Larasati Singapore, 22 October 2011

singapore, 22 October 2011

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Insights - Connections - Expertise

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Important notIce The

names of The arTisTs documenTed in This

caTalog should noT be considered as unqualified aTTribuTions To The arTisTs named.

unqualified

aTTribuTions To any arTisT or daTe have noT been inTended.

currenT

indonesian

and

scholarship in The field of

souTheasT asian

arT does noT

permiT unqualified sTaTemenTs as To auThorship or daTe of execuTion.

Therefore,

none of

The properTy in This caTalog is subjecT To any guaranTee of auThenTiciTy and all of The properTy is sold “as is” wiTh all imperfecTions, incompleTeness, faulTs and errors of descripTion in accordance wiTh The

any

ISBN 978-979-3774-29-9 Cataloguing-in-Publication Data

Indo European, Modern Masters & Established Artists of Southeast Asia Larasati, Singapore, 22 October 2011 Copyright © 2011 PT Balai Lelang Larasati

No part of this publication may be reproduced, stored in a retrieval system or transmitted by any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior written permission of Larasati.

condiTions of business.

assisTance offered by

larasaTi

sTaff To a

buyer in selecTing a loT To purchase is given wiThouT prejudice To The above.

buyers

are

recommended To Take independenT professional advice on selecTion of purchases.

we

accepT no responsibiliTy should currency

exchange flucTuaTions cause major differences

Jakarta, Indonesia: PT Balai Lelang Larasati 2011 pp. 21 x 27 cm includes index and biographies of artists I.Paintings - Asia. II. Painters - Asia. III. Title

in values ThaT have been quoTed in This caTalog.

This sale has been organized in close cooperaTion beTween l arasaTi and a rTs and a nTique g roup .

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Auction Saturday, 22 October 2011 starting at 7 pm (evening sale) Viewing Thursday, 20 October 2011 Friday, 21 October 2011 Saturday, 22 October 2011

11 am - 8 pm 11 am - 8 pm 11 am - 1.30 pm

at ONE EAST Artspace 30 Bideford Road #03-02 Thong Sia Building Singapore 229922

Sale Code

In sending written bids or making enquiries, this sale should be referred to as “AyunAn” The sale will be conducted in English. Bidding is carried out in Singapore Dollars. Please note that all US Dollar estimates are for reference only.

US$ 1 = S$ 1.3 All sales are subject to the conditions printed in catalog and the buyer’s attention is drawn to this information.

in collaboration with:

Correspondence address: Singapore: Thong Sia Building 30 Bideford Road #03 - 02 Singapore 229922 t. +65 6737 2130 f. +65 6737 1859

Indonesia: Jl. Pasuruan no. 9 Menteng, Jakarta 10310 Indonesia t. +62 21 315 8636, 315 6110 +62 855 101 5778 f. +62 21 3989 9533

i n f o @ l a ras at i.co m w w w . l a ras at i.co m InsightsÊ -Ê ConnectionsÊ -Ê Expertise

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Guide for Prospective Buyers Buying at Auction The following pages are designed to give you useful information on how to buy at Larasati Muse Investments Pte. Ltd - herein referred to as LARASATI - fine art auction.

Buyer’s Premium A buyer’s premium is payable by the buyer of each lot at a rate of 20% on the first S$ 500,000 of the hammer price of the lot and at a rate of 12% on the amount by which the hammer price of the lot exceeds S$ 500,000. GST at the appropriate rate is payable on the hammer price and premium. These charges are explained in detail under Larasati’s charges and GST at the back of this catalog.

1. BEFORE THE AUCTION Pre-sale Estimates The pre-sale estimates are intended as a guide for prospective buyers. Any bid between the high and the low pre-sale estimates would, in our opinion, offer a fair chance of success. However, all lots, depending on the degree of competition, can realise prices either above or below the pre-sale estimates.

Reserves The reserve is the minimum price the seller is willing to accept below which the lot will not be sold.

Condition of Lots Prospective buyers are encouraged to inspect the property at the pre-sale exhibition. Solely as a convenience, Larasati may provide condition reports. The absence of reference to the condition of a lot in the catalog description does not imply that the lot is free from faults or imperfections.

2. THE AUCTION Conditions of Business The Auction is governed by the Conditions of Business printed in this catalog. These Conditions of Business apply to all aspects of the relationship between Larasati and actual and prospective bidders and buyers. Anyone considering bidding in the auction should read them carefully. They may be amended by way of notices posted in the saleroom or by way of announcement made by the auctioneer.

Bidding at Auction Bids may be executed in person by paddle during the auction, in writing prior to the sale or by telephone. All auctions are conducted in Singapore Dollars. Auction speeds vary, but usually average between 40 - 50 lots per hour.

S$ S$ S$ S$ S$ S$ S$ S$

500 to 1,000 to 2,000 to 3,000 to 5,000 10,000 20,000 30,000

S$ 50,000 S$ 100,000 S$ 200,000

S$ S$ S$ S$

1,000 by S$ 50 2,000 by S$ 100 3,000 by S$ 200 5,000 by S$ 200 or S$ 200 - 500 - 800 to S$ 10,000 by S$ 500 to S$ 20,000 by S$ 1,000 to S$ 30,000 by S$ 2,000 to S$ 50,000 by S$ 2,000 or S$ 2,000 - 5,000 - 8,000 to S$ 100,000 by S$ 5,000 to S$ 200,000 by S$ 10,000 up by Auctioneer’s direction

However, the auctioneer may change the increments during the course of the auction at his or her discretion.

Bidding in Person To bid in person at the auction, you will need to register for and collect a numbered paddle before the auction begins. Proof of identity will be required.

The paddle is used to indicate your bids to the auctioneer during the sale. Should you be the successful buyer of any lot, please ensure that your paddle can be seen by the auctioneer and that it is your number that is called out. Should there be any doubts as to price or buyer, please draw the auctioneer’s attention to it immediately. All lots sold will be invoiced to the name and address in which the paddle has been registered and cannot be transferred to other names and addresses.

Please do not mislay your paddle; in the event of loss please inform the Sales Clerk immediately. At the end of the sale, please return your paddle to the registration desk.

Absentee / Written Bids If you cannot attend the auction, we will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalog. This service is free and confidential.Lots will always be bought as cheaply as is consistent with other bids, the reserves and Larasati’s commission. In the event of identical bids, the earliest bid received will take precedence.

Always indicate a “top limit”- the hammer price to which you would bid if you were attending the auction yourself. “Buy” and unlimited bids will not be accepted.

Telephoned absentee bids must be confirmed before the sale by letter or fax. Fax number for bids only: +65 6737 1859.

To ensure satisfactory service to bidders, please ensure that we receive your bids at least 24 hours before the sale.

Consecutive and Responsive Bidding The Auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The Auctioneer may further bid on behalf of the seller, up to the amount of the reserve, by placing consecutive or responsive bids for a lot.

Bidding by Telephone If you cannot attend the auction, it is possible to bid on the telephone on lots with a minimum low estimate of S$ 4,000. As the number of telephone lines is limited, it is necessary to make arrangements for this service 24 hours before the sale. We also suggest that you have a maximum bid which we can execute on your behalf in the event we are unable to reach you by telephone. Bilingual staff are available to execute bids for you.

Bidding Increments Bidding generally opens below the low estimates and advances in the following increments:

Successful Bids The fall of the auctioneer’s hammer indicates the final bid. The auctioneer will call out and record the name

or “paddle” number of the buyer, if your written bid is successful, you will be notified immediately after the sale by post. Bidding may be reopened at the auctioneer’s discretion.

Currency Conversion Bidding is carried out in Singapore Dollars, but Larasati may provide a currency conversion board in the saleroom for the convenience of bidders. Please note that figures shown in foreign currencies are only approximates and do not represent exact exchange rates. Payment will be requested in Singapore Dollars.

3. AFTER THE AUCTION Payment Payment must be made within seven calendar days of the sale and may be made by telegraphic transfer direct to Larasati Muse Investments Pte. Ltd.’s account at Hongkong and Shanghai Bank Corporation, Tanglin Branch, Singapore 229571. acct. No. 143-420180-001.

Please include your name, Larasati’s account number and invoice number with your instructions to your bank.

Payment can also be made in Singapore Dollars cash, Singapore Dollars banker’s drafts (drawn on a recognized Singapore bank). Although personal and company cheques are accepted, you are advised that property will not be released until such cheques have cleared.

Collection Lots will be released to you or your authorized representative when full and cleared payment has been received by Larasati.

Items retained will be covered by our insurance from the date of sale for a period of seven days or, if by then the goods have been collected, to the time of collection.

After seven days or from the time of collection, whichever is the earlier, the lot will be entirely at the buyer’s risk.

Storage and Insurance All purchases will initially be held for collection at the saleroom at no charge. Larasati provides insurance cover for a maximum of seven days after the sale. If purchases are not collected within the time stated in the catalog, they will be deposited in the warehouse and charges will be incurred.

Packing and Handling We shall use all reasonable effort to take care when handling and packing a purchased lot but remind the buyer that after seven days or from the time of collection, the lot is entirely at the buyer’s risk.

Shipping Shipping can also be arranged on your behalf. You can also instruct the shipper of your choice, either immediately after the sale, if you are attending or in writing on the instruction form sent with our invoice.

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Sale Number :_______Paddle Number :_______ Sale Date

:_______Client Number :_______

BIDDER REGISTRATION FORM

(INVOICES CANNOT BE CHANGED ONCE THEY HAVE BEEN PRINTED)

Bidders Details (Complete the details of the person who will be bidding in the Auction Room. When making a bid, prospective buyers will be accepting personal liability, unless it has been agreed in writing before the sale, that a bidder is acting as agent on behalf of a third party acceptable to LARASATI)

Family Name : Address

_______________________________Given Name :

_______________________________

: _____________________________________________________________Postcode : _________

IC/Pasport No. :

_______________________________Mobile/Pager No. :

____________________________

Office phone No. :______________Home phone No. : ___________Fax No. : __________email:____________ BANK REFERENCES : Name of Bank & Branch : Account No. :

_______________________________________________________________

________________________________Contact Name :

______________________________

Tel No. : _____________________________________Fax No. : __________________________________ Credit Card No. : ______________________________Type / Expire Date : ___________________________ OTHER REFERENCES : Name :

_____________________________________Address :

__________________________________

Tel No. : _____________________________________Fax No. : ___________________________________ Please register me for the following session :

LARASATI Indo European, Modern Masters & Established Artists of Southeast Asia

• I have read the conditions of business and notices printed in the sale catalog and agree to be bound by them.

• I agree to be bound by notices announced by auctioneer or posted in the sale room by the way of notice.

• I authorise Larasati to request bank references relating to the account(s) specified by me in the above.

• I authorise Larasati to fax invoices to (fax) : ________________ _______________Signature___________________ Signature : ______________________________________ Date : ________________________________________ Bidders are reminded that the purchase price payable by the successful bidder shall be the aggregate of the final bid and a premium of 20% of the first S$ 500,000 of the hammer price of each lot and 12% on the excess of the hammer price above S$ 500,000. Please note that a late charge is specified in the Conditions of Business in each catalogue and is subject to change without separate notice.

PAYMENT FOR PURCHASE CAN BE MADE IN CASH, BANK TRANSFER OR CHEQUE IN FAVOUR OF LARASATI. GOODS CAN BE COLLECTED ONLY WHEN PAYMENT HAS CLEARED. LARASATI DOES NOT ACCEPT CREDIT CARDS AS PAYMENT FOR PURCHASE. AFTER THE HAMMER IS DOWN, LARASATI WILL NOT ACCEPT CANCELLATION.

