MASTERPIECE Singapore by MASTERPIECE Auction House Indonesia|Singapore|Malaysia

Southeast Asian, Chinese,Modern & Contemporary Art Singapore, 16 August 2015

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AUCTION

VIEWING

SUNDAY, 16 AUGUST 2015

SATURDAY, 15 AUGUST 2015

13.00 - FINISH

11.00 - 20.00

LUNCHEON : 12.00pm AUCTION Ballroom level 2 (mezzanine floor) Sheraton Towers Singapore 39 Scotts Road Singapore 228230

Southeast Asian, Chinese, Modern & Contemporary Art

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Important Notice 22

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Masterpiece Fine Art Auction - Singapore

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001 GERARD PIETER ADOLFS (Semarang, 1899 â&#x20AC;&#x201C; The Netherlands, 1968) The Farmer, 1974 Oil on canvas: 40 x 30 cm Signed, lower left: Adolfs SGD 7,500 - 10,000 USD 5,530 - 7,370

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Born in Semarang, 1899. He once lived in Surabaya and made many paintings about the city. He traveled to many countries in Asia, Europe, and Africa, like Japan, Rome and Arab. He decided to spend the rest of his time in Holland until he died in Den Bosch, the Netherlands, in 1968.

002 DULLAH (Solo, 1919 – 1996) Flower Arrangements Oil on canvas: 58 x 66 cm Signed, lower right: Dullah SGD 8,500 - 12,000 USD 6,260 - 8,840

Dullah was born in Solo, 1919. He studied painting under Affandi and Sudjojono but has his own distinctive style of naturalism. He was well known for his landscape and portraits paintings. He was one of the founders of HBS – Surakarta Cultural Community (1950). In 1956, he edited book of former Presiden Soekarno’s Private Collection of Indonesian Art (volume I & II). Since the early days of the independence, Dullah was very close to Soekarno, the first President of the Republic of Indonesia and was appointed by Soekarno to care for the President’s private art collection and as curator of the state painting collections. At age 70, Dullah built his museum, now a cultural landmark, as his dedication to a love of the arts over a creative lifetime. He has had numerous art exhibitions in Indonesia and overseas and in 1988 his work was included in the Art of Bali exhibition held at the East West Center in Honolulu, Hawaii. Now, his works been kept in Dullah Museum in Solo. He died in 1996.

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003 ARIE SMIT (Zaandam,The Netherlands, 1916) In The Village, 2011 Acrylic on canvas: 50 x 50 cm Signed and dated, lower right: Arie Smit.011 Signed, titled and dated on the reverse This lot is accompanied with certificate of authencity from the artist SGD 18,000 - 25,000 USD 13,270 - 18,430 12

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Born in Zaandam, the Netherlands, 1916. He was a student of the Academy of Arts in Rotterdam before working as lithographer for the Dutch Colonial Army in the Dutch Indies prior to the Second World War. He moved to Bali in 1956 to engage in full time painting and became an Indonesian Citizen, produced as well as taught painting at the Bandung Institute of Technology (ITB). Many of his paintings depict the nature of his surrounding environment. He had several solo exhibitions in Bandung Institute of Technology, The Honolulu East West Center, and the Center of Strategic and International Studies in Jakarta. He received the â&#x20AC;&#x153;Dharma Kusumaâ&#x20AC;? art awards from the local government of Bali.

004 GERARD PIETER ADOLFS (Semarang, 1899 – The Netherlands, 1968) Market Scene Oil on canvas: 30 x 40 cm Signed, lower left: Gar. P. Adolfs SGD 7,000 - 10,000 USD 5,160 - 7,370

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Roedyat Martadiredja Roedyat was born in Bandung, 1932. He began to learn painting in 1948 and later continued his study at the Bandung Institute of Technology. In 1978 he performed his solo exhibition in Honolulu, Hawaii in 1988. Although abstract style was a dominant stream in Bandung, Roedyat was one of the Bandung School artists who work in a figurative style. He had an individual painting style which makes him different from other Bandung Artist. His works had deformation tendencies with soft tertiary colors and also complicated but well thought-out compositions. He performed his solo exhibition in Jakarta (1978) and was included in the East-West Center’s Art of Bali exhibition in Honolulu, Hawaii (1988). His works are unique, rich and colorful that creates a strong rhythm. His works are in private collections of European and the United States. The present lot illustrates the theme about ceremony. Eka Dasa Rudra (Ludra) is an important ceremony in Bali to welcome the new year of Saka. Eka Dasa Rudra is a series of processions, ceremonies, and sacrifices held every 100 years at Pura Besakih, the “mother temple” of Bali, Indonesia. The temple, which comprises about 30 separate temples honoring a great variety of Balinese and Hindu gods, was probably built about 1,000 years ago and is on the slopes of the volcanic mountain, Gunung (“Mount”) Agung. On March 17, 1963, the Eka Dasa Rudra was under way when Agung catastrophically erupted and killed more than 1,500 people. Since the sacrifices were interrupted, the Eka Dasa Rudra was started again 16 years later and completed in the period from late February to early May of 1979. The temple complexes are formed in cubism style with large presentation of the crowds holding the offering for the ceremony. Images of gods were carried 19 miles down the mountain to be washed in the sea: entire villages gathered along the route. The color richness expressed the artist’s significant characteristic.

005 ROEDYAT MARTADIREDJA (Bandung, 1932 – 2002) Ika Dasa Ludra, 1979 Oil on canvas: 85 x 100 cm Signed, titled and dated, lower right: Roedyat79, Bali, Ika Dasa Ludra SGD 20,000 - 25,000 USD 14,740 - 18,430

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006 IRSAM (Klaten, 1942) Tiga Penari, 1990 Oil on canvas: 123 x 144 cm Signed and dated, lower right: Irsam, 1990 SGD 5,000 - 7,000 USD 3,690 - 5,160 Born in Klaten, Central Java, 1942. He graduated from the Indonesian Fine Art Academy (ASRI) Yogyakarta. He had held his first exhibition in 1967 in Jakarta. He received an award from the Philippines, Singapore, and Thailand. In 1980 he also joined in the Contemporary Asian Art Exhibition in Fukuoka Art Museum Japan.

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007 ABDUL AZIZ (Purwokerto, 1928 - Bali, 2002) Bali Girl (Hunger Strike), 1993 Oil on canvas: 45 x 40 cm Signed and dated, lower right: Abdul Aziz, Bali 1993 This lot is accompanied with certificate of authenticity from the artist wife Literature: Mary Northmore-Aziz, “ABDUL AZIZ - The Artist and His Art”, Published by Mary Northmore-Aziz 2005, Page: 225 SGD 8,000 - 10,000 USD 5,900 - 7,370 MASTERPIECE FINE ART - SINGAPORE

Alimin Tamin Born in Solok, West Sumatra, 1932. Alimin began his study in painting under the guidance of S.Sudjojono and Harijadi in SIM (Young Indonesian Artists in Yogyakarta) in 1952. He moved to Jakarta in 1954. Together with Nashar, Wim Nirahua, Mardian, A. Wakidjan and Alex Wetik, he founded the Matahari Artists Association at Balai Budaya Jakarta. In 1957, he moved to Bali where Alimin taught drawing at the Department of Fine Arts and Architecture, Udayana University, Denpasar. In 1960 Alimin and Gusti Sholihin co-founded â&#x20AC;&#x153;Kedaton Studioâ&#x20AC;? in Denpasar. He was the Chairman of CITRA - Indonesian Artists Association in Denpasar, Bali from 1975 to 1978. He has participated in exhibitions in Jakarta, Yogyakarta, Bandung and Bali. He moved to Yogyakarta in 1982 where he passed away on March 2004. Alimin was greatly fond of painting using theme of Balinese people and its traditions. In the present lot he tried to illustrate two women preparing the offering. One of the most striking things about Bali is the daily profusion of offerings. Offerings are important: they are to give pleasure to the gods (and the demons). They provide good karma to those involved in their preparation. Nearly every village has its own unique forms of offerings. Some Balinese spend all their lives making them. Women mostly, but not exclusively: it depends on type of offering. The work in preparing an offering, itself is an element of worship, and is regarded as part of its content Here, Alimin presents the arrangements of fruits and flowers for the offerings in decorative style. The realistic portrayal of the figures is described in a static scene with detail of clothing and ornaments.

008 ALIMIN TAMIN (Solok, 1932) Dua Gadis Bali, 1967 Oil on canvas: 127 x 80 cm Signed and dated, lower left: Alimin, 1967 SGD 15,000 - 20,000 USD 11,060 - 14,740

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009 JACOB DOOIJEWAARD (1876-1969 Netherlands) Nice, 1920 Oil on canvas: 47 x 36 cm Signed and dated, lower right: Dooijewaard20 SGD 5,400 - 6,500 USD 3,980 - 4,790

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Born in Amsterdam on 12 August 1976. He was the brother of painter Willem Dooijewaard. As a young child Jacob (Jaap) Dooijewaard was always hanging around his fatherâ&#x20AC;&#x2122;s workshop, grinding colours and doing small tasks, developing an early interest in the profession of painting. After having finished his artistic studies in Amsterdam he began recording his impressions of the city, the Amsterdam canals, the streets and the grey skies hanging over the town, using a dash and spontaneous brushstroke. His move to Laren in 1903 meant a shift to painting mainly interiors. The striking feature in Dooijewaardâ&#x20AC;&#x2122;s interiors is often the contrast between the homely roughness and ponderousness of the furniture and rafters on the one hand, and the details of pottery and the sheen of brass and pewter on the other. He also travelled to Norway, America, Spain and the southern part of France. He visited Norway every summer, finding new inspiration in the different brighter light to capture his impressions. Dooijewaard would look for new mediums to portray his experiences and pointillist techniques should offer him natural possibilities in this new environment, however only applying it when he thought it consistent with his subject. His palette had become lighter under the influence of the climate and the different light, the heavy warm colours of the Low Countries giving way to soft, cool and serene hues.

010 WILLEM GERARD HOFKER (Amsterdam, 1902 â&#x20AC;&#x201C; 1981) Sint Servaas Brug Maastricht, 1963 Oil on canvas: 40 x 61 cm Signed and dated, lower right: W.G. Hofker,1963

Born in Amsterdam, the Netherlands, 1902. He studied arts at the academy of Fine Arts, Masterdam and also learnt under painter W. Witsen and Isaac Israels. He once lived in Bali from 1938 â&#x20AC;&#x201C; 1944 together with his wife, Hofker-Reuter. His works were undoubted. His color, texture surface, and contrastive control showed his maturity of painting study. His drawing was elegant and poetic. His works were inspired by the lifestyle of Balinese people which often depict them in festive ceremonial dress. He died in 1981.

SGD 10,000 - 15,000 USD 7,370 - 11,060

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Agung Mangu Putra Mangu Putra was born in Sangeh, Bali, on May 11, 1963. This exciting and very talented artist has participated in a number of group and solo exhibitions throughout Indonesia and abroad. He received awards as the Best in Design Arts (during the 4th and 6th anniversary of ISI, as the finalist of Philip Morris Award in 1994 and Indofood Art Award 2002, Second Place, Jakarta. A concept in many of his works portrays the relationship with the Balinese Hindu philosophy; the micro cosmic / macro cosmic association between man and his natural environment. Obvious to Mangu Putra is man’s fundamental quest to connect and identify with the powerful elements that reside within the earth and above and beyond in the cosmos. His landscapes often depict man as a smaller, secondary aspect in comparison to the overpowering presence of the landscape; the sky, ocean, mountains and volcanoes. Pilgrims and priests participate in sacred rituals of homage and devotion and the environment is the focus of reverence and awe. For him “Nature is more than simply beautiful. It is the very essence power. It is this power of nature that he tries to convey in his paintings.”

011 AGUNG MANGU PUTRA (Sangeh, Bali, 1963) Di Atas Awan Di Bawah Langit, 2008 Oil on canvas: 150 x 200 cm Signed and dated, lower right: Mangu Putra, 2008 Signed, titled and dated on the reverse SGD 20,000 - 30,000 USD 14,740 - 22,110

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012 LEO ELAND (Java, 1884 – 1952) Landscape Oil on canvas: 40 x 50 cm Signed, lower right: L. Eland SGD 2,500 - 4,000 USD 1,840 - 2,950

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013 WILLEM DOOIJEWAARD (Amsterdam, 1892 – 1980) North Africa Oil on board: 40 x 24 cm Signed, lower right: W. Dooijewaard SGD 1,400 – 2,000 USD 1,030 - 1,470

014 OTTO DJAYA (Rangkas Bitung, West java, 1916 - 2002) Penjual Bunga, 2000 Acrylic on canvas: 90 x 140 cm Signed and dated, lower right: Otto Djaya, 2000 SGD 2,500 - 4,000 USD 1,840 - 2,950

Born in Rangkas Bitung, Banten, West Java on October 6, 1916. During the Japanese colonialism in Indonesia, he received his army training for officer in the “Pembela Tanah Air” (Defenders of the country) in Bogor. During the Physical revolution, as a Major in the Indonesian Army, he took part in the Armed Struggle for the Independence of the Republic of Indonesia. After the proclamation, Otto had an opportunity to study at the “Rijksacademie van Beeldende Kunsten” in Amsterdam and at the Faculty of Letters and Philosophy, University of Amsterdam. He also had an opportunity of joining the study-tour of the Netherlands, Belgium, France, Italy and Swiss. Otto was a Vice Chairman of the Art Section of the Cultural Centre in Jakarta. He joined in the “Exposition le Grand Prix de Peinture en Monaco” in Monte Carlo and in Biennial Exhibition in Sao Paolo, Brazil. Besides his one-man exhibitions in Jakarta, Otto often took part in the joint exhibitions in Jakarta and Melbourne, Australia.

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Chen Wen Hsi Born in Baigong, Caozhu, 1906. Chen Wen Hsi studied art at the Hsin Hwa Art Academy in Shanghai. He became a lecturer at the Nangyang Academy of Fine Arts in Singapore. His paintings were strongly influenced by Chan (Zen) and the unorthodox Qing School of Yangzhou. He actively participated in several exhibitions outside Singapore which also incidentally promote Singapore. He was awarded the Public Service Star from the President Tun Yusof Bin Ishak and received honorary doctorate from the National University of Singapore. He became famous since his oil study on formalism, cubism, and expressive abstraction. Chen Wen Hsi is Singapore’s foremost painter that combines Chinese and Western techniques in his semi abstract work. Chen Wen-hsi is renowned for his skill in painting animal themes. Chicken, gibbons, herons, carps and squirrels are some of his favourite subjects. Wen Hsi’s constant eagerness to strike for something new led him to learn finger painting – a technique that dates from the Tang Dynasty. This drawing style has enabled him to produce unpredictable broken stroke on paper. He developed his skill in finger painting, ink-and-brush, oil, sketches, abstracts and semi-abstract techniques. Every subject he paints, whether lotuses, gibbons, egrets, monkeys, squirrels, birds, or flowers and trees, is palpably vibrant.

015 CHEN WEN HSI 陈文希 (Singapore, 1906 - 1991) 3 Gibbons Chinese ink on rice paper: 69 x 68 cm Signed in chinese character and sealed, upper left SGD 15,000 - 25,000 USD 11,060 - 18,430

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016 HERI DONO (Jakarta, 1960) Flying Jaya with Heris Mirror, 2002 Acrylic on paper: 29 x 42 cm Signed and dated, lower left: Heri Dono, 2002 Signed, titled and dated on the reverse SGD 3,000 - 5,000 USD 2,210 - 3,690

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017 ENTANG WIHARSO (Tegal, 1967) Mother’s Love, 1995 Acrylic on canvas: 110 x 146 cm Signed and dated, lower right: Entang Wiharso 95 SGD 5,000 – 7,000 USD 3,690 - 5,160

018 WIDAYAT (Kutoarjo, 1919 â&#x20AC;&#x201C; Jakarta, 2002) Abstraksi Dekoramagis-12, 2001 Oil on canvas: 95 x 125 cm Signed and dated, lower left: . Widajat, 2001 This lot is accompanied with certificate of authenticity from the artist SGD 6,300 - 7,500 USD 4,640 - 5,530

Born in Kutoarjo, Central Java, 1919. He studied at the Indonesian Fine Art Academy (ASRI), Yogyakarta and Ceramics and Landscape, Nagoya, Japan (1960). He received BKPM award (1953), a cultural award from the Indonesian Government (1972), the Best Biennial Painting, Yogyakarta (1986) and the ASEAN Award, Brunei Darussalam (1993). His works have been shown throughout Indonesia and abroad. He performed his solo exhibitions in Yogyakarta (1983), Jakarta (1985, 1990, 1991, 1992, 2000 and participated in joint exhibition in Japan, Netherlands and United States for KIAS (1990 â&#x20AC;&#x201C; 1991). MASTERPIECE FINE ART - SINGAPORE

Popo Iskandar Born in Garut, December 17, 1927. Popo Iskandar started painting in 1944. He graduated from the University of Indonesia and Bandung Institute of Technology (ITB). Besides as a painter he is also an art observer and writer. In 1980 he received art award from Indonesian Government. He has participated in many exhibitions in Indonesia as well as overseas. His works were mostly on animal such as chicken, cat, and tiger. For Popo, the artistic process is no different from the cultural process, that is, it is a long process of study. Every painting is like a reflection. It is an integral part of every one of Popo’s efforts of the past, the present and the future. One of Popo’s works is not a record of what he has seen, but rather an interpretation of what he has observed through subject matter. Popo’s repetitive themes are not merely duplicates his ideas, but an accumulation of his endless exploration towards his rich experiences. The source of his idea of cats is not the form of the cat, but rather its involvement in various situations and conditions which stimulate his ideas and imaginations. Repetitive theme of cats, chickens and leopards probably has become Popo Iskandar’s main contemplation in reflecting the essence of cats, nudity or even mystery of nature.

019 POPO ISKANDAR (Garut, 1927 – Bandung, 2000) Dua Macan dan Pagi Cerah, 1998 Oil on canvas: 100 x 120 cm Signed and dated, upper left: Popo98 This lot is accompanied with certificate of authencity from Griya Seni Popo Iskandar Literature: Hawe Setiawan, Sony Farid Maulana, Anton Susanto, “RupaKata, Art and Thoughts of Popo Iskandar”, page: 328 SGD 12,000 - 20,000 USD 8,840 - 14,740

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020 ARIE SMIT (Zaandam,The Netherlands, 1916) In The Village Temple, 2002 Acrylic on canvas: 52 x 72 cm Signed and dated, lower right: Arie Smit02 Signed, titled and dated on the reverse This lot is accompanied with certificate of authencity from the artist SGD 15,000 - 20,000 USD 11,060 - 14,740

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021 MOHD SHAPAREL BIN HAJI SALLEH (b. 1972) Flora, 2013 Acrylic on canvas : 44 x 85 cm Signed and dated, lower right: Shaparel 2013

Born in 1972, Malacca’s very own Mohd Shaparel graduated with an Honours degree in Fine Arts from University Science Malaysia (USM) in 1995. What started with Realism, Shaparel is now known as an Abstract Expressionist. His switch, which was startling to many including his ardent admirer, displays not only Shaparel’s growth as an artist but his versatility as well, which is rarely seen in today’s artist.

