Exhibition Themes<\/h3>\nSection I: The Constructed Landscape<\/h4>\n
Landscape, Memory, and Inner Worlds<\/em><\/p>\nThis section looks at how artists reimagine the idea of landscape\u2014not just as nature, but as emotion, memory, and personal experience. You\u2019ll see imagined mountains, abstract cities, and still lifes that feel like quiet poems.<\/p>\n
Section II: The Faces of Time<\/h4>\n
Portraiture, Identity, and Presence<\/em><\/p>\nA portrait is more than a likeness\u2014it\u2019s a window into identity, society, and the self. This section explores how artists use the human figure to express everything from emotion to cultural belonging, across styles that range from classical to conceptual.<\/p>\n<\/div><\/div><\/div><\/div><\/div>
Featured Artists<\/h3><\/h3><\/div><\/div><\/div><\/div><\/div><\/div>Alix de Fautereau (later known as Alix Aym\u00e9) (b. 1894 – d. 1989)<\/h3><\/div><\/div><\/div>Born Alix Hava in Marseille, Alix Fautereau was a French artist whose work bridged European modernism and Asian traditions. She studied drawing and music at the Toulouse Conservatory before moving to Paris, where she trained under Maurice Denis and later collaborated with him on major projects, including the decoration of the Th\u00e9\u00e2tre des Champs-\u00c9lys\u00e9es.<\/p>\n
In 1920, following her marriage to Professor Paul de Fautereau-Vassel, she moved to Asia and began working under the name Alix Fautereau. Living in Hanoi and Shanghai, she taught at the French Lyc\u00e9e and took part in scientific expeditions in China. During this period, she mastered techniques such as lacquer painting, silk painting, reverse glass painting, and printmaking. Her solo exhibition at Galerie Portal in Saigon in 1930 marked her growing prominence in the region.<\/p>\n
After separating from her first husband, she remained in Asia and later married Colonel Georges Aym\u00e9 in 1931, thereafter sometimes known as Alix Aym\u00e9 in French cultural and official contexts. That same year, she was appointed professor at the Lyc\u00e9e Albert Sarraut in Hanoi, where she continued to teach and promote lacquer art.<\/p>\n
In Luang Prabang, she was commissioned by the royal family to paint a series of murals in the Royal Palace\u2014works that are now considered national treasures. Her extensive travels through Indochina, India, China, Japan, Korea, and Africa deeply informed her practice and expanded her visual vocabulary.<\/p>\n
Fautereau\u2019s work is held in public collections including the Cabinet des Dessins of the Louvre, the Mus\u00e9e des Ann\u00e9es Trente (Paris), Mus\u00e9e des Beaux-Arts (La Rochelle), the Royal Palace of Luang Prabang, and the Evergreen Museum & Library at Johns Hopkins University, which hosted her first American museum exhibition in 2012.<\/p>\n<\/div><\/div><\/div>
![\"View](\"https:\/\/glutenfreepleasure.com\/__proxy_domain\/prestigearts.com.sg\/wp-content\/uploads\/2025\/06\/IMG_8512.jpg\" "\\"View")
<\/span><\/div>View of Bridge in Hanoi<\/em>
\nc.\u202f1930, Oil on canvas, 48 x 70 cm
\nCollection of Tan Shee Tiong<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>Bernard Buffet (b. 1928 – d. 1999)<\/h3><\/div><\/div><\/div>Bernard Buffet was a French Expressionist painter, born in Paris in 1928. Exceptionally precocious, he was admitted to the \u00c9cole Nationale Sup\u00e9rieure des Beaux-Arts in 1943 at the age of 15. He held his first solo exhibition in Paris in 1947 and, a year later at just 20, received the Prix de la Critique. He died in 1999 in Tourtour, France, by suicide following a long struggle with Parkinson\u2019s disease. He was 71.<\/p>\n
Buffet is best known for his representational style, with works that are often figurative, centrally composed, and graphically rendered. Over time, he developed a distinctive visual language marked by elongated, angular forms, subdued colors, flattened space, and a pervasive atmosphere of isolation and despair. His subjects frequently explored themes such as art history, death, sexuality, popular culture, and politics, often referencing current events and fellow artists.<\/p>\n
