Where Can You Acquire Original & Authentic Artworks by Singapore’s First and Second-Generation Artists?
Where Can You Acquire Original & Authentic Artworks by Singapore’s First and Second-Generation Artists?

Where Can You Acquire Original & Authentic Artworks by Singapore’s First and Second-Generation Artists?

In the Southeast Asian art market, works by Singapore’s first- and second-generation artists are prized for their scarcity and their place in the nation’s history. Together, these artists chart Singapore’s art history and gave rise to Nanyang art, the first distinctly Singaporean and Malayan modern art style. “Nanyang” (南洋), meaning “Southern Seas”, is the Chinese term for Southeast Asia.

Lim Tze Peng artwork Asia Art Collective _ artwork for sale

The style was pioneered largely by Chinese immigrant artists who had trained in Shanghai, Xiamen and, in some cases, Paris, before settling in Singapore from the 1930s onward. Many taught at the Nanyang Academy of Fine Arts (NAFA), founded in 1938 by Lim Hak Tai, which became the heart of the movement. Their work fused the brushwork and calligraphic line of Chinese ink painting with the bold colour and flattened forms of the School of Paris, and turned both towards Southeast Asian subjects: kampongs, fishing villages, markets, rubber plantations, tropical fruit and the people of the region. A defining moment came in 1952, when Liu Kang, Chen Chong Swee, Chen Wen Hsi and Cheong Soo Pieng travelled to Bali in search of an authentically regional subject. The exhibition that followed in 1953 is widely regarded as the high point of the Nanyang style.

These paintings record a changing Singapore as the island grew from a colonial port into an independent nation. This historical significance, together with the limited number of works in circulation, has made them a preferred category for museum collections and seasoned private collectors alike.

Georgette Chen, Still Life With Big Durian, 1965, S$2.47 million
PHOTO: CHRISTIE’S IMAGES LIMITED 2023

右起：新加坡先驱艺术家刘抗、罗铭（刘抗的上海同学）、陈文希和钟泗宾。
（图片取自 Bali 1952: Through the Lens of Liu Kang )

1. Who Are Singapore’s First-Generation Artists?

Singapore’s first-generation artists, also known as the Nanyang artists or Singapore’s pioneer artists, were active from the early 20th century through the 1960s. They laid the foundations of Singapore’s art and created the Nanyang style.

Most of them moved to Singapore with their families in their early years, having received formal art training in China and a grounding in traditional Chinese ink painting. Several went on to study abroad, where they encountered Western art first-hand. As a result, their work draws deeply on both Eastern and Western traditions, combining the brush and ink of Chinese painting with the light and shadow of Western oil technique, and applying both to the tropical landscapes and cultural life of the region. In breaking the boundaries of tradition, they shaped an aesthetic that belongs uniquely to Singapore, and established themselves as pioneers of modern Southeast Asian art. Their works are held in the permanent collections of National Gallery Singapore and other national museums, and stand as benchmarks in the region’s art history.

Important First-Generation Artists

Liu Kang, Chen Wen Hsi, Chen Chong Swee, Cheong Soo Pieng and Georgette Chen are the defining figures of the Nanyang style, and their place in Singapore’s art history is unrivalled. Other equally notable first-generation artists include Fan Chang Tien, Lim Hak Tai, Chen Jen Hao, See Hiang To, Lim Cheng Hoe, Wu Tsai Yen, and Lee Man Fong.

Liu Kang (刘抗) trained in Shanghai and Paris, and brought the bold colour and flattened forms of the School of Paris to Southeast Asian subjects. His vibrant scenes of Bali and Malayan village life are among the most recognisable images of the Nanyang style, and he was a leading figure in building Singapore’s art community through the Singapore Art Society.

Image of Chen Wen Hsi
(Photo credits: Chua Soo Bin)

Chen Wen Hsi (陈文希) is celebrated for his gibbons and herons, which combine the spontaneity of Chinese ink with the structure of Cubism. A long-serving teacher at NAFA, he influenced generations of Singapore artists, and his painting of gibbons appears on Singapore’s $50 note.

