Finally the appointment was made to reframe the painting we bought at the Henry Butcher's Art Auction. Things got in the way of the busyness of every day living. The art piece cut a lonely, unattended existence. Just standing on the floor of the dining area. Waiting...
My son's pertinent remarks got us into action.'So that's how much you value your investment!' It was greeted with guilt and laughter.
I was looking forward to attend the auction, being a first -timer among 200 odd people. Some friends were there too for the 'auction fever'. After all, when money speaks, and the bids go higher and higher with hands popping up to the tune of the auctioneer's call for more and more till the final bid price. Bid assistants were at hand to help scan the bidders with the auctioneer. It was exciting for some pieces that we had taken a liking to. Some bids came through the phones.
|Registration before bidding|
|All set for the auction . In the background is Pago Pago Forms, 1968 by Abdul Latiff Mohidin. It was a stunning buy at RM572,000 inclusive of the buyer's 10% premium. It came out tops out of the 104 lots.|
|Ring , Ring, Rrringing - bidders call in|
|A pleasant surprise to have our friend as the auctioneer|
The late Tan Choon Ghee's pieces created some stir as the artist extraordinaire had recently passed away and Henry Butcher Art auctioneers paid him a lovely tribute by exhibiting his paintings. His painting, Khoo Kongsi at Cannon Square,1985 was well received.
Khoo Kongsi at Cannon Square,1985 - Watercolour on Paper
Siri Tari 2,1990 by Yusof Ghani spoke to us. We thought we'd buy something different this time round. Luckily our bid was successful and when we were ready to leave, it was all wrapped and happily we carried it to our car.
Here's an excerpt from an interview with the artist :
'I felt that I could still communicate about how I feel about the world with a dance theme. I called them Siri Tari (Dance series).
I want to convey to the audience about the inequality of life that leads to chaos. I feel that dancing is chaotic and directionless. To achieve this effect, my approach to painting was based on immediacy, spontaneity and guided by my intuition for the colours and strokes. I had no specific sketches for the painting.'
The framer recognised our new possession. Quickly he directed us to the front of his shop and there was Yusof's piece of a later series, Topeng (Mask). Someone wants to sell.
We settled for a plain look and a simple matt silver frame so as not to detract from the artist's strokes and composition.