SGD 800 - 2,000 USD 590 - 1,470

022 TAY BAK KOI (1939-2005, Singapore)

a. Buffaloes Oil on canvas: 30 x 30 cm Signed, lower right: t.koi b. Going to Work Oil on canvas: 30 x 30 cm Signed, lower left: t.koi SGD 5,000 – 7,000 USD 3,690 - 5,160

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Basoeki Abdullah Basoeki Abdullah started painting since he was 5 years old in simple drawing, and at 10 he traveled to Surabaya and Bali where he started portrait painting. During 1933, he held his first exhibition in Bandung. He brought his painting to RMP. Sosrokartono, RA. Kartini’s brother, who was very impressed on Basoeki’s painting. Sosrokartono and Prince of Mangkunegoro VII became the person who greatly supported his painting career until Basoeki become a famous painter. During that time he continued his study at Academia van Beeldende Kunsten in the Hague, the Netherlands. Besides painting of natural beauty and sensuous landscape, he is also noted for his portraits of beautiful women, as well as paintings of scenes from legends that are also tempered with the same lyrical and overly sensual treatment. His great fond of paintings women’s figure perhaps derived from his great interest in exploring the beauty of women that is attractive to paint in any way. The artist gain the public recognition after winning a painting competition held in conjunction with the Netherland’s Queen Juliana ascension to throne on 6 September 1948.

023 BASOEKI ABDULLAH (Solo, 1915 – Jakarta, 1993) Reclining Nude Oil on canvas: 81 x 120,8 cm Signed, lower right: Basoeki Provenance: Private collection, Jakarta Will be included in the future publication of the Artist’s book. SGD 35,000 - 50,000 USD 25,800 - 36,850

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024 JOSEPHINE LINGGAR (Jember, East Java, 1943) Young and Innocent, 2015 Oil on canvas: 100 x 100 cm Signed and dated, lower right: Josephine, 2015 SGD 6,000 - 8,000 USD 4,420 - 5,900 Born in Jember, East Java, 1943. She greatly produced painting using woman as her object. For her, women have uniqueness of beauty, ugliness, sincerity, passion as well as strong and weak character. Josephine is a serious artist who ought to be placed amongst the constellations of Indonesian artist. International collectors as well as the Indonesian Presidential Palace have her works. Primadonna offers women as the main subject. Women as calm and cool creatures containing their emotions. Her first dabble into the art world was influenced greatly by William G. Hofker. “His sepia and brownish colours, the poses of the figures, all very natural and thematic. Everything was simple but at the same time rich and elegant” Josephine says in her book” Primadonna”.

025 SUDARSO (Purwokerto, 1914 - 2006) Figur Perempuan, 1979 Oil on canvas: 125 x 88 cm Signed and dated, lower right: Sudarso79 SGD 4,000 - 6,000 USD 2,950 - 4,420 Born in Purwokerto, Central Java, 1914. Affandi was his customer when he was an egg and milk seller. From that time he was interested in painting and learnt under Affandi as well as young painters such as Barli, Wahdi, and Hendra. He became a teacher at the Indonesian Fine Arts Academy (ASRI), Yogyakarta. He had participated in numerous exhibitions and active in many painters organizations. Now he lives in Sidoarjo, Surabaya. Solo Exhibition, 1961 to 1969. And he was participated in group exhibition “19 Indonesian Painter” in Singapore and Malaysia, 1967. And Reunion exhibition painter “Angakatan 45 Bandung” in Bandung,1975. Exhibition of Fine Art “Membaca Dunia Widayat” at Museum H.Widayat, Mungkid, Magelang, 2004. 36

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026 TATANG GANAR (Bandung, 1936 â&#x20AC;&#x201C; Bandung, 2004) Pencari Air, 1960 Oil on canvas: 97 x 72 cm Dated, upper left: Banten,60

Born in Bandung, August 19, 1936. He graduated from ASRI Yogyakarta (1961) and lived in Bandung until now. Since 1965 he was active to participate in solo and joint exhibitions in Jakarta, Bandung, and Bali. Every year he had exhibition with Papilio Group in Jakarta, Bandung and Surabaya. In 1994 he had his solo exhibition in Folklore I, TIM, Jakarta and Folklore II, Topaz Hotel, Bandung.

SGD 4,500 - 6,000 USD 3,320 - 4,420

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Rustamadji Born in Surabaya, East Java, April 16, 1932. In 1946 he started painting under the painter S. Sudjojono in Sanggar Indonesia Muda (Young Indonesian Artists Association), Madiun. Rustamadji was a painter in the realistic – naturalistic style from the 1940’s to the 1960’s, he focused on themes of daily life and experiences which were familiar to the people. This subject, that reflected feelings of nationalism, became popular after the more romantic – naturalistic – Mooi Indie style of the 1930’s. Rustamadji was greatly influenced by the spirit of the time when he began painting. His works were egalitarian with their messages of social, economic and political equality for everyone. Rustamadji was deeply inspired by the people’s daily life. His often used objects of paintings describing the themes of figures, landscapes, and markets and dancers. He closely observed the realities of life among ordinary people. He shows his expertise in presenting detailed forms, treatment of light and shadow, and creating a certain kind of mood. His mastery of the realistic technique captured a typical market scene full of boisterous activities, simple yet complete. The colors are mostly earthy and subdued, except in some of the clothing for contrast. There is great depth in this painting, and one can almost hear the chatter and bustling sounds of the market.

027 RUSTAMADJI (Surabaya, 1932 – 1990) Traditional Market Scene, 1986 Oil on canvas: 90 x 130 cm Signed and dated, lower left: Rustamaji, 1986 SGD 15,000 - 20,000 USD 11,060 - 14,740

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028 I GUSTI AGUNG WIRANATA (Kapal, Bali, 1969) Landscape in Bali, 1999 Acrylic on canvas: 105 x 150 cm Signed and dated, lower right: Wiranata, Bali99 SGD 6,000 - 8,000 USD 4,420 - 5,900

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He was born in Kapal village, Bali, in 1969. His works have been in collection of Museum Puri Lukisan Ratna Warta, Ubud Bali. His works is greatly by Walter Spies with his own distinctive style. He had participated in Walter Spies exhibitions in 1995.

029 ERNEST DEZENTJE (Jatinegara, 1885 – 1972) Lake View Oil on canvas: 77 x 116 cm Signed, lower right: Ern. Dezentje SGD 1,400 - 2,000 USD 1,030 - 1,470

030 YAP HIAN TJAY (Surakarta, Central Java, 1927) The Lake, 1998 Oil on canvas: 59 x 90 cm Signed and dated, lower left: JHT98 SGD 2,000 - 3,000 USD 1,470 - 2,210

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Cheong Soo Pieng Cheong Soo Pieng (b.1917, Amoy, China - d. 1st July 1983, Singapore), was one of Singaporeâ&#x20AC;&#x2122;s pioneer modern artists, and a key proponent of the Nanyang style of art. Cheong Soo was a driving force to the development of Modernism in visual art in the early 20th-century Singapore. He was also known for his signature depiction of Southeast Asian indigenous tribal people with elongated limbs and torso, almond-shaped faces and eyes in his paintings. Cheong was born as the youngest of seven children in Amoy, China. His parents were neutral to his choice of education, when Cheong took to studying art at in the Xiamen Academy of Fine Art in 1933. In 1936 Cheong graduated and attended Xinhua Academy of Fine Art in Shanghai for further studies, only to have his education cut short with the breakout of the Sino-Japanese War and the school destroyed by Japanese invaders in 1938. Cheong returned to his alma mater to teach art, and pursued his painting passion in watercolours due to scarcity of oil paint materials. In 1942 Cheong held his first solo exhibition of watercolor works. In 1945 Cheong left China for Hong Kong and relocated to Singapore in late 1946 where he would be a lecturer at the Nanyang Academy of Fine Arts for the next 20 year. In 1955 Cheong Soo Pieng, along with five other artists Chen Wen Hsi, Chen Chong Swee, Lim Hak Tai, Tay Wee Koh, and Suri bin Mohyani were invited to showcase their artworks in England, funded by fellow artist and arts patron Ho Kok Hoe. The exhibition was officially opened by the Duchess of Kent. In 1962, the Government of Singapore awarded Cheong Soo Pieng the Meritorious Service Medal. Cheong died on July 1, 1983 due to heart failure. Besides painting both in the Eastern and Western techniques of Chinese ink and oils, Cheong Soo Pieng also sculpted and crafted metal installations. But it is his Nanyang-style paintings in particular that have received much attention. The techniques used are recognized as a creative blend of West and East, and the subject matter was inspired from his Southeast Asian surroundings hence the term Nanyang or South-Seas style. He was one of the first artists to paint in this theme. Inspiration for this stemmed from a Bali trip in 1952, which he embarked with three others: Liu Kang, Chen Wen Hsi and Chen Chong Swee.

031 CHEONG SOO PIENG (Bogor, West Java, 1887 â&#x20AC;&#x201C; The Hague, 1951) Abstract, 1960 Watercolour on paper: 84.5 x 34 cm Signed and stamped in chinese character, lower right Signed and dated on the reverse SGD 30,000 - 50,000 USD 22,110 - 36,850

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032 BAGONG KUSUDIARJA (Yogyakarta, 1928 – 2004) Irama Tarian Pagi, 1989 Oil on canvas: 95 x 150 cm Signed and dated, lower right: Bagong K89 SGD 2,500 - 4,000 USD 1,840 - 2,950

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033 SOEPARTO PARTOWARDOJO (Yogyakarta, 1929 – 2001) Horse, 1967 Acrylic on canvas: 104 x 148 cm Signed and dated, lower left: Suparto 1967 - Djakarta 2 September SGD 8,000 - 12,000 USD 5,900 - 8,840

034 BATARA LUBIS (Hutogodang, 1927 - 1986) Kuda Lumping, 1989 Oil on canvas: 100 x 300 cm Signed, lower left: Batara Lubis

Born in Hutagodang, North Sumatra, 1927. He studied at the Indonesian Fine Arts Academy (ASRI) Yogyakarta and learnt under Affandi and Hendra Gunawan beforehand. Since 1955, he was actively participated in many exhibitions in Yogyakarta. He also had intensely created batik paintings that represented in Bali, Jakarta, the Netherlands and Italy.

SGD 9,000 - 12,000 USD 6,630 - 8,840

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Rearngsak Boonyavanishkul Rearngsak Boonyavanishkul was born in Singhburi, Thailand 1961. Since the age of 7, Rearngsak has been interested in art. He graduated from the Silkakorn University in Bangkok, Thailand with a B.F.A in Painting, Sculpture and Graphic Art (1986). Rearngsak Boonyavanishkul was heavily influenced by the modernism movement in the West. He went through a period of Surrealism, painting words that transcends reality and escapes into the metaphysical world. He has worked in Bali and other Southeast Asian countries and is now well established in Singapore. He began to paint Balinese and Thai dancers, of which their photographic realism deserves oneâ&#x20AC;&#x2122;s utmost admiration. In fact every dancer is captured with sleekness and clarity and their costumes are intricately decorated to the tiniest detail possible. As a Thai artist, his works are often heavily laced with religious themes. Besides painting dancers, Rearngsak Boonyavanishkul is well known for his realistic painting of horses. Usually he used horses as object of his sculptures. His horses are visually powerful beautiful animals that symbolize nature at its most magnificent with its speed, virility and nobility. AWARDS: 1985 Gold Medal, 9th Bua Laung Art Exhibition, Bangkok, Thailand 1986 Award Winner, Contemporary Art Exhibition Organized by Thai Farmers Bank, Thailand Bronze Medal, 10th Bua Laung Art Exhibition, Bangkok, Thailand 1987 Bronze Medal, 11th Bua Laung Art Exhibition, Bangkok, Thailand 1990 Special Award Winner, The International Osaka Triennale of Painting, Osaka, Japan 1991 Distinction Award, 11 th painting of the Year, Singapore 1992 Distinction Award, 12th painting of the Year, Singapore Distinction Award, The Annual Art Exhibition, Nan Yang Art Association, Singapore 1995 Distinction Award, 15th Painting of The Year, Singapore 1996 Singapore National Youth Award ( Art and Culture Section)

035 REARNGSAK BOONYAVANISHKUL (Singhburi, Thailand, 1961) Adam & Eve Beyond 2000 Oil on canvas: 118.5 x 148.5 cm Signed and dated, lower right: Rearngsak Signed, titled, and dated on reverse SGD 15,000 - 20,000 USD 11,060 - 14,740

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036 SOEPARTO PARTOWARDOJO (Yogyakarta, 1929 â&#x20AC;&#x201C; 2001) Kumpulan Kijang, 1994 Acrylic on canvas: 120 x 95 cm Signed and dated, lower left: Suparto, 28-6-1994 Jakarta SGD 11,000 - 15,000 USD 8,110 - 11,060

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Born in Yogyakarta, Central Java, 1929. He studied art in Bandung (1994) and moved to Solo in 1947. He joined the Seniman Indonesia Muda (Young Indonesian Artist Association). He participated in the Biennial exhibition in India and received cultural awards from the Minister of Education and Culture as one of the Indonesiaâ&#x20AC;&#x2122;s most gifted artists. His works have a strong oriental mood and are in the collection of former Indonesian Vice President, Adam Malik.

名庆龙，广东惠阳人。1948年生于马来西亚槟城。美国路西亚娜甚密特大学美术史硕士，英国牛津圣乔治大学美术史博士。曾从竺摩、赵少昂、刘太希等学习诗书画。长期从事教学及创作之余，亦勤于学术研究及论文写作，著有《岭南画派研究》、《郑浩千谈艺录》、《郑浩千画集》（五集）、《天涯别馆吟草》，集学人、诗人、画家于一身。自幼兼习中西绘画。1986年参加博物馆画廊展览。1996年首次举行个人画展于槟城。.

037 DR. CHENG HAW CHIEN (Penang, 1948) Spring Time Ink on paper: 35.5 x 43 cm Signed, lower right Signed in chinese and sealed, upper right SGD 3,000 - 5,000 USD 2,210 - 3,690

038 THOMAS YEO (b. 22 April 1936, Singapore) Sacred Rocks & Golden Sand, 1983 Gouache on paper: 63.5 x 91 cm Signed, lower right: tyeo SGD 6,500 - 8,500 USD 4,790 - 6,260

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Lee Man Fong Lee Man Fong was one of a rare artist who received honor by critics and collectors across Asia. As an Oriental artist, Lee man Fong has renewed and transformed Western oil painting by imbuing it with the essence of Chinese ink painting, achieving a mutual identity between subject and object, at the same time vastly opening the restrictions on traditional Chinese painting. In short, he created a unique “Man-fong style”. Lee Man Fong is famous painter who captures gold fishes in magnificent way. Some gold fishes are swimming freely in the space of an aquarium, still with his essential element by using the light, reflecting the sun’s radiance, Lee success to bring all the goldfishes as a depiction of calmness. In Lee Man Fong paintings, light is of prime importance and the subjects are consistently bathed in a luminous glow as presented in this lot. The background, unlike the flat, void spaces of Chinese paintings, is likewise illuminated by an almost mysterious glow of white sunlight. Therefore the subjects, reflecting the sun’s radiance, seem also to be lit from the back, creating the effect of “glowing silhouettes”.

039 LEE MAN FONG (Canton, China 1913 – Singapore 1988) Gold Fish, 1960 Oil on board: 102 x 50 cm Signed and stamped in chinese character, lower left Provenance: Private collection, Jakarta SGD 40,000 - 60,000 USD 29,480 - 44,220

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040 DEWA PUTU MOKOH (Pengosekan, Ubud,Bali, 1936) Swimming, 2000 Acrylic on canvas: 60 x 70 cm Signed, lower right: Mokoh Signed and dated on the reverse SGD 1,500 - 2,000 USD 1,110 - 1,470

041 WALLASE TING (Wuxi, China, 1929) Woman and Cat, 1985 Lithograph: 66.5 x 91.5 cm Signed, edition and dated, lower left: 200/200, 85 SGD 1,500 â&#x20AC;&#x201C; 2,500 USD 1,110 - 1,840

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Born into a middle-class family he studied at the Academy of Fine Arts in Madrid, Spain, where he mastered academic techniques. Dali also pursued his personal interest in Cubism and Futurism and was expelled from the academy for indiscipline in 1923. He formed friendships with Lorca and Bunuel, read Freud with enthusiasm and held his first one-man show in Barcelona (1925), where he exhibited a number of seascapes. He wrote the screenplay for Bunuel’s Un Chien Andalou (produced in 1928), largely thanks to which he was adopted by the Surrealists. In Paris he met Picasso and Breton, and his involvement from 1929 onwards, his effervescent activity, his flair for getting publicity through scandal and his vivacity which counterbalanced the political difficulties encountered by the group, made him a particularly welcome addition. Over the next few years Deli devoted himself with passionate intensity to developing his method, which he described as ‘paranoiac-critical’, a ‘spontaneous method of irrational knowledge based on the critical and systematic objectivation of delirious associations and interpretations’. It enabled him to demonstrate his personal obsessions and fantasies by uncovering and meticulously fashioning hidden forms within pre-existing ones, either randomly selected (postcards, beach scenes, photographic enlargements) or of an accepted artistic canon (canvases by Millet, for example). Flaccid shapes, anamorphoses and double-sided figures producing a trompe-l’ceil effect combine in these works to create an extraordinary universe where the erotic and the scatological jostle with a fascination for decay - a universe that is reflected in his other works of the period, including his symbolic objects and poems as well as the screenplay for L’Age d’Or (1930). In 1936, Dali returned to a classical manner of painting, switching haphazardly between Italian, Spanish and pompier styles. From 1939 to 1948,he lived in the United States, cultivating his persona as a genial eccentric, and earning from Breton the nickname Avida Dollars (an anagram of his name) in 1940. In 1965, he turned his hand to sculpture, contenting himself with repeating themes from his paintings: a Venus equipped with cupboard drawers, elephants with spiders’ legs, soft watches. etc., worked in bronze or crystal.

042 SALVADOR DALI (Spain, 1904 – 1989) Don Quixote Silver Ed.6/175, 1979-1980 Silver Plated: 67 x 48 cm Signed, lower right: Dali This lot is accompanied with certificate of authenticity from Princess Cruises Fine Arts SGD 15,000 - 20,000 USD 11,060 - 14,740

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Koeboe Sarawan Born in Malang, June 29, 1961. He graduated from Indonesian Academy of Arts in Yogyakarta in 1985. Koeboe Sarawan spent his younger years learning Batik then he started to paint. Koeboe Sarawan’s great asset is his magnificent talent to portray visual reality in detail and realistic manner. He seriously capture the detail form but once he act humorously and critical. His works are represented in more attractive was a way with the exact choices of object. The themes revealed in his paintings were a projection of honesty that attracts viewers to learn more about the painter’s goal through his works. His works are mostly categorized as surrealistic though actually they are more realistic in symbolic way. His ideas are still dominated by his surroundings which represent his social experiences. The painting looks as if it was 3 dimensional, utilizing excellent realism techniques, so every details and perspective of the work seem very realistic. Koeboe’s career journey is comprehended as his life’s journey. He has been drawing since kindergarten. His beloved grandmother, Eyang Soelarmi Jaya Panatas, a loving and nurturing figure has been his painting inspiration especially when she passed away in 1994 at the age 97. His grandmother is regarded as his second mother in Koeboe’s life journey, certainly his first mother is the one who gave birth to him. Koeboe has experienced love and the desire to embrace one another since he was in his mother’s womb. The spirituality of his mother and grandmother was imparted to him. His painting contains certain religion that invites us to approach the spiritual, the inner sanctum. Through his painting he tries to make a dialog between spirits with the grandmother who once stood by him on this world, and who is now heading towards an eternal life. The presence of white-haired old woman symbolized the life wisdom, the manifestation in spirit form, the manifestation of the spirit of wisdom that provides Koeboe with the strength to carry out a purposeful, everlasting journey.