During his lifetime, Buffet gained widespread recognition, with numerous international exhibitions and honors, including his induction into the Acad\u00e9mie des Beaux-Arts in 1974.<\/p>\n<\/div><\/div><\/div>
![\"Cerises](\"https:\/\/glutenfreepleasure.com\/__proxy_domain\/prestigearts.com.sg\/wp-content\/uploads\/2025\/06\/IMG_8544.jpg\" "\\"Cerises")
<\/span><\/div>Cerises Dans un Compotier<\/em>
\n1957, Oil on canvas, 53.5 x 64.9 cm
\nPrivate Collection<\/p>\n<\/div>![\"Temple](\"https:\/\/glutenfreepleasure.com\/__proxy_domain\/prestigearts.com.sg\/wp-content\/uploads\/2025\/06\/4f1b9a72-380a-45ed-8b36-bdc9493a9194.jpg\" "\\"Temple")
<\/span><\/div>Temple Ryoan<\/em>
\nc. 1980s, Oil on canvas, 114 x 146 cm
\nPrivate Collection<\/p>\n<\/div>With stark black contours and subdued tones, Bernard Buffet transforms a simple bowl of cherries into a meditation on solitude and post-war melancholy. Created in 1957, this still life reflects his signature style\u2014flattened space, angular forms, and emotional austerity.<\/p>\n
A prodigious French artist trained at the \u00c9cole des Beaux-Arts, Buffet rose to fame in the 1940s as a defender of figurative art amidst the rise of abstraction. A founding member of L\u2019homme T\u00e9moin, he produced over 8,000 works across painting and printmaking.<\/p>\n
Buffet\u2019s work resonated strongly in Japan, where a dedicated museum was established in his name in 1973. Today, his paintings are held in major institutions like MoMA and Tate, and his market remains robust\u2014testament to a style that is both instantly recognizable and emotionally enduring.<\/p>\n<\/div>
In Temple Ryoan<\/em>, Buffet depicts the quiet solemnity of Kyoto\u2019s famed Zen temple. Bold, weighty lines reduce the architecture to a kind of structural poetry, suspending time and space within the frame \u2014 a painterly echo of Eastern minimalism. Buffet\u2019s interpretation transcends representation; it becomes a spiritual portrait of place. Ryoan-ji, as rendered here, is not just a symbol of Zen \u2014 it is a vessel of solitude, discipline, and existential clarity, all recurring themes in Buffet\u2019s postwar oeuvre.<\/p>\nIn contrast, Cerises Dans un Compotier <\/em>(Cherries in a Compote Dish) reveals his sculptural approach to still life. Olive branches and a glass stem intertwine at the center, evoking a silent dialogue of form and shadow\u2014a classical elegance imbued with quiet restraint. The painting exemplifies Buffet\u2019s signature expressionist style, where ordinary objects take on a brooding, austere intensity through his distinct lines and tonal control.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>Chen Chunmu \u9648\u6625\u6728 (b. 1981)<\/h3><\/div><\/div><\/div>Born in Quanzhou in 1981, Chen Chunmu has been actively exhibiting since 2002. His work has been featured in group exhibitions internationally, including Gathering\u2014Nine Artists’ Exhibition of Contemporary Art at Quac Art Space, Beijing (2007); The Big Bang at White Rabbit Gallery, Australia (2010); and The World Around\u2014Exhibition of Ten at the Gehua Museum, Beijing (2010).<\/p>\n
In 2013, he participated in The First China\u2013ASEAN Biennale in Guangxi, and in 2014, his work was included in Fujianese Contemporary Art Exhibition at Soka Gakkai Malaysia, Art Expo Malaysia in Kuala Lumpur, New Horizons\u2014Young Artist New Works at 798 Arts Center, Beijing, and A Life Without the Thrill of the Order at the Hong Kong Museum of Art. In 2015, he was featured in Meta Vision\u2014Seven Unique Languages\u2019 Personal History at Rainbow Wall Art Gallery, Beijing.<\/p>\n
His recent solo exhibitions include Worms Revolution at Soobin Art International, Singapore (2011), Buried Oneself in the Earth and Waiting for Growing Up at Hongkun Museum of Fine Art, Beijing, and Make an Honest Flower at Ying Gallery, Beijing (both in 2015).<\/p>\n<\/div><\/div><\/div>
