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Yong Mun Sen

(1896 -  1962 )
SEN Yong Mun Hilly Coastal Scene With Fisherman

Henry Butcher /Apr 13, 2014
7,786.95 - 11,124.21
In progress

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Artworks in Arcadja
31

Some works of Yong Mun Sen

Extracted between 31 works in the catalog of Arcadja
Yong Mun Sen - Rushing Water In Jagged Rocks

Yong Mun Sen - Rushing Water In Jagged Rocks

Original 1951
Estimate:

Price:

Net Price
Lot number: 29
Other WORKS AT AUCTION
Description:
YONG MUN SEN b. Sarawak, 1896 - d. Penang, 1962 RUSHING WATER IN JAGGED ROCKS , 1951 Signed and dated 'MUNSEN 1951' (lower left) Watercolour on paper 63cm x 49cm PROVENANCE Private collection, Penang. EXHIBITED Yong Mun Sen Retrospective 1999, Penang Museum and Art Gallery, 1999; illustrated on page 66. Rushing Water in Jagged Rocks presents a scenic dynamic stream of flowing water amidst a rocky environment. The structured composition effectively portrays a harmonious balance between light and shade rendered in subtle warm hues combined with an economy of brushstrokes. The artist captures with deft the complex angular planes of stones, instilling rhythm and movement which bestows upon the stones a majestic and contemplative quality. After witnessing a Japanese artist painting in his family’’’’s coconut and pepper plantation, Yong Mun Sen (born Yong Yen Lang) became inspired to become a painter. He changed his name to Yong Mun Sen in 1922, two years after settling in Penang. He had established a photography studio named Tai Woon / Wei Guan Art Studio in 1922 and renamed it Mun Sen studio in 1930 which then became a favourite meeting place for fellow artist-friends namely Tay Hooi Keat, KuoJu Ping, Khaw Sia, Lee Cheng Yong, Abdullah Ariff and other pioneering Malaysian artists. He co-founded the Penang Chinese Art Club in 1935 and was elected vice president. He initiated the formation of Singapore Chinese Art Club the same year. Posthumous memorial exhibitions were honoured to him in Singapore (1966), Galeri 11, Kuala Lumpur (1966), the National Art Gallery, Kuala Lumpur (1972) and the Penang State Art Gallery (PSAG, 1972). Dubbed ‘The Father of Malaysian Art’’’’ by many, Yong Mun Sen has left behind a remnant of history for the present and future art enthusiasts to remember him by. The great Xu Bei-hong (1895 - 1953) described Mun Sen as “the most outstanding figure in Malaysian art and one of the few top artists in the tropics.”
Yong Mun Sen - Portrait Of Nyonya Lady

Yong Mun Sen - Portrait Of Nyonya Lady

Original
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Starting price:

Price:

