陳文希

直接購自藝術家
私人收藏，台灣

This work is in good overall condition as viewed, as is the canvas which is clear and sound. There is evidence of light wear along the edges of the work due to abrasions from the frame, but this does not take away from the overall quality of the work. There is some cracking to paint in areas of thicker impasto, stable and consistent with age. A few areas of paint loss are present at areas of thick impasto on the bottom quadrants. There are a few scratches to the canvas, example the 3 1/2 inch scratch to canvas along the left edge, upper quadrant and a 5 inch vertical scratch at the bottom left quadrant. There are a few small areas of torn canvas at the left quadrant. Examination under ultraviolet light shows no sign of restoration.
"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."

"The artists painted what they saw, and somehow what they painted also became the emblems or icons representative of the local Nanyang style. They wanted to paint what they saw in the new land that they decided to take root in, being Chinese immigrants themselves".

- Daniel Tham ed., A Changed World: Singapore Art 1950s to 1970s, Dialogues between Szan Tan and Daniel Tham, National Museum of Singapore, Singapore, 2013, p. 23.