![\"Atop](\"https:\/\/glutenfreepleasure.com\/__proxy_domain\/prestigearts.com.sg\/wp-content\/uploads\/2025\/06\/Chen-Chunmu-scaled.jpg\" "\\"Atop")
<\/span><\/div>Atop the Southern Hills<\/em>
\n2018, Oil on canvas, 203 x 150 cm
\nGallery Collection<\/p>\n<\/div>![\"Seed,](\"https:\/\/glutenfreepleasure.com\/__proxy_domain\/prestigearts.com.sg\/wp-content\/uploads\/2025\/06\/WechatIMG1282-scaled.jpg\" "\\"WechatIMG1282\\"")
<\/span><\/div>Seeds<\/em>
\n2025, Oil on canvas, 35 x 33 cm
\nGallery Collection<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>Chu Teh-Chun \u6731\u5fb7\u7fa4 (b. 1920 – d. 2014)<\/h3><\/div><\/div><\/div>Chu Teh-Chun was a pioneering French-Chinese painter celebrated for merging traditional Chinese aesthetics with Western abstraction. Alongside close friends and classmates Wu Guanzhong and Zao Wou-Ki\u2014collectively referred to as the \u201cThree Musketeers\u201d of Chinese modernist art\u2014Chu played a pivotal role in shaping the trajectory of 20th-century Chinese painting. In recognition of his artistic achievements, he was elected to the Acad\u00e9mie des Beaux-Arts in France.<\/p>\n
Born in Hangzhou, China, Chu studied at the National School of Arts, where he was immersed in both Chinese and Western artistic traditions. He later taught Western painting at the National Taiwan Normal University before relocating to Paris in the mid-1950s, eventually becoming a French citizen in 1980. Shortly after his arrival, he gained early acclaim when awarded the silver medal at the 1956 Salon de Printemps for a portrait of his wife\u2014affectionately dubbed the “Mona Lisa of the East” by Wu Guanzhong.<\/p>\n
Abandoning figuration, Chu developed a lyrical abstract style marked by gestural brushwork, vibrant color fields, and calligraphic energy\u2014evoking landscapes of memory and traditional ink painting, while also engaging with the abstract movements of his time in Europe and the United States. His international breakthrough came with a 1964 exhibition at the Carnegie Museum of Art, establishing him as a global figure in contemporary art.<\/p>\n
Chu\u2019s work is held in over 50 major museum collections worldwide, and his market has ranked among the highest for Chinese artists. Notable auction records include No. 268 ($9.7 million, 2018) and an untitled 1963 painting ($9.1 million, 2013). He passed away in 2014 at the age of 93, within a year of the deaths of both Wu Guanzhong and Zao Wou-Ki, marking the end of an era in Chinese modernist painting.<\/p>\n<\/div><\/div><\/div>
![\"Doux](\"https:\/\/glutenfreepleasure.com\/__proxy_domain\/prestigearts.com.sg\/wp-content\/uploads\/2025\/06\/WechatIMG11501.jpg\" "\\"WechatIMG11501\\"")
<\/span><\/div>Doux Avenir<\/i>
\n1996, Oil on canvas, 65.0 x 80.0 cm
\nCollection of Nai Family<\/p>\n<\/div>Painted in 1996, Doux avenir<\/em> (translated as \u201cGentle Outlook\u201d) radiates an intense blue light across a vast, cosmic darkness\u2014shattering the void and transforming it into a luminous expanse. The dynamic brushwork and interwoven hues evoke the atmospheric grandeur of J.M.W. Turner\u2019s masterworks, where light becomes both subject and substance. In this painting, Chu conjures a spiritual realm through gradations of blue, from deep to translucent, resembling sea and sky. Contrasting accents of reddish-brown and yellow punctuate the canvas, creating rhythmic visual tension and alluding to life quietly emerging from a blue-hued universe.<\/p>\nThis work once belonged to Maryn Varbanov and Song Huai Gui, longtime friends of Chu Teh-Chun and influential figures in Chinese contemporary art. Varbanov, a French artist of Bulgarian origin, studied in China where he met and married Song\u2014with special approval from Premier Zhou Enlai, theirs was the first foreign-Chinese marriage recognized in the early days of the PRC. The couple later settled in Paris and remained deeply engaged in Sino-French cultural exchange. As a professor at the China Academy of Art, Varbanov pioneered the modern Chinese tapestry movement, establishing a forward-looking research institute and promoting interdisciplinary practices with international impact.<\/p>\n