Lot number: 25
Other WORKS AT AUCTION
Description:
Lot 25: YONG MUN SEN (b. 1896 - d. 1962), Portrait of Nyonya Lady, c.1930s, hand painted photograph Description: Featuring at HBArt auction for the very first time is a medium rarely seen in public by the watercolour and oil maestro Yong Mun Sen. Portrait of a Nyonya Lady is a hand painted photograph captured at the artist's photography studio which was established in 1922. More than 7 decades later, Penang Museum and Art Gallery honoured the 'Father of Malaysian Art' with a posthumous Retrospective exhibition in 1999. Its guest curator, Dr. Tan Chong Guan wrote in the exhibition catalogue about Yong Mun Sen's profession not only as a painter but also as a photographer in an essay titled The Life of Yong Mun Sen: "Photography was relatively new in Penang at the time. Mun Sen picked up the art of photography and saw its commercial potential. In 1922, he invested in expensive photographic equipment and set up Tai Koon Art Studio in Chulia Street, probably the first photographic studio in Penang. The studio was popularly patronised for studio photographs. In those days, enlarged photographs needed a lot of delicate touching up and Mun Sen's artistic skills aided him greatly. More importantly the studio served to display Mun Sen's paintings for public viewing. There was no doubt that Mun Sen's true love was in painting. The photo studio merely served as an income earner so that he could be free to paint." Based on this account, the portrait on offer is a historical testament to Yong Mun Sen's profession as an accomplished commercial photographer, capturing images of wealthy Peranakan clients such as this lady as shown by her jewelries. After witnessing a Japanese artist painting in his family's coconut and pepper plantation, Yong Mun Sen (born Yong Yen Lang) became inspired to become a painter. He changed his name to Yong Mun Sen in 1922, two years after settling in Penang. He had established a photography studio named Tai Woon / Wei Guan Art Studio in 1922 and renamed it Mun Sen studio in 1930 which then became a favourite meeting place for fellow artist-friends namely Tay Hooi Keat, Kuo Ju Ping, Khaw Sia, Lee Cheng Yong, Abdullah Ariff and other pioneering Malaysian artists. He co-founded the Penang Chinese Art Club in 1935 and was elected vice president. He initiated the formation of Singapore Chinese Art Club the same year. Posthumous memorial exhibitions were honoured to him in Singapore (1966), Galeri 11, Kuala Lumpur (1966), the National Art Gallery, Kuala Lumpur (1972) and the Penang State Art Gallery (PSAG, 1972). Dubbed 'The Father of Malaysian Art' by many, Yong Mun Sen has left behind a remnant of history for the present and future art enthusiasts to remember him by. The great Xu Bei-hong (1895 - 1953) described Mun Sen as "the most outstanding figure in Malaysian art and one of the few top artists in the tropics." REFERENCE Yong Mun Sen, Retrospective 1999 , Penang Museum and Art Gallery, 1999. Private collection, Selangor 26cm x 19cm YONG MUN SEN hand painted photograph Undated
Yong Mun Sen - Weaving

Yong Mun Sen - Weaving

Original 1948
Estimate:

Price:

Lot number: 24
Other WORKS AT AUCTION
Description:
YONG MUN SEN b. Sarawak, 1896 - d. Penang, 1962 WEAVING , 1948 Signed and dated 'MUNSEN 48' (lower left) Charcoal on paper 50cm x 72cm Private Collection, Penang. Yong Mun Sen Retrospective 1999 , Penang State Art Gallery, 1999, illlustrated on exhibition catalogue page 39. Renowned for creating Nanyang style visual illustrations which entails the amalgamation of both Eastern and Western painting techniques and the adoption of local landscape as subject matter, Yong Mun Sen implements his knowledge in both manners in producing most of his fishermen scenes, coastal and village panoramas, labourers at work and more in mediums such as watercolour, oil and charcoal. Presented here is a sketch of a scene of two women engrossed in the act of songket weaving executed in the latter medium. A woman figure is seated on a bench with her back facing the viewer unaware that she is being observed while the other is seated on the ground, her facial expression displays a sense of enthused motivation. The songket is a brocaded textile in silk or cotton fabric intricately weaved with metallic thread. Originated from Indonesia, the fabric is widely used till this day throughout Southeast Asia. Its tedious and complicated weaving process requires skilled craftspeople to work speedily in order to achieve the desired results. After witnessing a Japanese artist painting in his family’’’’s coconut and pepper plantation, Yong Mun Sen (born Yong Yen Lang) became inspired to become a painter. He changed his name to Yong Mun Sen in 1922, two years after settling in Penang. He had established a photography studio named Tai Woon / Wei Guan Art Studio in 1922 and renamed it Mun Sen studio in 1930 which then became a favourite meeting place for fellow artistfriends namely Tay Hooi Keat, Kuo Ju Ping, Khaw Sia, Lee Cheng Yong, Abdullah Ariff and other pioneering Malaysian artists. He co-founded the Penang Chinese Art Club in 1935 and was elected vice president. He initiated the formation of Singapore Chinese Art Club the same year. Posthumous memorial exhibitions were honoured to him in Singapore (1966), Galeri 11, Kuala Lumpur (1966), the National Art Gallery, Kuala Lumpur (1972) and the Penang State Art Gallery (PSAG, 1972). In 1999, the PSAG organised a retrospective exhibition where Boats through the Nets was displayed. Dubbed ‘The Father of Malaysian Art’’’’ by many, Yong Mun Sen has left behind a remnant of history for the present and future art enthusiasts to remember him by. The great Xu Bei-hong (1895 - 1953) described Mun Sen as “the most outstanding figure in Malaysian art and one of the few top artists in the tropics.”
Yong Mun Sen - Hilly Coastal Scene With Fisherman