Chen Chong Swee, Dinghu Mountain and Lake, S$35,000
(Photo credits: Larasati Auctioneers)

Chen Chong Swee (陈宗瑞) was among the first to bring local subjects such as kampongs, coconut palms and village life into traditional Chinese ink painting. As both painter and educator, he helped define what a distinctly Nanyang ink painting could be.

Cheong Soo Pieng, Drying Salted Fish, 1978. 70 x 103 cm, Chinese ink and colour on cloth.
(Collection of National Heritage Board.)

Cheong Soo Pieng (钟泗宾) was the most experimental of the pioneers. His elegant, elongated figures of Malay and Balinese women became a signature of the Nanyang style, and he worked across ink, oil and mixed media, later moving into abstraction. His painting Drying Salted Fish also features on the $50 note.

Self Portrait, Georgette Chen, Singapore, c. 1934, oil on canvas. Gift of Lee Foundation, collection of National Gallery Singapore.
(Photo credits: National Gallery Singapore)

Georgette Chen (张荔英) trained in Paris and was one of the few women among the pioneers. Her still lifes of tropical fruit and her portraits bring a refined Post-Impressionist sensibility to local subjects. She taught at NAFA for many years and received the Cultural Medallion in 1982. 

Other Notable First-Generation Artists

Several other pioneers made equally important contributions. Lim Hak Tai (林学大) founded NAFA in 1938 and articulated the ideals that shaped the Nanyang movement. Fan Chang Tien (范昌乾) and See Hiang To (施香沱) carried the literati ink tradition into Singapore, each developing a refined personal style in bird-and-flower and landscape painting. Chen Jen Hao (陈人浩) taught at NAFA and helped shape its early direction in oil painting. Lim Cheng Hoe (林清河) became a pioneer of watercolour in Singapore, capturing the Singapore River and old shophouses with exceptional sensitivity. Lee Man Fong (李曼峰), who worked in Singapore before becoming palace painter to President Sukarno in Indonesia, fused Chinese ink with Western realism, and his works are now among the most sought after in the regional market.

Chinese ink painting by Fan Chang Tien available for art collection

Fan Chang Tien
(Photo credits: Asia Art Collective, Visual Arts Centre)

Fan Chang Tien (范昌乾) brought the Shanghai School of ink painting to Singapore. A student of masters including Wang Yiting, Pan Tianshou and Wang Geyi, he settled here in 1956 and spent three decades teaching. His students became some of Singapore’s leading second-generation ink painters, including Chua Ek Kay, Henri Chen Kezhan and Tan Oe Pang.

Revered cultural icon and calligrapher Pan Shou.
(SPH Media)

Pan Shou (潘受) was Singapore’s most celebrated calligrapher and poet, often called a national treasure. Born in Quanzhou, Fujian, he came to Singapore at 19 and became the founding secretary-general of Nanyang University. His calligraphy began with Yan Zhenqing and Yu Shinan, then drew on stele inscriptions and the cursive script of Sun Guoting and Huaisu to form his own style. He wrote the masthead of Lianhe Zaobao and received the Cultural Medallion in 1987.

Price Trends and Market Outlook for First-Generation Artists

Several other pioneers made equally important contributions. Lim Hak Tai (林学大) founded NAFA in 1938 and articulated the ideals that shaped the Nanyang movement. Fan Chang Tien (范昌乾) and See Hiang To (施香沱) carried the literati ink tradition into Singapore, each developing a refined personal style in bird-and-flower and landscape painting. Chen Jen Hao (陈人浩) taught at NAFA and helped shape its early direction in oil painting. Lim Cheng Hoe (林清河) became a pioneer of watercolour in Singapore, capturing the Singapore River and old shophouses with exceptional sensitivity. Lee Man Fong (李曼峰), who worked in Singapore before becoming palace painter to President Sukarno in Indonesia, fused Chinese ink with Western realism, and his works are now among the most sought after in the regional market.

