陳文希

The painting is in good condition overall, as is the paper. There are minor wear and handling on the back margin of the paper but the paint layers are well preserved and stable. Any inconsistency of the medium is inherent to the artist's working method. Under ultraviolet light inspection, there is no evidence of restoration. Rolled.
"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."

"[Chen] had chosen to lengthen the bird’s heads and beaks so as to accentuate their slender forms and graceful charm. Likewise in Abstract Herons, he almost obliterated the eyes and beaks, leaving only broad streaks of ink, to suggest the form of the birds and their lively movements. Yet, the painting also works as an abstract composition with diagonal lines that crisscross the picture plane…in a mosaic of triangles and rectangles that provides a visual counterpoint to the dominant forms in black and grey. And in Herons, Chen broke away from tradition by creating an almost-abstract work, resulting in a flat patterning of the painting surface. This is achieved by repeating the basic geometric form of the heron, to create a shimmering tapestry of interlocking shapes and colours. Suggestive of a dense flock of birds feeding in water, there is also a sense of infinite depth… In Chinese painting, some areas of the paper are usually left unpainted, so as to suggest the sky, water, or ground… In a sense, Chen came full circle with these works. Although initially inspired by Western principles such as Cubism and Abstraction, he also reached deep into his own cultural heritage." 

Low Sze Wee, Convergences: Chen Wen Hsi Centennial Exhibition – Introduction to Exhibition, p. 34-35