signed in pinyin and Chinese; Marlborough Gallery, New York label affixed to the stretcher on the reverse
Executed in 1998.

Marlborough Gallery, New York
Important Private European Collection

New York, Marlborough Gallery, Chen Yifei: New Works, December 7, 1999 – January 15, 2000

Chen Yifei: New Works, Marlborough Gallery, New York, 1999, plate 3, illustrated in colour
Chen Yifei, Marlborough Gallery, London, p. 168, illustrated in colour
Song Yingmei, ed., Chen Yifei, Tianjin Yangliuqing Fine Arts Press, Tianjin, 2008, p. 84, illustrated in colour
Chen Yifei, Shanghai People's Fine Arts P🌱ublishing House, Shanghai, 2010, p. 319, illustrated in 𒊎colour

This work is in good condition overall. There is evidence of scattered white accretions across the surface of the lower part of the painting, primarily around the woman's head. There is no evidence of restoration under UV.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

1930s Shanghai was the most romantic Chinese city. Chen Yifei once described it as "the window to the world from China." The city incorporates both East and West; it was the centre for commerce, fashion and film, and enjoyed worldwide renown for its bustling social scene. During that era, Shanghai was filled with classic European-style hotels and restaurants. At dusk, the city was lit up, the streetscape was beguiling with a huge variety of nightlife. Bai Guang, a Shanghai chanteuse of that glamorous era, was famous for this classic Shanghai Nights with the following lyrics: "Shanghai Nights, Shanghai Nights, You're a city that never sleeps. The lights are up, cars are rolling, song and dance and good times abound. Without a drink, one is already drunk. Reckless, senseless, people waste their youth. The hazy dawn breaks, and in that instant she awakes. She savours that nightlife, as if waking from a dream." Bai Guang's alluring song evoked such nostalgia and imagination of "the Paris of the Orient" that is Shanghai.

At a cursory glance, At the Bar appears to feature only an ordinary corner of the bar, but if we pay attention to the details, we see the artist's impressive placement of specific items and how he provided viable narrative to the characters. The setting extends beyond the picture frame, leading the viewer to imagine the scene beyond, as the body language of the two characters on the canvas hints at their interaction with customers or friends who remain outside the picture fr♕ame. The gramophone turntable at left is attached to a large bell transmitting beautiful music, cast in texturally rich honey-brown yellow hues made up of nuanced colours and sheen, treated with direct light, soft focus and spotted lights, so that the painting is filled with warmth and tranquility, further deepening the intimacy and relaxed atmosphere, injecting the scene with modern flair. This painting bears witness to a changing China, of the unique aura of old Shanghai. The thick layers of paint almost appear as proof of Chen Yifei's deep love of urbanity, which he shared unreservedly with the viewer. At the Bar was exhibited in the 1999 Marlborough Gallery among Chen Yifei's new works. Without a doubt, this is one of Chen's major works of the 1990s.