CHEONG SOO PIENG (1917-1983), Fishing Kampong
(Photo credits: Christies)

1. Small format artworks and sketches on paper: Prices generally range from a few thousand to several tens of thousands of Singapore dollars. Subjects are often Nanyang landscapes, figure sketches, tropical fruit and flowers, making them well suited to collectors starting out.

Chen wen hsi, pasar

2. Mid-sized signature oil and ink works: Most sales fall between S$40,000 to S$300,000. This is the core category for collectors, both for trading and for long-term holding.

3. Large thematic works and museum-quality masterpieces: These repeatedly set auction records. Peak works by Georgette Chen and Chen Wen Hsi have sold for several million US dollars at Sotheby’s and Christie’s in Hong Kong.

Overall market trend: Prices have grown steadily. As the cultural value of Nanyang art continues to be recognised, and with no new works being produced by the pioneer artists, the supply of fine pieces continues to shrink. Original works by first-generation masters have become a high-end, inflation-resistant asset class. Few works change hands on the secondary market, and collectors rarely find quality first-generation pieces at low prices.

2. Who Are Singapore’s Second-Generation Artists?

Singapore’s second-generation artists were active from the 1960s to the 1990s. Many trained under the first-generation pioneers, often at NAFA, and grew up alongside a newly independent Singapore. Building on the techniques of the Nanyang style, they turned their attention to the life of the city around them: its shophouses, rivers, markets and multicultural communities, as well as the rapid changes that came with urban development. Their work is more varied and personal than that of the pioneers, and represents the coming of age of Singapore’s own art.

Portrait of Lim Tze Peng at “Becoming Lim Tze Peng,” at National Gallery Singapore, 2024.
(Courtest of National Gallery Singapore.)

Lim Tze Peng (林子平) is best known for his ink paintings of Chinatown and the Singapore River, which preserve the old streetscapes before redevelopment, and for his bold, expressive hutu zi (糊涂字) calligraphy. He received the Cultural Medallion in 2003.

Ong Kim Seng, Shophouse
(Photo credits: Ong Kim Seng)

Ong Kim Seng (王金城) is one of Asia’s foremost watercolourists, celebrated for his luminous scenes of Singapore’s shophouses, Chinatown and travels across Asia. He received the Cultural Medallion in 1990 and has been widely recognised internationally, including by the American Watercolor Society.

Chua Ek Kay (蔡逸溪), a student of Fan Chang Tien, combined the Shanghai School ink tradition with Western modern art to create a distinctly contemporary ink language. His evocative paintings of Chinatown, lotus ponds and abstract compositions earned him the Cultural Medallion in 1999.

Lim Yew Kuan (林友权), son of NAFA founder Lim Hak Tai, trained at NAFA and in London, and later led NAFA, helping to shape the training of later generations of Singapore artists.

Tan Choh Tee (陈楚智) and Ang Ah Tee (洪亚迪) are known for their oil paintings of Singapore’s streets, shophouses, rivers and harbours, recording the character of a city in transformation.

Chua Mia Tee (蔡名智), Koh Sia Yong (许锡勇): social realist known for National Language Class (1959) and portraits of everyday Singaporeans

  • Choo Keng Kwang (朱庆光): Malay kampong scenes and birds in a lively, colourful style
  • Koh Sia Yong (许锡勇): figurative and realist painting

Other notable second-generation artists include Foo Chee San (符致珊), Koh Sia Yong (许锡勇) and 林子影, whose works continue to capture the local scenes and spirit of their time.

Building on the mature techniques of the Nanyang style, they moved beyond traditional conventions and rooted their work deeply in Singapore’s everyday life, urban development and multicultural traditions, giving it a more local, lived-in and modern character. Compared with the trailblazing work of the first generation, the second generation’s work is more refined and diverse, with subjects drawn closely from Singapore itself. It represents the maturing of Singapore’s own art, and today forms the mid-range of the collecting market: reasonably priced and accessible to new collectors.