043 KOEBOE SARAWAN (Malang, 1961) Menuju Keabadian, 2001 Oil on canvas: 140 x 160 cm Signed, titled and dated on the reverse Literature: Jim Supangkat, Butet Kartaredjasa, Mudji Sutrisno, A.Elwiq Pr, “ KOEBOE”, Published by Rupa Gallery 2011, page: 123 SGD 35,000 - 50,000 USD 25,800 - 36,850

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044 CHEN ZHIGUANG (Xiamen, Fujian Province, 1963) a. Ant I, 2007 Stainless Steel: 27 x 45 x 40 cm Dated, lower area: 2007.9 b. Ant II, 2007 Stainless Steel: 25 x 50 x 39 cm Signed and dated, lower area: 2007 SGD 4,000 - 6,000 USD 2,950 - 4,420

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Chen Zhiguang was born in 1963 in Xiamen, Fujian Province. He graduated from Fujian Normal University in 1988 and advanced his study in Germany in 2001. Chen's ants usually appear in groups with various postures, even in swarms.He does not compare ants to human beings, but human beings to ants. For him it's easy to ignore ants on earth, but it is hard to ignore the metal ant sculptures. He recently exhibited the "Tao of Ants" at the Shanghai Duolun Museum of Modern Art. Many people think ants are identical, indistinguishable, and anonymous. But in Chen's eyes, each ant is an independent individual with its own special characteristics. That's why some ants take a cat-like shape (with a few extra limbs), quite individual, some male, and some female. To capture the daily activities of ants, He often studies them closely to capture their different movements.

045 TAN KIAN POR 陈建坡 (b.Chaozhou, China, 1949) 莲花池 Lotus

046 LIE TJOEN TJAY (Jakarta, 1931) A Couple of Peacock (Sepasang Merak)‚ 1997

Chinese ink on rice paper : 152 x 41.5 cm Inscribed in chinese character, upper right

Oil on canvas: 60 x 120 cm Signed and dated, lower right: L. Tjoen Tjay97

SGD 1,500 - 3,000 USD 1,110 - 2,210

SGD 8,000 - 12,000 USD 5,900 - 8,840

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Widayat Born in Kutoarjo, Central Java 3 March 1919 and died in 2002. Besides a painter, Widayat was also known as the lecturer of the Indonesian Institute of Fine Arts (ISI) Yogyakarta. Since 1950-2002 he had participated in numerous painting exhibitions in Indonesia as well as abroad, such as Singapore, Thailand, Japan, Hongkong, Netherlands, Italy, America and Australia. Widayat was said as a maestro after Affandi as published in the book of “Educator and painter” by ISI Yogyakarta 1988. He was also a revolutionary painter, master of gardening and a graphics art. Widayat was the first artist whose exhibition was largely exposed in the Singapore Art Museum, one of the most important museums in Southeast Asia on September 2007 (held in two months). According to Prof. Soedarso Sp MA, Widayat’s artistic works can be levelled with the works of Henri Rousseau (a France surrealist artist) who has been his great orientation. Widayat paints freely, unburdened by anything except that he always attempts at infusing contents, giving significance to his imaginary space by means of symbols and indications. Watching Widayat’s works, we are taken to archaic natures and to the daily life, without perspective, and without criticize for something. We may remark them as beautiful and alluring, crowding our retinas, innocently accepting reality, fascinatingly interpretable, and mystically thrilling the space. Widayat is a famous painter with “decora-magic” style, which means the works were fully decorated and can produced magical effect. His works are based on his daily life experiences. Such experiences he imparts through the representations of human and animal figures, plants and imaginary beings, characterized by spontaneity and uninterrupted strong lines. Most of his paintings can give magnificent excitement by his ability in creating stylistic forms of trees, birds, fishes, or his favorite animal. The form also gives decorative motif with the use of hard and dark color producing textures and subtle impression.

047 WIDAYAT (Kutoarjo, 1919 – Jakarta, 2002) Kera (Monkey Forest), 1988 Oil on canvas: 140 x 140 cm Signed and dated, lower right: Widajat 88 Provenance: Private collection, Jakarta SGD 80,000 - 110,000 USD 58,960 - 81,070

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048 UGY SUGIARTO (Wonosobo, 1969) Take it Easy, 2014 Acrylic on canvas: 150 x 200 cm Signed and dated, lower left: Ugy14 This lot is accompanied with certificate of authenticity from the artist SGD 4,600 - 7,500 USD 3,390 - 5,530

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Born in Wonosobo on 30 August 1969. He was awarded as the nomination of the Thousand Mistery of Borobudur from UNESCO. He has participated in severalh groups such as in Yogyakarta, Surabaya and Jakarta.

049 BUI XUAN PHAI (Vietnam, 1920 - 1988) Opera Cheo, 1975 Oil on canvas: 30 x 40 cm Signed and dated, upper left: Phai75 Literature: Under The Light of an Oil Lamp from Bui Xuan Phai, page: 96

050 WALLASE TING (Wuxi, China, 1929) Woman and Flowers Lithograph: 66.5 x 91.5 cm Signed and Edition, lower right: 189/200 SGD 1,500 â&#x20AC;&#x201C; 2,500 USD 1,110 - 1,840

SGD 7,000 - 10,000 USD 5,160 - 7,370

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Dede Eri Supria Born in Jakarta, January 29, 1956. He studied at the Indonesian Fine Art Academy (ASRI) in Yogyakarta (1974). In 1976 his name first emerged in the Indonesian Art Scene when he exhibited his works at the first Seni Rupa Baru Indonesia exhibition at the Balai Budaya, Jakarta. He has received several awards for his works, Jakarta Biennale 1981, won a Philip Morris Indonesian Art Awards in 1997 and was participated into the ASEAN Art Awards in Manila. He has participated in many group shows as well as solo exhibitions. Dede held his solo exhibitions at Jakarta Stock Exchange (1997) and at the Art Folio Space in Singapore (2002). Today, he is considered an influential propagator of super-realist painting in Indonesia. Dede’s works are of a hyperrealist style that involves very strong details. The colors contribute very effectively to the themes. The themes mainly move around urban problems and issues, particularly in and of Jakarta. He often paints buildings under construction. He contrasts iron constructions with wretched condition of slums, agriculture, things beginning to be displaced and to shift. He is very sensitive to the conditions and details of his subject. His strength in anatomical study makes the figures he depicts look as if they were real. With his hyperrealism and grand imagination he forwards testimonies to the fact of Jakarta urban population going through alienation.

051 DEDE ERI SUPRIA (Jakarta, 1956) Yang Tersisa Sebuah Panorama, 1996 Oil on canvas: 125 x 125 cm Signed and dated, lower right: Dede Eri Supria, 1996 Literature: Agus Dermawan.T & Mikke Susanto, MAESTRO “Seni Rupa Modern Indonesia”, Published by Kementrian Pariwisata & Ekonomi Kreatif Republik Indonesia 2012, Page: 110 SGD 18,000 - 25,000 USD 13,270 - 18,430

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052 KOEH SIA YONG (b.1938) Preparing for Dance Oil on canvas: 118.5 x 98 cm Signed, lower right SGD 10,000 – 15,000 USD 7,370 - 11,060

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Koeh Sia Yong (b. 1938) graduated from the Nanyang Academy of Fine Arts in 1958. Being a diverse artist in terms of choice of painting subject and medium, Koeh’s work is an honest reflection of the changes that took place within his inner self as he progresses through life. His dense, formal and heavy style in the nineties is replaced by a livelier and more vibrant choice of colour. Either way, Koeh’s works always represent something larger than itself. Koeh’s works are highly sought after by collectors which include the Singapore Art Museum, National Museum of Singapore, United Overseas Bank Group, Hong Kong & Shanghai Banking Corporation etc. As an acclaimed second generation Singaporean Artist, he has 8 solo exhibitions to date, and invited to participate in numerous international exhibitions.

053 HENING PURNAMAWATI (Cimahi, 1960) Lumpur Gonjang-ganjing Oil on canvas: 130 x 130 cm Signed, lower left: Hening P. SGD 4,000 - 6,000 USD 2,950 - 4,420

Born in Cimahi, September 3, 1960. He graduated from ISI Yogyakarta in 1987. She received awards from the Indonesian Fine Art Academy (ASRI) Yogyakarta for the Best Sketches (1981) and the Best Work (1987), Perupa Muda Surabaya (Surabaya Young Painters) for the Best Painting, the Ten Best Paintings Award (1994) and the Best Winner of Best Work, Indonesian Art Award (1996) from the Indonesian Fine Art Foundation, as Talented Popular Figure of East Java from Surabaya Post (1996) and the Award from the Department of Tourism and Culture, minister Marzuki Usman (1998). She was received award from Indonesia Institute of the Arts in Yogyakarta in 1987, Philip Morris Indonesian Fine Arts Foundation Art Awards in 1994 and 1996, Minister for Tourism Art and Culture (1998).

Dr Foo has had numerous group and solo exhibitions around the world; amongst them are the Binnual Exhibitions in Italy (2003), Tokyo (2004), Korea (2005), and Beijing (2005). Presently, Dr Foo is the president of the Malaysian Contemporary Chinese Painting & Calligraphy Association. The signature style of Dr Foo incorporates both Eastern and Western philosophies into a distinctive yet harmonious art form. His artwork mostly is based intrinsically on the elements of wind and water; his paintings have demonstrated the interactions of ‘qi’ (unseen inner essence) with different natural land masses like mountains, forest, seas. Practicing abstractexpressionism over the years, his paintings have evolved from a representational arrangement to a much spontaneous form reflecting the artist’s thought and emotions. 054 DR. FOO YONG KONG (b. Kuala Lumpur, 1948) Ipoh Landscape Oil on canvas: 51 x 61 cm Signed, lower right: Fooyongkong SGD 1,500 - 3,000 USD 1,110 - 2,210 MASTERPIECE FINE ART - SINGAPORE

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Ong Kim Seng Born in 1945 in Singapore, a self-taught observer, traveler and passionate learner- Ong Kim Seng has climbed the ranks of formal appreciation to claim his title as one of the most celebrated water colorists. He is considered as one of Singapore’s most prominent artistic icons. The artist has shown mastery over the capture of light, often basking his creations in the warmth of sunlight, expertly using positive space and shadows to create stunningly realistic depictions of silhouettes and representation. Ong Kim Seng has exhibited worldwide and won a multitude of awards, including six awards from the American Watercolor Society, and the coveted Cultural Medallion for visual arts by the Ministry Of Information and the Arts, Singapore. The artist was also President of the Singapore Watercolor Society from 1991 to 2001 when he became Honorary President. Ong's works have graced the collections of a number of museums and art galleries as well as the residences of foreign dignitaries such as Queen Elizabeth II of England and Kofi Annan, the Secretary-General of the United Nations. His works are also exhibited in foreign missions and embassies of the Republic of Singapore. Ong is a self-taught artist, who never had any formal art training. As a realist painter, his works focus on inanimate objects, architectural form, masonry, foliage and landscape. His style is "naturalist cum impressionistic", which is "a combination of post-impressionist colour and the outlook of the American realist masters".

055 ONG KIM SENG (Singapore, 1945) Borobudur, 2008 Oil on canvas: 109 x 166 cm Signed and dated, lower right: Seng08 SGD 40,000 - 50,000 USD 29,480 - 36,850

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056 GIORDANO GIOVANETTI (Ancona, 1906 – Rome, 1973) Grapes Gathering Oil on canvas: 100 x 150 cm Signed, lower right: G.Geovanetti SGD 12,000 - 18,000 USD 8,840 - 13,270

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Giordano Giovanetti was born in 1906 in Ancona. In 1925 he obtained the diploma of the Rome Academy of Art where he had studied under renowned painters such as De Carolis, Costantini and Vagnetti. Two years after, he opened a studio in Paris together with Carlo Carcher, son of the famous painter Giuseppe Cherubini. From France he moved to Austria, then to Hungary and Poland. After that, he returned back to Italy and visited the region of Abruzzi. In 1931, he held his first exhibition in the area. In 1932, he exhibited his works in Belgardo and Bucharest. He then started roaming through Romania painting portraits, landscapes and making decorations at the Monastery of Sibiu until 1935. Between his works in 1946, he found time to organize an extremely successful personal exhibition in Rome. In 1950 and 1951, he participated in the "Premio Michelli" and the "Premio Roma. Giovanetti was an extremely productive and versatile painter. His method of painting was most personal and unusual. He died in Rome in 1973.

057 MOHD SHAPAREL BIN HAJI SALLEH (b. 1972) Jeram, 2011 Acrylic on canvas : 51 x 102 cm Signed and dated, lower left: Shaparel 2011 SGD 1,000 - 3,000 USD 740 - 2,210

058 LEO ELAND (Java, 1884 – 1952) Landscape Oil on canvas: 60 x 90 cm Signed, lower right: L. Eland SGD 3,500 - 5,000 USD 2,580 - 3,690

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Arie Smit Born in Zaandam, the Netherlands, 1916. Arie Smit was a student of the Academy of Arts in Rotterdam before working as lithographer for the Dutch Colonial Army in the Dutch Indies prior to the Second World War. He moved to Bali in 1956 to engage in full time painting and became an Indonesian Citizen, produced as well as taught painting at the Bandung Institute of Technology (ITB). Many of his paintings depict the nature of his surrounding environment. He had several solo exhibitions in Bandung Institute of Technology, The Honolulu East West Center, and the Center of Strategic and International Studies in Jakarta. He received the “Dharma Kusuma” art awards from the local government of Bali. Hindu temples and shrines are integral to Bali life and as such are a common theme in Smit’s work. It is typical of his work as it depicts community life in rural Bali, his most favoured subject matter. Facades of temple are often shown with human figures in front of them. Arie Smit uses a simple single vanishing point perspective to depict the temple surrounding. His special characteristics were seen by the use of his tropical rich colour on the object.

059 ARIE SMIT (Zaandam,The Netherlands, 1916) The Village Temple, 2008 Acrylic on canvas: 62.5 x 87 cm Signed and dated, lower left: Arie Smit08 Signed, titled and dated on the reverse This lot is accompanied with certificate of authencity from the artist SGD 22,000 - 30,000 USD 16,210 - 22,110

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060 JOHN VAN DER STERREN (Sukabumi, 1938) Village Houses Along The Road To Selo, Jateng, 2001 Oil on canvas: 51 x 56 cm Signed and dated, lower right: Vander Sterren Signed, titled and dated on the reverse SGD 3,000 - 5,000 USD 2,210 - 3,690

Born in Sukabumi, West Java, 1938. He has lived in Indonesia for more than 26 Years and spent his childhood in the tea plantation. After the Second World War together with his family he moved to New Zealand. He came back to Indonesia in 1983 and stayed in Subang painting portraits and landscape which made him to be one of the leading landscape and portrait painters in Indonesia. His works have been in collection of museum and private collection in Indonesia, Singapore, Malaysia, Japan, Thailand, USA, Mexico, France, the Netherlands, Germany, Britain, Poland, Australia and New Zealand. Presently he has a studio near the Borobudur Temple, Central Java, which is also his resident.

061 LEO ELAND (Java, 1884 â&#x20AC;&#x201C; 1952) Little Boat With People On Lake in Padang, Sumatra Oil on board: 39.8 x 29.8 cm Signed, lower right: L. Eland SGD 1,500 â&#x20AC;&#x201C; 2,500 USD 1,110 - 1,840

Born in Java, 1884. He was a self-taught artist, lived and worked in Indonesia. He intensely involved in the Union of Dutch Indies Art Circles from the beginning of 20th century. He painted a great deal of Indonesian nature with tremendous command of light and shade. In 1920 he left to settle in The Hague but still continue to paint Indonesian subject. His work was included in the International Colonial exhibition in Paris (1931) but unfortunately damaged by fire. Today, his works are in the collection of several Dutch museums.

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062 ROEDYAT MARTADIREDJA (Bandung, 1932 – 2002) Bunga Wijayakusuma, 2001 Oil on canvas: 100 x 100 cm Signed and dated, upper left: Roedyat, 2001 Signed, titled and dated on the reverse

Born in Bandung, 1932. He first painting in 1948 and studied at the Bandung Institute of Technology. He performed his solo exhibition in Jakarta (1978) and was included in the East-West Center’s Art of Bali exhibition in Honolulu, Hawaii (1988). His works are unique, rich and colorful that creates a strong rhythm. His works are in private collections of European and the United States.

SGD 8,500 - 10,000 USD 6,260 - 7,370

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Anak Agung Gede Sobrat Anak Agung Gede Sobrat (1911-1992; padangtegal, Gianyar, Bali) first learned how to make wayang kulit (leather puppets) from his grandfather. Sobrat was one of the few Balinese who actually studied directly under Walter Spies (German, 1895-1942), from whom he learned about the principle of perspective and the use of light and shadow to create depth. Sobrat’s paintings generally mark the beginning of modernization of Balinese Art. He was a lecturer at the Indonesian Fine Art Academy (ASRI) Yogyakarta specialized in Balinese paintings (1957 – 1959). His works are amongst the collection of: Painting Museum, (Ubud), Bali Art Center (Denpasar), Sono Budoyo Museum (Yogyakarta), Tropen Museum (Amsterdam) and Rijksmuseum Voor Volkenkunde (Leiden). He received the Wijaya Kusuma Cultural Award from the Regional Government of Gianyar and the Dharma Kusuma Cultural Award from the Provincial Government of Bali. He passed away in Denpasar on 30 September 1992. Influenced by Western use of perspective and everyday-life subject matter, the Ubud style is one of the most Expressionists of all the Balinese schools. Despite this, Ubud art still retains many traditional features, including attention to detail and very stylized characters. Sobrat works of dancers, market scenes, and village life include large figures which he learned later on from Rudolf Bonnet (Dutch, 1895-1978). The present lot represents life fragment of Balinese dancer. His strong influenced of Walter Spies were seen in the use of light and shadow and from Rudolf Bonnet figures characters were specially enlighten with strong hues producing a life and expressive color.