Yong Mun Sen - Hilly Coastal Scene With Fisherman

Original 1948
Estimate:

Price:

Lot number: 29
Other WORKS AT AUCTION
Description:
Lot 029 YONG MUN SEN b. Sarawak, 1886 - d. Penang, 1962 HILLY COASTAL SCENE WITH FISHERMAN IN ROWING BOAT , 1948 Signed and dated ‘MUN SEN 1948’’’’ (lower left) Oil on canvas 54cm x 64cm PROVENANCE Private Collection, Penang; acquired through Christie’’’’s Southeast Asian Paintings sale, Singapore, 26 March 1995, lot 609. From 1946 to 1955, Yong Mun Sen chose as his protagonists; farmers, fishermen, blacksmiths and rubber tappers. In these depictions he transforms these characters into everyday heroes, worthy for their hardworking attitude and upright lifestyle. Illustrated in oil on canvas, this is an exemplary piece of a lone fisherman in his boat, moored at the shore. Set in dusk, the sky is filled with the awe inspiring colours of the rising and setting of the sun. Reflections from the hills in the background as well as the fisherman and his boats appear in the water, fusing in multi-hued splendour. It is an exquisite rendering of nature and the artist’’’’s contemplation of man’’’’s place in it. In 1910, after witnessing a Japanese watercolour artist at work in his family’’’’s plantation, coupled with the set of watercolours given by his Dutch neighbour, Yong Mun Sen started experimenting with the medium and eventually became one of its greatest exponents. Later in Singapore, he continued sketching and painting whenever possible, making friends with artists like famed Singaporean watercolour painter Lim Cheng Hoe along the way, who was an ardent admirer of his work. When Mun Sen moved to Penang in 1920, he instantaneously fell in love with the tropical island. His studio along Penang Road was a favourite meeting place for fellow artist friends including Tay Hooi Keat, Kuo Ju Ping, Khaw Sia, Lee Cheng Yong, Abdullah Ariff and other pioneering Malaysian artists. This group was later formed as the Penang Chinese Art Club in 1935. The 1946 to 1955 period was Mun Sen’’’’s most creative and productive years, where he brilliantly captured the everyday heroes of farmers, fishermen, blacksmiths and rubber tappers in their glorious and honest beauty. Artist Lee Joo For described it best: “Very few artists in the world’’’’s wide expanse can be found during the time of Mun Sen and before and even after, who can manifest the same combination of speed, economy and dexterity with his calligraphic brush in capturing the glories of nature as this humble man. With a spirit of daring and original self-expression, Mun Sen can be confidently considered as one of those precious artists who most influenced the birth and growth of modern and contemporary Malaysian art.” The great Xu Bei-hong (1895-1953) described Mun Sen as “the most outstanding figure in Malaysian art and one of the few top artists in the tropics.” He co-founded the Penang Chinese Art Club in 1935 (president, 1937) and was a vice-president of the Singapore Society of Chinese Artists in 1936. He was given Memorial exhibitions in Singapore (1966), Galeri 11, Kuala Lumpur (1966), the National Art Gallery, Kuala Lumpur (1972) and the Penang State Art Gallery (PSAG, 1972). In 1999, the PSAG presented him a retrospective. Dubbed ‘The Father of Malaysian Art’’’’ by many, Yong Mun Sen’’’’s struggles as the country’’’’s first full-time artist and also an activist to boot, with influences spreading to Singapore and China, are the stuff of legends. REFERENCE Yong Mun Sen Retrospective , Penang State Art Gallery, 1999. Pioneers of Malaysian Art , The Art Gallery, Penang, 1994.
Yong Mun Sen - A Tropical Beach

Yong Mun Sen - A Tropical Beach

Original 1951
Estimate:

