劉抗

由現藏者委託所作
新加坡私人收藏

This work is in good overall condition as viewed. There is evidence of extremely light wear along the edges of the work due to abrasions with the frame, but this does not affect the overall image as it is covered by the frame itself. There are a few very tiny spots of paint loss, but these are only visible upon extremely close inspection. Examination under ultraviolet light reveals small areas of restoration on the surface of the work, but these are not visible to the naked eye. 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.

“Works from Liu’s Paris period show the influence of Vincent Van Gogh, Henri Matisse and Paul Gauguin in aspects of the Post-impressionist pictorial interests – expressiveness of burhs strokes, imposing presence of forms, and flattening and merging of planes to construct colour blocks… [Other works] manifest [a] Fauvist sensitivity toward colour, form and design although the basic approach appears to be narrative… [His works] also show a thickening of outlines in defining object and spaces – suggesting an affiliation with the linear brush quality of Chinese ink painting.” -  Kwok Kian Chow¹

¹ Kwok Kian Chow, Channels & Confluences: A History of Singaporean Art, Singapore Art Museum, Singapore, 1996, p. 52.