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Lot Essay
Christie’s is honoured to present a distinguished group of works from the 129 Art Museum, Khao Yai. Established with a vision to preserve masterpieces by Thai National Artists, the museum has become one of the country’s foremost private collections, safeguarding cultural memory while fostering dialogue between artists, collectors and the wider public. More than a repository, it is a living institution, one that ensures the richness of Thai artistic expression is shared across generations. The present selection demonstrates the evolution of Thai art across more than half a century, encompassing pioneering modernists, visionary abstractionists and globally recognised contemporary voices.
Tawee Nandakwang’s Bird of Paradise (1978) is a luminous canvas by one of the founding figures of Thai modernism. Celebrated with three consecutive First Prize (Gold Medal) awards at the National Exhibition of Art in Bangkok in 1952, 1953 and 1954, Tawee established himself as a leading force in the country’s artistic renewal. In Bird of Paradise, he sought to blend Thai sensibility with international idioms, distilling into stylised floral rhythms of colour and light that capture harmony between nature and abstraction.
A renowned Thai impressionist who was honoured as a National Artist in 2002, Chitr (Prakit) Buabusaya’s Sakura in Japan (circa 1945) was painted during the Second World War in Japan. Escaping from the terrors of war, only a few paintings were brought back to Thailand. Chitr conveyed delicacy and resolve in the work, evoking the symbolism of renewal associated with the cherry blossom. Influenced by Monet, the work reflects his exposure to Japanese aesthetics which shaped his early modern outlook and enriched his later practice in Thailand. Today, Chitr's oeuvre is recognised not only as a vital part of Thai art history but also as a resource for art students, who continue to study his works for their technical and historical significance.
Sawasdi Tantisuk’s Trees (circa 1962) highlights the pivotal role he played in advancing abstraction in Thailand. Trained at the Accademia di Belle Arti in Rome, Tantisuk brought back techniques of palette knife and scumbling that gave his paintings their distinctive texture. In Trees, nature is transformed into a field of expressive marks, illustrating his capacity to merge European modernist approaches with a uniquely Thai sense of atmosphere.
A contrasting register appears in Damrong Wong-Uparaj’s Fisherman Village II (1994), a composition rooted in rural life. Damrong, who served as dean of Silpakorn University, often drew inspiration from the rhythms of Thailand’s coastal communities. Here, harmonised tones and simplified structures create a balanced, meditative scene that affirms his enduring commitment to everyday subjects elevated through painterly refinement.
Sompot Upa-in’s Untitled (1962) reveals the early search for synthesis between Thai aesthetics and Western modernism. A student of Silpa Bhirasri, Sompot absorbed lessons from Picasso and Henry Moore while forging his own vocabulary of semi-abstract forms. His canvas demonstrates how Thai artists of the 1960s absorbed Western modernism while developing a distinctly Thai visual language.
The bold symbolism of Pratuang Emjaroen’s Untitled (1972) exemplifies the force of a painter later named National Artist in 2005. Renowned for his fearless use of colour and existential themes, Pratuang embedded spiritual resonance into dynamic compositions. This work reflects his determination to create an art that was both deeply personal and universally relevant.
Moving into the contemporary period, Chatchai Puipia’s Self Portrait confronts the viewer with both vulnerability and defiance. A leading figure of his generation, Chatchai interrogates identity and society with unflinching candour. The work stands as a defining example of how contemporary Thai artists positioned themselves within broader global discourses of representation.
Chalood Nimsamer’s Holding Hands (2000) offers a contrasting tone of serenity. A revered professor and dean at Silpakorn University, Chalood devoted his career to both artistic practice and teaching across multiple disciplines. This painting is an expression of his humanist philosophy in a universal gesture of connection, embodying the clarity and balance that characterised his art.
Lastly, Montien Boonma’s Red Table/ Black Walls; United Walls & Unified Walls (1998) is a rare pastel triptych by one of Thailand’s most internationally acclaimed contemporary artists. Executed in Vietnam, it embodies Montien’s preoccupation with architecture, spirituality and healing spaces, as well as his commentary on Vietnamese history. The work demonstrates how his conceptual vision extended Thai art beyond national boundaries and firmly into the global contemporary canon.