Song Huai Gui was equally remarkable\u2014a pioneering female artist, tastemaker, and entrepreneur. She was the first Chinese representative for French fashion house Pierre Cardin, bringing modern fashion into China, and also served as general manager of Maxim\u2019s restaurant, a joint venture that became both a cultural landmark and haven for China\u2019s rock scene.<\/p>\n
Their legacy as collectors and cultural ambassadors is embodied in this painting, which stands not only as a testament to Chu Teh-Chun\u2019s lyrical abstraction but also to a meaningful era of artistic friendship and exchange.<\/p>\n
This work is now in the collection of the Nai Family, and is generously on loan for this exhibition.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>
Chua Ek Kay<\/span> \u8521\u9038\u6eaa (b. 1947 – d. 2008)<\/h3><\/div><\/div><\/div>A prominent figure in Singaporean art, Chua Ek Kay was known for his distinctive Chinese ink practice that bridged tradition and modernity. From 1975 to 1985, he trained under renowned ink master Fan Chang Tien. In addition to his artistic practice, Chua was active as an art lecturer, curator, committee member, and published poet.<\/p>\n
Chua received numerous accolades, including the Grand Prize at UOB\u2019s 10th Painting of the Year Award, the Juror\u2019s Choice at the 1998 Philip Morris ASEAN Art Awards, and the Cultural Medallion from Singapore\u2019s National Arts Council in 1999.<\/p>\n
He began exhibiting with a solo presentation at the Chinese Chamber of Commerce, Singapore (1988), followed by major shows such as Being and Becoming at STPI (2003), Yixi: Recent Paintings of Chua Ek Kay at the Shanghai Art Museum (2005), Chua Ek Kay @ Art Forum (2006), and Lotus Pond & Water Village at Cape of Good Hope Art Gallery (2007).<\/p>\n
His work has continued to be celebrated posthumously in exhibitions such as Re-visiting Chua Ek Kay: Tribute to the Ink Master (STPI, 2010), Old Campus Revisited at The Private Museum (2012), and Chua Ek Kay: After the Rain at National Gallery Singapore (2015).<\/p>\n<\/div><\/div><\/div>
![\"Singapore](\"https:\/\/glutenfreepleasure.com\/__proxy_domain\/prestigearts.com.sg\/wp-content\/uploads\/2025\/06\/Chua-Ek-Kay-scaled.jpg\" "\\"Singapore")
<\/span><\/div>Singapore Streetscape<\/em>
\n2007, Ink and colour on paper, 64 x 58 cm
\nGallery Collection<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>Chua Soo Bin \u8521\u65af\u6c11 (b. 1932)<\/h3><\/div><\/div><\/div>Singaporean photographer Chua Soo Bin led a diverse career throughout his lifetime, excelling as a renowned photographic master, artistic director, art dealer, and art patron. These varied roles seamlessly intertwined due to his deep-rooted connection to the arts. In his early twenties, he was an active member of the Singapore Photographic Society and obtained the Associate Distinction from the Royal Photographic Society of Great Britain in 1955. His work Harvesting the Beach was featured in the annual publication Photograms of the Year, showcasing the best photographic works from around the world. From the 1960s to the 1980s, Chua Soo Bin found success as an advertising photographer, producing creative campaigns for clients such as Singapore Airlines, earning recognition for his innovative concepts and imagery. Starting from the mid-1980s, he embarked on ambitious personal projects, notably gaining fame for his portraits of artists. His contributions to the arts led to him being awarded the Cultural Medallion by the Singaporean government in 1988.<\/p>\n
Chua Soo Bin\u2019s portrait of Wu Guanzhong has been exhibited at the former Parliament House Art Gallery (Singapore, 2017), Tsinghua University Art Museum (China, 2020), and is now part of the collections of the National Gallery Singapore, Tsinghua University, the Hong Kong Museum of Art, and private collectors.<\/p>\n