LARASATI Correspondence address : Singapore:

Thong Sia Building, 30 Bideford Road #03 - 02, Singapore 229922 Tel. +65 6737 2130 Fax. +65 6737 1859 Indonesia:

Jl. Pasuruan no . 9, Menteng - Jakarta 10310 - Indonesia Tel. +62 21 315 8636, 315 6110, +62 855 101 5778 Fax. +62 21 3989 9533 InsightsÊ -Ê ConnectionsÊ -Ê Expertise

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contents

Front Cover: lot 32, S. Sudjojono, Maya di Ayunan Back Cover: lot 57, Willem Gerard Hofker, Djanger, Bali (detail)

guide for prospecTive buyers

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bidder regisTraTion form

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indo european, modern masTers & esTablished arTisTs of souTheasT asia

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index of arTisTs

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biography of The arTisTs

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absenTee / wriTTen bid form

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guide for absenTee bidders

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condiTions of business for buyers

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condiTions of business for seller

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saleroom & offices

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Insights - Connections - Expertise

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T A K A S H I M U R A K A M I

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1 TAKASHI MURAKAMI (b. Japan, 1962)

a. And then, and then and then and then and then / Original Blue 2010 offset lithography 4c process.

50 x 50cm signed lower right with edition no.139/300

b. And then, and then and then and then and then / Lemon Pepper 2010 offset lithography 4c process 50 x 50cm signed lower right with edition no. 138/300

c. And Then, When That’s Done…..I Change. What I Was Yesterday Is Cast Aside, Like An Insect Shedding Its Skin 2010 offset lithography 4c process.

50 x 50cm signed lower right with edition no. 22/300

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S$ 2, 400 – S$3, 200 US$ 1,800 – 2,400

2 TAKASHI MURAKAMI (b. Japan, 1962)

a. Flower Ball (3D) Sunflower 2011 Size: d. 71cm offset lithography 4c process with foil and gloss varnish signed lower right with Edition No: 129/300

b. Lotus Flower Pink 2010 Size: d. 71cm offset lithography 4c process with foil and gloss varnish signed lower right with Edition No: 94/300

c. Lotus Flower White 2010 Size: d. 71cm offset lithography 4c process with foil and gloss varnish signed lower right with edition no. 89/300

S$ 2,400 - 3,200 US$ 1,800 – 2,400

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3 TAKASHI MURAKAMI (b. Japan, 1962)

a. Jellyfish Eyes-White 4 2011 50.0 x 50.0cm offset lithography 4c process signed lower right with edition no. 37/300

b. Jellyfish Eyes-White 1 2011 50.0 x 50.0cm offset lithography 4c process signed lower right with edition no. 110/300

c. Jellyfish Eyes 2011 50.0 x 50.0cm offset lithography 4c process signed lower right with edition no. 24/300

S$ 2,400 - 3,200 US$ 1,800 – 2,400

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4 TAKASHI MURAKAMI (b. Japan, 1962)

a. A Homage to IKB, 1957 2011 73.8 x 53cm offset lithography 4c process signed lower right with edition no. 133/300

b. I Know Not, I Know 2010 77 x 60cm offset lithography 4c process with foil and silk UV lame signed lower right with Edition No: 83/300

S$ 1,500 - 2,500 US$ 1,200 – 1,900

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5 TAKASHI MURAKAMI (b. Japan, 1962)

a. Flower 2011 offset lithography 4c process 52.5 x 52.5cm signed lower right with Edition No: 95/300

b. Flower 2 2011 offset lithography 4c process 52.5 x 52.5cm

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signed lower right with Edition No: 95/300

S$ 1,500 - 2,500 US$ 1,200 – 1,900

6 TAKASHI MURAKAMI (b. Japan, 1962)

Super Flat Museum mixed media

various

S$ 1,200 - 2,200 US$ 920 – 1,600

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Contemporary Art

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7 MAHENDRA YASA, I GEDE (b. Singaraja, Bali, Indonesia, 1967)

Blue Violet oil on canvas 75 x 100 cm S$ 3,500 - 4,500 US$ 2,600 – 3,400

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8 JUSTIN LEE (b. Singapore, 1963)

a. Dress for Peace 2010 acrylic on canvas 146 x 96 cm signed and dated (on the reverse)

b. Planes Series – Caught in the Cage of Love 2011 oil and ink on canvas 100 x 76 cm signed and dated (on the reverse)

S$ 7,000 - 9,000 US$ 5,300 – 6,900

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9 DIREK KINGNOK

10 HEO WOOK

(b. Nakhonratchasima, Thailand, 1976)

(b. Korea, 1973)

a. Motor in Hanoi

Between Tiers - Chocolate 23

2011 watercolour on paper 36 x 50 cm

2011 mixed media

signed and dated (lower right)

inscribed (on the reverse)

b. Vespa in Hanoi 2011 watercolour on paper 36 x 50 cm

61 x 84 cm

S$ 4,000 - 6,000 US$ 3,000 – 4,600

signed and dated (lower right)

S$ 1,800 - 2,500 US$ 1,300 – 1,900

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11 SAPTO SUGIYO UTOMO (b. Kendal, C. Java, Indonesia, 1971)

Dua Kali Sehari Siap Action 2006 oil on canvas 150 x 130 cm signed and dated (lower left)

S$ 7,000 - 9,000 US$ 5,300 – 6,900

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12 TOMMY WONDRA (b. Bukittinggi, W. Sumatra, Indonesia, 1980)

Untitled 2007 acrylic on canvas 140 x 200 cm signed and dated (lower centre)

S$ 5,000 - 7,000 US$ 3,800 – 5,300

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13 ERIC CHAN (b. Kuala Lumpur, Malaysia, 1975)

Caught in a Moment, Encased in True Happiness 2010 mixed media 52 x 248 cm signed and dated (upper right)

S$ 8,000 - 10,000 US$ 6,100 – 7,600

14 GAO (b. San Enrique, Negros Occidental, Philippines, 1970)

Americania 2011 mixed media on canvas 152 x 121 cm S$ 7,000 - 9,000 US$ 5,300 – 6,900

“ It is a connotation of desire for global supremacy in the realm of power, patriotism and superiority. Based on the American belief that they are the greatest country in the world and how they worked diligently to preserve its credence with imposing military exceptionalism. However, aggression does not always come empty handed, as what they say, “In war there are no victors, only victims”. Might be true or not, the bottom line here that excessive use of power always lead to destruction and atrocity.”

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15 DIDIK NURHADI (b. Ngawi, E. Java, Indonesia, 1972)

Untitled 2007 acrylic on canvas 140 x 150 cm signed and dated (lower left)

S$ 3,000 - 5,000 US$ 2,300 – 3,800

16 NASIRUN (b. Cilacap, C. Java, Indonesia, 1965)

Imajinasi Dewi Kesuburan 1994/1996 oil on canvas 60 x 90 cm signed and dated (on the reverse)

S$ 2,500 - 3,500 US$ 1,900 – 2,600 Provenance: Anonymous sale, Sotheby’s Singapore, 16 April 2006, SG7021, lot 140

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17 BEATRIX HENDRIANI KASWARA (b. Bandung, W. Java, Indonesia, 1984)

Let’s Move Baby 2007 acrylic on canvas 175 x 125 cm signed and dated (lower right)

S$ 5,000 - 7,000 US$ 3,800 – 5,300

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18 DANG XUAN HOA (b. Nam Dinh, Vietnam, 1959)

Self-Portrait 2003 oil on canvas 70 x 50 cm signed and dated (lower right)

S$ 6,000 - 9,000 US$ 4,600 – 6,900

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19 ARIFIEN NEIF (b. Surabaya, E. Java, Indonesia, 1955)

Les Tango 1993 oil on canvas 46 x 40 cm signed and dated (lower right)

S$ 5,000 - 7,000 US$ 3,800 – 5,300

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20 IVAN SAGITO (b. Malang, E. Java, Indonesia, 1957)

Bayangan Anak dan Topeng 1988 oil on canvas 100 x 127 cm signed and dated (lower right), inscribed, signed, and dated (on the reverse)

S$ 20,000 - 25,000 US$ 15,300 – 19,200

Ivan Sagito has been painting things that do not take place in from of our physical eyes. It is as if he is packing up the objective facts and storing them in our mind in order to find the subjective ones.

The subjective facts then grow into many phenomena. Generally, Ivan Sagito’s works try to repress the aspects of forms, pushing them into a free and deep space. Ivan’s paintings offer facts that are different with those we actually see. Umar Kayam, a late critic and literary figure, once wrote that Ivan actually viewed the outer- and the inner-world as an unstable system that can only be understood through continuous dialogues using the idioms of the inner-world. Ivan’s inner-world, meanwhile, is free from established idioms and needs to be eternally explored.

The gloomy and dim colors, the silent world, the spiritual life with the figures sailing smoothly along the circle of life… all these seem to be eternally manifested on his canvases. Ivan effortlessly breaks the symbolical meanings that have been taking place before.

- Excerpts from a text by Andreas Anzieb from the catalogue Interpellation, CP Open Biennale 2003, p. 216.

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21 ANDY DEWANTORO (b. Tanjung Karang, Lampung, Indonesia, 1974)

Keep the Dream Alive #1 2008 acrylic on canvas 140 x 200 cm signed and dated (lower right); inscribed (verso)

S$ 7,000 - 9,000 US$ 5,300 – 6,900

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22 IRFAN, M. (b. Bukittinggi, W. Sumatra, Indonesia, 1972)

Potret 2010 mixed media on canvas 180 x 200 cm signed and dated (lower right), inscribed, dated, and signed (on the reverse)

S$ 25,000 - 30,000 US$ 19,200 – 23,000

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Indonesian Modern Masters & Prominent Artists

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23 JEIHAN (b. Solo, C. Java, Indonesia, 1938)

Nyai 1981 oil on canvas 90 x 95 cm signed and dated (lower left), inscribed (on the reverse)

S$ 6,000 - 8,000 US$ 4,600 – 6,100

24 SOETOPO (b.Yogyakarta, Indonesia, 1931)

Wanita 1957 oil on canvas 90 x 65 cm signed and dated (lower right)

S$ 3,000 - 5,000 US$ 2,300 – 3,800

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25 BASOEKI ABDULLAH (Solo, C. Java, Indonesia, 1915 - Jakarta, Indonesia,1993)

Buffalos along the Riverside 1992 oil on canvas 100 x 150 cm signed and dated (lower left)

S$ 23,000 - 33,000 US$ 17,700 – 23,000 Provenance: Private Collection, The Netherlands

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26 BASOEKI ABDULLAH (Solo, C. Java, Indonesia, 1915 - Jakarta, Indonesia,1993) Coastal Scene in Sumatra 1992 oil on canvas 125 x 195 cm signed and dated (lower right)

S$ 45,000 - 55,000 US$ 34,600 – 42,300 Provenance: Private Collection, The Netherlands

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27 WIDAYAT (Kutoarjo, C. Java, Indonesia, 1919 - Jakarta, Indonesia, 2002)

Pohon Malam 1983 oil on canvas 89 x 145 cm signed and dated (lower right)

S$ 27,000 - 35,000 US$ 20,700 – 26,900 Provenance: Prominent Collector, Central Java, Indonesia

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28 S. SUDJOJONO (Kisaran, N. Sumatra, Indonesia, 1913 - Jakarta, Indonesia, 1986)

Batu Mulia 1985 oil on canvas 50 x 70 cm signed with the artist’s monogram and dated (upper left), signed with the artist’s monogram and dated (lower right), signed again (lower right).

S$ 28,000 - 35,000 US$ 21,500 – 26,900 Literature: Amir Sidharta, VISIBLE SOUL, Museum S. Sudjojono & Canna Gallery, Indonesia, 2006. Illustrated in color, p. 361

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29 SUNARYO (b. Banyumas, C. Java, Indonesia, 1943)

Return to my Homeland 1 2007 collagraph, silkscreeen, acrylic, paint, pastel and collage on STPI handmade cotton paper 127 x 101.6 cm signed and dated (lower right)

S$ 15,000 - 18,000 US$ 11,500 – 13,800

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30 POPO ISKANDAR (Garut, W. Java, Indonesia, 1927 - Bandung, W. Java, Indonesia, 2000)

The Dream 1980 / 1991 oil on canvas 100 x 90 cm signed and dated (lower left)

S$ 16,000 - 20,000 US$ 12,300 – 15,300 Literature: Supangkat, Jim, Perspektif Karya - Karya Popo Iskandar (Griya Seni Popo Iskandar, Bandung, 2000), illustrated in color p. 107

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31 AFFANDI (Cirebon, Indonesia, 1907 - Yogyakarta, Indonesia, 1990)

Madurese Boats 1960 oil on canvas 105 x 125 cm signed and dated (lower left)

S$ 90,000 - 120,000 US$ 69,200 – 92,300 Literature: Sardjana Sumichan, “Affandi” Vol. II, Bina Lestari Budaya Foundation Jakarta & Singapore Art Museum, 2007. Illustrated in colour, p. 16 & 101.

