any HBAA shall be entitled to exercise a lien over the
any lot, including price or value (a) are statements damages caused by the following: lot until payment of that sum has been made by
of opinion only and (b) may be revised prior to the seller in full.
the lot being offered for sale (including whilst the (a) normal wear and tear;
lot is on public view). Neither HBAA, any HBAA’s (b) gradual deterioration; 3.4. AFTER THE SALE
affiliated company, nor any agent employee or (c) inherent vice or defect including woodworm,
director thereof shall be liable for any errors or mildew and other inherent defects not mentioned 3.4.1. Payment
omissions in any such representations. herein; Following the sale, the seller will be liable to
(d) errors in processing; pay HBAA the sales commission and expenses.
3.2.4. Limitations on claims by seller (e) changes in atmospheric conditions; HBAA shall be entitled to deduct each of these
Any claim by the seller (excluding any claim (f) handling or storage; or items from monies received from the buyer. The
covered by Condition 34) shall in any event, be (g) any loss, direct or indirect, consequential or seller hereby authorises HBAA to charge the
limited to the net sales proceeds in respect of that otherwise, which may be suffered by the seller. buyer and retain the buyer’s premium.
lot.
3.2.9. Risk of loss or damage by the seller 3.4.2. Payment of net sales proceeds to the
3.2.5. Withdrawal of lots by the seller If the seller has specifically instructed HBAA not seller
If the seller choose to withdraw a lot from the to insure the lot, it will remain at the seller’s risk Unless HBAA has been notified by the buyer of
sale, provided that consent from HBAA must have at all times until the buyer has made payment in his intention to rescind the sale on the basis that
first been obtained, after the earlier of (i) written full or until the lot is returned to the seller in the the lot is a counterfeit, HBAA shall send to the
agreement to sell the lot between the seller and event it is not sold. The seller hereby undertakes seller within six (6) weeks from the date of the
HBAA and (ii) twelve (12) weeks before the date to indemnify HBAA, its employees and agents, sale of the lot, the net sales proceeds received
of the auction of the lot, the seller will be liable and the buyer (where applicable) against any from the buyer in cleared funds, less any other
to pay to HBAA a withdrawal fee calculated in claim made against them in respect of the lot, amount owing by the seller to HBAA or any
accordance with Condition 32 below. If the seller however those claims may arise even if HBAA, its HBAA’s affiliated company. The seller should note
withdraws a lot before that time, no withdrawal employees and agents were found to be negligent. that the net sales proceeds payable to the seller is
fee shall be payable. derived from the actual proceeds of sale received
3.3. AT THE SALE by HBAA from the buyer. In the event of late
3.2.6. Withdrawal of lots by HBAA payment by the buyer, HBAA shall, within two
HBAA may withdraw a lot from sale without any 3.3.1. Reserve price (2) weeks of receipt of such payment in cleared
liability if (i) HBAA reasonably believes that there Unless otherwise agreed in writing, each lot will funds from the buyer, make such remittance to
is any doubt as to the authenticity or attribution be offered for sale subject to a reserve price as the seller. HBAA reserves the right to release a
of the lot or (ii) it is established or alleged that any agreed between the seller and HBAA. HBAA lot to the buyer before receipt of the full amount
of the seller’s representations or warranties set shall in no circumstances be liable if bids are not due for the lot.
out in Condition 25 above are inaccurate in any received at the level of or below the reserve
way or (iii) the seller breached any provisions of price. HBAA shall however be entitled to sell the 3.4.3. Rescission
this Conditions of Business in any material respect lot below the reserve price. In such circumstance, Where HBAA is satisfied that the lot is a
or (iv) HBAA believes it would be improper to HBAA shall be obliged to account to the seller as if counterfeit, HBAA shall rescind the sale and
include the lot in the sale. the hammer price was equal to the reserve price, notify the seller of such rescission. HBAA shall,
and the seller will pay HBAA the sales commission in their absolute discretion, be entitled to
If HBAA becomes aware of a competing title as if the lot has been sold at a hammer price equal dispense with the requirements of Condition 4
claim to, or lien over, a lot consigned by the seller, to the reserve price. in determining whether or not a particular lot is a
HBAA shall not release the lot to the seller, which counterfeit. Within ten (10) days of receipt of the

