This work is in good overall condition as viewed. There is evidence of minor wear and losses along the edges of the works due to abrasions with the frame, but this does not affect the overall image as the paint layers are healthy overall. Examination under ultraviolet light reveals tiny spots of restoration on the surface of the work, most notably in the background areas. Framed.
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.

A pioneer of the Nanyang art style, Chen Wen Hsi was a dynamic and versatile artist who evolved his art style from traditional Chinese paintings to that of cubism and later, abstraction. Though hailing from Guangdong Province, Chen Wen Hsi was captured by the charm of Singapore in the 1950s, prompting him to settle in the island nation for the rest of his life. Along with fellow Nanyang School artists Cheong Soo Pieng and Georgette Chen, Chen pursued a deeper understanding of art and consequentially played a notable role in redefining the existing precept of Singapore art.

Chen’s initial creations were that of delicate and intricate gong-bi styled oriental paintings, masterpieces which demanded utmost precision, a distinct order and focus on form. Exposed to Western modernism, he began to experiment with cubism and💦 fauvism, art styles that were vastly different to what he studied. Chen’s creatꦿions exhibited an obsession with angles and shapes, positioning them masterfully to render scenes in Singapore.

The present lot is devoid of curves, for its entire foundation 🎶is built upon a myriad of angles and shapes. The artist imbues the piece with a wide array of pigments, masterfully employing colors to divide the shapes, evoking images of structures and ships. Chen’s skillful pairing of color and shape further creates an illusion of depth, with shades of blues demarking the sea while brighter whites and yellows fashion the sunset in the distant horizon. The combined effect is a fabrication of a three dimensional perception onꦉ a two dimensional plane, remarkable in the exploration of space.

Tittering on the peripheries of abstractionism, Chen nonetheless retains a sense of order and form in this work, delineating the pier and its ships. Painted during a transitionary phase, 🔯an era between his ink paintings and abstract art, the piece allows for a curious insight into the master’s development itself, highl🤡ighting his love for cubism.

A blissful marriage of both Asian and Western themes, Boat Quay subsumes the best of both worlds in one master🅷piece, a creation as dynamic as Chen himself🅠.