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32 S. SUDJOJONO (Kisaran, N. Sumatra, Indonesia, 1913 - Jakarta, Indonesia, 1986)

Maya on the Swing 1969 oil on canvas 75 x 60 cm signed with the artist’s monogram and dated (upper left), inscribed “Anakku Cantik” (lower right).

S$ 50,000 - 70,000 US$ 38,400 – 53,800 Literature: Amir Sidharta, VISIBLE SOUL, Museum S. Sudjojono & Canna Gallery, Indonesia, 2006.

Illustrated in color, p. 138

“Maya di Ayunan” (Maya on the Swing) “Many of Sudjojono’s works touch upon issues that emotionally mattered to him. His early revolutionary works, for example, stress his view on the importance of nationalism and Indonesian identity. These are illustrated in the works which show the beautiful landscapes of Indonesia and the struggle of Indonesian people against colonialism. His notable works like Maka Lahirlah Angkatan ’66 (“And So Was Born the Generation of ‘66”) and Sejuta Bintang di Langit (“A Million Stars in the Sky”) also mark his commentaries on social and political issues in Indonesia. In his more personal works where he painted portraits of the members of his family or scenes of the daily activities in the family, the works reflect to a great extent his love for and the importance of his family in his life.”

- Santy Saptari The present lot is an exquisite picture of little Maya, Sudjojono’s youngest daughter who, unlike his other sisters, enjoyed modeling for her father. She was only 2 years old then, hence it was not easy for Sudjojono to make her stay still for a long time in order to find the perfect angle. And yet, when it comes to painting his loved ones, Sudjojono’s inner camera was always at its most powerful mode. The result in this case is a second to none portrait by the artist. Not only did he capture Maya’s beauty and innocence, but he also breathed life into this painting

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Balinese Traditional Art

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33 RADJIN, I WAYAN (b. Batuan, Bali, Indonesia, 1945)

Bahatara Wishnu Murti Fights against The Evil Spirit grey ink on paper 37.5 x 25 cm signed (lower right)

S$ 3,500 - 4,500 US$ 2,600 – 3,400

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34 MOKOH, DEWA PUTU (Ubud, Bali, Indonesia, 1936 - 2010)

Underwater Life tempera on canvas 140 x 224 cm signed and inscribed (lower left)

S$ 7,500 - 10,000 US$ 5,700 – 7,600 Provenance: Private Collection, The Netherlands

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35 BEDIL, DEWA PUTU (Padangtegal, Ubud, Bali, Indonesia, 1921- 1999)

A Life in Bali tempera on canvas 50 x 45 cm signed and inscribed (on the reverse)

S$ 1,000 - 2,000 US$ 760 – 1,500 Provenance: Private Collection, The Netherlands.

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36 LESUG, I NYOMAN (b. Kutuh, Ubud, Bali, Indonesia, 1939)

Balinese Village Scene tempera on canvas 47.9 x 39.5 cm signed and inscribed (lower right)

S$ 700 - 900 US$ 530 - 690 Provenance: Private Collection, The Netherlands.

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37 MEJA, NYOMAN (b. Ubud, Bali, Indonesia, 1952)

Memburu Musang Nakal 2007 acrylic on canvas 110 x 178 cm signed and dated (lower right)

S$ 50,000 - 60,000 US$ 38,400 – 46,100 Literature: Agus Dermawan T, Jean Couteau, Wayan Kun Adnyana, PITA PRADA (THE GOLDEN CREATIVITY), Bali Bangkit, Jakarta, Indonesia, 2009.

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38 KOBOT, I GUSTI KETUT

39 SENA, IDA BAGUS PUTU

(Pengosekan, Ubud, Bali, Indonesia, 1917 - 1999)

(b. Tebesaya, Ubud, Bali, Indonesia, 1966)

Scene from Ramayana Story

Pertapa dan Penggodanya

acrylic on canvas 50 x 70 cm

2005 acrylic on canvas 88 x 71 cm

signed (lower right)

S$ 7,000 - 9,000 US$ 5,300 – 6,900

signed (lower right), inscribed, signed, and dated (on the reverse)

S$ 10,000 - 15,000 US$ 7,600 – 11,500 Exhibition: - Soaring Spirit, The Heat and Sould of Balinese Traditional Paintings at Neka Art Museum, Ubud, Bali, 22 July - 22 August 2007. Illustrated on the exhibition catalogue, p. 12.

- Bali: Nature and Figuration, at Galeri Nasional Indonesia, Jakarta, 16 - 21 September 2010. Il lustrated on the exhibition catalogue, p. 56

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Indo European Pictures

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40 ADOLFS, GERARD PIETER (Semarang, C. Java, Indonesia, 1897 - Den Bosch, The Netherlands, 1968)

Walking to the Pagoda 1936 oil on plywood 24.1 x 33.3 cm signed and dated (lower left)

41 DAKE JR., CAREL LODEWIJK (Schaerbeek, Belgium, 1886 - Jakarta, Indonesia, 1946)

A View of the Palace at Buitenzorg oil on canvas laid down on board 32.5 x 49 cm S$ 1,400 - 1,600 US$ 1,000 – 1,200

S$ 2,000 - 3,000 US$ 1,500 – 2,300 Provenance: Private Collection, The Netherlands

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42 ELAND, LEONARDUS JOSEPH (LEO) (Salatiga, C. Java, Indonesia,1884 - The Hague, The Netherlands, 1952)

View of a Lake oil on canvas 39.9 x 30.2 cm signed (lower left)

S$ 600 - 1,000 US$ 460 - 760

43 ELAND, LEONARDUS JOSEPH (LEO) (Salatiga, C. Java, Indonesia,1884 - The Hague, The Netherlands, 1952)

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Village in Sumatra oil on board 19.9 x 40.2 cm signed (lower right)

S$ 1,400 - 1,800 US$ 1,000 – 1,300

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44 VAN DER DOES, WILLEM JAN PIETER (Rotterdam, The Netherlands, 1889 - Zeist, The Netherlands, 1966)

Dinogo bij Batoe 1932 oil on canvas 70 x 104 cm signed and dated (lower left)

S$ 18,000 - 23,000 US$ 13,800 – 17,600

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45 ARIE SMIT (b. Zaandam, The Netherlands, 1916)

Djakarta 1948 -1949 ink and tempera on paper 11.8 x 34 cm signed and inscribed (lower right)

S$ 6,500 - 8,000 US$ 5,000 – 6,100 Literature: Sidharta, Amir, Vibrant, Arie Smit (Hexart Publishing, Jakarta, 2002), illustrated in colour, p. 6.129)

46 ARIE SMIT (b. Zaandam, The Netherlands, 1916)

Fishing Boats at Night 1971 acrylic on canvas 67.2 x 46.7 cm signed and dated (lower right)

S$ 8,000- 11,000 US$ 6,100 – 8,400 Provenance: Acquired directly from the artist by the current private Dutch collector.

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47 ARIE SMIT (b. Zaandam, The Netherlands, 1916)

Passing The Temple Compound 1991 acrylic on canvas 36 x 56 cm signed and dated (lower left)

S$ 6,000 - 8,000 US$ 4,600 – 6,100

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48 SIDHARTA SOEGIJO, GREGORIUS (Yogyakarta, Indonesia, 1932 - 2006)

Wanita Duduk, edition no. 3/7 1967 bronze

28 x 10 x 15 cm signed and dated

S$ 2,700 - 3,500 US$ 2,000 – 2,600

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49 HOFKER, WILLEM GERARD (The Hague, The Netherlands, 1902 - Amsterdam, The Netherlands, 1981)

Seated Nude 1972 oil on board 26 x 14 cm signed (upper left), signed and dated (on the reverse)

S$ 8,000 - 11,000 US$ 6,100 – 8,400 Provenance: - Duta Fine Art Gallery - Anonymous sale, Sotheby’s Singapore, 6 April 2003

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50 MEIER, THEO (Basel, Switzerland, 1908 - Berne, Switzerland, 1982)

Portrait of a Man 1957 oil on canvas 46.9 x 32 cm signed and dated (lower right)

S$ 4,000 - 6,000 US$ 3,000 – 4,600 Provenance: Private Collection, The Netherlands

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51 STRASSER, ROLAND (Vienna, Austria, 1895 - Santa Monica, USA, 1974)

A Balinese Beauty charcoal and coloured chalk on paper 30 x 22 cm signed (lower right)

S$ 3,000 - 5,000 US$ 2,300 – 3,800 Provenance: Anonymous Sale, Christies, Singapore, 1 April 2001, sale 2101, lot 44

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52 CHEONG SOO PIENG (China, 1917 - Singapore 1983)

Half Nude Balinese Woman ca. late 1950s colored batik cloth 44 x 36 cm signed (lower right)

S$ 12,000 - 15,000 US$ 9,200 – 11,500

53 LEE MAN FONG (Guangzhou, Canton, China, 1913 - Jakarta, Indonesia, 1988)

Balinese Man 1952 ink on paper 50 x 68 cm signed, stamped with the artist’s seal, and dated (lower right)

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S$ 6,500 - 8,000 US$ 5,000 – 6,100 Provenance: Anonymous sale, Sotheby’s, Singapore, 7 April 2002, sale SG7013, lot 164

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54 LEE MAN FONG

55 LEE MAN FONG

(Guangzhou, Canton, China, 1913 - Jakarta, Indonesia, 1988)

(Guangzhou, Canton, China, 1913 - Jakarta, Indonesia, 1988)

Rujak Seller

Balinese Dancer

1954 pastel on paper entire paper 50 x 64.9 cm; image size 46.5 x 58.6 cm

1957 pastel on paper 50 x 35 cm

signed, dated and stamped (upper right)

signed, stamped with the artist’s seal and dated (lower right)

S$ 9,000 - 12,000 US$ 6,900 – 9,200

S$ 20,000 - 25,000 US$ 15,300 – 19,200

Provenance: Private Collection, The Netherlands

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At the end of the 19th century there was a growing interest in Europe for other cultures. It was in 1898 that Isaac Israels was confronted for the first time with Javanese dancers who were invited to the Netherlands on the occasion of the crowning year of Queen Wilhemina.

In a letter he wrote: “… Javanese people are beautiful, … the whole day I am trying to imitate the movement of the heads and hands of the dancers…”

In 1915 and 1916 Israels painted a lot of Indonesians, students at the University of Leiden. He was quite impressed by their beauty, their dignified pose and their oriental clothing. To create tropical atmosphere for this paintings he borrowed palms in post from the zoo just across the road from where he lived.

In the same period he was introduced to Raden Mas Jodjana, a well-known dancer and they became friends.

Israels made several paintings of Jodjana and even taught him, as a high exception, how to paint, showed him the use of colours and made him familiar with the view on paintings of the European artists.

In 1921 he finally found the courage to make the long boat trip to Indonesia. He was introduced through the influence of Jodjana to the courts of Solo, made a short trip to Bali and spent some time in Batavia.

His strongest paintings were made then when he combined the tropical light with the people in the streets. In a letter dated 1922 he wrote: “… I finally found out that one must let the Javanese pose in the bright sunlight …”.

(Literature: Anna Wagner “Isaac Israels: venlo 1985).