Key Second-Generation Artists

Leading second-generation artists include Lim Tze Peng, Ong Kim Seng, Ang Ah Tee, Tan Choh Tee, Lim Yew Kuan, Chua Ek Kay, Foo Chee San, Koh Sia Yong and 林子影.

Price Trends for Second-Generation Artists

Compared with the high prices commanded by first-generation works, works by second-generation masters offer a moderate entry point, excellent value and room for growth. They suit collectors who want works for the home or office that carry both collecting and aesthetic value, and are well suited to medium- to long-term holding.

1. Small watercolours and oil sketches: From a few thousand to S$30,000. An accessible entry point for art lovers acquiring authentic Nanyang art for the first time.

2. Standard-sized oils and ink-and-colour works: S$20,000 to S$150,000. Varied in subject, well suited to modern interiors, and highly liquid.

3. Large thematic and exhibition-level works: S100,000toS200,000. Often the artist’s key exhibited pieces, these are scarce and have notable potential for appreciation.

Market trend:Second-generation works remain undervalued. As promotion of Singapore’s local art grows and the collector base widens, transaction volumes have risen steadily in recent years, making this a category with strong potential.

3. How to Acquire Works: Through a Professional Art Advisor

Many collectors ask why works by Singapore’s first- and second-generation masters are so hard to find. Because these works are scarce, they are rarely available through ordinary galleries or online platforms.

Most fine works by first- and second-generation artists are already held by collectors. To acquire one, buyers must wait for a collector to sell, and purchase on the secondary or tertiary market. Collectors who wish to sell typically entrust their works to a professional art agency, which assesses the work and advises on pricing before finding a new buyer. These transactions are not like buying ordinary goods; they require a professional advisor to coordinate and negotiate the sale.

Asia Art Collective and Visual Arts Centre jointly represent works by Singapore’s first- and second-generation artists, offering collection advisory, valuation, exhibition and promotion, sourcing of works, and the buying and selling of fine pieces.

Since 2012, Asia Art Collective and Visual Arts Centre have specialised in representing classic Nanyang art, and hold a substantial number of original works by first- and second-generation Singapore artists on consignment. With experience in exhibitions, auctions and sales, they connect clients to the full range of channels, including private collection transfers, artwork exchanges, art investment and private sales.

Unlike commercial galleries selling decorative pieces for the mass market, both organisations deal in collectible works rather than decorative art. Every work is traceable, can be authenticated and comes with a certificate, giving it full collecting and investment value.

In Singapore’s art market, works by first- and second-generation pioneers and established local masters are not sold through open retail or self-selection. They are acquired through one-to-one consultation with a dedicated advisor at Visual Arts Centre and Asia Art Collective, who guides selection and the transaction. The advisor tailors a collecting direction to the needs of both buyer and seller, analyses current market trends and provides professional guidance.

Advisory Services

1. Authenticity and provenance: Every work is carefully vetted to exclude copies, reproductions and imitations, and comes with full artist documentation, a certificate and a record of provenance.

2. Access to rare works: Priority access to rare pieces and exhibition-level originals released by collectors, and to classic subjects that are difficult to find on the market.

3. Tailored matching: We match works to each collector’s budget, preferences, long-term value considerations and display space, and assist with the acquisition.

4. Collection transactions: Full transaction support, including authentication and cataloguing, for private collections, corporate collections and asset allocation.

We welcome enquiries from collectors and offer complimentary consultations. If you are looking to acquire or sell artworks, please register with us at [email protected]

Our Location

Dhoby Ghaut Art Gallery & Studio

Address:

10 Penang Road, #01-02 Dhoby Ghaut Green,
Singapore (238469)

Exit from Dhoby Ghaut MRT Station Exit B and turn left, we are there in 30m!

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VAC Chinatown Art Gallery & Studio

Address:

20B Mosque Street, Singapore (059500)
*2 minutes walk from Chinatown MRT Station Exit A

Take a left turn upon exiting the Chinatown MRT Station Exit A (Pagoda Street). Turn right to go to Mosque Street. Finally, walk towards 20B, we’re on the 3rd floor of the shophouse.