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Gross Price
Lot number: 317
Other WORKS AT AUCTION
Description:
YONG MUN SEN (Malaysian, 1896-1962) A Tropical Beach signed 'Mun Sen' in English and Chinese and dated '1951' (lower left) watercolour on paper 60 x 30 cm. (23 1?2 x 11 3?4 in.) Painted in 1951 Private Collection, Malaysia Due to Singapore and Malaya's strategic location at the crossroad of trade between the West and the Far East, the influence of colonial artists and their focus on depicting picturesque, idyllic and pastoral landscapes was felt deeply by Singaporean and Malayan artists of the modern era. The assimilation of Western and Eastern painting methodologies were used by these artists to capture landscapes and sceneries and have contributed immeasurably to the forging of local art history through the medium of watercolour. This season, Christie's is proud to present exceptional watercolour works by five of the most representative Singaporean and Malaysian artists in this medium, epitomizing the Nanyang sensibility in their works. Lim Cheng Hoe is recognized alongside Cheong Soo Pieng, Chen Wen Hsi and Liu Kang as one of the key pioneer artists in Singapore. Noted for his extraordinary talent in art while studying at Raffles Institution, he was guided directly by Richard Walker, then the Arts Superintendent of Singapore schools. Credited for the consolidation of interest in watercolour art in Singapore, he founded the Singapore Watercolour society in 1969. Lim Cheng Hoe's Kampung at Tanah Merah (Lot 315) is a characteristic work of the artist, capturing perfectly the tranquillity and idylle of an old-fashioned village in the eastern part of Singapore, an idealization of the tropical kampung, its communities and lifestyles. Ong Kim Seng, a second-generation member of the Singapore Watercolour Society that Lim Cheng Hoe founded, and its president from 1991 to 2001, is among Singapore's most evocative realist painters. Similarly inspired from his surroundings, Ong Kim Seng's evocative work The Veranda at the Warehouse (Read Bridge) (Lot 314) epitomizes the artist's attention to detail, as well as the unique way he is able to almost still time - transporting the viewers to another era. While the veranda in this painting is a setting for the bustling vibrancy of Singaporean life in the 1980s and 1990s, Ong Kim Seng lends attention to the barber, a dying trade in modernising Singapore, guiding viewers to a throwback into a different era. Another masterful watercolour representation of old Singapore is Tan Choon Ghee's Bustling Chinatown (Lot 316). Tan Choon Ghee, born in 1930, is considered one of the most established artists in Malaysia. Trained in the Nanyang Academy of Fine Arts (NAFA) in Singapore, his paintings exemplify the vibrancy and liveliness that comes with the use of watercolour as a medium. Bustling Chinatown's oblique lines and the representation of people in action, creating a convivial and lively atmosphere is reminiscent of Singapore in the late 1970s. It would be remiss to speak of Singaporean and Malaysian masters of watercolour if one did not mention Abdullah Ariff - a pioneer of watercolour painting in Malaysia, along with his contemporary, Yong Mun Sen. Christie's is proud to present works by both leading artists this season, with Abdullah Ariff's The Hill Spring, 12th Milestone, Penang (Lot 313) and Yong Mun Sen's A Tropical Beach (Lot 317). A distinct body of works in Ariff's oeuvre revolves around the theme of man as cilivisation against the wild, natural jungle, whereby Man, insolitude or in small groups, attempt to tame the mighty forest. In the present lot, Abdullah Ariff paints a clearing by a river, with the canopy painted in resplendent rainbow colours. Boys frolick by the riverside, a picture of real idyllic charm. Ariff's representation of the three young men is almost a metaphor of the inevitable confluence of civilization and the wild. A Tropical Beach, on the other hand, is a wonderfully illustrative depiction of the tropical beaches of South East Asia. Yong Mun Sen is acknowledged as the father of modern Malaysian painting, and indeed, the highly naturalistic portrayal of the swaying coconut trees enlivens the foreground, while the depiction of the fishermen is indicative of Yong Mun Sen's extraordinary grasp of depth and perspective, while simultaneously conjuring images of a quieter, simpler period in the history of the country.
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