Together, these nine works trace the arc of Thai art from the post-war decades to the turn of the millennium. They bear witness to the creativity of individual visionaries while reflecting a collective journey through tradition, modernity and global dialogue. For collectors, they present a rare opportunity to acquire works of profound historical significance and enduring artistic resonance.
Tawee Nandakwang’s Bird of Paradise (1978) is a luminous canvas by one of the founding figures of Thai modernism. Celebrated with three consecutive First Prize (Gold Medal) awards at the National Exhibition of Art in Bangkok in 1952, 1953 and 1954, Tawee established himself as a leading force in the country’s artistic renewal. In Bird of Paradise, he sought to blend Thai sensibility with international idioms, distilling into stylised floral rhythms of colour and light that capture harmony between nature and abstraction.
A renowned Thai impressionist who was honoured as a National Artist in 2002, Chitr (Prakit) Buabusaya’s Sakura in Japan (circa 1945) was painted during the Second World War in Japan. Escaping from the terrors of war, only a few paintings were brought back to Thailand. Chitr conveyed delicacy and resolve in the work, evoking the symbolism of renewal associated with the cherry blossom. Influenced by Monet, the work reflects his exposure to Japanese aesthetics which shaped his early modern outlook and enriched his later practice in Thailand. Today, Chitr's oeuvre is recognised not only as a vital part of Thai art history but also as a resource for art students, who continue to study his works for their technical and historical significance.
Sawasdi Tantisuk’s Trees (circa 1962) highlights the pivotal role he played in advancing abstraction in Thailand. Trained at the Accademia di Belle Arti in Rome, Tantisuk brought back techniques of palette knife and scumbling that gave his paintings their distinctive texture. In Trees, nature is transformed into a field of expressive marks, illustrating his capacity to merge European modernist approaches with a uniquely Thai sense of atmosphere.
A contrasting register appears in Damrong Wong-Uparaj’s Fisherman Village II (1994), a composition rooted in rural life. Damrong, who served as dean of Silpakorn University, often drew inspiration from the rhythms of Thailand’s coastal communities. Here, harmonised tones and simplified structures create a balanced, meditative scene that affirms his enduring commitment to everyday subjects elevated through painterly refinement.
Sompot Upa-in’s Untitled (1962) reveals the early search for synthesis between Thai aesthetics and Western modernism. A student of Silpa Bhirasri, Sompot absorbed lessons from Picasso and Henry Moore while forging his own vocabulary of semi-abstract forms. His canvas demonstrates how Thai artists of the 1960s absorbed Western modernism while developing a distinctly Thai visual language.
The bold symbolism of Pratuang Emjaroen’s Untitled (1972) exemplifies the force of a painter later named National Artist in 2005. Renowned for his fearless use of colour and existential themes, Pratuang embedded spiritual resonance into dynamic compositions. This work reflects his determination to create an art that was both deeply personal and universally relevant.
Moving into the contemporary period, Chatchai Puipia’s Self Portrait confronts the viewer with both vulnerability and defiance. A leading figure of his generation, Chatchai interrogates identity and society with unflinching candour. The work stands as a defining example of how contemporary Thai artists positioned themselves within broader global discourses of representation.
Chalood Nimsamer’s Holding Hands (2000) offers a contrasting tone of serenity. A revered professor and dean at Silpakorn University, Chalood devoted his career to both artistic practice and teaching across multiple disciplines. This painting is an expression of his humanist philosophy in a universal gesture of connection, embodying the clarity and balance that characterised his art.
Lastly, Montien Boonma’s Red Table/ Black Walls; United Walls & Unified Walls (1998) is a rare pastel triptych by one of Thailand’s most internationally acclaimed contemporary artists. Executed in Vietnam, it embodies Montien’s preoccupation with architecture, spirituality and healing spaces, as well as his commentary on Vietnamese history. The work demonstrates how his conceptual vision extended Thai art beyond national boundaries and firmly into the global contemporary canon.
Together, these nine works trace the arc of Thai art from the post-war decades to the turn of the millennium. They bear witness to the creativity of individual visionaries while reflecting a collective journey through tradition, modernity and global dialogue. For collectors, they present a rare opportunity to acquire works of profound historical significance and enduring artistic resonance.