This image was featured in Nanyang Siang Pau (Nanyang Business Daily), 8 September 1971

This work is in good overall condition as viewed. There is some discoloration and yellowing to the paper, but this is consistent with the age of the work. There is an area of restoration at the rock at the bottom right corner. Framed, under Plexiglas.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Revered as one of Singapore’s pioneering visionaries who championed the Nanyang School style, Chen Wen His was a maestro of ink painting with an eye for the avant-garde. Born and raised in Guangdong province, the artist received formal art training and honed his skills at the Shanghai Academy of Fine Arts and the Xinhua Academy of Fine Arts. Chen then relocated to Singapore in 1948 and began teaching at the Nanyang Academy of Fine Arts (NAFA). He was greatly inspired by his new environment and started to merge Eastern and Western philosophies in his art. However, he remained firmly rooted in his classical Chinese training and produced remarkable ink paintings with an elegant finesse and verisimilitude. Wisteria stands as an exceptional masterpiece by the artist that exemplifies his soft, expressive yet confident hand. The painting showcases Chen’s prowess in the medium of Chinese ink and effectively captures the essence of the charming flora. Chen was evidently an avid admirer of the wisteria as he sometimes adorned his compositions of gibbons or squirrels with this species of flowers. Known in Chinese as the “purple vine”, wisteria often signify love, longevity or playfulness.

The present lot is a rare interpretation as the blooms take center stage. While the composition features four small sparrows amongst the branches, the birds appear to complement the petals of the wisteria plant rather than dominate the space. A pair of sparrows perch delicately on the ends of a branch, leaning gently towards the leftmost edge of the paper. This exaggerates the asymmetrical composition as the overarching vines shower down and across the painting from the upper left corner.

Using his calligraphic skills to depict the twining branches and brilliant coloration to delineate the clusters of blooming florals, Chen portrays the wisteria with a vivid dynamism. His expressive brushstrokes are spontaneous and echo the techniques of the traditional xie yi (寫意) style. The delicate petals of the flowers are rendered in soft dabs of lilac, pink and blue —each one applied in quick but controlled staccato movements. Chen also expertly establishes a sense of depth and balance by utilizing varying shades of black ink that recede when juxtaposed against the various flowers.

Wisteria fully embodies the immaculate dexterity that Chen possessed in a painting genre that demands great precision, attention to detail and compositional sophistication. It stands as a quintessential representation of a maestro who made a significant mark on the modern art movement in Singapore; whose works transcend geographical boundaries and are greatly admired. This particular painting was a personal favorite of the artist’s and was photographed posing with it for a Chinese newspaper feature in 1971.