063 ANAK AGUNG GEDE SOBRAT (Gianyar, Bali, 1909 – Denpasar, Bali 1992) Penari Bali Acrylic on canvas: 140 x 95 cm Signed, upper right: AA. Gede Sobrat, Padang tegal Ubud Bali SGD 25,000 - 40,000 USD 18,430 - 29,480

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064 LEO ELAND (Java, 1884 – 1952) Shell Fishers Near The Indonesian Coast Oil on board: 33.5 x 43 cm Signed, lower right: L. Eland SGD 1,500 – 2,500 USD 1,110 - 1,840

065 SEAH KIM JOO (b. Singapore, 1939) The Park Batik : 90 x 60 cm Signed, upper left: Seah Kim Joo SGD 1,000 - 1,300 USD 740 - 960

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066 THOMAS YEO (b. 22 April 1936, Singapore) Morocco Mixed media on board: 107 x 120 cm Signed, lower left: tyeo SGD 10,000 – 12,000 USD 7,370 - 8,840

Thomas attended the Nanyang Academy of Fine Arts between 1958 and 1960. He continued to study art in London at the Chelsea School of Art and the Hammersmith College of Art & Architecture. He had exhibited over 100 shows in Singapore and aboard including Australia, Austria, Cambodia, China, Denmark, Germany, Hong Kong, Japan, Korea, Laos, Macau, Malaysia, Philippines, Taiwan, Thailand, United Kingdom, United States and Vietnam. Thomas won many awards including the First Prize in SIA Mural Competition, Singapore (1971), Cultural Medallion Award winner in 1984 (presented by the Government of Singapore), UOB Painting of the Year Competition (1983/84), Heineken International Art Award, Amsterdam (1991) and Pingat APAD (Angkatan Pelukis Aneka Daya) for his dedication and creative contribution to the development of visual art in Singapore (1995). His works are among the collections of local / overseas institutions and private corporations. He represents one of Singapore's second-generation artists who studied in the West. His work became infused with Western ideas, though at the same time he never completely abandoned the images and impressions of Asia, and these featured prominently in his work. Yeo has been described as one of - if not the first Singaporean abstract artist, and abstraction has been an abiding feature of his work since the 1960s. However, landscape, too, is a prominent and continual aspect of his work, portraying images gleaned from his many travels. Yeo gradually gravitated towards mixed media collages in which he used recycled ideas from his landscape paintings, and incorporating a multitude of available materials. MASTERPIECE FINE ART - SINGAPORE

Chen Wen Hsi Born in 1906, Guangdong (China). Chen Wen Hsi settled down in Singapore at 1948 and became an art teacher at The Chinese High School and taught there from 1949 to 1968, concurrently teaching art at the Nanyang Academy of Fine Arts from 1951 to 1959. As a passionate art educator he had greatly influenced many of Singapore’s early Chinese artists. Chen's great interest in observing his surroundings were found in depicting the nature and animal objects. He produced landscapes, figures, birds and animals, still life studies and abstract compositions. Chen was especially adept at drawing egrets and monkeys. Among all the animal paintings by him, Chen's gibbon paintings stand out, as they were noted by Chen's attention to detail and sensitive rendering of the beautiful creatures. His first inspiration from painting gibbons came from a reproduction of a gibbon painting that formed the right triptych of the famous painting, White Robed Guanyin, Crane and Gibbon by the 13th century Southern Song Dynasty Chinese artist Mu Xi. Awed by its lifelike quality, he was convinced with Mu Xi's great skill in close observation of the gibbons. So day and night, Chen studied Mu Xi's print and emulated the painting. Chen had never seen a gibbon when he was in China, and as a result he did not realize that gibbons, unlike monkeys, had no tails. It was only much later in the late-1940s, that a foreigner pointed out his error in his painting, and corrected him. Later on he continued to study the creature's postures and its characteristics, by rearing it in his home garden.

067 CHEN WEN HSI 陈文希 (Singapore, 1906 - 1991) The Gibbons Chinese ink on rice paper : 128 x 51 cm Provenance: Private collection, Jakarta SGD 15,000 - 25,000 USD 11,060 - 18,430

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068 LUCIEN FRITS OHL (Palembang, South Sumatra, 1904 – The Hague, 1976) Abstract Oil on canvas: 50 x 60 cm Signed, lower right: L. Frits Ohl SGD 2,500 – 5,000 USD 1,840 - 3,690 Born in Palembang, South Sumatra, 1904. He was a selftaught painter whose works were mostly Indonesian landscape. He also produced paintings of Asian panorama. He was a painter, watercolorist, and draughtsman in the style reminiscent of the late of GP. Adolfs. He once lived in Jakarta for a long time then settled in The Hague until he died in 1976.

069 HAN SNEL (Scheveningen, 1925 – 1998) Balinese Woman Oil on canvas: 39 x 35 cm Signed, lower right: . Han Snel SGD 4,000 - 6,000 USD 2,950 - 4,420 Born in Scheveningen, Holland, 1925. He came to Indonesia as a Dutch soldier to fight against the Indonesian people, which after he abandoned his side. He specialized in graphic painting which is very rich in color as well as geometrical abstract. He lived in Bali since 1950 and became an Indonesian citizen. He has participated in several exhibitions include at Itoh Gallery, Tokyo, Japan, 1965.

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070 ZHANG XI HUA (China, 1939) Daily Scene, 2005 Oil on canvas: 100 x 80 cm Signed and dated, lower left: Zhang Xi Hua, 2005 SGD 8,000 - 10,000 USD 5,900 - 7,370

Born in Zhangwu, China, 1 February 1939. He studied painting at the Lu Xun Academy of Arts, Department of oil Painting (1959 - 1964). During 1964 - 1979 he lived his miserable live in Reformative Camp of the Cultural Revolution and later continued to paint ever since. His great works were mostly inspired by his experience in the Camp. He received awards as the first winner at the National Sketch Arts Exhibition, China (1979) and the Art Exhibition of National Army, China (1988). Since 1985, he actively participated in many exhibitions, among others are in China, Japan, Germany, Singapore, and Indonesia. He held his Solo exhibition in 1990. Until present he still produces amazing works of landscape, flora, fauna and still life. He even likes to paint portraits, among others are portraits of the President of Indonesia, Megawati Soekarno Putri, and the Vise President of Indonesia, Hamzah Haz. MASTERPIECE FINE ART - SINGAPORE

Arie Smit Nature provides Arie Smit with a tremendous amount of energy that serves as the driving force for his exploration. In his works, Arie portraits his deep admiration for the beauty of Bali, its mountains, palm trees, rice terraces, the life of the farmers and particularly, the local spiritual life. Life on the island is perpetual rich with rituals. Arieâ&#x20AC;&#x2122;s landscapes often go beyond the scenes of nature. Landscape, Hills and Trees is not a mere rendition of the rolling green terrain of the valley. Arie Smit is an artist who loves natural beauty and Balinese culture in the form of imaginative painting, painting that express the pure soul of an adventurer, a natural devotee of tropical sunlight. Arie Smit is best known for his paintings of fertile rice fields, vast valley and mountain ranges, temple courtyards and monumental gateways, and festive temple processions of Bali. Landscape, Hills and Trees is not a mere rendition of the rolling green terrain of the valley. Arie Smitâ&#x20AC;&#x2122;s painting show breath-taking landscapes, relaxing youths, colorful tropical gardens, glittering seascapes, and quiet temples that evoke a sense of wander.

071 ARIE SMIT (Zaandam,The Netherlands, 1916) Pura Di Bali, 2010 Acrylic on canvas: 73 x 56 cm Signed and dated, lower right: Arie Smit, 2010 Signed, titled and dated on the reverse This lot is accompanied with certificate of authencity from Neka Art Museum SGD 30,000 - 40,000 USD 22,110 - 29,480

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072 FREDERICK KASENDA (1920-1950) Sawah Landscape Oil on board: 110 x 65 cm Signed, lower right: Frederik Kasenda SGD 1,000 - 1,500 USD 740 - 1,110

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073 OMAR YAHYA (b. 20th Century) Still Life, 1956 Oil on canvas: 45 x 60 cm Signed and dated, lower right: Omar YH. 1956 SGD 2,000 - 4,000 USD 1,470 - 2,950

074 DULLAH (Solo, 1919 – 1996) Jambu, 1987 Oil on canvas: 90 x 66 cm Signed and dated, lower right: Dullah, 1987 SGD 10,000 - 15,000 USD 7,370 - 11,060

Siew Hock Meng Born in Johor, Malaysia, 1942. He graduated from the Nanyang Academy of Fine Arts, Singapore (1961). He is widely known for his oil and pastel paintings. His subject center on life studies, scenes and landscapes done in Singapore and the region. He Siew Hock Meng creates works that are imaginative and thought-provoking, always challenging the viewers to dig deeper into his artistic motivations. His keen observations and personal reflections are especially poignant in the many thoughtful and contemplative landscapes of Singapore and other places he has visited. Despite his low profile and infrequent exposure, Siewâ&#x20AC;&#x2122;s work is highly regarded in the art circle and is much sought after in the region. His fame as a portrait painter gradually grew and spread in the region especially in Taiwan where he often spent months painting on commission. Not content to restrict himself to portraiture, Siew began to explore a wider range of subjects and themes such as human figures and life and culture of places like Bali, Malaysia, Indonesia, India, Myanmar and Cambodia. â&#x20AC;¨Apart from his fascination for human forms, vibrant tropical colours and artistic and cultural diversity of the region, he often shows a deeper concern for the social, cultural and environmental realities that people in the region have to face. Awards: Awarded the National Day Medal for Fine Arts in 1971. Awarded the Award for Visual Arts Creation, Nanyang Academy of Fine Arts Alumni Association Singapore in 1981 and 1984.

075 SIEW HOCK MENG (Malaysia, 1942) Standing Nude, 1992 Mixed media on paper: 108 x 42 cm Signed and dated, lower right: 1992 Meng SGD 13,000 - 18,000 USD 9,580 - 13,270

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076 NYOMAN GUNARSA (Klungkung, 1944) Dancer, 2005 Oil on canvas: 95 x 95 cm Signed and dated, lower right: 2005 SGD 3,000 - 5,000 USD 2,210 - 3,690

077 AGUS DJAYA (Pandeglang, West Java, 1913 - 1993) Dancer Oil on canvas: 93 x 156.5 cm Signed and dated, lower right: Agus Djaya SGD 3,500 â&#x20AC;&#x201C; 5,000 USD 2,580 - 3,690

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078 OTTO DJAYA (Rangkas Bitung, West java, 1916 - 2002) Coblosan Pemilu, 1999 Acrylic on canvas: 95 x 145 cm Signed and dated, lower right: Otto Djaya, 1999 SGD 5,500 - 7,000 USD 4,050 - 5,160

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Lee Man Fong During 1952, Lee was quietly developing his art, which focused on thorough observation of life and nature around him. Lee’s subject matter included wide range of human figures, landscapes and animals particularly those commonly found in Chinese brush paintings, such as goldfish, doves, chickens, rabbits, horses and tigers. He developed his paintings by creating a personal expression based on observation of live and nature around him. Lee showed how it is possible to marry many of the most essential elements of both classical painting traditions – light, shadow and realism on the other hand, and expressionism, experienced calligraphic brushwork, and the balance between form and emptiness on the other. Some paintings depicted an interesting combination of Western and Chinese painting technique, with certain realistic theme especially animals such as the present lot.

079 LEE MAN FONG (Canton, China 1913 – Singapore 1988) Two Tigers Oil on board: 103 x 49 cm Signed and stamped in chinese character, lower right Provenance: Prominent collector, Jakarta SGD 35,000 - 50,000 USD 25,800 - 36,850

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080 AFFANDI (Cirebon, 1907 – 1990) Guru, 1956 Oil on canvas: 56 x 45 cm Signed and dated, lower left: AF.1956 SGD 7,000 - 10,000 USD 5,160 - 7,370

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Born in Cirebon, March 11, 1907. He is considered as the Indonesian Artist par excellent. He was the founder of the Himpunan Pelukis Masyarakat (Community’s Artists Association (1946) and Himpunan Pelukis Rakyat (People’s Artists Association) in 1947, Affandi was committed to creating a new artistic idiom for Indonesia. In the early of 1950s he traveled to India for a grant from Indian Government, he held several one-man shows in several Indian Cities, United Kingdom, the Netherlands, Belgium, France and Italy. He received an Indonesian Art Award from the Ministry of Education and Culture (1969), the Dag Hammerskjoeld Prize from Italy (1977) and an Indonesian Government the First Class Merit (1978). His works were exhibited in major exhibitions in Asia, Europe, and the Americas and were also be acquired by major art collectors and institutions all over the world since the 1950s.

Born in Grobogan, 1938. He studied to paint from Trubus and Hendra Gubawan at the Indonesian Art Academy (ASRI), Yogyakarta. Due to his activities in LEKRA organization he discontinued painting. In 1980s he started painting again and participated in many exhibitions, the Indonesian Culture in the United States (KIAS) and the Asian Art Exhibition in Japan. He also held many solo exhibitions in Jakarta and Yogyakarta.

082 LEE MAN FONG (Canton, China 1913 â&#x20AC;&#x201C; Singapore 1988)

081 DJOKO PEKIK (Grobogan, 1938) Village Couple, 1996

a. Farmer, 1952 Ink on paper: 52 x 36 cm Signed and dated, lower left: MF. Lee 1952

Oil on canvas: 73 x 80 cm Signed and dated, lower left: Djoko Pekik, 5 Mei 1996

b. Byson Woodcut on paper: 29 x 36 cm Signed and sealed, upper left

SGD 2,500 - 4,000 USD 1,840 - 2,950

SGD 3,000 - 5,000 USD 2,210 - 3,690

b. MASTERPIECE FINE ART - SINGAPORE

Agung Mangu Putra In his recent series of paintings, Mangu Putra’s explores the themes of Balinese ritual in specific. He seems also interested in portraying the holy regions that derived from him self. For him, he was not deliberately changed his object. It was only the angle verse that changes a lot. Representations of natural phenomena, along with the inner pulse of life, form the main stream of Mangu Putra search. The natural world, such as mountains and coasts, are depicted as identifiable objects. Some of his works with abstract designs imply natural images, such as the character of water and the texture and colors of earth or stone. Nevertheless, there is a certain progressive critical vision in Mangu Putra’s way of viewing and interpreting the world. Mangu’s magnificent landscapes and volcanoes are depicted as majestic, timeless and all powerful, yet quietly dormant. They are breathtaking, yet set within an atmosphere of silent intimidating strength. It is this aspect of his work that sets Mangu apart from his predecessors. It is remarkable how he adapts from one series of work to another, from painting lifelike textures of skin to captivating landscapes or sensual nudes. His feel for colors is always impressive: breathtaking blues for his landscapes, black and whites bonded with a philosophical theme or just translucent colors that captivate the viewers’ attention.

083 AGUNG MANGU PUTRA (Sangeh, Bali, 1963) Doa Keselamatan, 2005 Oil on canvas: 140 x 140 cm Signed and dated, lower right: Mangu Putra, 2005 Signed, titled and dated on the reverse SGD 28,000 - 30,000 USD 20,640 - 22,110

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084 NASIRUN (Cilacap, 1965) Menyongsong Fajar, 1999-2000 Oil on canvas: 196 x 142 cm Signed and dated, lower right: NS. Run99-2000 Signed, titled and dated on the reverse SGD 9,000 -15,000 USD 6,630 - 11,060

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Born in Cilacap, October 1, 1965. He studied at the Indonesian Institute of Arts (ISI) Yogyakarta (1987 â&#x20AC;&#x201C; 1994). He received awards for the best sketches and paintings from ASRI, selected as one of the five best paintings at Yayasan Seni Rupa Indonesia (Indonesian Fine Arts Foundation) â&#x20AC;&#x201C; Philip Morris Indonesian Art Award, and entered to the ASEAN Art Awards in Manila, the Philippines. He held his solo exhibitions at the Galeri Nasional Indonesia (Indonesian National Gallery) in 2000 and participated in Soul Ties exhibition in Singapore Art Museum.

Lim Leong Seng, a full-time sculptor based in Singapore since 1990, Lim is equally known for his diverse range of painting styles. At the age of 18, under the guidance of Buddhist Master Venerable 'Zhumo', where he took up Buddhist studies and Chinese painting. Lim graduated from the Baharuddin Vocation Institute in 1971. He then won the Kallang Theatre Mural Design competition in 1986 and the grand prize in the Ministry of Communication and Information art competition in 1990. Lim has completed numerous publicly and privately commissioned sculptures in Singapore including: Singapore Zoological Gardens, Singapore Tourism Board, Kallang Theatre, Housing Development Board and SIA. Lim intrepid character and his openness to change and willingness to experiment with new material and approaches in art making are keys to his impressive span in his visual art practice. 085 LIM LEONG SENG (b.1950) Coolie series, 2000 Bronze: H: 56.5 x L. 30.5 x W 20 cm SGD 5,000 – 7,000 USD 3,690 - 5,160

086 AGUS DJAYA (Pandeglang, West Java, 1913 - 1993) Apsara and Blue Moon, 1946 Oil on canvas: 130 x 97 cm Signed and dated, lower right: Agus Djaya, 1946

Literature: Koes Karnadi, “Modern Indonesian Art, From Raden Saleh to the Present Day” Published by Koes Artbooks Bali 2006, page: 40 SGD 5,000 - 7,000 USD 3,690 - 5,160

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Walter Furlan The Bisanzio glass workshop houses the works of various artists, among which are Walter Furlan and his son Mario, master glassmen, among the most important ones in Murano. Leone Panisson helps them in getting in touch on an exclusive basis with many art creators, from the most famous ones like Sobotta, B. Lindstron, B. Bianconi, V. Marzi, to other less wellknown ones. Their working together aims at a continuous search for the emotional depth of forms, of colour harmony, of the quality of the crystals. Each single sculpture is created from a drawing that delineates the first lines, requiring, at times, days and days of effort to really recreate the artistic spirit. The search for perfection is lost in the silence of the furnace, where the necessity to give life to the forms appears so evident as to create that magic moment which unites the creator, the seller and the buyer in a single artistic sensation. Walter Furlan was born in Venice in 1931, joined the glassworks when still very young, in the footsteps of masters such as Alfredo Barbini of the “Cenedese” glassworks or Gigio Costantini. Now with the Bisanzio glassworks he moves from the Venetian chandeliers to the submersed glass to the sculptures shown here. At the moment the master works together with his son Mario, born in Murano in 1963, who is the artistic manager of the furnace and of the finishing of the pieces, the latter being an operation aimed at modelling the final look or the work through a special cold technique, which enhances and emphasises the form, in its line and transparency. A unique characteristic of glass work, which is the result of close co-operation between father and son. Mario, in his role, also puts into practice the teaching received during the years spent studying at the Art Institute in Venice and at the Academy of Beaux Arts in Venice, where he graduated in 1987 with the maximum mark possible. Having obtained some recognition in the Venetian artistic world, such as the first prize “Le Colonnette” for young artists, lie took part in some art exhibitions, such as: - 70th “Bevilacqua la Masa” combined Exhibition, Venice 1986 - 1st Prize Young “Le Colonnette”, Venice 1987 - Combined exhibition “Amici Ruga Giurra”, Venice 1987 - Combined Exhibition Artists “Le Colonnette”, Venice 1987-88 - “Murano Prize” 1987 - Combined Exhibition UNICEF “Mali is thirsty”, 1987-88 - Combined Exhibition “Rigenerazioni”, Venice 1988 - 73rd Combined Exhibition “Bevilacqua La Masa”, 1988-89.