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56 ISRAELS, ISAAC

57 HOFKER, WILLEM GERARD

(Amsterdam, The Netherlands,1865 - The Hague, The Netherlands, 1934)

(The Hague, The Netherlands, 1902 - Amsterdam, The Netherlands, 1981)

Portrait of a Sundanese Girl

Djanger, Bali

ca. 1921-1922 oil on canvas 59.5 x 44.5 cm

1944 mixed media on paper 35.8 x 23.3 cm

signed (lower right)

titled (upper left), signed and dated (upper right)

S$ 33,000 - 43,000 US$ 25,300 – 33,000

S$ 38,000 - 45,000 US$ 29,200 – 34,600

Provenance: - Anonymous sale, Mak van Waay, Amsterdam, 2 May 1993 - Anonymous sale, Christie’s Singapore, 1 October 1995

This lot has been authenticated by Bruce Carpenter, author of the book Willem Hofker, Painter of Bali Provenance: Private Collection, The Netherlands

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57 “‘For those who wished, Bali was indeed a Paradise, but a very human one’. Into this complex, intense, and very foreign world, Willem and Maria Hofker arrived at the beginning of 1938.

Here, they and their art flourished and took root, convincing them that they had found their final home. Unknowingly witness to the end of an era, in a sense the Hofkers

found and lost their paradise, suffering the horror of a Japanese internment camp and permanent separation from their beloved island, only to discover that it lived on within them and their art. Their legacy is a precious series of paintings and stories, recreating the magic kingdom of Bali through the eyes of the artists.”

(Bruce Carpenter, Willem Hofker, Painter of Bali, Pictures Publishers, The Netherlands, 1993, p. 13).

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Index of artIst the number following the name of the artists indicates lot numbers Adolfs, Gerard Pieter Affandi Andy Dewantoro Arie Smit Arifien Neif

40 31 21 45, 46, 47 19

Basoeki Abdullah Beatrix Hendriani Kaswara Bedil, Dewa Putu

25, 26 17 35

Cheong Soo Pieng

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Dake Jr., Carel Lodewijk Dang Xuan Hoa Didik Nurhadi Direk Kingnok

41 18 15 9

Eland, Leonardus Joseph (Leo) Eric Chan Gao Heo Wook Hofker, Willem Gerard

42, 43 13 14

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10 49, 57

Irfan, M. Israels, Isaac Ivan Sagito

22 56 20

Jeihan Justin Lee

23 8

Kobot, I Gusti Ketut

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Lee Man Fong Lesug, I Nyoman Mahendra Yasa, I Gede Meier, Theo Meja, Nyoman Mokoh, Dewa Putu

53, 54, 55 36 7 50 37 34

Nasirun

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Popo Iskandar

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Radjin, I Wayan

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S. Sudjojono Sapto Sugiyo Utomo Sena, Ida Bagus Putu Sidharta Soegijo, Gregorius Soetopo Strasser, Roland Sunaryo Takashi Murakami Tommy Wondra

28, 32 11 39 48 24 51 29 1, 2, 3, 4, 5, 6 12

van der Does, Willem Jan Pieter

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Widayat

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BIoGraphIes of the artIsts Adolfs, Gerard Pieter (Semarang, C. Java, Indonesia, 1897 - Den Bosch, The Netherlands, 1968) Adolfs studied architecture in The Netherlands. He returned to Indonesia in 1922 and then lived in Surabaya. He held a solo exhibition at Hotel des Indes in Jakarta, 1938. He later traveled extensively in Asia, Europe and Africa, including Japan, Rome and the Middle East. He finally settled in The Netherlands, where he died in 1968.

Affandi (Cirebon, W. Java, Indonesia, 1907 - Yogyakarta, Indonesia, 1990) Affandi was essentially self-taught. During the Japanese Occupation he was involved in POETERA / People’s Activity Centre. Moving to Yogyakarta during the Revolution, he participated in revolutionary activities and helped to set up Seniman Masjarakat / People’s Painters in 1946. He co-founded Pelukis Rakyat / People’s Painters with Hendra Gunawan in 1947. A scholarship to the art school of Santiniketan University took him and his family to India in 1949.

Following this they proceeded on an extensive tour of Europe before returning to Yogyakarta in 1954 when he became a lecturer at ASRI / Indonesian Academy of Fine Arts. He participated in the Sao Paolo Biennial II in 1953 and represented Indonesia at the Venice Biennial in 1954. Affandi went to Honolulu in 1967 as part of the first East-West Centre Artist-in-Residence programme, where he painted his first fresco. He received an Indonesian Art Award from the Ministry of Education and Culture (1969), and was honoured by the University of Singapore with a Doctor Honoris Causa of Letters (1974) for his contribution to art. He also received the Dag Hammarskjoeld Prize from Italy (1977) and Indonesian Government Gold Medal (1978).

began painting professionally. He was inspired by the works of artists such as Sudjojono, Matisse, Chagall and Bosch. He has participated in exhibitions in Indonesia, Singapore and USA. Basoeki Abdullah (Solo, Indonesia, 1915 - Jakarta, Indonesia, 1993) Basoeki Abdullah was the brother of Sudjono Abdullah, and second son of painter Abdullah Suriosubroto, a prominent landscape painter. In 1933 he studied at the Academie voor Beeldende Kunsten in The Hague and afterwards he visited Paris and Rome. He continued to study under the painter Schumacher upon his return to Indonesia. His work has been exhibited in Indonesia, Thailand, Malaysia, Japan, The Netherlands, England and Portugal.

Beatrix Hendriani Kaswara (b. Bandung, W. Java, Indonesia, 1984) She obtained her BFA from Bandung Institute of Technology (ITB), Bandung in 2006. In 2005 she held her solo exhibition “Precious Treasures” at Galeri Rumah The, Taman Budaya Jawa Barat, Bandung. She participated in several group shows, such as “Kuota: Inbox 2007”, Indonesia National of Gallery, Jakarta in 2007, “Re:Post”, The Japan Foundation, Jakarta in 2005.

Andy Dewantoro (b. Lampung, Indonesia, 1974) Graduated from Art and Design Faculty, Bandung Institute of Technology. Active in solo and group exhibition since 1997 in Jakarta and Yogyakarta, Indonesia. His awards: Nyoman Gunarsa Prize for graphic art , Indonesian Art Isntitute, Yogyakarta, 2005. Finalist Philip Morris Indonesia Art Award, 2001.

Bedil, Dewa Putu (Padang Tegal, Ubud, Bali, Indonesia, 1921 1999) He was a student of the Dutch painter Rudolf Bonnet (1895-1978), and was a member of Pita Maha Society during the 1930s. Most of his works are inspired by village life. They usually include large figures of people, especially their heads and upper bodies, in soft pastel colors. These were aesthetic features which he learned from Bonnet. His works are in the collections of the Art Centre in Denpasar, the Puri Lukisan Museum in Ubud, the Rijksmuseum Voor Volkenkunde in Leiden, and the Tropen Museum in Amsterdam. His work was included in the Art of Bali exhibit held in 1988 at the EastWest Centre in Honolulu, Hawaii. Exhibitions include: Museum Nasional Jakarta, 1995, Centre of Strategic and International Studies, Jakarta in 1996, Indonesia-Japan Friendship Festival, Morioka, Tokyo in 1997.

Arie Smit (b. Zaandam, The Netherlands, 1916) He was trained at the Academy of Arts in Rotterdam, and arrived in Indonesia in 1938 as a soldier in the Dutch Colonial Army. He obtained his Indonesian citizenship in 1951. From 1950-1956 he taught painting at ITB / Bandung Institute of Technology. In 1956 he moved to Bali, and has lived and painted there ever since. He has had solo exhibitions in Bandung, Jakarta, Palembang, Balikpapan, Jakarta, Singapore and Honolulu, USA. In 1992 he received a Gold Medal Dharma Kusuma award from the Balinese provincial government for his contribution to the development of Balinese painting.

Cheong, Soo Pieng (China, 1917 - Singapore 1983) A student of the Amoy Art Academy and Sin Hua Art Academy, he came to Singapore in 1946 and taught art at the Chinese Art School and Nanyang Academy of Fine Arts. In the early 50s he went to Bali with Chen Wen Hsi, Chen Chong Swee and Liu Kang. On his return he created a distinctive style of figure and landscape painting and also excelled in Chinese brush painting. In 1962 he was awarded the Meritorious Service Medal by the Singapore Government for his contribution to art in Singapore. In 1983, the National Museum Art Gallery of Singapore held a retrospective exhibition of his work.

Arifien (b. Surabaya, E. Java, Indonesia, 1955) Arifien moved to Jakarta in the 1970s. Interested in interior design and old colonial architecture, it was only in the mid-1980s that he

Dake Jr., Carl Lodewijk (b. Schaerbeek, Belgium, 1886 - Jakarta, 1946) He studied painting from E. Piter and H. M. Krabbe in Laren, the Netherlands. He went to Indonesia in 1912 and travelled through InsightsÊ -Ê ConnectionsÊ -Ê Expertise

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the country. He painted scenes in Java, Bali and Sumatra. From Indonesia, he travelled to many countries, including Thailand and Cambodia. His depictions of the ancient ruins of Angkor Wat are among his impressive paintings. In 1915, he was appointed to create the Indonesian diorama displayed at the World Fair in San Francisco, USA..

Dang Xuan Hoa (b. Nam Dinh, Vietnam, 1959) He was one of the member of The Gang of Four who was one of the first Vietnamese Artists invited to exhibit in America in the ‘90s. He also member of Vietnam Fine-arts Association. He graduated from the Hanoi Fine Arts College and was taught by the artist Nguyen Gia Tri and Tran Luu Huu. In his works, many classic motifs are used to create a new way of expression, the density of images, the flat color plane combine for an immediacy and directness that marks Vietnamese modern paintings. He has held numerous solo exhibitions in Vietnam, UK, USA and Thailand. He has also participated in a huge number of selected group exhibitions in Cuba, Vietnam, China, Singapore, UK, USA, Belgium, Argentina, Korea, Switzerland, Australia, Thailand, Malaysia and Spain. Hoa works are widely collected internationally, of which are National Fine Arts Museum of Vietnam, Singapore Fine Arts Museum and Malaysia Fine arts Museum.

Didik Nurhadi (b. Ngawi, East Java, Indonesia, 1972) Graduated from Faculty of Fine Arts and Design ISI Yogyakarta in 1999. He has participated in numerous group exhibitions since 1992. He had solo exhibitions in Yogyakarta (1998 and 2000) and in Bali (2003). He was one of the finalists at Winsor & Newton Competition of Indonesia, Phillip Morris Art Award in 1999, and Indofood Indonsia Art Award in 2002.

Direk Kingnok (b. Nakhonratchasima, Thailand, 1976) He studied art at Faculty of Fine and Applied Arts at Khon Kaen University. He also work as art lecturer at the same university from 1999 – 2001. He has held three solo exhibitions in his country, each in 2001, 2005 and latest in 2010 at Silom Galeria, Bangkok entitled “Still in real time”. He has also participated in numerous group exhibitions since 1982, where he fetched Gold Medal Youth Art Contest in Tokyo, Japan, and since then continued to actively exhibiting his works in Thailand, Laos, and Norway. Among his achievements are Special Prize Diploma from International Museum of Children Art, Oslo, Norway (1993), Prize Winner on drawing contest held by SK Bearin (Thailand) Limited (1993) and several others. His works are now in the collection of private collectors in USA, Holland, Belgium, UK, Germany, France, Sweden, Singapore, Hong Kong, Japan and Thailand.

Eland, Leonardus Joseph (Java, 1884 - The Netherlands, 1952) He was a self-taught artist who livedd and worked in Indonesia. He played important role in the Union of Dutch East Indies Art Circles in the beginning of the twentieth century. In the Indies, he was admired as highly esteemed artist, until 1920 when he left to settle in The Hague. His work was selected for the International Colonial

Exhibition in Paris in 1931, but was unfortunately destroyed by fire.

His works can be found today in several Dutch museums.

