Peasant Girl, 1993
Mohd. Hoessein Enas, Dato’
(b. Indonesia, 1924-1995)
This work was done during a convalescence period after a second bypass operation in the United States, returning in September 1992. Although feted by the royalty and VIPS, Hoessein also found great challenge in doing portraits of the ordinary kampung people, with their radiant innocence.His confident handling of pastels here marked a fervent phase that showed nothing amiss. But ill health set in again and troubled him until his death at the age of 71.
Pastel on paper
48cm x 32cm
Signed ‘Hoessein Enas ‘93’ bottom left
Paris Street Scene, 1960
Chia Yu Chian
(b. Johor, 1936-1991)
He painted many scenes of Montmarte where he was billeted around the 18 Arrondisement on the Parisian Right Bank at the Rue de la Charbonniere,during his studies in Paris. It is a bohemian artist’s colony with heritage buildings of more than two centuries old. This work on a deserted alleyway in a slope behind the Sacre Coeur Basilica shows a couple in white and black overcoats suggesting a cold day but with the warmth of the light emanating from the makeshift tumbled-down workshop shed on the left.
Oil on board
58cm x 44cm
Signed ‘Yu Chian 1960 Paris’ bottom right
Untitled, 1995
Zulkifli Yusoff
(b. Kedah, 1962)
Zulkifli Yusoff is a latter-day Daumier for his Brave New Art using stylised caricatures to comment on socio-political events of the day. He often takes recourse to traditional Malay folklore and literature as moral lessons in his works. This work, an offshoot of his highly provocative Power Series on the use and abuse of power and all the political shenanigans, is drawn from the Sejarah Melayu centering on the courtship of Puteri Gunung Ledang by Sultan Mahmud of Malacca.
Charcoal on canvas
91cm x 91cm
Signed ‘Zulkifli Yusoff 95’ bottom right
Drying, 1984
Chang Fee Ming
(b. Terengganu, 1959)
This represents Chang Fee Ming’s first major award-winning piece, as one of the three winners of the Malaysian Watercolour Society 1984 Awards, the other winners being Cheah Ewe Hoon and Chiang Soa Ling. The award came with a pewter plate and a RM500 cash prize. Chang won the award again in 1985.
Watercolour on paper
Signed ‘F.M. Chang 1984’ top left
56cm x 75cm
Javanese Girl, 1954
Mohd. Hoessein Enas, Dato’
(b. Indonesia, 1924-1995)
Hoessein was always attracted to nubile Javanese beauty which also reflected his Javanese roots, and thus this picture of a fetching Javanese girl with a floral earring stud and her body in side profile. At that time, he was working as assistant controller in the Aboriginal Affairs Department.
Here, the artist’s naturalistic portrayal of the Javanese beauty with the modern and abstract brushwork in the background created a lively and exciting contrast not often seen in his other portraiture paintings.
Oil on canvas
51cmx 38cm
Signed ‘Hoessein ‘54’ bottom left
Mother With Children, c. 1986
Chuah Thean Teng, Dato’
(b. China, 1912-2008)
Dato’ Chuah Thean Teng had adopted the Mother and Child theme, also a favourite of British sculptor Henry Moore, as one of the main focus in his works, to reaffirm the sacrifices and love of his mother. Even Teng’s children recalled that since young, their father was always telling them about the unconditional love of his mother and this emphasis on a mother’s love was constantly being translated right in front of their eyes into paintings, from as early as the 1940s until his death in 2008.
Batik
85.5cm x 85.5cm
Signed ‘Teng’ bottom right
The Dream, 1969
Ibrahim Hussein, Datuk
(b. Kedah, 1936-2009)
The Dream sits with a great creative splurge that saw breathtaking masterpieces such as Pak Utih, Chairil Anwar, My Father And The Astronaut, May 13 1969, Are You Alone Out There?, Senyum Seorang Monyet, Aku Dan Aku, and the missing Lebai Malang.
The smooth luminous strokes and colour palette are consistent with Ib’s métier then, but the comparative detail to what is ostensibly a feminine head is unusual. The work also incorporates collage strips in the central area.
Acrylic on canvas
121cm x 121cm
Signed ‘Ibrahim Hussein ’69’, bottom left
Siri Tari (Dance Series), 1991-92
Yusof Ghani
(b. Johor, 1950)
This Tari formed part of six panels, which were shown in an exhibition at the National Art Gallery, Kuala Lumpur. This is one of three panels bought individually, with the other three sold to a prominent public institution. The work, done at the tailend of the Tari Series, reveals the skillful use of just black and white as tools for delineating forms with skeins of white activating spaces as well as suggesting movement.
Acrylic on canvas
152cm x 121.5cm