230
notice advising the seller of the rescission of the treated as being a reference to the date of the 4.3. Service of process
sale, the seller undertakes to refund to HBAA on post-auction sale. All buyers and sellers irrevocably consent to
demand the full amount due if HBAA has at that service of process or any other documents in
time paid the seller the whole or part of the full 3.4.6. Unsold lots connection with proceedings in any Court by
amount due to him. In the latter case, HBAA shall In the event the lot remains unsold and are not facsimile transmission, personal service, delivery
exercise a lien over any properties of the seller re-consigned to HBAA for sale or has been at the last address known to HBAA or any
in its possession pending settlement of the full withdrawn from sale for whatever reason, it must other usual address, mail or in any other manner
amount of refund due from the seller. be collected from the premises of HBAA (or its permitted by Malaysian law, the law of the place
storage solution provider) within seven (7) days of service or the law of the jurisdiction where
For the avoidance of doubt, the seller shall indem after the auction date or within thirty (30) days proceedings are instituted.
nify HBAA and its employees in full on demand after HBAA sends the seller a notice requiring the
against all claims, costs or expenses incurred by seller to collect the lot (whichever occurs first). 4.4. Photographs and illustrations
HBAA in relation to the lot as well as any loss or If the lot remains uncollected at the end of such The buyers and sellers agree that HBAA shall
damage resulting from the same. period, HBAA shall arrange for storage of the lot have the absolute right (on a non-exclusive basis)
at the seller’s expense, which may involve removal to photograph, video and otherwise reproduce
3.4.4. Non-payment by the buyer of the lot to a third party storage facility. The lot images of each lot consigned to HBAA for sale.
In the event the buyer fails to pay the full amount shall only be released upon full payment of all The copyright of all images, illustrations, written
due within four (4) weeks from the date of the storage, transportation, insurance and any other materials and published contents produced by
sale, HBAA shall be entitled to agree to special costs incurred, together with payment of all other or on behalf of HBAA relating to each lot shall
terms on behalf of the seller for payment, storage monies due to HBAA. remain at all times the property of HBAA and
and insurance, and to take any necessary steps to shall not be used by any person without the
collect the amount due from the buyer. However, If the lot remains uncollected in ninety (90) days prior written consent of HBAA. HBAA shall have
HBAA shall not be obliged to remit the payment after the auction date, HBAA shall have the right the right to use all such materials in whatever
due to the seller, nor to take any legal proceedings to dispose of it as they see fit, which may involve manner it deems fit in the normal course of
on behalf of the seller. HBAA shall discuss with offering the lot for sale by public auction or private HBAA’s business and the business of its affiliated
the seller and agree on the appropriate course sale on such price and terms as HBAA considers companies.
of action to be taken to recover the payment appropriate including those relating to estimates
due from the buyer. In addition, HBAA shall and reserves. HBAA shall then account to the 4.5. Copyright
have absolute discretion to take and enforce any seller for the proceeds of sale (after deducting all No representations or warranties are made by
of the remedies set out in Condition 23 above payments due to HBAA under the terms of the either the seller or HBAA as to whether any lot is
including the right to cancel the sale and return Consignment Agreement). subject to copyright nor as to whether the buyer
the property to the seller. HBAA shall be entitled acquires any copyright in any lot sold.
to charge the buyer interest for late payment in Without prejudice to the above, HBAA shall be
accordance with Condition 23(b) above and the entitled to keep possession of any unsold lot until 4.6. Export/Import and embargoes
seller hereby authorises HBAA to retain such the seller has paid all amounts owing to HBAA No representations or warranties are made
interest for HBAA’s own account. under the Consignment Agreement, and HBAA by HBAA or the seller as to whether any lot is
shall have the right to sell the lot on such terms subject to any export restrictions from Malaysia
If the buyer fails to pay the full amount due but as HBAA considers appropriate, to use or deal or any import restrictions of any other country.
HBAA agrees to remit to the seller an amount with it in order to recover any outstanding sums Similarly, HBAA makes no representations or
equal to the net sale proceeds, ownership of from the seller, and HBAA shall then account to warranties as to whether any embargoes exist in
the relevant lot shall pass to HBAA. For the the seller for the proceeds of sale after having relation to particular lots.
avoidance of doubt, HBAA shall have the benefit deducted from the proceeds all amounts due to
of all of the seller’s representations, warranties HBAA from the seller. 4.7. Notices
and indemnities set out in these Conditions of Any letter, notice, request, demand or certificate:
Business. 4. CONDITIONS CONCERNING BOTH (a) if delivered personally shall be deemed to be
BUYERS AND SELLERS received at the time of receipt by the recipient; or
3.4.5. Post-auction sales (b) if despatched by prepaid registered post,
In the event the lot is bought in or otherwise 4.1. Governing law first class post or express or air mail or other
remains unsold by auction, HBAA shall be These Conditions of Business and any amendment fast postal service shall be deemed to have been
authorised as the exclusive agent of the seller for to them shall be governed by and interpreted and duly served within seven (7) days of despatch
a period of seven (7) days following the auction construed in accordance with the laws of Malaysia. (notwithstanding that it is returned through the
date to sell such lot privately for a price that will post undelivered); or
result in a payment to the seller of no less than 4.2. Jurisdiction (c) if sent by telex or by facsimile transmission or
the amount (after deducting all charges due from HBAA and all buyers and sellers (and any other electronic media shall be deemed to have
the seller) to which he would have been entitled prospective buyers or sellers) agree that been given at the time of transmission, and if sent
had the lot been sold at a price equivalent to the the courts of Malaysia are to have exclusive by telegram or cable shall be deemed to have
reserve price, or for any lesser amount which jurisdiction to settle any dispute (including claims been given 24 hours after despatch.
HBAA and the seller may agree and set out in for set-off and counterclaims) which may arise in
writing. In such case, the seller’s obligations to connection with the validity, effect, interpretation
HBAA and the buyer with respect to the lot or performance of, or the legal relationships
are the same as if such lot had been sold during established by, these Conditions of Business
the auction. Any reference in the Conditions or otherwise arising in connection with these
of Business to the date of the auction shall be Conditions of Business.