Eric Chan (b. Kuala Lumpur, Malaysia, 1975) He studied at Lasalle-SIA College of the Arts, Singapore from 1993 - 1996, majoring in Fine Art (Painting). In 1997, he obtained his Bachelor of Arts in Fine Art from Royal Melbourne Institute of Technoloy (RMIT). He gained his Master of Fine Art from RMIT in 2000. Since 1998, he has participated in some selected exhibitions in Singapore, Australia, Malaysia, and Indonesia. His has held some solo exhibitions in Singapore and Malaysia. In 1997 he was awarded Outstanding Achievement Award, Bachelor of Arts in Fine Art (Painting), Royal Melbourne Institute of Technology (RMIT), LASALLE-SIA College of Arts.

GAO (b. San Enrique, Negros Occidental, Philippines, 1970) Born and raised in the province of Negros, GAO is a self-taught artist who gained interest in art in 1999 and in the following year won 1st prize in the Provincial Environment Painting Competition. He went on to clinch the 2nd prize and 3rd prize in the 2001 Pasalamat Arts & Cultural Festival; painting and mixed media category respectively. In 2002, 2004 and 2005, he was a finalist of the Metrobank Art & Design Excellence Competition. He was also a finalist in the Art Association of the Philippines and ECCA’s 1st Semi-Annual Art Competition in 2010. GAO’s works deal with social issues like poverty, apathy and global supremacy.

Heo Wook (b. Korea, 1973) Graduated from the Seoul high school of Music and Art, and pursued higher training in the prestigious Ecole Nationale Superieure des Beaux-Arts de Paris (DNSAP) in Paris. He has exhibited extensively in outside of Korea in arts and cultural capitals such as Beijing, New York, Japan, and Sydney. In the same year, Heo Wook was selected to participate in the China Mordern Art- Songzhang special project commissioned by the Beijing Olympics Committee.

Other events that involved Heo Wook include the ‘Korea-Japan Interchange (2002 & 2005)’ in Hiroshima and Seoul respectively, as well as frequent features in the Korean International Art Fair where the best of Korea is displayed.

Hofker, Willem Gerard (The Hague, 1902 - Amsterdam, 1981) He studied at the Academy of Arts in The Hague and the Academy of Fine Arts in Amsterdam. He arrived in Indonesia in 1938, visited Batavia, Bandung, Bogor and Bali. He lived in Bali 1938-1944 with his wife Maria Hofker-Reuter who was also a painter. During World War II he was interned by the Japanese and put in a camp. Some of the works he made there were shown in the exhibition Nederlanders in Japanese Kampen held in several cities in The Netherlands in 1975 and 1976. He returned to the Netherlands in 1946. In 1978, he published part of his Balinese series: Bali Gezien door Willem Hofker, which is dedicated to his best friend Rudolf Bonnet.

Irfan, M (b. Bukittinggi, W. Sumatra, Indonesia, 1972) Studied at Faculty of Fine Art, Indonesia Institute of Art, Yogyakarta.

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Member of the Jendela group, which has held exhibitions in Yogyakarta in 1997, and at the Bali Padma Hotel in Bali, 1999.

and Ubud Painters Group. In 1978, he was awarded Certificate of Wijaya Kusuma from the regency of Gianyar.

Isaac Lazarus Israel (Amsterdam, 1865 - The Hague, 1934) He is son of Josef Israel. He studied at the Hague Academy of Arts, then at the Rijksacademie in Amsterdam. He travelled throughout Indonesia during the years 1921 to 1922, and visited a fellow painter Jan Veth, in Batavia. In Indonesia, Israel painted daily scenes of the courts of Yogyakarta and Bali in his impressionist style. When leaving Indonesia, he carried numerous paintings and watercolours. Some of his works are collected by Gemeentemuseum in The Hague.

Lee Man Fong (Guangzhou, Canton, China, 1913 - Jakarta, Indonesia, 1988) In 1916, Lee Man Fong’s family moved from Canton to Singapore. He began his studies of painting in Singapore, and in 1932 he moved to Jakarta where he started an advertising agency and worked as a commercial artist. In 1941 he visited Bali and painted there for a brief period; in the same year he had a solo exhibition in Jakarta. In 1947 he was awarded the Malino grant by the Dutch Governor-General to study painting in Holland and he stayed there until 1952. He traveled widely during those years and held several solo exhibitions. In 1955 he founded the Yin Hua artists’ association, and served as chairman. He became a Presidential Palace painter for the former Indonesian President Soekarno in 1961, and also compiled the 5-volume edition of President Soekarno’s art collection.

Ivan Sagito (b. Malang, Java, 1957) He studied from the Indonesian Academy of Fine Arts (ASRI) in Yogyakarta from 1979-1985. He is famous for his usage of a surrealistic idiom. Many of his works are based on themes depicting reality, activity, and life of ordinary Javanese society. Ivan Sagito has obtained various awards, including a prize for the Jakarta Biennial. He has also participated in various art exhibitions around the world, including: the Indonesian Modern Art exhibition that toured the United States in 1991, the third Asian Art Show in Fukuoka, Japan, the 10th Asian Watercolour Exhibition in Bangkok, the AsiaPacific Triennial of Contemporary Art in Queensland, Australia, Modernity and Beyond and Soul Ties at the Singapore Art Museum, and The Mutation: Painstaking Realism in Indonesian Art, held in Tokyo, Japan.

Jeihan Sukmantara (b. Solo, C. Java, Indonesia, 1938) From 1953-55 he studied painting at HBS / Himpunan Budaya Surakarta under the guidance of Sumitro Hendronoto. From 196066 he studied painting at ITB / Bandung Institute of Technology.

He has had solo exhibitions in Jakarta, Bandung, Solo, Surabaya, Rome (Italy) and Paris (France). He has participated in numerous group exhibitions in Indonesia, USA, Algeria, The Netherlands and Switzerland. In 1978 he established the Studio Seni Rupa Bandung (Bandung Fine Arts Studio) with Dr. Sudjoko.

Lesug, I Nyoman (b. Kutuh, Ubud, Bali, Indonesia, 1939) Started painting since 1953 under Ida Bagus Rai’s tutorial. Beside as a painter, he also served as pemangku in the nearby temple. His works are meticulous and thorough featuring various scenes of Balinese daily live, especially Ubud natural scenery. Lesug frequently exhibited in Bali Art Festival in Taman Budaya (Denpasar). His works are among the collections of Museum Puri Lukisan (Ubud), Neka Museum (Ubud), and Museum East West Centre (Honolulu).

He participated in the Art of Bali Exhibition in East-West Centre in Honolulu (August - October 1988), and was asked to demonstrate his painting skill. Lesug has several pupils, among the emerging ones are Mangku Sayang, I Made Jiwa and I Made Madra.

Mahendra Yasa, I Gede (b. Singaraja, Bali, Indonesia, 1967) Studied art at Indonesian Art Institute, Denpasar, Bali. Solo exhibition: “The Painter’s Palette”, The Aryaseni Art Gallery, Singapore, 2008; “White Series : Allegory of Painting”, Richard Koh Fine art, Kuala Lumpur, 2008; “Hendra Membaca Pollock”, Emitan Fine Art Gallery, Surabaya, 2007.

Justin Lee (b. Singapore, 1963) He bought Pop art to Singapore. His witty, thoughtful work blends traditional Eastern imagery and techniques with twenty-first-century consumerist Western icons. Justin had his first solo show in 2003, at the age of 40. Now, eight years on, he has held numerous exhibitions, been commissioned by commercial and institutional clients, Mont Blanc, the Esplanade, the Singapore Art Museum, the National Museum of Singapore and the Asian Civilisations Museum among them. During 2010-11, his works have been exhibited in Singapore, Thailand, Japan and China. Lee’s works are found in the Singapore Art Museum collection, The Magma collection, the Mont Blanc collection and the New Majestic Hotel collection.

Meier, Theo (Switzerland, 1908 - 1982) Meier studied at the Kunstgewerbeschule in Basel and the Academies of Art in Berlin and Dresden. After studying in Germany, he travelled to Tahiti in the 1930s to the South Pacific and eventually settled in Bali in 1936 where he would stay, with some intervals until 1957, when he settled in Chiang Mai, Thailand. The artist participated in the Bali Exhibition organized by the Bataviasche Kunstkring in Jakarta in 1939. His work is represented in the collections of the former President Sukarno, The Neka Museum in Ubud Bali, the Agung Rai Fine Art Gallery in Paliatan, Bali and the Kunstmuseum in Basel, Switzerland.

Kobot, I Gusti Ketut (Ubud, Bali, Indonesia, 1917 - 1999) He learned painting at Puri Peliatan from Tjokorda Oka Gambir.

In 1936, Bonnet taught him. He was also a member of Piita Maha

Meja, I Nyoman (b. Ubud, Bali, Indonesia, 1952) He began hiis career as a Balinese traditional artist. After his encounter with Rudolf Bonnet, he began focussing his paintings on

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children and their world. He participated in a group exhibition in the Netherlands in 1975, and also in some cities in Indonesia. His works could be found at several Museums in Bali. He is a finalist of Indofood Art Awards 2002.

Mokoh, I Dewa Putu (Ubud, Bali, 1936 - 2010) He learned painting from Gusti Ketut Kobot. He joined the Kelompok Pelukis Pengosekan and always participated in the art exhibitions at the Art Centre, Denpasar, Museum Puri Lukisan Ubud and abroad, together with the society.

Nasirun (b. Cilacap, C. Java, Indonesia, 1965) Graduated from ISI / Indonesian Institute of the Arts, Yogyakarta in 1994. He has had solo exhibitions in Yogyakarta, Solo and Jakarta, and has participated in group exhibitions in Indonesia, Singapore and The Netherlands. Awards received include Best Painting, ISI Yogyakarta, 1991; McDonald Award, Lustrum X, ISI Yogyakarta, 1994; and he was one of the Top Ten prize winners of the Indonesian Art Awards in 1997.

Popo Iskandar (Garut, W. Java, Indonesia, 1927 - Bandung, W. Java, Indonesia, 2000) He began painting in 1944 as a poster painter for the information service of the Indonesian Armed Forces. In 1958, he graduated from the Department of Art, ITB / Bandung Institute of Technology. He was an assistant lecturer at ITB from 1957 to 1961, and was also a lecturer in the Art Department of IKIP / Teacher’s Training Institute, Bandung for many years. He had solo exhibitions in Jakarta, Yogyakarta, Medan (Indonesia), The Hague and Leiden (The Netherlands). He participated in numerous group exhibitions in Indonesia, China, UK, India, Japan, USA, The Netherlands and Brazil. Popo was also an art critic and essayist on art and literature, and was made a life member of the Jakarta Academy in 1970. He received the Anugerah Seni Art Award from the Indonesian government in 1980.

Rajin, I Wayan (b. Batuan, Bali, Indonesia, 1945) He learned alot about art from his father I Made Djata the legendary painter known to have a lot of pupils. Ever since he was a child, he often watch his father while making the work. He growing seeing his father’s pupils painted. Through this, his interest in art has grown filled with breakthrough ideas in art. He then produced a different Batuan style of paintings, especially after knowing Rudolf Bonet in early 1970. Sometimes he would write his name as “Radjin”. His works have been exhibited since mid 1970s. among them are the group exhibition in Mitra Budaya and Japanese embassy in Jakarta. In Netherlands, his work once was displayed in Den Haag and Nusantara Museum in Delft. In Japan, his work was exhibited in Ginza Capital Hotel, Tokyo.