087 WALTER FURLAN (Chioggia-near Venice, 1931) Omaggio a Scherer, 1996 Multi-color glass sculpture on base: 33 x 23 x 12.5 cm Signed, titled and dated, lower area: Omaggio a Scherer, Furlan Walter96 SGD 28,000 - 35,000 USD 20,640 - 25,800

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088 THEO MEIER (Switzerland, 1908 - 1982) Kan Keo Expecting a Baby, ca.1970 Oil on canvas: 45 x 31 cm Signed, lower right: Theo Meier Literature: Didier Hamel, Theo Maeier “A Swiss Artist Under The Tropics”, Published by Hexart Publishing 2007, page: 190 Provenance: Lot 56- Sotheby’s, Singapore (April 07, 2002) South East Asian Paintings(Sale SG7013) SGD 12,000 - 18,000 USD 8,840 - 13,270 100

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089 POPO ISKANDAR (Garut, 1927 â&#x20AC;&#x201C; Bandung, 2000) a. Abstract, 1994 Pen on paper: 30 x 20 cm Signed and dated, lower left: Popo94 a. Rumah Di Bukit, 1972 Oil on canvas: 40 x 30 cm Signed and dated, lower right: Popo72

SGD 3,000 - 5,000 USD 2,210 - 3,690

090 NYOMAN ERAWAN (Dlodtongkluk, Bali, 1958) Pralaya Matra XVII, 1996 Oil on canvas: 90 x 70 cm Signed and dated, upper left: Nyoman Erawan96 Signed, titled and dated on the reverse SGD 1,500 - 2,000 USD 1,110 - 1,470

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Srihadi Soedarsono Born in Solo, December 4, 1931. In 1958 he studied fine arts at the Institute of Technology Bandung and the Ohio State University, United States (1960 – 1962). His works has been exhibited in Indonesia, the United States, Australia and Brazil. He received cultural awards from both the Indonesian government (1971) and Australian (1973). In 1978 and 1987, he received the highest award in the Biennial Exhibition in Jakarta. Srihadi is currently a senior lecturer in painting and drawing at the Jakarta Institute of Arts and the Bandung Institute of Technology. Srihadi focuses on several themes or genres including landscapes, religious monuments and the dances of Java and Bali. Srihadi employs various methods to approach the spirit of a painting. By immersing himself in the character and form, he searches for the inner meaning. A logical consequence is that during the process of visualization, there is a filtering process and giving of one’s spirit. With every painting he creates, Srihadi goes into a state of ecstasy while executing the work. He is successful in his total exploration of the subject-matter that he has chosen to paint, and he continues to experiment during the creative process and when he is actually painting. He is certain that experiencing to the full and experimenting with the subjects of his study are the ways to hone and uplift one’s spirit or inner feelings. It could be said that Srihadi is divinely inspired when creating each and every one of his paintings. Srihadi often paints a single figure or a group of figures. He rarely paints a huge crowd of people, except in paintings rather large format. The Balinese and Javanese dancer exhibit the general characteristics of their respective ethnic groups, but do not regard them as specific individuals. Srihadi expresses their identities through the facial characteristics, body language, clothing, costumes and accessories typical of their ethnic group. Srihadi has explored other aspects of the inner nature of movement besides those of immobility and diffused dynamism. Some lie midway between these two tendencies. He has explored composed movement, such as that practiced in the traditional dance of the Javanese palaces, in particular the Bedoyo Ketawang, which is considered to be the epitome of Javanese refinement. In the paintings on this theme, the fuzzy atmosphere shrouding the figures is gone; rather, the head and limbs are suspended, almost immobile, and drawn with an extreme delicacy, otherwise found only in the artist’s work depicting wayang puppets. Only the cloth moves, slowly drifting along the ground, merging dark violet into black. There is a visual rhythm set up by the inert head and limbs, the color of the headdress, and the casual placement of the hanging white garlands.

091 SRIHADI SOEDARSONO (Solo, 1931) Bedaya Ketawang Energy of Soul, 2015 Oil on canvas: 150 x 150 cm Signed and dated, upper right: Srihadi S.15 Signed, titled and dated on the reverse This lot is accompanied with certificate of authenticity from the artist SGD 120,000 - 180,000 USD 88,440 - 132,660

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092 ARIE SMIT (Zaandam,The Netherlands, 1916) Pura in The Evening, 1991 Acrylic on canvas laid down on board: 27.5 x 35.5 cm Signed and dated, lower right: Arie Smit91 Literature: Amir Sidharta, “Vibrant Arie Smit”, Published by Hexart Publishing 2002, page: 4-365 SGD 6,000 - 8,000 USD 4,420 - 5,900

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093 SALIM / SARAOCHIM SALIM (Medan, 1908 – Paris, 2008) Paris, Parc Chaumont Oil on canvas: 70 x 50 cm Signed, lower right: Salim SGD 3,000 – 5,000 USD 2,210 - 3,690

094 CAREL LODEWIJK DAKE, Jr (Schaerbeek, 1886 – Jakarta, 1946) Landscape Mountain Oil on board: 51 x 82 cm Signed, lower right: Cl. Dake SGD 4,000 - 6,000 USD 2,950 - 4,420

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Roedyat Martadiredja Roedyat always painted his subject from his personal exploration and examination. Even when using subjects that he often painted, he always felt that he had to see and inspect them each time. The artist was strong in completely analyzing the objects before him. The objects are no longer as physical representations or repetitive illustrations. Instead they become metaphors of the self. The representation of woman figure in the foreground, which somewhat expressionless face, perhaps only treated as a metaphor to describe the landscape of city scene in the background. The presentation of trees is more stylized and abstracted to the point of being decorative. The combination of the unusual green and blue color is quite actually typical of the artistâ&#x20AC;&#x2122;s painting.

095 ROEDYAT MARTADIREDJA (Bandung, 1932 â&#x20AC;&#x201C; 2002) Wanita, 1976 Oil on canvas: 120 x 60 cm Signed and dated, upper right: 76, Roedyat SGD 15,000 - 20,000 USD 11,060 - 14,740

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096 ABDUL AZIZ (Purwokerto, 1928 - Bali, 2002) Nude, 1979 Oil on canvas: 50 x 40 cm Signed and dated, lower left: Abdul Aziz, Bali, 1979 SGD 6,000 - 9,000 USD 4,420 - 6,630

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Born in Purwokerto, March 27, 1928. He graduated from the Indonesian Fine Art Academy (ASRI) in 1959 then went to Italy to continue his study at Academia Di Belle Arti in Rome. He exhibited some works in Italy several times as well as in Jakarta, Yogyakarta and Bali. Besides being a well known for his work, Aziz is a highly accomplished violinist.

097 SUDARSO (Purwokerto, 1914 - 2006) Sedang Menunggu Seseorang, 1998 Oil on canvas: 118 x 80 cm Signed and dated, lower left: Sudarso 98 SGD 4,000 – 6,000 USD 2,950 - 4,420 Born in Purwokerto, Central Java, 1914. Affandi was his customer when he was an egg and milk seller. From that time he was interested in painting and learnt under Affandi as well as young painters such as Barli, Wahdi, and Hendra. He became a teacher at the Indonesian Fine Arts Academy (ASRI), Yogyakarta. He had participated in numerous exhibitions and active in many painters organizations. Now he lives in Sidoarjo, Surabaya. Solo Exhibition, 1961 to 1969. And he was participated in group exhibition “19 Indonesian Painter” in Singapore and Malaysia, 1967. And Reunion exhibition painter “Angakatan 45 Bandung” in Bandung,1975. Exhibition of Fine Art “Membaca Dunia Widayat” at Museum H.Widayat, Mungkid, Magelang, 2004.

098 TATANG KOENTJORO (b.Semarang. Central Java - 1993) Bunga Mawar Merah Oil on canvas: 60 x 44 cm Signed, lower right: Koentjoro SGD 1,500 - 2,000 USD 1,110 - 1,470

Born in Semarang, Central Java (?). He studied painting under painter Hadi in Semarang. He received the First Prize for the Book Cover Competition held by the French Embassy in 1955. He held his solo exhibition in 1952 and participated actively in several group exhibitions in various cities in Indonesia.

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Jean Francois Larrieu Jean-François Larrieu was born on 28th February 1960 in Tarbes (high Pyrénées). He is a self-taught artist who is living and working in Paris. Larrieu is President of the “Paris Autumn Show” (Salon d’Automne de Paris) and Vice President of the Government affiliated “Federation of Graphic and Plastic Arts Associations”.  Jean-François Larrieu started its artistic career at the young age of 11 when he entered the François Villon Academy of Painting. His works are sungorged and flamboyant paintings, overflowing with jubilatory yet contrasting vibrations. A number of his paintings have been inspired by his several travels; reinterpreting places according to his own alphabet. His favourite subjects are landscapes and trees, reaffirming the roots and absolute necessity of plants, enabling genuine human development and survival. A myriad of tiny elements punctuate his tableaus: so many characters from his personal universe, so many fables that we imagine as we are swept away by the tsunami of colours and motion in his work. The artist elaborates through his oil paintings ramifications which starts from a basic point and then progresses like a semi-conscious exploration; his hand, likens to an antennae drawing from the creative cosmos and delivers the genius. The result is exotic cities filled with wonderfully rich architecture steadily rising up and then spreads itself across the land of canvas with amazing constructions of onion-shaped domes, minarets and cupolas.  For Larrieu, imagination is the rule of the game. Furthermore the combinations are all the more variable according to the angle from which the master’s painting is observed. Through his paintings, Larrieu invites us to join him on a fabulous journey into his magical cities where Roman and Gothic porches; Baroque palaces, the China of Marco Polo as well as the Venice of Casanova are strongly reminiscent. When the painted cities on canvas is near completion, the artist ingeniously conjures into being an emblematic figure, which oft most is an animal.  The beauty and elegance of Larrieu’s paintings will bring forth from the audience certain appreciation; where the meanders are different, the cities enchanting and the journey is never the same every time. IMPORTANT EXHIBITIONS 1982 Salon d’Automne, Salon Comparaison, Figuration critique 1989 International Contemporary Art Fair,Helsinki International Contemporary Art Prize, Monté Carlo Arturo Lopez Centre: Les Pleïades, Neuilly sur Seine Palais de Pise - Figuration critique (Representational Art appreciation), Pise 1990 Galerie Magna, New York 1991 Dimension Art Centre Gallery, Taipei, Taiwan Santillana Foundation, Santander Galerie LM, Epernay Guest of 8th Salon d’Automne, Thorigny sur Marne Musée d’Art Contemporain - Figurative critique, Moscow Musée d’Art Contemporain - Figurative critique, Leningrad (Museum of Contemporary Art) 1992 Les Peintres de demain Galerie Dyan Coquant, Lyon 1993 Galerie Le Breton, Paris Sélection du Salon d’Automne, Château de Joinville Ecole Polytechnique Salon, Palaiseau Salon de l’Insica, Toulouse Salon d’Angers, Angers Calli Duphar, Berne Musée Sursock, Beyrouth 1994 Musée d’Art Moderne Lleno - France Japan - L’art actuel, Tokyo Temple Josenji - L’art actuel, Tokyo Musée Informel Nakagawamura - L’art actuel, Tokyo Salon Européen d’art contemporain, Saint Brisson sur Loire Salon d’art contemporain, Batz sur Mer Galerie La Palette, Lorient Salon d’Angers, Angers 7th exposition du Château du Croc, Orléans 1995 Musée National des Beaux Arts - L’art actuel, Shanghai Galerie l’Hippocampe, St. Jean Cap Ferrat 1996 Musée des Beaux Arts de Montbard Galerie l’Hippocampe, St. Jean Cap Ferrat 1st Biennale Internationale des Arts, Rosny sous Bois 1997 Galerie Fandel, Le Touquet – France Panorama de l’Art Vivant-Automne, Paris Musée des Beaux Arts de Bordeaux Invite d’honneur Marie du 4th district Townhall, Paris Bordeaux Galerie Imagine Exposition de Groupe Japan - Osaka; Tokyo; Sapporo; Daimaru magazines World contract with Opera Gallery Opera Gallery, Paris Opera Gallery, Singapore 1998 Foire de Géneve Opera Gallery, Singapore

099 JEAN FRANCOIS LARRIEU (Tarbes - Hautes Pyrenees, 1960) Andalousie Acrylic on canvas: 100 x 100 cm Signed, lower right: Lazzieu Signed and titled on reverse: Lazzieu, Andalousie This lot is accompanied with certificate of authenticity from Opera Gallery SGD 25,000 - 35,000 USD 18,430 - 25,800

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Renowned European Artist

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100 ITJI TARMIZI (BatuSangkar, 1939 - 2001) Bandung Lautan Api, 1972 Oil on canvas: 79 x 95 cm Signed and dated, lower left: Tarmizi, 1972 SGD 4,000 - 6,000 USD 2,950 - 4,420

Insert picture: Bandung lautan api

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In 1953 - 1954, he studied painting under painter Hendra Gunawan. He actively participated in several group exhibitions held by Pelukis Rakyat (People’s Painters and LEKRA (People’s Cultural Institute). The Pelukis Rakyat received substantial support from LEKRA, the People’s Cultural Institute. Following the abortive coup of Sept. 30, 1965, members of the Pelukis Rakyat were hunted down. Tarmizi had a speech defect and hearing impaired. His disabilities drove him to Russia and China for medication where he may also study painting there. Tarmizi’s favorite theme was the common people and scenes of daily life. His past experience living in Russia and China gave his realistic figures were romantic in style and mood, where painting produced in the period of 1960s, was considered as his prime and best work. Tarmizi reemerged on the Indonesian art scene after the fall of the New Order in 1998. By chance, a number of his old works appeared in Indonesian art auctions and he managed to view them. He also revisited his old works, many of which are still kept with much pride in the houses of prominent art collectors. Tarmizi’s paintings could also be found in the art collection of President Sukarno. He held his solo exhibition in Jakarta, November 23, 2001. He died 5 days later in Jakarta, 2001. The present lot illustrates a historical moment of “Bandung Lautan Api” (The Bandung Sea of Fire). It was in March 1946, an ultimatum was given by the British commander in Bandung for the Indonesian combatants in Bandung to leave the city. Since the strength of Army of the Republic of Indonesia will not be able to resist the powerful enemy, about 200,000 people deliberately burned their houses and belongings within the southern part of Bandung as an act of defiance to leave the city. Furthermore, the Army of the Republic of Indonesia still continued to fight in guerrillas from outside Bandung. This event gave birth to the song “Halo-Halo Bandung” where hundreds of Indonesian Nationalist in Bandung sung the song as their passionate fire to fight.

101 NASHAR (Pariaman, 1928-1994) Drama, 1991 Acrylic on canvas: 63 x 87 cm Signed and dated, lower right: 9.6.91 Agus Dermawan T, Elegi Artistik tentang NASHAR dan lukisan - lukisannya, Published by ASPI, pg. 208

Born in Pariaman, West Sumatra, October 3, 1928. He studied painting under Affandi and Sudjojono. He help established the Institut Kesenian Jakarta (IKJ, Jakarta Arts Institute) where he became a lecturer. In 1979 â&#x20AC;&#x201C; 1992 he was a member of Dewan Kesenian Jakarta (Jakarta Art Committee). He has participated in exhibitions of the Festival of Indonesia (USA, 1990 â&#x20AC;&#x201C; 1992), the Gate Foundation (Amsterdam, Holland, 1993) and several places in Indonesia. He left his figurative paintings to fully paint in abstract style until his deceased in April 13, 1994.

SGD 4,000 - 6,000 USD 2,950 - 4,420

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102 SUNARYO (Banyumas, 1943) Ikan dan Jala, 1995 Mixed media on canvas: 32 x 32 cm Signed and dated, lower right: Sunaryo95 SGD 5,000 - 8,000 USD 3,690 - 5,900

103 RUSLI (Medan, 1912 â&#x20AC;&#x201C; Jakarta 2005) Kapal Di Pelabuhan, 1986 Oil on canvas: 50 x 60 cm Signed and dated, lower left: Rusli86 Titled on the reverse SGD 1,800 - 2,500 USD 1,330 - 1,840

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104 WIDAYAT (Kutoarjo, 1919 â&#x20AC;&#x201C; Jakarta, 2002) Tiga Patung Primitif,1998 Oil on canvas: 77 x 68 cm Signed and dated, lower middle: H. Widajat98 Signed, titled and dated on the reverse

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Suko Pari Suko is a collaboration works of arts by EDDIE HARA, HERI DONO, LINDU PRASEKTI, NOOR IBRAHIM and YUNIZAR. The titled was given by Romo Shindunata. Suko Pari Suko which means freedom and happiness, a symbol of the artist’s spirit to continue their art works in any situation. In the turndown of the market situation, artist should not leave their paint and canvases a side. They should remain happy, cheerful, and keep the working spirit up high. The turndown should be treated as a self-introspection, encouragement and contemplation. This situation give birth to the idea of painting together producing a collaboration work within the artist such as Nasirun, Putu Sutawijaya, Ivan Sagita, F. Sigit Santosa, Eddie Hara, Heri Dono, Lindu Prasekti, Noor Ibrahim and Yunizar. The collaboration works was one of the ways to raise the fund for the artist’s welfare. All works will be exhibited and sale in auction. The fund is used to help many artists, not only painter and sculpture but also dancer, theater and various art genres.

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EDDIE HARA, HERI DONO, LINDU PRASEKTI, NOOR IBRAHIM and YUNIZAR. Suko Pari Suko, 2013 Mixed media on canvas: 200 x 800 cm SGD 38,000 - 50,000 USD 28,010 - 36,850 116

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Eddie Hara

Heri Dono

Lindu Prasekti

Noor Ibrahim

Yunizar

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106 ERNEST DEZENTJE (Jatinegara, 1885 – 1972) Landscape Oil on board: 32 x 50 cm Signed, lower left: Ern. Dezentje SGD 1,200 – 1,800 USD 880 – 1,330

107 SUDJONO ABDULLAH (Yogyakarta, 1911 – 1993) Pulang Membawa Hasil Oil on canvas: 80 x 60 cm Signed, lower left: S. Abdullah SGD 3,000 - 5,000 USD 2,210 - 3,690

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108 ONG KIM SENG (Singapore, 1945) Bonath, Nepal,1988 Watercolor on paper : 55 x 74,5 cm Signed, titled and dated, lower left: Bonath, Nepal 28.4.88

Born in Singapore, 1945 and has been a full-time artist since 1985. He has participated in group and solo exhibitions at Singapore and in the United States, China, United Kingdom, Japan, Australia, Belgium, Federal Republic Of Germany, France, Middle East, Taiwan, Hong Kong, and the ASEAN countries. Ong, President of the Singapore Watercolour Society from 1991 to 2001, Cultural Medallion winner (Visual Art) in 1990 and winner of six awards by the prestigious American Watercolourt Society, of which he was conferred membership in 1992. He is also the only Asian artist outside the USA to be admited into AWS.

SGD 12,000 - 18,000 USD 8,840 - 13,270 MASTERPIECE FINE ART - SINGAPORE

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S. Sudjojono S. Sudjojono, a self-taught artist who trained briefly at a Taman Siswa school, is widely regarded as the driving force behind the establishment of modern art in Indonesia. Through his writing and critics as a member of PERSAGI – Indonesian Artists Association, Sudjojono articulated a new generation’s reaction against the idyllic academic and colonial style of Mooi Indie (Beautiful Indies) school. His favorite subjects were ordinary Indonesians, depicted with piercing emotional realism, sometimes showing joy, pathos, dignity, and frustration. Quite often his figures inhabit dramatic urban or rural landscapes in an almost epic sense. Although he rejected the idealized landscape of Mooi Indie School, Sudjojono returned to the depiction of scenery in a much more impressionistic manner. He used a combination of fantasy and memory to create his surrealistic landscapes. Sometimes, he incorporated elements derived from places that he had seen in books or actually visited. His observation of his surroundings seemed spontaneous, as though they were snapshots of views that appealed to him. 109 S. SUDJOJONO (Kisaran, 1914 – 1986) Persembahan di Bromo, 1977 Oil on canvas: 87 x 60 cm Signed and titled, lower right: Persembahan Di Bromo, S. Sudjojono Signed and dated, upper left: SS.101.yogya, 1977 This lot is accompanied with certificate of authenticity from S Sudjojono Center Provenance: Private collection, Jakarta SGD 55,000 - 70,000 USD 40,540 - 51,590

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110 SOETOPO (Yogyakarta, 1931) Pengamen, 1993 Oil on canvas: 137 x 70 cm Signed and dated, lower left: Soetopo. 23 November 1993 SGD 1,500 - 3,000 USD 1,110 - 2,210 Born in Yogyakarta, April 13, 1931. He studied painting at The Indonesian Academy of Fine Arts (ASRI) Yogyakarta under Hendra Gunawan, Trubus and Soedarso tutelage. Since 1950, he was actively participated in many exhibitions and handled monumental works for Hotel Indonesia, Ambarukmo Hotel, Satu Maret Monument, Palagan Ambarawa, TMII Historical Monument Relief and Satria Mandala Museum, Jakarta. following the exhibition welcomes the Asian-African Conference in Bandung, 1955. Diversity in Harmony Exhibition in Yogyakarta, Borobudur International Festival Exhibition at the Museum H. Widayat, Mungkid, Magelang, 2002. Exhibition “Footsteps” at the Court of Djoko scream, Yogyakarta, 2003. Art Exhibition “Membaca Dunia Widayat” at Museum H.Widayat, Mungkid, Magelang, 2004. 122

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111 KOEBOE SARAWAN (Malang, 1961) Kasih Sepanjang Zaman, 2006 Watercolour on paper: 56 x 75 cm Signed and dated, lower left: Koeboe, 2006 Signed, titled and dated on the reverse

Born in Malang, East Java, 1961. He finished his study at The Indonesian Institute of Arts (ISI), Yogyakarta and later took lesson of Batik Solo. His works have been actively represented in several group exhibitions in major cities in Indonesia, among others, Surabaya, Malang, Jakarta, Solo, Bali and Yogyakarta.