231
 Any notice sent to HBAA shall be sent to:
Wisma Henry Butcher, No. 25 Jalan Yap Ah Shak,
Off Jalan Dang Wangi, 50300 Kuala Lumpur,
Wilayah Persekutuan.
Any notice which HBAA delivers to the buyer or
seller may be sent to the last address known to
HBAA.

4.8. Severability
If any part of these Conditions of Business is found
by any court to be invalid, illegal or unenforceable,
that part shall be discounted and the rest of the
conditions shall continue to be valid to the fullest
extent permitted by law.

4.9. Personal details

If HBAA so requests, each of the buyer, the seller
and any bidder at auction agrees to provide (in a
form acceptable to HBAA) written confirmation
of their name, permanent address, proof of
identity and creditworthiness.

4.10. Introductory fees

HBAA reserves the right to claim for the payment
of an introductory fee or selling commission for
the lot from any party.

4.11. Miscellaneous
(a) The headings and introduction to these
Conditions of Business do not form part of the
Conditions of Business, but are for convenience
only.
(b) No act, failure to act or partial act by HBAA
shall be deemed a waiver of any of its rights
hereunder.
(c) The singular includes the plural and vice versa
where the context requires.
(d) These Conditions of Business shall not be
assignable by the buyer or the seller without the
prior written agreement of HBAA. However,
these Conditions of Business shall be binding
on any of your successors, assigns, trustees,
executors, administrators and representatives.
(e) Where terms have special meanings ascribed
to them, a glossary may appear before the first lot
in the relevant catalogue.