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Foundation In Digital Art

Embark on a captivating journey into the vibrant world of digital art! Our Foundation in Digital Art workshop invites budding creatives aged nine and above to unleash their imagination and hone their artistic skills in a dynamic, supportive environment. From mastering basic digital tools to crafting mesmerizing digital masterpieces, children will explore a spectrum of techniques guided by seasoned mentors. Through hands-on activities and interactive sessions, participants will discover the endless possibilities of digital expression while fostering creativity and critical thinking. Join us for an exhilarating adventure where young artists transform ideas into stunning visual realities, igniting a passion for digital art

Colour & Texture Exploration With Acrylic Painting & Collage
Prepare to unleash your inner artist in a kaleidoscope of color and creativity with ‘Colour Blast: Acrylic Painting & Collage Techniques’! Dive into a whirlwind adventure where vibrant hues and mesmerizing textures collide in a symphony of imagination. From mastering the art of seamless color blending to discovering the magic of mixed media collage, this journey is a playground for your artistic soul. With each brushstroke, explore new techniques that breathe life into your canvas, transforming it into a vibrant tapestry of expression. Join us and let your creativity run wild as you embark on this colorful escapade!”
World of Manga [Foundation & Styling]
A manga art workshop for children and teenagers sounds like a fantastic idea! Here’s how you might structure it:
Introduction to Manga: Begin by introducing what manga is, its history, and its influence on popular culture worldwide. Show examples of different manga styles and genres to give participants an overview.
Basic Drawing Techniques: Start with the fundamentals of drawing, such as line work, shapes, and proportions. Provide step-by-step instructions on how to draw basic manga characters, focusing on simple shapes that can be built upon.
Character Design: Move on to character design concepts, including creating unique characters, designing their personalities, and developing backstories. Encourage participants to get creative and think outside the box.
Expression and Emotion: Teach how to convey emotions and expressions through facial expressions, body language, and positioning of characters. This can be a fun and interactive exercise where participants practice drawing various emotions.
Storytelling and Paneling: Explore the basics of storytelling in manga, including paneling techniques, pacing, and layout. Show examples of different panel structures and discuss how they affect the flow of the story.
Inking and Coloring: Introduce participants to inking techniques using pens or markers. You can also cover digital inking for those interested. Then, demonstrate basic coloring techniques using markers, colored pencils, or digital software.
Feedback and Collaboration: Provide opportunities for participants to share their work and receive feedback from their peers and instructors. Encourage collaboration by having them work together on short manga projects or collaborative drawings.
Final Showcase: End the workshop with a showcase of participants’ work. This could be in the form of an exhibition, digital gallery, or printed booklet. Celebrate everyone’s creativity and progress throughout the workshop.
Remember to create a supportive and encouraging environment where participants feel free to express themselves and explore their creativity. And don’t forget to have fun! Manga is all about imagination and passion, so let that spirit shine through in your workshop.
Academy Drawing Traditions
The academy drawing and sketching tradition, rooted in centuries of artistic practice, emphasizes disciplined study of form, proportion, and technique. Originating from Renaissance workshops and formalized by institutions like the Royal Academy, it prioritizes meticulous observation and mastery of fundamental skills. Students progress from basic exercises to complex compositions, learning to depict still life and common objects with precision and expression. This tradition values both classical principles and innovation, encouraging artists to push boundaries while maintaining a deep respect for tradition. Through rigorous training and critique, artists within this tradition cultivate a strong foundation for creative exploration and artistic excellence.
Chinese Ink Painting and Calligraphy
This course on Chinese ink painting and calligraphy introduces young learners to the rich traditions of Chinese art. Through hands-on activities, students explore the basics of brush techniques, ink control, and the delicate art of Chinese script. They learn to appreciate the cultural significance of calligraphy and painting, developing skills in creating elegant strokes and expressive brushwork. The course fosters creativity, patience, and fine motor skills, while also providing insights into Chinese history and aesthetics. By the end, children gain confidence in their artistic abilities and a deeper understanding of Chinese cultural heritage.
Funk with Graffiti
Funk With Graffiti Workshop for children is an engaging and creative program aimed at introducing young artists to the vibrant world of graffiti and funk-inspired street style art. Participants learn the basics of graffiti history, techniques, and safety. Guided by professional graffiti artists, children explore the art of designing their unique tags, emphasizing creativity, expression, and individuality. The workshop includes hands-on activities, from sketching concepts to creating final designs with spray paint on provided surfaces. By the end of the session, children gain confidence in their artistic abilities and an appreciation for graffiti and funk as legitimate forms of street art. Each child completes two original artworks, which they proudly take home, showcasing their newfound skills and personal style.
Batik Tales