S. Sudjojono (Kisaran, N. Sumatra, Indonesia, 1913 - Jakarta, Indonesia, 1986) From 1925 he studied painting with Yudhokusumo (the artist Kartono’s father). In 1935 he began to study painting with Mas Pirngadi

and the Japanese artist Chioyoji Yazaki. He received further education at the Taman Siswa Teachers’ College in Yogyakarta. In 1938 he and Agus Djaja co-founded PERSAGI / Indonesian Painters’ Union. From 1942-44 Sudjojono participated in POETERA / People’s Activity Centre and Keimin Bunka Shidoso Cultural Centre in Jakarta. In 1946, Sudjojono formed SIM / Young Indonesian Artists in Madiun. In the 1950s he worked closely with the communistsponsored cultural organisation LEKRA / People’s Cultural Institute and in 1955, nominated by the Communist Party, was voted to Parliament. His expulsion from the Communist Party in 1958 saved him from the communist purge in 1965. In 1970 he was awarded recognition in the arts by the Indonesian Government. His work has been exhibited in The Netherlands and at the Fukuoka Art Museum in Japan in 1980. In Indonesia, Sudjojono’s work has been exhibited in Jakarta, Bandung, Yogyakarta and Denpasar.

Sapto Sugiyo Utomo (b. Kendal, C. Java, Indonesia, 1971) He graduated from IKIP (Institut Keguruan Ilmu Pendidikan) Semarang. He has participated in several group exhibitions, among others are “Wedding”, at Canna Gallery, Jakarta in 2005; “1 Detik Kubur Tubuh Hidupkan Hati Nurani”, at Puri Art Gallery, Malang in 2004; “Mozaik of Contemporary Indonesia Fine Art”, at Vanessa Art House, Jakarta in 2004; “Indonesia Zonder Kata”, at Shanti Gallery, Jakarta in 2003; “Indofood Art Awards”, at National Gallery, Jakarta in 2003; “Indofood Art Awards”, at National Museum, Jakarta & Arma, Bali in 2002. Awards received including Ancol Golden Palet 2005 (2005); Indofood Art Award (2002).

Sena, Ida Bagus Putu (b. Tebesaya, ubud, Bali, Indonesia, 1966) He started to paint seriously since he was 23, after learned the skill from his father, Ida Bagus Wiri, a Pita Maha alumni and a brother of Ida Made Poleng. Sena’s works are delicate dominated with earth colour. He has illustrated various themes of Balinese performing art scene and yoouth’s dynamic daily life. His works feature various figures in a small canvas, therefore the figures are presented in detailed. Sena’s works have been displayed in various important exhibitions including the one held in Museum Puri Lukisan.

Sidharta Soegijo, Gregorius (Yogyakarta, Indonesia, 1932 - Indonesia, 2006) Studied at ASRI / Indonesian Academy of Fine Arts, Yogyakarta (1953) and then continued his studies at the Jan van Eyck Academy in The Netherlands (1957). He taught at ASRI Yogyakarta from 1958-64, then moved to Bandung where he taught in the Fine Arts Department of ITB / Bandung Institute of Technology from 1965-97.

From 1970-73 he also taught at IKJ / Jakarta Institute of the Arts.

He has had solo exhibitions in Jakarta, Bandung, Yogyakarta and Magelang. He has participated in numerous group exhibitions in Indonesia, Singapore, Thailand, Japan, India, Poland and Norway.

Awards received include Best Painting by the Badan Musyawarah Kebudayaan Nasional in 1952; Indonesian Government Art Award in 1980; winner of the Tanjung Priok Harbour Monument competition in 1980; Best Sculpture awarded by DKJ / Jakarta Arts Council in 1986; and ASEAN Cultural Award in 1990. He has created

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numerous public monuments and sculptures in Indonesia, Korea, Philippines and Japan. He retired from teaching at ITB in 1997, and was the chairman of API / Indonesian Association of Sculptors from 2000-2003.

Soetopo (b. Yogyakarta, Indonesia, 1931) He was educated at the Akademi Seni Rupa Indonesia (ASRI) Yogyakarta. He was trained by Hendra Gunawan, Sudarso and Trubus S. Since 1954, he has been active in exhibitions in major cities around Indonesia. Besides paintings, he also frequently participated in the production of battle monuments, such as the March 1st Monument in Yogyakarta, Palagan Batterground Monument in Ambawara, Brawijaya Monument in Surabaya, and Jamin Ginting Monument in Medan, Monument of Struggle in Sibolga, North Sumatra.

Strasser, Roland (Vienna, Austria, 1895 - Santa Monica, USA, 1974) He studied at the Academy of Arts in Vienna, Austria and the Art Academy in Munich, Germany. During World War I, he was an official war-painter of the Austrian Army. He came to Indonesia in 1920, living and working in Java, Sumatra, Irian Jaya and Bali. In Bali he met the painter Willem Dooijewaard, with whom he traveled to China, Tibet, Mongolia and Japan. He had solo exhibitons in Jakarta (1922 & 1938), London (1924) and Berlin (1928). He participated in several exhibitions in Jakarta, Bandung and Surabaya between 1921 and 1937. From about 1935 to 1945 Strasser and his wife lived in Kintamani, Bali. He finally settled in Santa Monica, USA. Sunaryo (b. Banyumas, C. Java, Indonesia, 1943) Painter and sculptor who graduated from the Department of Art, ITB / Bandung Institute of Technology in 1969, and became a lecturer there in 1970. He was Head of the Sculpture Department at ITB from 1976 to 1980, and Chairman of the Department of Art at ITB from 1988. Sunaryo studied sculpture, in particular the techniques of carving and sculpting marble, in Carrara, Italy in 1975. He has participated in solo and group exhibitions world-wide. UNESCO and the International Association of Art in Paris, France awarded him a Silver Medal for graphic design in 1978. In 1998 he founded the Selasar Sunaryo Museum in Bandung.

Takashi Murakami (b. Tokyo, Japan, 1962) Received his BFA, MFA and PhD from the Tokyo National University of Fine Arts and Music. He has had solo shows at Marianne Boesky Gallery, New York (2003); Fondation Cartier pour l’art contemporain, Paris (2002); Museum of Contemporary Art, Tokyo (2001); Museum of Fine Arts, Boston (2001); and Galerie Emmanuel Perrotin, Paris (2001). In addition to his work as an artist, Takashi Murakami is a curator, entrepreneur, and a student of contemporary Japanese society. In 2000, Murakami curated an exhibition of Japanese art titled Superflat, which acknowledged a movement toward massproduced entertainment and its effects on contemporary aesthetics. Murakami is also internationally recognized for his collaboration with designer Marc Jacobs to create handbags and other products

for the Louis Vuitton fashion house. His works has been exhibited in prestigious museums all over the world, including the Tokyo Metropolitan Museum of Art; the Museum of Fine Arts, Boston; and a recent solo retrospective exhibition at the Bard College Museum of Art. Murakami has also curated “Super Flat” an exhibition of contemporary Japanese artists.

Tommy Wondra (b. Bukit Tinggi, W. Sumatra, Indonesia, 1980) He is one of the new generation of up and coming young artists.

Wondra studied at the Indonesia College of the Arts, Yogyakarta and has participated in numerous group exhibitions in Yogyakarta, Bandung and Bali. He was a nomination in the Phillip Morris Indonesian Art Awards in Jakarta in 1998. Tommy influenced and inspired by fellow Sumatra artist Handiwirman Saputra. van der Does, Willem Jan Pieter (Rotterdam, The Netherlands, 1889 - Zeist, The Netherlands, 1966) He came to Indonesia ca 1918 as a civil servant to survey the country. He participated in several group exhibitions in Jakarta, Medan, Surabaya between 1918 and 1938. He returned to The Netherlands in 1946. He was a painter, illustrator, and draughtsman of harbour scenes, city views and landscapes.

Widayat (Kutoarjo, C. Java, Indonesia, 1919 - Jakarta, Indonesia, 2002) Widayat began his artistic career by painting picturesque landscapes in the Mooi Indie tradition for the tourist market in Bandung.

During the Revolution he was an officer in the Indonesian armed forces involved in intelligence work in South Sumatra. His wartime activities included making anti-Dutch propaganda posters and organising dramatic performances to drum up nationalist fervour.

Widayat was among the first batch of students at ASRI / Indonesian Academy of Fine Arts, Yogyakarta. He graduated from ASRI in 1954, and then became a teacher in the school and remained a staff member until he retired in 1988. He co-founded the artists group PIM / Young Indonesian Painters in 1952. In 1960 he went to Japan for two years where he studied traditional gardens and ceramics. The Indonesian government presented him with the Anugerah Seni Art Award in 1972. Other awards received include First Prize at the First Indonesian Biennial in 1974; award at the Yogyakarta Biennial in 1986; Lempad Prize awarded by Sanggar Dewata Indonesia in 1987; ASEAN Art Award in 1993; and the Budaya Upa Pradana from the Government of Central Java in 1994.

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aBsentee BId form Sale Title

Indo european, modern masters & estaBlIshed artIsts of southeast asIa

Written Bid Phone Bid

____________________________________________________________________________ Name (please print or type) Date ____________________________________________________________________________

Date 22 October 2011

____________________________________________________________________________ Address

Sale Code “AyunAn”

____________________________________________________________________________ Telephone / Home (Business)

Please bid on my behalf at the above sale for the following lot(s) up to the price(s) mentioned below.

These bids are to be executed as cheaply as is permitted by other bids or reserves if any. I agree to comply with the Notices and Conditions of Business as printed in the catalog. I understand that in the case of a successful bid a premium of 20% for the first S$ 500,000 and a premium of 12% for any exceeding amount will be payable by me on the hammer price, together with any Goods and Services Tax chargeable thereon.

____________________________________________________________________________ City Country Zip Code

Arranging Payment In order to avoid delay in clearing purchases, buyers who are unknown to us are advised to make arrangements for payment before the sale or for satisfactory references to be supplied. If such arrangements are not made cheques will be cleared before purchases are delivered.

Tel No. : ______________________________________

Payment may be made by cash or telegraphic transfer to Larasati Muse Investments Pte. Ltd.’s account at Hongkong and Shanghai Bank Corporation Tanglin Branch, Singapore 229571.

Acc. No. 143-420180-001. Please include your name, Larasati’s account number and invoice number with your instructions to your bank. AFTER THE HAMMER IS DOWN, LARASATI WILL NOT ACCEPT ANY CANCELLATION. Please mail or fax to: Larasati Muse Investments Pte. Ltd. Thong Sia Building, 30 Bideford Road #03 - 02 Singapore 229922 Fax : +65 6737 1859

____________________________________________________________________________ Fax / Home (Business) email BANK REFERENCES : Name of Bank & Branch : ________________________________________________________ Account No. : ______________________________ Contact Name : ____________________ Fax No. : ____________________

Credit Card No. : ___________________________ Type / Expiry Date : ____________________ OTHER REFERENCES :

Visa/Master/Amex Type : ____________________

Name : _________________________________________ Address : ____________________ Tel No. : ________________________________________Fax No. : ____________________ I agree that I am bound by the “Conditions of Business” which are published in the catalogue for the sale and govern all purchases at auction that I make. I also agree to be bound by notice announced by the auctioneer or posted in the saleroom by way of notice.

____________________________________________________________________________ Signed (we must have your signature to execute this bid) Prospective bidders are reminded that the auction will be conducted in Singapore Dollars and are requested to leave bids in Singapore Dollars.

on viewing and auction days at least 24 hours before the sale: Fax : +65 6737 1859 Lot No. Catalog / Description

Top limit of Bid in S$, not including the buyer’s premium

Lot No. Catalog / Description

S$

S$

S$

S$

S$

S$

S$

S$

S$

S$ S$

S$ (please print or type)

Top limit of Bid in S$, not including the buyer’s premium

(Bid is per lot number as listed in the catalog)

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Guide for Absentee Bidders Absentee Bids If you are unable to attend the auction in person, and wish to place bids, you may give Larasati Bid Department instructions to bid on your behalf. We will then try to purchase the lot or lots of your choice for the lowest price possible, and never for more than the top amount you indicate. This service is free and confidential. Please note : Larasati offers this service as a convenience to clients who are unable to attend the sale, and although we will make every effort, Larasati will not be responsible for error or failure to execute bids. Absentee bids, when placed by telephone, are accepted only at the caller’s risk and must be confirmed by letter, or fax at least 24 hours in advance of the sale.