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M. Irfan M. Irfan was born in Bukittinggi, West Sumatra 1972. M. Irfan is included in 51 members of the young artists from West Sumatra that recently held a group exhibition under the theme of Panorama. He is widely known as prospective painters in Indonesian art world. He was one of the member or Jendela Group, a group of painters from Minang, West Sumatra. Basically Irfan is an artist that does not like to involve himself in great or political issues. He feels that they are simply beyond his capacity and interests. For him perceiving petty objects around him is more interesting. The present lot is Irfan’s personal observation towards his surroundings. Irfan’s paintings of train series have captivated the people’s interest. He mostly painted in huge size. They portray trains, railways, and fumes which give a sense of darkness. His “trains” series was quite a leap in Irfan’s painting career. They contained Irfan’s dreams, hopes and ideas.

112 M. IRFAN (Bukittinggi, West Sumatra 1972) Locomotif, 2012 Acrylic on canvas: 200 x 250 cm Signed and dated, lower right: Irfan, 2012 SGD 15,000 - 20,000 USD 11,060 - 14,740

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113 ONG KIM SENG (Singapore, 1945) Oleg Tambulilingan (Balinese Dancer),1976 Watercolor on paper : 71.5 x 51.5cm Signed, dated, titled and sealed lower right: Ong Kim Seng 76 SGD 12,000 - 18,000 USD 8,840 - 13,270 126

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114 NYOMAN GUNARSA (Klungkung, 1944) Kecak Dance, 1999 Oil on canvas: 70 x 70 cm Signed and dated, lower right: 99 SGD 2,000 - 3,000 USD 1,470 - 2,210

115 CHUSIN SETIADIKARA (Bandung, 1949) Gadis, 1989 Pastel on paper: 67 x 47 cm Signed and dated, lower right: Chusin, Bali 89 SGD 2,500 - 4,000 USD 1,840 - 2,950

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Abang Rahina A tapestry, embroidery on fabric, a collaborative artwork. Designed by S. Sudjojono, embroidered by Mia Bustam. The artwork relates to the born of S. Sudjojono’s and Mia Bustam’s youngest child, Abang Rahino, in 1956. This artwork is the only collaborative work between S. Sudjojono and his wives. Few artworks embody the complexity of emotions arising from human relationships. Abang Rahina is one such production borne out of relationship between Mia Bustam S. Sudjojono celebrating the birth of their eight child, who was later named Abang Rahina, and known as Abang Rahino. This is a collaborative work and the only one involving the two of them, who were husband and wife until 1959 when they were divorced. Designed by S. Sudjojono, embroidered by Mia Bustam. The life of Abang Rahina began even before Abang Rahino was born. S. Sudjojono’s design of this work depicts all of their eight children with the imagined Abang Rahino at the center as a boy who appears as if he is over four years old, seated with his back facing the viewer. When S. Sudjojono completed the design in 1956, Mia Bustam started to work on embroidering it, but completed it only in 1984. The life of Abang Rahina took a tumultuous turn when S. Sudjojono had to leave for Jakarta due to his work as a party representative of the Indonesian Communist Party (PKI), leaving little life for his family and Mia Bustam in Yogyakarta. He found life as a politician challenging; a new romance was also starting up with Rosalina (Rose) Wilhelmina Poppeck in Jakarta. It was amidst these intersecting currents in his life entailing that of a politician and a budding romance with Rose that in turn gave rise to a rift with Mia Bustam, that Abang Rahina was designed. The aspirations and hope of Sudjojono rested on his youngest son, Abang Rahino, who was expected to carry on his ideological vision of a “red dawn” in Indonesia. The figure on the right with a walking stick is his father, Sindudarmo, who was a founding member the Communist Party of Indonesia, which was established on 23rd May 1920. The red clouds above the mountain and more specifically above Sindudarmo suggest the artist’s desire for Abang Rahino to follow his footsteps, fulfilling the aspirations of Sindudarmo fo a communist Indonesia; hence a new red dawn. The mountains or gunung symbolize the nation in accordance with Javanese beliefs wherein the mountain is the cosmological center in which the spirit dwell. The dove on the left symbolizes the coming peace after Indonesia has become a communist country. The life of Abang Rahina mirrors the life of Sudjojono in the prime of his career as a politician and intellectual leader of Indonesia artists who had dedicated their art to the nation-building efforts after independence in 1949. The influence of the Indonesian communists was formidable; by 1956 Sukarno, the president ' veered increasingly towards the Left. The red dawn appears as a dream that \\Is materializing in Indonesia and Mia Bustam, who was a member of Lembaya Kebudavaan Rakyat (LEKRA), the cultural organization of the communists, would have shared Sudjojono's aspirations for their new born son. Abang Rahina can be considered as a tapestry, a form of fabric art prized for its portability by aristocrats in Europe for decorative purposes, and also for symbolising authority; as the coat of arms of a family was frequently Woven as tapestry. The decision to make such a tapestry for Abang Rahino demonstrated the closeness of the family as a potent force for bringing about political and social changes in Indonesia. Abang Rahino, located at the centre of this picture, appears larger than the rest of his siblings, suggesting the high hopes that the couple had for their newly born son (Fig. 2). The disproportionately large size of Abang Rahino contrasts with that of Tedjabayu, the eldest son, who is perched on top of a tortoise that the family kept as a pet. He is depicted urinating on the tortoise as he was a mischievous child. Abang Rahina was not completed as its life took an untoward turn when Sudjojono and Mia Bustam divorced in 1959. The psychological trauma of the separation was further exacerbated by Mia Bustam’s imprisonment, from 1965 to 1977, for being a member of Lembaga Kebudajaan Rakjat (LEKRA, meaning ‘people’s culture’). This was a difficult period for the children of Mia Bustam who virtually lost their mother who was incarcerated. They moved from Yogyakarta in order to live with Sudjojono and Rose Pandanwangi’s family in Pasar Minggu in the South of Jakarta. Upon her release from prison, Mia Bustam completed Abang Rahina around 1984, two years before Sudjojono died. Sudjojono never lived to see this collaborative work, which had a poem by Khalil Gibran, a Lebanese poet and writer, embroidered on it. The inclusion of Gibran's poem titled, On Children represents a twist to the life of Abang Rahina because it was not in the original design by Sudjojono. Mia Bustami included this poem as she completed the work, intending it as a message to her eight children, to say that they belonged to God, and not to their parents, and that parents are the bow from which children, like arrows, spring from. The years in prison meant that Mia Bustam was absent during the growing years of her children, who were estranged from their father, for most of their lives. This work may be seen as exemplifying parental bonds; children envisioned as arrows seeking their own respective directions and objectives in life. (by Seng Yu Jin)

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116 S. SUDJOJONO collaboration work with MIA BUSTAM Abang Rahina Embroidery on Fabric: 68 x 100 cm SGD 70,000 - 120,000 USD 51,590 - 88,440

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117 IRSAM (Klaten, 1942 â&#x20AC;&#x201C; Bogor, 2006) Keluarga Berencana, 1986 Oil on canvas: 100 x 150 cm Signed and dated, lower middle: Irsam, 1986 Literature: Mikke Susanto, Jejak-jejak Dekoratif Irsam, Published by PT. Dwi Samapersada, Jakarta, 2013, Pg. 60 SGD 5,000 - 7,000 USD 3,690 - 5,160 130

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Born in Klaten, Central Java, 1942. He graduated from the Indonesian Fine Art Academy (ASRI) Yogyakarta. He had held his first exhibition in 1967 in Jakarta. He received an award from the Philippines, Singapore, and Thailand. In 1980 he also joined in the Contemporary Asian Art Exhibition in Fukuoka Art Museum Japan.

118 OMAR YAHYA (b. 20th Century) Potret Wanita, 1962 Oil on canvas: 98 x 66 cm Signed and dated, lower left: Omar YH. 1962 SGD 3,500 - 6,000 USD 2,580 - 4,420 MASTERPIECE FINE ART - SINGAPORE

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Chen Wen Hsi, 陈文希 Besides Chinese brush painting, Wen Hsi also produced abstract compositions in oils and Chinese inks of which his paintings showed a strong influence of analytical Cubism and Fauvism with non-naturalistic and exuberant colours. This style has heightened the vividly expression and exoticism of Southeast Asia. Chen painted ceaselessly through his life. Numerous solo and group exhibitions were held in Singapore and around the world. Wen Hsi’s artistic excellence was recognized. Among the many awards he had received are the Public Service Star in 1964, a Gold Medal by the National Museum of History, Taiwan in 1980, the first recipient of the ASEAN Cultural and Communication Award for outstanding artists in 1987 and received an honorary doctorate from the National University of Singapore. Chen said nature is his best teacher. Whatever subject he wants to paint or draw, he first studies it thoroughly. He has grown many plants and raised a great variety of fish, birds, and monkeys to help him in such studies. Gibbons and egrets are the two series most representative of Chen’s style. Chen Wen-hsi is renowned for his skill in painting gibbons. A life-long devotion to painting has made Chen one of Singapore’s living treasures. His success in marrying Chinese and Western art makes him both a pioneer and a representative figure of the 20th century Chinese art scene.

119 CHEN WEN HSI, 陈文希 (Guangdong, China, 1906 - 1991) Gibbons, 1981 Chinese Ink & colour on rice paper: 69 x 45 cm Signed, top left: 文希 SGD 16,000 - 20,000 USD 11,790 - 14,740

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120 SUDJONO ABDULLAH (Yogyakarta, 1911 â&#x20AC;&#x201C; 1993) Warung Under The Flamboyant Tree, 1982 Oil on canvas: 68 x 84 cm Signed and dated, lower left: S. Abdullah.4.3.1982 SGD 1,000 - 1,500 USD 740 - 1,110

121 YAP HIAN TJAY (Surakarta, Central Java, 1927) Lake View, 2000 Oil on canvas: 80 x 100 cm Signed and dated, lower left: JHT2000 SGD 1,500 - 2,000 USD 1,110 - 1,470

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122 ABDULLAH SURIOSUBROTO (Semarang, Central Java, 1978 - 1941) Waterfall Oil on canvas: 75 x 50 cm Signed, lower left: Abdullah SGD 4,000 - 6,000 USD 2,950 - 4,420

Born in Semarang, Central Java, October 17, 1878. First he was sent to the Netherlands to study medicine, but he learnt painting instead. He was famous for scenery painting, therefore he was considered the first modern Indonesian painter in the 20th century. His talent inherited by his children; Trijoto Abdullad - a scluptor; Sudjono Abdullah and Basuki Abdullah - painters. He died in Yogyakarta, 1941.

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Arie Smit Arie Smit (born Adrianus Wilhelmus Smit in 1916) a Dutch-born Indonesian painter has been captured with Bali ever since his arrival in 1956. Arie Smit is an artist who loves natural beauty and Balinese culture in the form of imaginative painting, painting that express the pure soul of an adventurer, a natural devotee of tropical sunlight. Smit was inspired by the watercolours of Western artist Signac. In his experimentation with colour and fascination with light, Smit identified with the Impressionist painters of the late 19th Century, particularly Cezanne Arie’s landscapes often go beyond the scenes of nature. Smit celebrates the tropical beauty and wonder with presenting the essence of light filtering through the tropical plants, leaves and trees. The use of colour is sophisticated. Red is mixed with purples, oranges, blues and yellow to suggest a temple basking in the sun’s glow. The vibrant colour combination exudes vitality and exuberance yet the mood imbued is peaceful and harmonious.

123 ARIE SMIT (Zaandam, the Netherlands, 1916) Balinese Temple in Tropical Abundance, 2005 Acrylic on canvas: 60 x 80 cm Signed and dated, lower left: Arie Smit’ 05 Signed, titled and dated on the reverse This lot is accompanied with certificate of authenticity from Neka Art Museum Provenance: Acquired directly from the artist SGD 30,000 - 40,000 USD 22,110 - 29,480

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124 ENTANG WIHARSO (Tegal, 1967) USA $1000, 1996 Acrylic on canvas: 109.5 x 144 cm Signed and dated, lower right: Entang Wiharso 96 SGD 10,000 - 12,000 USD 7,370 - 8,840

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Born in Tegal, 1967. He studied at the Indonesian Institute of Arts, Yogyakarta (1987 – 1994). He performed his oneman shows at Agniel Gallery, Providence, Rhode Island, USA (2000), Chouinard Gallery, Hongkong, Jakarta, Yogyakarta and Washington DC (2001 – 2002). He joined group exhibitions at Museum of Modern Art, Moscow, Russia (2000), Casa de Cantabria, Madrid, Spain, H. Widayat Museum, Magelang, Nadi Gallery, Jakarta (2001), Semarang Gallery, Semarang and Nadi Gallery, Jakarta (2002).

125 NASIRUN (Cilacap, 1965) Imaji Fajar Tengah Malam, 1995 Oil on canvas: 145 x 200 cm Signed and dated, lower right: NS Run 95 Signed, titled and dated on the reverse

Provenance : Private collection of European Collector SGD 9,000 - 15,000 USD 6,630 - 11,060

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Srihadi Soedarsono The dance is one of Srihadi’s favorite themes. In his paintings of dancers he continues to paint female dancers in the same upright pose that has used in the past. His dance work consist of series of dancers, even so, for Srihadi, each dance has its own particular mood, the gist of which he attempts to capture in his painting. At the same time, dance also offers a panorama of human life in general: it shows the dynamic union between the everyday world of material reality and the world beyond perception, the realm of the material. The merging of spiritual and physical control obtained in dance obviously appeals to the philosophical Srihadi. Some of his figurative paintings, especially the dancers, look deceptively similar, and that the figures have become stereotypes, but one should try to appreciate and study the details and minimal variations. Srihadi pays particular attention to the characteristic of the dancer and the artistic form of the dance. Every dance has its language or vocabulary of movement and type of costume, all of which imbued with philosophical meaning. Srihadi gives us many variants in this new approach to the depiction of the dance. When he first started to focus on the idea of movement, he did so by paying with the parallelism of gestures and by emphasizing the realistic aspect of the dancer’s bodies. Color was then relatively secondary. By the early 1990’s rhythm had taken a life of its own, as shown by the vibrant dynamism of the dancer. In painting the present lot, the dancers’ eyes remain transfixed even as their body movements are transformed into a feast of glittering color. Even so, and however much the costumes of the dancers drift rhythmically over the canvas surface, it is in fact the artist’s working of this background that embodies the idea of movement.

126 SRIHADI SOEDARSONO (Solo, 1931) Oleg Tambulilingan The Energy of Love, 2004 Oil on canvas: 123 x 138 cm Signed and dated, upper right: Srihadi S.04 Signed, titled and dated on the reverse SGD 170,000 - 250,000 USD 125,290 - 184,250

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127 FX HARSONO (Blitar, 1949) YPMP (Your Pleasure is My Pain) ed. 1/5, 2008 Digital print on hahnemuhle canvas: 100 x 180 cm Signed, titled and dated on the reverse SGD 4,000 - 6,000 USD 2,950 - 4,420

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Born in Blitar, 1949. He studied at Indonesia Intitute of Art (ISI), Yogyakarta in 1974 and continued to Jakarta Intitute of Art (IKJ), Jakarta in 1991. He has participated in several group exhibitions such as Meet 3 : 3 in Yogyakarta, Purna Budaya, Yogyakarta (1998), Solo Show “Victim”, Cemeti Gallery, Yogyakarta (1998), Volume & Form, Singapore (1999), Art Document 1999, in Kanazu Forest Museum, Japan (1999), Kwangju Biennial, Korea (2000), Solo Show ”Displacet”, National Gallery, Jakarta (2003), Langgeng Contemporary Art Festival 2006, Langgeng Gallery (2006), and “Titik Nyeri”, Langgeng Icon Gallery, Jakarta (2006).

128 WIDAYAT (Kutoarjo, 1919 â&#x20AC;&#x201C; Jakarta, 2002) Mbakyuku Mau Di Perkosa, 1999 Oil on canvas: 45 x 70 cm Signed and dated, lower left: Widajat99 Signed, titled and dated on the reverse SGD 3,500 - 5,000 USD 2,580 - 3,690

129 SUDARSO (Purwokerto, 1914 - 2006) Seated Lady, 1994 Oil on canvas: 110 x 80 cm Signed and dated, lower right: Sudarso, 94 SGD 3,000 - 5,000 USD 2,210 - 3,690 MASTERPIECE FINE ART - SINGAPORE

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Agung Mangu Putra Mangu Putra’s works arise from intense contact with the world as a conscious expression of his main creative orientation. Through his work Mangu Putra expressed his gratitude towards God creations and tried to give alternative point of view about Bali from its touristy image. He gave specific themes on his work from which other painters did not pay attention to. Until now many of his works were collected by art collectors in Indonesia and overseas. This exciting and very talented artist has participated in a number of group and solo exhibitions throughout Indonesia and abroad. There is a certain progressive critical vision in Mangu Putra’s way of viewing and interpreting the world. His works are not mirrors of direct observations with the naked eye. Natural objects are shown as if through sophisticated technological imagery, so that they appear artificial, attractive, provocative, and even fantastic. His artistic world is not a natural one but instead is ‘polluted’ by civilization. Mangu’s paintings are breathtaking, yet set within an atmosphere of silent intimidating strength. It is this aspect of his work that sets Mangu apart from his predecessors. Mangu’s concern are not ritual ceremonies but rather the traditional culture of worship for the land; the land that scared and fundamental to our existence.