In the Batik Introduction Handkerchief Painting workshop, participants will learn the traditional art of batik, a wax-resist dyeing technique originating from Indonesia. The workshop begins with a brief history and overview of batik, highlighting its cultural significance and various techniques. Participants will then observe a demonstration of applying wax with tjanting tools and dyeing the fabric. Following the demonstration, each participant will design and create their own batik handkerchief, applying wax to create patterns and then dyeing their fabric. The workshop concludes with a group discussion, allowing participants to share their creations and reflect on their learning experience.

Agree Terms & Conditions

Terms & Conditions – Neon Glow Art Jamming & Colour Blast Party (Saturday Sessions Only)

  1. Participation
    • Participation in the Neon Glow Art Jamming & Colour Blast Party is voluntary. By participating, all participants acknowledge that they understand and accept the nature of the activities and agree to participate at their own risk.
  2. Health & Safety
    • The event takes place in an outdoor festival environment featuring bright lighting effects, flashing lights, amplified music, and high sound levels, which may not be suitable for individuals who are sensitive to light, sound, or have related medical conditions.
    • Participants are responsible for ensuring that they are medically fit to participate in the activities.
  3. Colour Blast Party
    • The Colour Blast Party uses coloured cornflour powder.
    • By participating in the Colour Blast Party, participants confirm that they:
      • Do not have any known allergy or sensitivity to cornflour, corn, coloured powder, or similar materials.
      • Do not suffer from asthma, respiratory conditions, or any medical condition that may be aggravated by airborne powder.
      • Understand the nature of the activity and voluntarily choose to participate.
  4. Face & Body Painting
    • Optional face and/or body painting may be available during the event.
    • Participants choosing to receive face or body painting confirm that they have no known allergies or skin conditions that may be affected by cosmetic or body paint products. Participants with sensitive skin are advised to refrain from participating.
  5. Assumption of Risk
    • Participants acknowledge that participation in the event, including but not limited to art jamming, the Colour Blast Party, face and/or body painting, and related activities, carries inherent risks, including accidental slips, falls, minor injuries, allergic reactions, respiratory irritation, or other unforeseen incidents.
  6. Indemnity and Release
    • By participating in the event, participants agree, to the fullest extent permitted by law, to release, discharge, and indemnify Visual Arts Centre, CHIJMES, their respective officers, employees, volunteers, contractors, sponsors, partners, and representatives from any and all claims, demands, liabilities, losses, damages, costs, expenses, injuries, or actions arising out of or in connection with participation in the event, except where such claims arise directly from the negligence or wilful misconduct of the organisers.
  7. Personal Responsibility
    • Participants are responsible for their own personal belongings and should exercise reasonable care while participating. Appropriate clothing and footwear suitable for an outdoor event are recommended.
  8. Organiser's Rights
    • Visual Arts Centre and CHIJMES reserve the right to refuse participation or remove any participant whose behaviour is deemed unsafe, disruptive, or poses a risk to others. The organisers also reserve the right to modify, postpone, suspend, or cancel the event due to weather, safety concerns, or unforeseen circumstances.

Agree Terms & Conditions

Terms & Conditions For All Course/Workshop(s) at Visual Arts Centre (VAC):