Using the Absentee Bid Form Please use the absentee bid form provided and be sure to record accurately the lot numbers and descriptions and the top hammer price you are willing to pay for each lot.

“Buy” or unlimited bids will not be accepted.

Alternative bids can be placed by using the word “OR” between lot numbers. Bids must be placed in the same order as the lot numbers appear in the catalog.

Successful Bids A successful bidder will receive an invoice detailing his or her purchases and giving instructions for payment and clearance of goods. Unsuccessful absentee bidders will be advised.

Please place your bids as early as possible.

In the event of identical bids, the earliest received will take precedence. Where appropriate your bids will be rounded down to the nearest amount consistent with the Auctioneer’s bidding increments.

Fax number for bids only : +65 6737 1859

Shipping Instruction Please complete this section, and delete where aplicable*

Sale Details Paddle No.

Lot No.

Shipping Information Please complete this form and we shall arrange for the despatch of all your purchase through one of our nominated shipping agents, at your expense.

Methods of Despatch

Registered post / Airfreight / Commercial Courier*

Charges I do/do not require* a quotation before the shipment is processed.

_______________________________________________________________________ Telephone Fax

Insurance in Transit Please arrange/do not arrange* transit insurance. All lots will be insured at the aggregate price unless otherwise specified.

Postal Consignments Only Please do not remove frames. (Glass will be discarded). Please remove frames and glass.*

Invoice No.

_______________________________________________________________________ Delivery Address _______________________________________________________________________

_______________________________________________________________________ Invoice Address (if different from above) _______________________________________________________________________ Telephone Fax _______________________________________________________________________ Special Instructions: _______________________________________________________________________ _______________________________________________________________________ Signed Date

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Conditions of Business for Buyers

We hereby inform all those participating in the auction, that it shall be held subject to the following conditions and that anyone taking part in it, hereby accepts these conditions as applicable.

Larasati as agent As auctioneer, Larasati Muse Investments Pte. Ltd. here-in referred to as Larasati acts as agent for the seller. Unless otherwise agreed, sales of goods at this auction result in contracts made between the seller, through our agency, with the buyer.

Definitions of terms used in these conditionsIn the conditions set out below, some terms are used regularly that need explanation.

They are as follows: • the “Buyer” means the person with highest bid accepted by the auctioneer; • a “Lot” means any item deposited with us for sale at auction and, in particular, the item or items described against any lot number in any catalog; • the “Hammer Price” means the charge pay able by the auctioneer in relation to a lot; • the “Buyer’s Premium” means the charge payable by the buyer as a percentage of the hammer price; • the “Reserve” means the amount below which we agree with the Seller that the lot cannot be sold; • “Forgery” means a Lot constituting an imitation originally conceived and executed as a whole with a fraudulent intention to deceive as to authorship, origin, age, period, culture or source where the correct description as to such matters is not reflected by the description in the catalog nd which at the date of the auction had a value materially less than it would have had if it had been in accordance with the description in the catalog. Accordingly, no lot shall be capable of being a forgery by reason of any damage and/or restoration work of any kind (including repainting); • the “Insured Value” means the amount that Larasati in its absolute discretion from time to time shall consider to be the value for which a lot should be covered by insurance (whether or not insurance is arranged by us).

BEFORE THE SALE Examination of goods Prospective buyers are strongly advised to examine personally any goods in which they are interested, before the auction takes place. Condition reports are usually available on request.

Larasati is not responsible for any faults or defects in any lot or the correctness of: - any statement as to the authorship; - origin; - date and age of the lot; - attribution; - genuineness; - provenance and conditions of any lot.

Larasati does not make or give, nor has any person in the employment of Larasati any authority to make or give, any representation or warranty regarding the authorship, origin, date, age, size, medium, attribution, genuiness, description, provenance, condition or estimate selling price of any lot.

Catalog descriptions Statements by us in the catalog or condition report, or made orally or in writing elsewhere, regarding the authorship, origin, date, age, size, medium, attribution, genuineness, provenance, condition or estimate selling price of any lot are merely statements of opinion given in good faith, and are not to be relied on as statements of definitive fact. Catalog illustrations are for guidance only, and should not be relied on either to determine the tone or colour of any item or to reveal imperfections. Estimates of the selling price should not be relied on as a statement that this price is either the price at which the lot will sell or its value for any other purpose.

Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalog or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and the absence of such reference does not imply that an item is free from defects or restoration nor does the reference to particular defects imply the absence of any others.

Buyers Responsibility Buyers are responsible for satisfying themselves concerning the condition of the goods and the matters referred to in the catalog description.

AT THE SALE Refusal of admission Our sale takes place on our own premises or premises over which we have control for the sale, and we have the right, exercisable at our complete discretion, to refuse admission to the premises or attendance at the auction.

Registration before bidding Every prospective buyer must complete and sign a registration form and provide identification before making a bid at auction. Prospective buyers should be aware that we usually require buyers to undergo a credit check.

Bidding as Principal When making a bid, prospective buyer will be accepting personal liability, unless it has been agreed in writing, at the time of registration, that a bidder is acting as agent on behalf of a third party acceptable to us.

Commission Bids If a prospective buyer gives us instructions to bid on his behalf, by using the form printed after the catalog entries, we shall use reasonable efforts to do so, provided these instructions are received not later than 24 hours before the sale. Bids should be placed in Singapore Dollars. Bids placed in other currencies will be converted to Singapore Dollars using the one month forward rate of exchange quoted to us by HSBC Bank at opening on the date of the auction and the Singapore Dollars figure may be subject to rounding. The Buyer’s invoice will be in Singapore Dollars and we shall not be liable to the buyer for any loss suffered as a result of exchange rate movements after the date of the sale. If we receive commission bids on a particular lot for identical amounts, and at auction these bids are the highest bids for the lot, it will be sold to the person whose bid was received first. Commission bids are undertaken subject to other commitments

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at the time of the sale, and the conduct of the sale may be such that we are unable to bid as requested. Since this is undertaken as a free service to prospective buyers on the terms stated, we cannot accept liability for failure to make a commission bid. Prospective buyers should therefore always attend personally if they wish to be certain of bidding.

Telephone Bids If prospective buyers make arrangements with us not less than 24 hours before the sale, we shall use reasonable efforts to contact the bidders to enable them to participate in bidding by telephone, but under no circumstances will we be liable to either the seller or any prospective buyer as a result of failure to do so.

Currency Converter At this auction, a currency converter may be operated, based on the one month forward rates of exchange quoted to us by HSBC Bank at opening on the date of the auction.

Bidding will however take place in Singapore Dollars. The currency converter is not always reliable, and errors may occur beyond our control either in the accuracy of the lot number displayed on the converter, or the foreign currency equivalent of Singapore Dollars bids.

AFTER THE SALE Buyer’s Premium In addition to the hammer price, the buyer must pay us the buyer’s premium at a rate of 20% of the first S$ 500,000 of the hammer price plus 12% of any sum in excess of S$ 500,000.

Good and Service Tax (GST) Unless otherwise stated in the catalog, GST is payable by the Buyer on the Hammer Price and premium at the rates prevailing on the date of the auction. And unless otherwise informed, all sums payable to Larasati by the buyer are exclusive of any goods and service tax or other value added tax (whether imposed is Singapore or otherwise) which shall, where appllicable, be paid by the Buyer in addition to the sums otherwise payable, at the rate in force at the due time for payment or such other time as is stipulated under the relevant legislation.

Payment Following the sale, the buyer must provide us with his or her name and permanent address and, if so requested, details of the bank from which payment will be made and then pay the full amount due (comprising the hammer price and the buyer’s premium) within seven days after the date of the sale.

We shall not be liable to the buyer for any loss suffered as a result of the buyer following the currency converter, rather than the Singapore Dollars bidding.

The buyer will not acquire title to the lot until all amounts due to us have been paid to us, even in circumstances where we have released the lot to the buyer.

Video images At this auction there will be a video screen.

Mistakes may occur in its operation, and we cannot be liable to the buyer regarding either the correspondence of the image to the lot being sold or the quality of the image as a reproduction of the original.

Collection of Purchases Unless we specifically agree to the contrary, we shall retain items sold until all amounts due to us, or to Larasati or to any of its other subsidiaries, have been paid in full. Items retained will be covered by our insurance from the date of the sale for a period of seven days or, if by then the goods have been collected, to the time of collection.

After seven days or from the time of collection, whichever is the earlier, the lot will be entirely at the buyer’s risk.

The auctioneer’s discretion The auctioneer has the right at his absolute discretion to refuse any bid, to advance the bidding in such manner as he may decide, to withdraw or divide any lot, to combine any two or more lots and, in the case of error or dispute, to put an item up for bidding again.

Successful bid Subject to the auctioneer’s discretion, the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer.

Packing and handling We shall use all reasonable efforts to take care when handling and packing a purchased lot but remind the buyer that after seven days or from the time of collection, the lot is entirely at the buyer’s risk.

seven days, we shall be entitled to exercise one or more of the following rights or remedies: • to charge interest at a rate per annum not exceeding (Hongkong and Shanghai Bank Corporation) base rate plus 4 per cent on the full amount due to the extent it remains unpaid for more than seven days after the date of the sale; • to exercise a lien on any of the buyer’s property which may be in our possession for any purpose and, following 14 days’ notice to the buyer of the amount outstanding and remaining unpaid, arrange the sale of such property and apply the proceeds in discharge of the amount outstanding to us; • where several amounts are owed by the buyer to us, or to Larasati, or to any of its other subsidiaries, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction whether or not the buyer so directs; • to reject at any future auction any bids made by the buyer or on his behalf or obtain a deposit from the buyer before accepting any bids; If the buyer fails to make payment within 21 days, we shall in addition be entitled to exercise any one or more of the following remedies: • to issue proceedings on behalf of the seller against the buyer to recover the full amount due, together with the costs of such proceedings on a full indemnity basis and with interest, charged at 4% per annum above (Hongkong and Shanghai Bank Corporation) base rate; • to cancel the sale of the lot or any other item sold to the buyer at the same auction; • to arrange a resale of the lot publicly or privately, and, if this results in a lower price being obtained, claim the balance from t he buyer together with any costs incurred in connection with the buyer’s failure to make payment.

Failure to collect Where purchases are not collected within seven days after the sale, whether or not payment has been made, we shall arrange storage at the buyer’s expense, and only release the items purchased after payment has been made in full of storage, removal, insurance and any other costs incurred, together with payment of all other amounts due to us.

Remedies for non-payment or failure to collect purchases If the buyer fails to make payment within Insights - Connections - Expertise

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Conditions of Business For Sellers Larasati Muse Investments Pte. Ltd. herein refered to as Larasati, hereby informs all those participating as sellers in the auction, that it shall be held subject to the terms and conditions of the Consignment Agreement and the following conditions.

LARASATI as agent As auctioneer, Larasati Muse Investments Pte. Ltd. here-in referred to as Larasati acts as agent for the seller. Unless otherwise agreed, sales of goods at this auction result in contracts made between the seller and the buyer. Larasati shall not be responsible for any default by the seller or the buyer.

Definitions of terms used in these conditions In the conditions set out below, some terms are used regularly that need explanation.

They are as follows: • the “Buyer” means the person with highest bid accepted by the auctioneer; • a “Lot” means any item deposited with us for sale at auction and, in particular, the item or items described against any lot number in any catalog; • the “Hammer Price” means the charge payable by the auctioneer in relation to a lot; • the “Buyer’s Premium” means the charge payable by the buyer as a percentage of the hammer price; • the “Reserve” means the amount below which we agree with the seller that the lot cannot be sold; • “Forgery” means a Lot constituting an imitation originally conceived and executed as a whole with a fraudulent intention to deceive as to authorship, origin, age, period, culture or source where the correct description as to such matters is not reflected by the description in the catalog and which at the date of the auction had a value materially less than it would have had if it had been in accordance with the description in the catalog. Accordingly, no Lot shall be capable of being a forgery by reason of any damage and/or restoration work of any kind (including repainting); • the “Insured Value” means the amount thatLarasati in its absolute discretion from time to time shall consider to be the value for which a lot should be covered by insurance (whether or not insurance is arranged by us).