In the 1990s, Chua Soo Bin photographed the lives of 14 Chinese painting masters, including Zhu Qizhan, Liu Haisu, Huang Junbi, Zhao Shao\u2019ang, Chen Wenxi, Wang Jiqian, Li Keran, Ye Qianyu, Wu Zuoren, Lu Yanshao, Xie Zhiliu, Li Xiongcai, Tang Yun, and Guan Shanyue. Using his unique perspective, he documented the elegance and demeanour of these contemporary Chinese painting masters, leaving an important visual record in the history of Chinese art. These photographs have become precious historical image documents.<\/p>\n
In addition to his work in photography and curating, Chua Soo Bin is a person who deeply loves life. His works are imbued with a passion for life and a pursuit of beauty. His attitude towards life and his work ethic have set a benchmark for art enthusiasts in Singapore and around the globe. His achievements and contributions extend beyond the realm of photographic art; they have had an indelible impact on the dissemination and promotion of culture and art.<\/p>\n
Artist Liao Fangyan once remarked that Chua Soo Bin\u2019s life and art are inseparable. Whether it is his family, photography, gallery affairs, or collections, they are all integrated. \u201cSoo Bin is art!\u201d<\/p>\n<\/div><\/div><\/div>
![\"\u8521\u65af\u6c11\u300a\u70b9\u7ebf\u65e0\u6781\u300b1988\u5e74\u6444\u5f71\u4f5c\u54c1](\"https:\/\/glutenfreepleasure.com\/__proxy_domain\/prestigearts.com.sg\/wp-content\/uploads\/2024\/05\/Chua-Soo-Bin-Wu-Guanzhong-Infinite-Dots-and-Lines-Prestige-Art-Gallery.jpg\" "\\"\u8521\u65af\u6c11\u300a\u70b9\u7ebf\u65e0\u6781\u300b1988\u5e74\u6444\u5f71\u4f5c\u54c1")
<\/span><\/div>Wu Guanzhong: Infnite Dots and Lines (1)<\/em>
\n2024, Archival inkjet print on paper, 33 x 49 cm, Edition 1\/12
\nGallery Collection<\/p>\n<\/div>![](\"https:\/\/glutenfreepleasure.com\/__proxy_domain\/prestigearts.com.sg\/wp-content\/uploads\/2025\/06\/2.jpg\" "\\"2\\"")
<\/span><\/div>Wu Guanzhong: Infnite Dots and Lines (7)<\/em>
\n2024, Archival inkjet print on paper, 33 x 49 cm, Edition 1\/12
\nGallery Collection<\/p>\n<\/div>This iconic portrait marks the first meeting between two luminaries of Asian art \u2014 Wu Guanzhong, the pioneering Chinese painter, and Chua Soo Bin, the visionary Singaporean photographer. Captured in Singapore in 1988, the image uses long-exposure light painting to echo Wu\u2019s philosophy that \u201clines are the lifeblood of painting.\u201d Light swirls around Wu\u2019s figure like brushstrokes suspended in mid-air, capturing the spirit of his work in a single frame.<\/p>\n
After being held in private for over 30 years, this photograph was officially re-released in January 2024 as a limited edition of 12 sets, each containing 8 prints. It has since entered the collections of major museums and private collectors, reaffirming its place in the history of modern Asian portraiture \u2014 and in the story of a friendship between two masters of their craft.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>
Cheong Soo Pieng \u949f\u6cd7\u6ee8 (b. 1917 – d. 1983)<\/h3><\/div><\/div><\/div>Widely regarded as one of Singapore\u2019s most accomplished and prolific painters, Cheong Soo Pieng\u2019s career spanned over four decades and encompassed a diverse range of media. As a dedicated educator at the Nanyang Academy of Fine Arts, he mentored a generation of artists working in Western media and helped establish Singapore\u2019s presence in the global art scene.<\/p>\n
During the 1950s and 60s, Cheong produced empathetic and introspective works depicting the people, landscapes, and cultures of Singapore and Southeast Asia. His seminal 1952 trip to Bali, alongside fellow pioneers, crystallized the \u2018Nanyang style\u2019\u2014Singapore\u2019s first distinct painting movement\u2014characterized by a synthesis of Eastern and Western artistic traditions.<\/p>\n
A subsequent visit to Europe in 1962\u201363 prompted Cheong to explore ink aesthetics and rethink his engagement with ethnicity. Upon returning, he entered a period of stylistic innovation, experimenting with oils, inks, batik, collage, cloisonn\u00e9, metalwork, and found materials. This phase reflected Singapore\u2019s rapid industrialization, with works that navigated between organic and geometric forms, and moved toward abstraction.<\/p>\n