130 AGUNG MANGU PUTRA (Sangeh, Bali, 1963) Pura Bukit Sari I, 2014 Oil on canvas: 115 x 165 cm Signed and dated, lower right: Mangu Putra, 2014 Signed, titled and dated on the reverse This lot is accompanied with certificate of authenticity from the artist SGD 23,000 - 30,000 USD 16,950 - 22,110

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131 WILLEM DOOIJEWAARD (Amsterdam, 1892 â&#x20AC;&#x201C; 1980) Gezeten Mongoolse Man Oil on board: 34 x 22.5 cm SGD 4,500 - 6,000 USD 3,320 - 4,420

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Born in Amsterdam, the Netherlands, 1892. He studied arts and craft in Amsterdam for three years. He once worked as administration staff for Sumatra Plantation Company in 1913. He first visited Bali in 1918 then traveled extensively throughout the island to paint. He also went to Europe as well as remote areas in Asia and North Africa. Most of his works were absorbed from the local cultures that enabled him to paint unusually intimate portraits. He died in his homeland, Amsterdam, 1980.

132 DULLAH (Solo, 1919 – 1996) Balinese Beauty, 1978 Oil on canvas: 35 x 30 cm Signed and dated, lower right: Dullah, Bali, 1978 SGD 5,000 - 7,000 USD 3,690 - 5,160

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Lee Man Fong Man Fong was a versatile painter skilled in both western oil painting technique and Chinese scroll painting style. He was a successful commercial artist before engaged in full time painting in 1941. His successful exhibitions in Bandung and Jakarta made him a fast growing artist at that time. He received scholarship from the Dutch government to study painting in Holland (1946). Lee Man Fong began his art education in Singapore. Later he moved to Indonesia, where he continued his painting career and became the curator of the presidential collection during the Soekarno period. Lee Man Fong was known for his ability to work with any kind of medium available. He used oil on canvas and hardboard, pastel and watercolour on paper, and pen and ink on cardboard. His works combined Oriental and Western concept in his oeuvre. An exceptional aspect of Lee’s art was his great intense in creating a personal expression through observation of life and nature surrounds him. A wide range of animals he personally observed have been Lee’s subject matter that captured the people’s attention.

133 LEE MAN FONG (Canton, China 1913 – Singapore 1988) Dua Kucing Oil on board: 103 x 50 cm Signed in chinese character, lower right Provenance: Private Collection Jakarta SGD 45,000 - 60,000 USD 33,170 - 44,220

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134 CHEN WEN HSI (Baigong, Caozhu, 1906 â&#x20AC;&#x201C; Singapore, 1992) Sparrow Chinese ink on rice paper: 42.5 x 46.5 cm Signed in chinese character and sealed, lower right SGD 8,000 - 12,000 USD 5,900 - 8,840 150

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Born in Baigong, Caozhu, 1906. He studied art at the Hsin Hwa Art Academy in Shanghai. He became a lecturer at the Nangyang Academy of Fine Arts in Singapore. His paintings were strongly influenced by Chan (Zen) and the unorthodox Qing School of Yangzhou. He actively participated in several exhibitions outside Singapore which also incidentally promote Singapore. He was awarded the Public Service Star from the President Tun Yusof Bin Ishak and received honorary doctorate from the National University of Singapore. He became famous since his oil study on formalism, cubism, and expressive abstraction.

135 LEE HOCK MOH (b. 1947, Singapore) Two Pigeons Chinese ink and color on paper: 66 x 64,5 cm Signed in chinese character and sealed, middle right SGD 12,000 - 18,000 USD 8,840 - 13,270

Lee Hock Moh is a Singaporean artist whose detailed and vibrant orchid paintings have won him accolades both locally and internationally. Trained in traditional Chinese ink and Western oil painting, Lee is considered a second-generation artist of the Nanyang Style and is the first local artist to specialise in painting orchids in the gongbi (fine line) style. In later years, Lee started painting landscapes. He developed his own unique style of representing mountains, rivers, stones and nature by integrating Western art techniques with traditional Chinese ink painting.His works are highly acclaimed and have been exhibited in Singapore and internationally in places like China, Hong Kong, Japan, USA and Russia. For his artistic contributions, Lee was awarded the Cultural Medallion for Visual Arts in 1981. MASTERPIECE FINE ART - SINGAPORE

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Willem Dooijewaard Willem Dooijewaard was born in Amsterdam 1892, he died June 17th 1980 in Blaricum, Holland. Student of the applied artschool in Amsterdam. Brother of the artist Jaap Dooijewaard. Willem Dooijewaard lived in Amsterdam till 1913, then Sumatra and Bali (Indonesia) Peking, Mongolia (China), Japan, the South of France and, after 1933, he moved back to Blaricum, Holland. He painted in an impressionistic manner figures, portraits, landscapes etc. Willem Dooijewaard had a solo exhibition in the Singer Museum Laren. Works in possession of the Singer Museum Laren, the Rijkscollectie en the Stedelijk van Abbemuseum, Eindhoven. Dooijewaard, Dutchman, was a great adventurer who travelled to Japan (where he often painted Geishas) and crossed the Gobi desert and Tibetan highlands on horseback and foot when it was truly frightening. He arrived in Bali in the early 1920’s, settled for a while and returned often before Indonesian Independence. His modern figurative paintings of dancers are notable for their strong lines and exotic subjects. He was unwilling to sweeten the power of his vision. The resulting muscular legong dancers and figures seem almost agonized, especially when compared to the more refined aesthetics of Hofker and Bonnet, whom he knew well.

136 WILLEM DOOIJEWAARD (Amsterdam, 1892 – 1980) Seated Balinese Dancer Oil on canvas: 67 x 55 cm Signed, lower right: W. Dooijewaard SGD 85,000 - 120,000 USD 62,650 - 88,440

Sotheby’s Modern and Contemporary Southeast Asian Paintings, Hong Kong, Saturday, April 06, 2013 WILLEM DOOIJEWAARD, Woman Selling Fruits Lot Sold 4,360,000 HKD

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137 GAN GU (b. 1942) a. Flowers and Bird Chinese ink on rice paper: 134 x 34 cm Signed and sealed in chinese character, upper right b. The Beauty of Nature Chinese ink on rice paper: 134 x 34 cm Signed and sealed in chinese character, lower right SGD 2,000 - 4,000 USD 1,470 - 2,950

138 OMAR YAHYA (B. 20TH CENTURY) Pantai, 1969 Oil on board: 28 x 38 cm Signed and dated, lower left: Omar YH.1969 This lot is accompanied with verification letter from the Artistâ&#x20AC;&#x2122;s Family a

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SGD 1,000 - 1,500 USD 740 - 1,110

139 HASAN DJAAFAR (Koto Gadang, West Sumatra, 1919 - 1995) Sun Flowers Oil on canvas: 95 x 56 cm Signed, lower left: Hasan Djaafar

Born in Koto Gadang, West Sumatra, 1919. He once taught by the famous landscape painter, Wakidi. He visited Europe in 1948 which after influenced his works to be impressionist and expressionist. In 1956, he held his first exhibition in Indonesia then continued to participate in tour exhibitions, among others are Singapore, Australia, Brazil, Japan, and several European countries. He died in 1995.

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Lee Man Fong Besides his great intense in observing the nature especially animal such as gold fish and doves, women were Lee’s most cherished subject. His figures reflect a wealth of thought and inner content. Lee Man Fong’s portraits are remarkable life-like, fresh and moving and at the same time full of artistic individuality. His portraits excel equally in form and expression, vitality and faithfulness, and rank above works. Lee was passionate and energetic in describing his world – street vendors of Jakarta, Malaysian fishing villages, Balinese processions, and a wide range of animals he personally observed. Lee Man Fong often made paintings of Balinese subjects in a series. He depicts cultural life, dancers in their variegated gestures and innocent mien, portraits of daily life, street vendors, kampong scene as well as natural object. Here, Lee tried to explore his great intense in capturing the daily life of Balinese people (woman) through observation of life and nature surrounds him. His composition in Chinese painting is dominantly with a balance between substance and void, light and darkness, bright color and subdued tones. 140 LEE MAN FONG (Canton, China 1913 – Singapore 1988) Dancer, 1957 Pastel chalk on paper: 52.5 x 33 cm Signed and dated, lower right: Bali,1957 SGD 15,000 - 20,000 USD 11,060 - 14,740

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141 ENDRO (Yogyakarta, 1983) Shanghai’s Night, 2008 Oil on canvas: 100 x 300 cm Signed and dated, lower right: Endro, 08 SGD 3,500 - 5,000 USD 2,580 - 3,690

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Born in Yogyakarta, Central Java, 1983. He graduated from the Indonesian Art Institute (ISI) Yogyakarta. He has actively particiapated in several exhibitions among others “Dunia Yang Sebenarnya” Yogyakarta, “Mendawa Mandala” Yogyakarta, “Sketsa” Yogyakarta, “Kecil-kecil” Yogyakarta, ‘Art For Yogya” at Taman Budaya Yogyakarta (2006), and “Peduli Gempa” at Semarang and Yogyakarta. Endro uses both subjective and structural frames in creating his artworks. He challenges his audience to see his/her own experiences and imagination through interpretation of symbols, codes or signs, color and tone. An understanding of which element is most important to him can help the audiences to discover the meaning behind each of his work.

142 THOMAS YEO (Singapore, 1936) Silver Island 2, 1996 Acrylic on canvas: 122 x 91.5 cm Signed and dated, lower right Featured in the book ‘THOMAS YEO-A Retrospective’ by T. K. Sabapathy, Page 69 SGD 9,000 - 12,000 USD 6,630 - 8,840 MASTERPIECE FINE ART - SINGAPORE

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Putu Sutawijaya Putu Sutawijaya was born in Angseri, Tabanan, Bali, 1971. He finished studies in painting in Faculty of Fine Arts at ISI Yogyakarta in 1998. His works was nominated among the ten best in the Philip Morris Indonesia Art Awards 1999. In 2000 he received the Lempad Prize for his art from Sanggar Dewata Indonesia (SDI) and currently servers as the general chairman for this artists’ group which is based in Yogyakarta. He has held solo exhibitions in Bali, Yogyakarta, Singapore, Hongkong, and Jakarta. Various motions and human behavior are the theme he likes most in his paintings. With a highly skilled of art, Putu Sutawijaya makes contour of his paintings in impressive black lines. His spontaneous and firm line was shown in his dynamic works. The body postures and gestures as reflected in Putu’s work are expressions and ways in which he likes to picture the feelings in his heart. These ideas are a self internalized process of dislocation, contemplation and reflection regarding music, dance, meditation or personal experiences in life. Androgynous human figures are represented in motion – dancing, flying, floating – or otherwise completely still in a pose of serene contemplation. His art is, above all, about the individual human condition in a struggle to free itself from the constraints of an overly complex world. Awards: 1991 Best watercolor, the the Faculty of Fine Art, Indonesian Institute of the Arts, Yogyakarta Best sketch from the Faculty of Fine Art, Indonesian Institute of the Arts, Yogyakarta 1992 Best oil from the Faculty of Fine Art, Indonesian Institute of the Arts, Yogyakarta Best painting, the Faculty of Fine Art, Indonesian Institute of the Arts, Yogyakarta, in conjugation with the eleventh anniversary of the Institute. 1999 10 Best paintings from Yayasan Seni Rupa & Phillip Morris Art Award. 2000 Lempad prize from the SDI Indonesia

143 PUTU SUTAWIJAYA (Bali, 1971) Gerak Kehidupan I, 2000 Mixed media on canvas: 225 x 140 cm Signed, lower left: Putu Sutawijaya Signed, titled and dated on the reverse SGD 16,000 - 20,000 USD 11,790 - 14,740

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144 LOW PUAY HUA (b. 1945) Singapore River Watercolor on paper: 74 x 100 cm Signed, lower right SGD 8,000 - 10,000 USD 5,900 - 7,370

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145 KOEH SIA YONG (B. 1938) China Town, 1989 Oil on canvas: 78.5 x 98.5 cm Signed and dated, lower left: ‘89 SGD 7,000 - 9,000 USD 5,160 - 6,630

146 ZHANG XI HUA (China, 1939) Panen, 2005 Oil on canvas: 80 x 100 cm Signed and dated, lower left: Zhang Xu Hua, 2005 SGD 8,000 - 10,000 USD 5,900 - 7,370

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Affandi Affandi was taught at the Indonesian Academy of Fine Arts in Yogyakarta in early 1955. He received a scholarship from the U. S. government to study arts education in 1957, after participating in International exhibitions in Brazil and Italy. He was made an Honorary Professor of Painting by Ohio State University, and in 1974 was awarded an honorary doctorate by the University of Singapore. He also received the Peace Award from the Dag Hammarskjoeld Foundation in 1977, and the title of Grand Maestro in Florence, Italy. Affandi was passionate about his country and a large proportion of his works concern his feelings about the land and its people. Though Affandi only painted what he observed and never approached his works from any kind of philosophical or analytical starting point, he was particularly fond of Bali and Javanese culture. The cockfighting is one of the many recurring themes of the artist and yet the unique personality of the sitter never fails to captive the viewers. Very often, despite the artistâ&#x20AC;&#x2122;s apparent focus on the main subject which is the fight of the animals, Affandi is very fond of creating a sense of spontaneity by adding idiosyncratic details such as the feet of the onlooker, or the drinking spectator at the scene. By doing this, he creates a sense of immediacy equivalent to that of a snapshot and yet capturing the last emotion and personality for eternity. A sense of festivity is also conveyed, as the joyous crowd is clearly drinking to the occasion whilst the fighting animal are entangled in a fury of violence that is conveyed, as the joyous crown is clearly drinking to the occasions whilst the fighting animal area entangled in a fury of violent that is conjured by repeat, swirling stokes in many colors

147 AFFANDI (Cirebon, 1907 â&#x20AC;&#x201C; 1990) Adu Ayam, 1978 Oil on canvas: 98 x 128 cm Signed and dated, lower middle: AF,1978 This lot is accompanied with verification letter from Kartika Affandi and Photo of Kartika Affandi with the painting Provenance: -Prominent Collector, Jakarta -Acquired directly from the Artist SGD 140,000 - 180,000 USD 103,180 - 132,660

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148 SIEW HOCK MENG (Malaysia, 1942) Nude, 1988 Pastel on paper: 47 x 61.5 cm Signed and dated, lower left: 1988, Meng SGD 10,000 - 15,000 USD 7,370 - 11,060

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Born in Malaysia, 1942. He finished his school from Nanyang Academy of Fine Arts, Singapore (1961). He used crayons and oil for his painting. He often went to Bali for his painting inspirations.

149 ZHENG YUE BO (Singapore, 1908-California 1991) a. Hunting I Chinese ink on rice paper: 68 x 28 cm Signed and stamped in chinese character, lower right b. Hunting II Chinese ink on rice paper: 32 x 66 cm Stamped and chinese character, upper right SGD 2,000 - 5,000 USD 1,470 - 3,690 a

150 LEE MAN FONG (Canton, China 1913 â&#x20AC;&#x201C; Singapore 1988) Reclining Nude, 1971 Pastel on paper: 46 x 66 cm Signed and dated, lower right: MF. Lee 1971.S.Pore SGD 5,500 - 7,000 USD 4,050 - 5,160

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Agus Suwage Born in Purworejo, 1959. He studied at Bandung Institute of Technology (1979 – 1986), Artist in Residence in QUT, Brisbane, Australia (199a6), and Artist in Residence in “Sai-no-kuni” Saitama, the Museum of Modern Art, Japan (1999 – 2000). He performed his solo exhibitions in H Block Gallery, QUT, Brisbane, Australia (1996), Cemeti Contemporary Art Gallery, Yogyakarta (1998), Gen Gallery & Public Center Koshigaya, Saitama, Japan (2000), and Nadi Gallery, Jakarta (2001, 2002). He joined several group exhibitions in Indonesia and overseas, Jakarta Art and Design Expo, Jakarta (1992), Art Gallery Conink, the Netherlands (1993), Cheju Pre-Biennale, South Korea (1995), Phillip Morris ASEAN Art Award, National Gallery, Bangkok, Thailand (1996), Tachikawa International Art Festival (1999), Museo de la Cuida de Mexico, Museum of Mexico (2000), Circle Point Gallery, Washington DC, USA (2002), etc. Agus Suwage is first and foremost a graphic designer who has had 10-years experiences with commercial art before he ventured into his current profession as an artist. In mid1995, he borrowed the artistic mode of the German Anselm Keifer and the British Francis Bacon. Later, he tried to develop his own style starting to study with his own body and face in various poses and expression in realistic rendering as his means to convey socio-cultural issues in cynical, ironical and parody atmospheres. Suwage’s artistic explorations have as the basic photographic images that he develops with his sensitiveness and manual skills in drawing, adding support from digital manipulation, to produce images. His works illustrate how the constructed image of Western avant-garde art has been inspirational, through “museum without walls”, to the culture of the world’s modern art. Suwage’s mode of appropriation is by borrowing iconic imageries as his reference, to serve the metaphors for values actively working between love and hate, amazement and derision at once, in parodying, and so on.

151 AGUS SUWAGE (Purworejo, 1959) Rainbow, 2008 Oil on canvas: 150 x 200 cm Signed and dated, lower middle: Agus Suwage, 2008 Literature: Agus Suwage: Still Crazy After All These Years, 2010, pg. 661 SGD 30,000 - 50,000 USD 22,110 - 36,850 168

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152 TRUBUS SUDARSONO (Yogyakarta, 1926 â&#x20AC;&#x201C; 1966) Landscape Mountain, 1961 Oil on canvas: 75 x 100 cm Signed and dated, lowe right: Trubus S.61 SGD 5,000 - 7,000 USD 3,690 - 5,160

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Born in Yogyakarta, 1926. A member of Seniman Indonesia Muda (Young Indonesian Artists) and Pelukis Rakyat (Peopleâ&#x20AC;&#x2122;s Painters), Yogyakarta, he was a self-taught practitioner who honed his skills in the amateur art associations that flourished during and after the Japanese occupation. Trubus was taught by both Affandi and Hendra Gunawan and he also studied the paintings of the old and modern masters through prints and lithographs, as well as the works of artists in Indonesia such as Antonio Blanco, Romualdo Locatelli and Basoeki Abdullah. His works are represented in the Jakarta Art Gallery and other museums in Indonesia.

153 KARTONO YUDHOKUSUMO (Medan, 1924 -1957) Bukit Dekoratif, 1951 Oil on canvas: 75 x 100 cm Signed and dated, lowe right: Kartono Yudhokusumo, 1951

Born in Medan, North Sumatra, 1924. He had a decorative style in his works. He learned painting from Dutch and Japanese artist who lived in Indonesia such as Willem F.M. Bosschaert, T. Akatsuka, Ernest Dezentje, Charles Sayers and many other artists. He ever held a solo exhibition and won a number of art prizes. In 1945 he moved to Yogyakarta and died in 1957.

Literature: Empat Puluh Tahun Mengenang Karya Cipta Alm. Kartono Yudhokusumo (Th. 1957-2000) SGD 7,500 - 9,000 USD 5,530 - 6,630

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S. Sudjojono Born in Kisaran, Sumatra, 1914. He first studied painting under the artist Pringadi, and later from Jasaki, a Japanese painter. In 1937 he founded the Persagi Indonesian Artists Association in Jakarta. In 1970 he was awarded recognition in art by the Indonesian government. His works have been exhibited in the Netherlands and in the Fukuoka Art Museum in Japan (1980). Local exhibitions have been held in Jakarta, Yogyakarta, Denpasar and Bandung. He died in Jakarta (1986). Sudjojono is widely regarded as the driving force behind the establishment of modern art in Indonesia. His favorite subjects were ordinary Indonesians, depicted with piercing emotional realism, sometimes showing joy, pathos, dignity, and frustration. Quite often his figures inhabit dramatic urban or rural landscapes in an almost epic sense. S. Sudjojono used a combination of fantasy and memory to create his surrealistic landscapes. Sometimes, he incorporated elements derived from places that he had seen in books or actually visited. Besides landscape, S. Sudjojono also enjoyed painting flowers. Whenever he saw an attractive floral arrangement, he would paint it, usually capturing it in a fluid, impressionistic representation. Often he would present it as a more everlasting gift for his wife, Rose, in lieu of giving actual flowers. Sometimes he would immortalize the flowers that Rose received during concert by painting them as soon as they got home.