Commission We shall charge the seller commission calculated by reference to the amounts, percentages, terms and conditions of the Consignment Agreement.

BEFORE THE SALE Expenses The seller will bear all costs relating to: a. Packing and shipping the lot to us for sale; b. Any applicable transit insurance and custom duties; c. Packing and shipping the lot if it is returned to the seller; d. Any restoration of the lot agreed in advance with the seller; e. Framing; f. Storage of the lot after the sale, where applicable; g. Any examination by external experts we believe necessary for catalog description; h. Any external expert opinion we believe appropriate; i. Our administration costs if expenses are incurred under sub-paragraphs (d), (e), (f), (g), and (h), being 10 % of such expenses; j. Any applicable goods and services tax; k Insurance under Larasati’s policy (explained below); l. Catalog illustration at our discretion; m. Contribution to our general expenses if the lot is notsold, equal to 5% of the insured value; n. any applicable custom duties.

When Insurance is Arranged by Us (i) Unless we agree otherwise, the lot will beautomatically insured under Larasati policy for the amount that we from time to time consider to be its appropriate value. This insured value is not a representation or warranty or undertaking by us that the lot will be sold for this amount. (ii) Unless we agree otherwise, we shall charge the seller a sum to cover insurance, at the rate 1% of either the hammer price or, if the lot is unsold, its insured value. If we arrange transport, we shall charge the seller an additional sum to cover the cost of transit insurance, which will vary according to the particular circumstances of each case. Although we shall suggest carriers if specially requested, we cannot accept any liability in this respect. (iii) The lot will remain insured until the expiry of seven days after the sale. If the lot has not been sold, it will be at the seller’s risk after that time. (iv) We do not accept responsibility and shall not be liable for damage caused by woodworm or changes in atmospheric conditions.

Owner’s Insurance If the seller specifically instructs us not to

insure the lot, it shall remain at the seller’s risk at all times until buyer had made payment in full. The seller shall indemnify us and our employees and agents, and the buyer (where applicable) against any claim made against us or them in respect of the lot, however that claim may arise. The seller shall also reimburse us and them on demand for any expenses we or they may incur as a result of such claim, even if we or they are found to have been negligent and even where such reimbursement is required of a payment made without any legal liability being proved. The seller must notify the seller’s insurers of the terms of this clause.

Seller’s representations and warranties regarding the Lot The seller warrants and represents to Larasati and to the buyer that: (i) The seller is the sole owner of the lot with an unrestricted right to transfer title to the buyer free from all third party rights or claims (including copyright claims); (ii) All information supplied to Larasati by the seller or his agents is accurate; (iii) The seller has complied with all requirements, legal or otherwise, relating to any export or import of the lot and has notified us in writing of any failure by third parties in complying with such requirements in the past; and (iv) The seller has notified us in writing of any material alterations to the lot of which the seller is aware and any concerns expressed by third parties in relation to the ownership, condition or attribution of the lot.

If any of (i), (ii), (iii) or (iv) above is incorrect, the seller undertakes to and will indemnify Larasati and/or the buyer on a full indemnity basis against any liability, claims, costs or expenses whatsoever incurred as a result, whether arising in the relation to the lot or proceeds of sale or in dealing with any claim arising out of that respect.

AT THE SALE Sale Arrangements (i) We shall have complete discretion as to the way a lot is described and illustrated in the catalog or any condition report, the place and manner sale; the decision as to which person should be admitted to the auction, and as to which bids should be accepted; whether expert advice should be sought; and the combination or division of goods for sale.

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(ii) Any estimate given, orally or in writing, is a matter of opinion only and is not an assurance in relation to the price that the lot will eventually fetch. (iii) Upon signing the Consignment Agreement, the seller may not withdraw a lot from auction without the consent of Larasati.

Should such lot be withdrawn, the seller agrees to indemnify Larasati on a full indemnity basis in respect of all costs and expenses incurred in putting up the lot for auction or against any liability, claims, costs or expenses howsoever incurred as a result of dealing with any claim arising out of that respect. (iv) Larasati may at its sole discretion withdraw a lot from auction at any time if (a) we have any doubt as to its attribution or authenticity or as to the accuracy of the statements made by the seller in the Consignment Agreement, (b) there is any breach of these conditions or the terms and conditions of the Consignment Agreement or (c) we believe it would be improper to include the Lot in the sale. (v) If we withdraw the lot, we shall charge the seller a equal to 10% of the insured value, plus an amount equal to our commission if the lot had been sold at the insured value, together with any applicable Government Service Charge and insurance and other expenses.

Conduct of Sale (i) The lot will be sold subject to the reserve, which cannot be above the low estimate printed in the catalogue unless the reserve is agreed to in a currency other than Singapore Dollars, and the exchange rates fluctuate between the time the reserve is agreed and the day of the sale. In this case, unless we agree otherwise, the reserve shall be an amount equal to the Singapore Dollars equivalent based on the closing exchange rate on the business day immediately preceding the sale. We shall in no circumstances be liable if bids are not received at the level of the reserve. If we do so, we shall be obliged to account to the seller as if hammer price was equal to the reserve. (ii) The seller may not bid for the lot nor employ any person to do so on the seller’s behalf, although we shall have the right to bid on the seller’s behalf up to the amount of the reserve.

AFTER THE SALE Accounting After the sale, we shall require payment in full from the buyer, including payment of the buyer’s premium. Provided this has occurred, we shall remit to the seller an amount equal to the hammer price less all charges due to be paid by the seller, within

35 working days after the date of the sale, unless we have received notice that the lot is a forgery (as defined in the definition of terms used in these Conditions of Business). In the event of late payment by the buyer we shall make such remittance to the seller within seven days of receipt of such payment by the buyer. If for any reason we make payment to the seller of any amount before payment by the buyer, we shall acquire complete ownership of and title in the lot, save only that in the event that we are obliged to accept the lot back from the buyer on the basis that it is a forgery, the seller will refund to us all proceeds of sale that have been paid to the seller. Payment will be made in Singapore Dollars.

Non-Payment by the Buyer If the buyer fails to pay the full amount due within 35 working days after the date of sale, we shall be entitled (i) on the seller’s behalf, to agree special terms with the buyer for payment, storage and insurance, and (ii) to take any steps we consider necessary to collect the amount due from the buyer. However, we shall not be obliged either to remit the price due to the seller ourselves, nor to take any legal proceedings on the seller’s behalf. We shall discuss with the seller the appropriate course of action to be taken to recover the purchase price from the buyer.

Forgeries If within 6 (six) months of the date of the auction the Buyer satisfies us that the Lot is a Forgery, with the condition that claim must be accompanied with satisfactory evidence in the form of a written opinion of at least 3 (three) independent experts with knowledge on the related property, confirming that the lot is a forgery, then: (i) if the Buyer at that time has not yet paid the full amount due, we shall have the right to cancel the sale and/or (ii) if the Buyer has paid the full amount and if we have at the time not paid the seller the whole or part of the full amount due to the seller, then we will refund to the Buyer the purchase price of the lot and/or (iii) If the Buyer had paid the full amount and if we at that time had also paid the Seller the whole or part of the full amount due, then the Seller must refund to us, on demand, the total amount paid. We shall then refund the total amount received from the Seller to the Buyer plus any balance due to the Buyer to pay back the full purchase price of the lot. The Buyer does not reserve the right to claim any interests on the purchase price paid by the Buyer.

In the latter case we shall exercise a lien over any property of the Seller under our control as security for the amount due.

We reserve the right to seek for further expert opinion. There will be no refund if there is a conflict of opinion among the related experts. Larasati is not responsible for any faults or defects in any lot, including the genuineness of the work.

Unsold Lot If any lot is unsold, or is not included in a sale, or is withdraw from the sale for any reason, it must be collected from us within 7 days after we send the seller a notice requiring the seller to collect it. If any such lot remains uncollected for a period exceeding 7 days, a storage charge of S$ 30 per item per day will apply and additional charge will be made for insurance. The seller will not entitled to collect the lot until all outstanding charges are met.

If any such lot is not collected within 30 days after the date of the sale or the date of the notice referred to above (whichever occurs first), it may be disposed of by us as we see fit, which may involve its removal to a third party warehouse at the seller’s expense and its sale by public auction on such terms as we consider appropriate, including those relating to estimates and reserves. We shall then account to the seller for the proceeds of sale, having deducted all amounts due.

CONDITIONS APPLICABLE TO BOTH BUYERS AND SELLERS Copyright The copyright in all images, illustrations and written material relating to a lot is and shall remain at all times our property and shall not be used by the buyer nor anyone else without our prior written consent.

Notices Any notice given under these conditions is to be in writing and, if given by post, will be taken to have been received by the addressee on the second working day after posting, or if the addressee is overseas, on the fifth working day after posting.

Severability If any part of these conditions is found by any court to be invalid, illegal or unenforceable, that part may be discounted and the conditions shall continue to be valid and enforceable to the fullest extent permitted by law.

Law and Jurisdiction These Conditions of Business are governed

by Singapore law, which shall apply to their construction as well as to their effect. For our benefit, the buyer hereby submits to the exclusive jurisdiction of the Singapore courts.

Insights - Connections - Expertise

70

explanatIon of cataloGInG practIce Terms used in this catalog have the meanings ascribed to them below. Please note that all statements in this catalog as to authorship are made subject to the provisions of the Condition of Sale and Limited Warranty.

Buyers are advised to inspect the property themselves. Written conditions reports are usually available on request. name(s) or recognised designaTion of an arTisT wiThouT any qualificaTion

In Larasati’s opinion a work by the artist.

“Atributed to...”

In Larasati’s qualified opinion probably a work by the artist in whole or in part.

“Studio of...”/ “Workshop of...”

In Larasati’s qualified opinion a work executed in the studio or workshop of the artist, possibly under his supervision.

“Circle of...”

In Larasati’s qualified opinion a work of the period of the artist and showing his influence.

“Follower of...”

In Larasati’s qualified opinion a work executed in the artist’s style but not necessarily by a pupil.

“Manner of...”

In Larasati’s qualified opinion a work executed in the artist’s style but of a later date.

“After...”

In Larasati’s qualified opinion a copy (of any date) of a work of the artist.

“Signed...”/ “Dated...”/ “Inscribed...”

In Larasati’s qualified opinion the work has been signed/dated/inscribed by the artist.

“With signature...”/ “With inscription...”

In Larasati’s qualified opinion the signature/ inscription appears to be by a hand other than that of the artist.

“With date...”

In Larasati’s qualified opinion the date on

the item was not executed on that date. The date given for Old Master, Modern and Contemporary Prints is the date (or approximate date when prefixed with ‘circa’) on which the matrix was worked and not necessarily the date when the impression was printed or published.

The term and its definition in this Explanation of Cataloging Practice are a qualified statements as to authorship. While the use of this term is based upon careful study and represents the opinion of specialists, Larasati and the consignor assume no risk, liability and responsibility for the authenticity of authorship of any lot in this catalog described by this term, and the Limited Warranty shall not be available with respect to lots described using this term.

saleroom & offIces Singapore

Hong Kong

Thong Sia Building 30 Bideford Road #03 - 02 Singapore 229922 t. +65 6737 2130 f. +65 6737 1859

21/F, ICBC Tower, Citibank Plaza 3 Garden Road Central Hong Kong t. +852 2273 5623 f. +852 2273 5999 in collaboration with:

Jakarta

Amsterdam

Jl. Pasuruan No. 9 Menteng, Jakarta 10310 Indonesia t. +62-21 315 8636, 315 6110 m. +62 855 101 5778 f. +62-21 3989 9533

Lekstraat 63 1079 EM, Amsterdam The Netherlands t. +31-20 301 2950 f. +31-20 301 2960

info@larasati.com www.larasati.com

LARASATI - AAG ISBN 978-979-3774-29-9