In the late 1970s, Cheong revisited Southeast Asian subjects, notably from Malaya, Sarawak, and Bali, depicting stylized figures with elongated limbs and almond-shaped eyes\u2014a signature series influenced by wayang kulit puppetry and modernist artists like Modigliani and Giacometti. His oil paintings incorporated frames within frames, highlighting multiple perspectives on Southeast Asian identity, while his ink scrolls localized Chinese ink traditions through indigenous cultural references.<\/p>\n
Cheong\u2019s sudden death in 1983 cut short a vibrant and evolving practice. Today, he is internationally recognized as a foundational figure in Singaporean art, celebrated for successfully blending diverse artistic traditions. His ink painting Drying Salted Fish is famously featured on the back of Singapore\u2019s $50 banknote.<\/p>\n<\/div><\/div><\/div>
![\"Chua](\"https:\/\/glutenfreepleasure.com\/__proxy_domain\/prestigearts.com.sg\/wp-content\/uploads\/2025\/06\/IMG_8998.jpg\" "\\"IMG_8998\\"")
<\/span><\/div>Red Nebula<\/i>
\nc. 1970, Mix media on canvas, 70 x 50 cm
\nPrivate Collection<\/p>\n<\/div>![\"Chua](\"https:\/\/glutenfreepleasure.com\/__proxy_domain\/prestigearts.com.sg\/wp-content\/uploads\/2025\/06\/IMG_8997.jpg\" "\\"IMG_8997\\"")
<\/span><\/div>Milky Way<\/i>
\nc. 1970, Mix media on canvas, 70 x 50 cm
\nPrivate Collection<\/p>\n<\/div>Both Red Nebula\u00a0<\/em>and Milky Way<\/em>\u00a0were created in 1970s. The\u00a0mixed-media works\u00a0evokes cosmic energy and introspection. Through tonal washes and textural layering, Cheong crafts a contemplative passage between form and void\u2014characteristic of his mature abstract style.<\/p>\nTogether, these two works showcase Cheong\u2019s mastery at blending Eastern sensibility with Western compositional rigor, reflecting his innovative spirit and sustained commitment to transcultural experimentation.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>
Fang Wei \u65b9\u5dcd (b. 1968)<\/h3><\/div><\/div><\/div>Born and based in Shanghai, Fang Wei studied at the Shanghai Arts & Crafts Institute and is known for his dreamlike, vividly colored paintings. Rather than drawing from fixed themes, Fang\u2019s work emerges from his imagination, exploring the full spectrum of human emotions\u2014including excitement, fear, loneliness, ecstasy, and alienation.<\/p>\n
His large-scale compositions feature multiple human forms that merge into saturated, surreal landscapes. Though seemingly chaotic, these forms are carefully constructed, reflecting Fang\u2019s skill in using vibrant colors and surrealist techniques to convey a primitive mysticism and psychedelic energy that captivates viewers.<\/p>\n
Fang believes subjective interior truths often surpass objective reality. His work explores the evolving relationship between people and their environment, a process also embodied in his sculptures, which act as physical markers of transformation and becoming.<\/p>\n
Through his unique visual language, Fang captures life\u2019s rhythms with intense, hallucinatory imagery. His paintings pulse with nervous energy, balancing light and dark, reality and illusion, life and death\u2014echoing Gilles Deleuze\u2019s words on the transcendent intensity found in life\u2019s contradictions.<\/p>\n<\/div><\/div><\/div>
![\"Doux](\"https:\/\/glutenfreepleasure.com\/__proxy_domain\/prestigearts.com.sg\/wp-content\/uploads\/2025\/06\/fang-wei-e1750913752711.png\" "\\"Fiery")
<\/span><\/div>Fiery Foliage<\/i>
\n2021, Oil on canvas, 54.0 x 40.0 cm
\nGallery Collection<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>Georgette Chen \u5f20\u8354\u82f1 (b. 1906 – d. 1993)<\/h3><\/div><\/div><\/div>
![\"Poster-Collect:ed\"](\"https:\/\/glutenfreepleasure.com\/__proxy_domain\/prestigearts.com.sg\/wp-content\/uploads\/2025\/06\/111.png\" "\\"111\\"")
<\/span><\/div><\/div><\/div><\/div><\/div>