MODERN CHINESE PAINTINGS FROM A DISTINGUISHED BRITISH PRIVATE COLLECTION





MODERN CHINESE PAINTINGS FROM A DISTINGUISHED BRITISH PRIVATE COLLECTION重要英國私人珍藏二十世紀中國書畫LOTS 887-891A HONG KONG COLLECTIONColin SheafOne of the pleasures of making a professional career in Hong Kong, both long before and now after 1997, has been the opportunity to engage with the everchanging resident and visiting communities of art enthusiasts there. The mixture is diverse and stimulating: academics at the universities and museums; Chinese and Western established and experimental collectors; Chinese (and a few foreign) dealers ensconced in their dozens down the long and winding spine of the Hong Kong antiques dragon, Hollywood Road; and students attracted from all over Asia to participate in the burgeoning cultural life after the late 1960s, when Hong Kong began to recapture its economic and cultural vitality. Almost anyone making a successful career in Hong Kong would find themselves equally attracted to the established antique markets, and to the vibrant Contemporary art life (mostly driven by a few leading galleries) which encouraged emerging collectors to venture into more challenging territory than the placid sunlit grasslands of traditional Chinese brush and ink painting. But for most Westerners, the greatest pleasure and challenge often lay in choosing twentieth-century mainland and Hong Kong artists whose work had a personal appeal, and supporting (in the case of living artists, directly) their work and development.One of those Westerners discovering and indulging a taste for Chinese painting in the late 1960s, after a somewhat unconventional early life as an evacuee from both Shanghai and Hong Kong leading to his early education in Canada followed by a more traditional English upbringing, was a young executive at the most famous British trading company in Hong Kong, Jardine Matheson & Co. Jardines was established in Canton in 1832, more than a decade before it acquired a grand plot of land to build a headquarters building in the newly-ceded Crown Colony in 1844. Traditionally it was 'Jardines' whose Chief Executive in Hong Kong was frequently known as the 'Taipan', an acknowledged senior figure in the community. With an exciting career ahead of him at Jardines, focussed both on opportunities in Hong Kong itself and also on sectors like trading with the emergent People's Republic of China, David Newbigging would himself one day occupy this distinguished position as the culmination of 30 years spent with the Company.Born in Tianjin, where his father was Jardines' branch office manager, later becoming a Director, he was educated in Canada and England, before joining Jardines in 1954. After serving in management positions around Asia, and in London and Australia, he was appointed a Main Board director in 1967, and Chairman and Senior ManagingDirector in 1975.During his years at the helm of Jardines, he served on many Government and Private Sector Committees, most notably from 1978-1982 on Hong Kong's principal governing body, the Legislative Council (LEGCO). He was also appointed to the Executive Council (EXCO) in 1982, the most senior body advising the Governor. For this and many other services to business and the community, including chairing the HK Tourist Association and the General Chamber of Commerce, and supporting many local charities (notably as Chairman of Hong Kong's pre-eminent charity, the Community Chest), he was appointed an Officer of the Order of the British Empire (OBE) in 1982. Retiring from Hong Kong in 1984, he relocated to London and was appointed Chairman or Director of several charities and publicly-listed companies in the United Kingdom and the USA. He was Chairman of Cancer Research UK and was awarded a Knighthood by the Queen for voluntary service to cancer research.Collecting art was a pleasure which could only fill the small interstices in a very busy Hong Kong business and family life. Nevertheless, it did occupy a significant portion of his free time, and by 1984 he had assembled a small but carefully-chosen selection of Chinese paintings and works of art. He was drawn to work by twentieth century Chinese artists, enjoying the interplay of traditional Chinese technique in limited media with the innovative aspects generated by mainland artists at last permitted to travel abroad, increasing their familiarity with artistic trends in Japan and the West (especially Paris). He was thus able to acquire many excellent paintings.(introduction to be continued in the next lot)



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