232
 Affinity for
the work.
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Email: [email protected]
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 Bidder No. (for office use)

Bidder Registration Form

To be completed by the person who will be bidding in the auction saleroom.
BILLING NAME CLIENT NUMBER (FOR OFFICE USE ONLY)

ADDRESS I.C. / PASSPORT NO.

CITY POSTAL CODE

OFFICE PHONE NO. MOBILE PHONE NO.

EMAIL ADDRESS

SALE TITLE SALE DATE

MALAYSIAN & SOUTHEA ST A SIAN ART 15 MARCH 2020

IDENTIFICATION / FINANCIAL REFERENCE

(Please attach the following documents when submitting your registration form)
Proof of Identity (circle): Identity Card / Passport / Driving License / Company Registration /
Others (please state)
Proof of Address: Utility Bill and Bank Statement (issued within the last 6 months) (for office use)

(Financial references are to be furnished to HBAA upon request)

NAME OF BANK ACCOUNT NO.

BANK ADDRESS

CONTACT PERSON AT THE BANK TELEPHONE NO. (OF BANK CONTACT)

CREDIT CARD NO. CREDIT CARD TYPE ISSUING BANK

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.

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 (12% 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 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 were bidding personally.

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 (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.

SIGNATURE DATE

PRINT NAME (IN BLOCK LETTERS)

238
 Bidder No. (for office use)

Telephone / Absentee Bid Form

Please complete the absentee bid form below and email a signed copy to Henry Butcher Art Auctioneers Sdn Bhd at [email protected].
BILLING NAME CLIENT NUMBER (FOR OFFICE USE ONLY)

ADDRESS I.C. / PASSPORT NO.

CITY STATE POSTAL CODE COUNTRY

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

EMAIL ADDRESS

SALE TITLE SALE DATE

M A L AYSIA N & SO U T H E A ST A S I A N A RT 15 MARCH 2020

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 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 (12% of hammer price) and any other applicable taxes. I further
understand that I shall be requested to place with HBAA a non-refundable earnest deposit equivalent to 5% of the lower end of the estimated price range for the lot
as stipulated in the auction catalogue, in the form of a bank draft, personal cheque, credit card payment or telegraphic transfer into HBAA’s account. I understand that
the earnest deposit must be credited into HBAA’s bank account before I will be allowed to participate in the auction and that HBAA shall not in any way be held
responsible in the event that I am not allowed to participate in the auction if my earnest deposit is not credited into HBAA’s bank account before the start of the auction.
In the event none of my bids are successful, the earnest deposit shall be returned to me in full.

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 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, taking into account the
reserve price and other bids. 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.

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 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

PRINT NAME (IN BLOCK LETTERS)

Please enter the bids in Ringgit Malaysia. Bids in foreign currency will not be accepted.
Please select your bidding option: Written Bid Phone Bid

MAXIMUM BID AMOUNT (RM)

LOT NO. ARTIST NAME / TITLE OF LOT
(excluding Buyer’s Premium)

Telephone number during Sale (for telephone bids only)

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)
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 +6016 273 3628 or re-submit your bid(s).
239
 I N D E X OF ARTI S TS

A .B. Ibrahim 1 Ismail Latiff 169 Rudy Mardijanto 96

Abdul Latiff Mohidin 125, 129 Ismail Mat Hussin 34, 35
Abdullah Ariff 158 Sabihis Md Pandi 160
Ahmad Fuad Osman 52, 53, 54 Jaafar Taib 159 Samjis Mat Jan 107
Ahmad Shukri Mohamed 58, 59 Jack Ting 22 Samsudin Wahab 46, 162
Ahmad Zakii Anwar 79, 136, 137 Jalaini Abu Hassan 138, 139 Shafie Hassan 2
Alex Leong 5, 115 Jeihan Sukmantoro 100 Shafiq Nordin 48, 49
Amron Omar 77 Jolly Koh 63, 157 Shafurdin Habib 13
Anisa Abdullah 116,117 Joseph Tan 74 Sharifah Fatimah Syed Zubir, 67, 68, 126,
Anthonie Chong 88, 173 Dato’ 127, 128
Arie Smit 101 Kartika Affandi 97 Stephen Menon 140, 141
Awang Damit Ahmad 66 Khairudin Zainudin 164 Suhaidi Razi 85
Azizi Latif 145 Khalil Ibrahim 3, 10, 11, 39, Sultan Ismail Nasiruddin Shah 76
Azman Yusof, Dato’ 89 109, 151 Suzlee Ibrahim 132
Khaw Sia 29 Syed Ahmad Jamal, Datuk 62
Bayu Utomo Radjikin 51 Kow Leong Kiang 90 Syed Thajudeen 150

Ch’ng Huck Theng 42 Latif Maulan 134 Tajuddin Ismail, Dato’ 64, 65, 131
Chang Fee Ming 156 Lee Joo For, John 26 Tan Choon Ghee 4
Chia Yu Chian 30 Liew Choong Ching 108 Tan Tong 70
Chong Ai Lei 81 Long Thien Shih 23, 24 Tang Hong Lee 170*
Chong Hon Fatt, Dato’ 112 Lui Cheng Thak 113*, 119*, Teh Siew Joo 7
Chong Siew Ying 135 120 Tew Nai Tong 71, 87
Chuah Thean Teng, Dato’ 32, 33, 36 M. Sukri Derahman 37
Chung Chen Sun 72* Maamor Jantan 12 Ugo Untoro 161
Masnoor Ramli Mahmud 55
Dzulkifli Buyong 103 Mazli Mat Som 106 Wan Amy Nazira 149
Meor Saifullah Lulaed 50 Wong Perng Fey 43
Eko Nugroho 147 Mohd Khairul Izham 168
Eric Peris 75 Mohd Zain Idris 16 Yap Kim Boon 17
Mustapa Haji Ibrahim 69 Yau Bee Ling 166
Fadilah Karim 83 Yeoh Choo Kuan 44
Fatimah Chik 38 Ngo Van Sac 172 Yeoh Kean Thai 171*
Fauzul Yusri 41 Nik Mohd Hazri 82 Yong Mun Sen 27, 28
Fazrin Abd Rahman 45 Nik Zainal Abidin 25 Yuki Tham 84
Fendy Zakri 40 Nizar Kamal Ariffin 167 Yusof Ghani 121, 122, 153
Fung Yow Chork 110 Norma Abbas, Puan Sri 142
Nyoman Gunarsa 98 Zainal Abidin Musa 19
Gan Chin Lee 86 Zulkifli Yusoff 60, 123, 124,
Gan Tee Sheng 92, 163 Ong Kim Seng 114 154, 155
Grace Selvanayagam 94 Onib Olmedo 99

Hamdan Shaarani 18 Peter Harris 31

Hamidah Suhaimi 104, 105 Peter Liew 111
Hamir Soib 56, 57 Poodien 146
Harris Ribut 95
Hasanul Isyraf Idris 148 Rafie Abdul Rahman 15
Heng Eow Lin 91 Rafiee Ghani 8, 133
Hisyamuddin Abdullah 80 Rahmat Ramli 14
Huang Yao 73 Raja Azhar Idris 165
Raphael Scott Ahbeng 20*, 21
Ibrahim Hussein, Datuk 130, 152 Redza Piyadasa 61, 118
Ilham Fadhli Shaimy 93 Ronnie Mohamad 78
a.k.a. Kojek Roslisham Ismail (Ise) 143, 144
Ismail Awi 47 Rudolf Bonnet 102
* P I N K G U Y C O N S E R V AT I O N F R A M I N G

240
LOT 65 TAJUDDIN ISMAIL, DATO’, Gridscape (Boxscape Series), 1991
LOT 60 ZULKIFLI YUSOFF, After Meeting, 1997
LOT 34 ISMAIL MAT HUSSIN, Fresh From The Sea, 2012