154 S. SUDJOJONO (Kisaran, 1914 â&#x20AC;&#x201C; 1986) Srietjeâ&#x20AC;&#x2122;s Wedding Bouquette, 1972 Oil on canvas: 83 x 69 cm Signed and, titled, dated, lower right: S. Sudjojono, Buket Penganten, 1972 Literature: Amir Sidharta, S. Sudjojono, Visible Soul, Publishe by Museum S. Sudjojono, Canna Gallery, pg.337 SGD 135,000 - 170,000 USD 99,500 - 125,290

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Soedibio was born in Madiun, June 17, 1912. During 1940 he joined the PERSAGI and founded The Young Indonesia Artist (Seniman Muda Indonesia) together with S. Sudjojono, Trisno Soemardjo, D. Suradji and Sunindyo. In 1967 he joined Sanggar Puri Surabaya and become a member of The Surakarta Culture Association (Himpunan Budaya Surakarta) in 1970. During his carier as an artist, Soedibio was very productive and participated in many exhibitions, especially from the 1950s to the 1970s. With support from Dewan Kesenia Jakarta (DKJ, Jakarta Arts Council), his works were shown at Taman Ismail Marzuki art centre in Jakarta in 1976. Soedibio passed away in Surakarta (Solo) on 16 December 1981. He actively performed exhibitions ever since in several city in Indonesia.

155 SOEDIBIO (Madiun, 1912 - 1981) Danau, 1976 Oil on canvas: 48 x 150 cm Signed and dated, lower left: Soedibioâ&#x20AC;&#x2122;76 This lot is accompanied with certificate of authenticity from the Artistâ&#x20AC;&#x2122;s Wife SGD 4,000 - 6,000 USD 2,950 - 4,420

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156 ERNEST DEZENTJE (Jatinegara, 1885 â&#x20AC;&#x201C; 1972) Palyan Boengoer Di Tjampe Bogor Oil on canvas: 60 x 100 cm Signed, lower right: Ernest Dezentje SGD 3,500 - 5,000 USD 2,580 - 3,690

157 GOH BENG KWAN (Singapore, 1937) Abstract, 2013 Chinese ink on rice paper: 68 x 45 cm Signed and dated in chinese character, lower right SGD 1,500 - 3,000 USD 1,110 - 2,210

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Dede Eri Supria Being fascinated by photographic realism, Dede Eri Supria has developed his paintings through collection of photographs. He found his idioms through observing photos. However he never copies the photographs either. His paintings show that he tends to go beyond photography, in the sense that the sceneries he creates in his canvases are impossible for photography to emulate. In playing with this imagination of the unrealreality or engineered visual reality, he employs painstakingly realistic technique in the details of his works. His style and theme becomes a pioneer of Gerakan Seni Rupa Indonesia in the late 70â&#x20AC;&#x2122;s. He had received several awards, such as: General Award for The Arts from The Society for American Indonesia Friendship Inc. (1978), The International Visitorâ&#x20AC;&#x2122;s Program from USIS, USA (1981), Anugerah Adam Malik (1986), and Affandi Award (1993). Since the last two decades, Dede Eri Supria has developed fascinating paintings that amaze the Indonesian art aficionados. His works are rich in colors, forms, and lines which formed in careful fashion producing a pleasant and enjoyable picture. The picture sometimes drives the viewers to personally feel the situation as illustrated in canvas. Awards: 19 76 1978 1981 1986 1993 1997

The Partita Adhi Karya SSRI The General Award for the Arts, The Society for American-Indonesia Friendship The best work of the Jakarta Art Council Board Biennale Awards from Adam Malik (Indonesian 2nd Vice president) the Affandi Art Award First winner of the Phillip Morris Indonesia Arts Award

158 DEDE ERI SUPRIA (Jakarta, 1956) The Power of Red, 2015 Oil on canvas: 160 x 180 cm Signed and dated, lower left: Dede Eri Supria, 2015 This lot is accompanied with certificate of authenticity from the Artist SGD 15,000 - 20,000 USD 11,060 - 14,740

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Sunaryo Born in Banyumas, Central Java, 1943. Sunaryo studied at Bandung Institute of Technology (ITB) majoring Art Department in 1969 and continued to study marble carving for 7 months at Carrara, Italy in 1975. He is regarded as one of the abstract art pioneers in Bandung together with AD Pirous and Ahmad Sadali. Throughout his journey as an artist, Sunaryo has been exploring many subjects and materials for his art. He applied his art in various media from painting, sculpture, and installation. Sunaryo mixes figurative themes with abstract backgrounds using very refined color palette and graceful lines that show great technical mastery. He loves to use natural materials such as rattan, grass, bamboo, jute, canvas, nets and fibers in his multimedia. In processing his painting, he paints with his specific visual language. His works are dominated with lines and forms, mostly found in the use of white, brown, grey and black colors.

159 SUNARYO (Banyumas, 1943) Abstrak ,1997 Mixed media on canvas: 100 x 100 cm Signed and dated, lower right: Sunaryo97 SGD 13,500 - 18,000 USD 9,950 - 13,270

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160 WALLASE TING (Wuxi, China, 1929) The Horse Acrylic on paper lay on canvas: 24 x 38 cm Sealed, lower middle SGD 9,000 - 12,000 USD 6,630 - 8,840

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Walasse Ting was born in Wuxi, China in 1929. He learned at the Shanghai Art Academy, China. He was participated in several exhibition, such as “Rhapsody in Color: Abstract Art from the Permanent Collection”, Group Exhibition, Southern Alleghenies Museum of Art, Johnstown, USA (2004), “Painting and Sculpture from the Permanent Collection”, Group Exhibition, Southern Alleghenies Museum of Art, Altoona, USA (2003), “The Sizzling Palatte of Walasse Ting: Celebration the Year of Horse” Solo Exhibition, Alison Fine Arts, Hong Kong (2002), “Spring Drink, Flower Giggling” Solo Exhibition, Yibo Gallery, Shanghai, China (2002), The Catto Gallery, London, United Kingdom (2001).

161 OMAR YAHYA (B. 20TH CENTURY) Bersandar, 1969 Oil on board: 28 x 38 cm Signed and dated, lower left: Omar YH.1969 This lot is accompanied with verification letter from the Artistâ&#x20AC;&#x2122;s Family SGD 1,000 - 1,500 USD 740 - 1,110

162 DUAN ZHEN ZHONG Water Village Oil on canvas: 96 x 96 cm Signed in Chinese character, lower right SGD 3,500 - 5,000 USD 2,580 - 3,690 MASTERPIECE FINE ART - SINGAPORE

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Lee Man Fong Lee Man Fong was a successful commercial artist before engaged in full time painting in 1941. His successful exhibitions in Bandung and Jakarta made him a fast growing artist at that time. He received scholarship from the Dutch government to study painting in Holland (1946). In 1952 he returned to Indonesia and gained more credits as well as acknowledgement. He was officially become a presidential palace’s painter and chief curators of its collection in 1961 and compiled a 5 volume edition of President Sukarno’s art collection. He died in 1988 and remembered as a western vigorous painter and an oriental unique oil painting painter. Lee Man Fong was a famous painter who captures gold fishes in magnificent way. He was success to bring all the goldfishes illuminated by an almost mysterious glow of white sun radiance. The fishes swim freely in the aquarium filed with reefs and weeds that express harmonious life of the habitat. As to the Chinese philosophy, Gold fish is believed that the fish can bring rich and prosperity.

163 LEE MAN FONG (Canton, China 1913 – Singapore 1988) 9 Ikan Koki Oil on board: 102 x 50 cm Signed and stamped in chinese character, lower right SGD 45,000 - 70,000 USD 33,370 - 51,590

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164 ARIE SMIT (Zaandam, The Netherlands, 1916) A Temple Complex in Bali, 2006 Acrylic on canvas: 38 x 45 cm Signed and dated, lower left: Arie Smitâ&#x20AC;&#x2122;06 Signed, titled and dated on the reverse This lot is accompanied with certificate of authenticity from the Artist SGD 5,000 - 7,000 USD 3,690 - 5,160 184

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165 RUDOLF BONNET (Amsterdam, 1895 – 1978) Nude Pastel on paper: 97 x 56 cm Signed, lower right: R. Bonnet SGD 6,800 - 8,500 USD 5,010 - 6,260 Born in Amsterdam, 1895. He studied art at the Hendrick de Keijser-school, the Rijksschool voor Kunstnijverheid and the Rijksacademie in Amsterdam. He visited Indonesia in 1936 and stayed in Bali from 1931 – 1941. He helped establish the Museum Puri Lukisan and together with Walter Spies founded the Pita Maha Artist’s Association (1936). His works are amongst the collections of former President Soekarno, the Neka Museum, the Agung Rai Fine Art Gallery, the Rijksmuseum Kroller Muller Otterlo and the Sinerg Museum in Laren.

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Lee Man Fong Lee Man Fong was one of a rare artist who received honor by critics and collectors across Asia. Lee Man Fong arrived at Singapore at young age then later moved to Jakarta. He has shown great artistic talent since young. He participated in the Association’s First Art Exhibition invited by the head of the Dutch East Indies Associations (1931). His successful exhibitions in Bandung and Jakarta made him a fast growing artist at that time. He received scholarship from the Dutch government to study painting in Holland (1946). In 1952 he returned to Indonesia and gained more credits as well as acknowledgement. Lee Man Fong was one of a rare artist who received honor by critics and collectors across Asia. Lee Man Fong arrived at Singapore at young age then later moved to Jakarta. He has shown great artistic talent since young. He participated in the Association’s First Art Exhibition invited by the head of the Dutch East Indies Associations (1931). His successful exhibitions in Bandung and Jakarta made him a fast growing artist at that time. He received scholarship from the Dutch government to study painting in Holland (1946). In 1952 he returned to Indonesia and gained more credits as well as acknowledgement. Lee’s mastery at the blending of East and West in his oil paintings is not under question. His works remain highly sought-after and are found in both public and private collections internationally. Many of his works are strongly evocative of a peaceful, beautiful and poetic world. He acknowledges the love for life and respect for tradition in his paintings which depict people celebrating their cultural traditions, for example the Chinese New Year, a Dayak Dance, a Balinese dance or a religious ritual in community. Cairo (Africa) was one of the places he visited during his career beside Europe and Asia. Man Fong painted places he personally observed in his significant characteristic of Chinese style.

166 LEE MAN FONG (Canton, China 1913 – Singapore 1988) Cairo, 1978 Pastel on paper: 44 x 55.5 cm Signed and dated, lower left: Cairo 1978 SGD 18,000 - 25,000 USD 13,270 - 18,430

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167 PUTU SUTAWIJAYA (Bali, 1971) Jangan Jadi Jago Kandang, 2006 Mixed media on canvas: 110 x 90 cm Signed and dated, top left: Putu Sutawijaya 2006 Signed, titled and dated on reverse" SGD 5,000 - 7,000 USD 3,690 - 5,160 188

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Born in Bali, 1971. He studied at Sekolah Tinggi Seni Rupa Denpasar (STSR), Bali and continued his study to Indonesia Institute of Arts (ISI), Yogyakarta. He graduated from ISI in 1997. He had his solo exhibitions in Yogyakarta, Singapore, Hong Kong and Jakarta. He also participated in numerous group exhibitions since 1990 in Bali, Yogyakarta, Hong Kong, etc. He was awarded Best Watercolor and Sketch from ISI Yogyakarta (1991) and Best Painting from ISI Yogyakarta, Top Ten Paintings (1999) and Lempad Price from Sanggar Dewata Indonesia in 2000.

168 YEO HOE KOON Ancient Town, 1962 Oil on canvas: 95.5 x 65 cm Signed and dated, lower right: 1962 SGD 7,000 - 9,000 USD 5,160 - 6,630

169 AHMAD SADALI (Garut, West Java, 1924 - Bandung, 1987) Abstrak, 1985 Mixed media on paper: 44 x 39 cm Signed and dated, lower right: Sadaliâ&#x20AC;&#x2122;1985 SGD 5,000 - 7,000 USD 3,690 - 5,160

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170 LOW PUAY HUA, 刘培和 (b. 1945) Singapore River II Watercolour on paper: 75 x 55 cm Signed, lower left SGD 5,000 - 7,000 USD 3,690 - 5,160 Puay Hua graduated from the Nanyang Academy of Fine Arts, Singapore. He has held five solo exhibitions in Macau (1996), Malaysia (1992/97), Singapore (1975/87/97) and Taiwan (1985/88/90). He participated in selected group exhibitions in China, France, Hong Kong, Indonesia, Japan, Macau, Malaysia, Philippines, Singapore, Taiwan, United Kingdom and Vietnam. He was given the National Day Medal Award in 1979 and Silver Medal, Salon Des Artistes Francais, Paris in 1986. His works are among private and public collections in Singapore and overseas.

171 LIANG ZHEN KANG, 梁振康,竺摩题字 (b. Singapore,1951) Flowers Galore Coloured ink on paper: 68 x 139 cm Signed, top right corner: 梁振康，竺摩题字 SGD 3,500 - 5,000 USD 2,580 - 3,690

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172 ARIE SMIT (Zaandam, the Netherlands, 1916) Pohon Waringin (Banyan Tree), 1991 Acrylic on duplex paper 26 x 38 cm Signed and dated, lower left: arie smit 91 This lot is accompanied with certificate of authenticity from the artist SGD 6,000 - 8,000 USD 4,420 - 5,900

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Awang Damit Born in1956, Kuala Penyu (Sabah). Awang Damit is one of the renowned abstract expressionists in Malaysia. After graduating from UiTM in Fine Arts in 1983, he crafted his way into the Catholic University of America to Washington D.C., to obtain Masters in Fine Arts (1989). Awang Damit now lectures in UITM. He has held positions as the Curator of the Art Gallery and Head of the Fine Arts Department before being appointed an Associate Professor in 2000. His father was a fisherman in Sabah while his mother was a housewife. His love for arts started in the 70s when he travelled around Sabah to learn painting from various artists. His series of painting was inspired by his childhood experiences, working experiences and also his father’s background as a fisherman and farmer. While lecturing in UiTM, he completed the lauded series Marista (2002) and Iraga (2011). He also has started on his fourth series – Paya Ramahe – with a touch of modernity. His different styles of painting are what make people more attracted to his artwork. Awang Damit belongs to the second generation abstract expressionists in modern Malaysian art. This group widened the scope of their artistic expression turning landscapes and nature into a new set of visual language. In his paintings, everything is reduced to its essential elements, nothing superfluous or unnecessary retained. Colours are essential components. Immersed in a selection of earth colour, the master creates abstract spaces with his signature broad and daring brushstrokes. Awang’s non-representational painting, geometrical forms with diverse lines against subdivided background, is often unique and optimistic in spirit. Awang Damit has held various exhibitions both in groups as well as solo including the Bentuk and Makna by Galeri Seni FSSR (UiTM, 2000) and Intipati Budaya – Satu Sintesis show at the National Art Gallery (Kuala Lumpur, 1995). Awang Damit has also actively involved himself in shows abroad including in China, Taiwan, Japan and London.

173 AWANG DAMIT (b. Sabah, 1956) Payarama, Merah Hitam… Tanah Ini, 2013 Acrylic on canvas: 220 x 150 cm Signed, dated and titled, on the reverse: Awang Damit, Payarama, Merah Hitam… Tanah Ini, 2013 SGD 85,000 - 100,000 USD 62,650 - 73,700

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174 YAP HIAN TJAY (Surakarta, Central Java, 1927) Flower, 1994 Oil on canvas: 65 x 75 cm Signed and dated, lower right: JHT94 SGD 1,200 - 1,500 USD 880 - 1,100

175 LOW PUAY HUA, 刘培和 (b. 1945) Singapore River I Watercolour on paper: 73 x 52 cm Signed, lower left SGD 5,000 - 7,000 USD 3,690 - 5,160

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176 NASHAR (Pariaman, 1928-1994) Pegunungan, 1973 Acrylic on canvas: 64 x 94 cm Signed and dated, lower left: 15 Jan 73 SGD 4,000 - 6,000 USD 2,950 - 4,420

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178 EMIL RIZEK (Vienna, Austria,1901 – 1988) Vahsenkor, 1962 177 AYU ARISTA MURTI (Surabaya, 1979) Time To Wake Up, 2012 Mixed media on canvas: 149 x 196 cm Signed, titled and dated, lower right: Ayu Arista Murti, Ina,2012, Time to Wake Up This lot is accompanied with certificate of authenticity from the artist SGD 8,000 – 10,000 USD 5,900 – 7,370

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Oil on canvas: 63.5 x 77 cm Signed, lower right: Rizek Seattle Art Museum collection Eugene Fuller memorial collection Christie's Auction 24 Feb 15, Sale 3711, Lot 79 SGD 5,500 - 8,000 USD 4,050 - 5,900

179 GERARD PIETER ADOLFS (Semarang, 1899 â&#x20AC;&#x201C; The Netherlands, 1968) Chinese Antiquair, 1965 Oil on canvas: 30 x 40 cm Signed, lower left: Adolfs Signed and titled on the reverse Literature: Eveline Borntraeger-Stoll / Gianni Orsini, Gerard Pieter Adolfs, The Painter of Java and Bali 1898 - 1968, pg. 407 SGD 7,500 - 10,000 USD 5,530 - 7,370 MASTERPIECE FINE ART - SINGAPORE

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180 POPO ISKANDAR (Garut, 1927 â&#x20AC;&#x201C; Bandung, 2000) Kucing Hitam, 1990 Oil on canvas laid on board: 30 x 40 cm Signed and dated, lower right: Popo, 1990 SGD 3,000 - 5,000 USD 2,210 - 3,690

181 ABAS ALIBASYAH (Purwakarta, 1928) Wajah Misterius, 1962 Oil on canvas: 40 x 75 cm Signed, lower right: Abas Signed, titled and dated on the reverse SGD 1,800 - 2,500 USD 1,330 - 1,840

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182 FADJAR SIDIK (Surabaya, 1930 - 2004) Dinamika , 1992 Oil on canvas: 85 x 66 cm Signed and dated, lower left: Fadjar Sidik’ 92 This lot is accompanied with certificate of authenticity from the artist SGD 1,600 - 1,800 USD 1,180 - 1,330

183 ABDUL DJALIL “AD” PIROUS (Meulaboh, Aceh, 1932) Segitiga Pada Hamparan Emas, 2000 Mixed media on canvas: 70 x 50 cm Signed and dated, lower right: AD. Pirous, 2000 Signed, titled and dated on the reverse SGD 3,000 - 5,000 USD 2,210 - 3,690

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Index Of Artist

200

Abang Rahina

116

Djoko Pekik

Abas Alibasjah

181

Dr. Foo Yong Kong

Abdul Aziz

7, 96

Duan Zhen Zhong

162

Abdullah Suriosubroto

122

Dullah

2, 74, 132

Ad. Pirous

183

Emil Rizek

178

Affandi

80, 147

Endro

141

Agung Mangu Putra

11, 83, 130

Entang Wiharso

17, 124

Agus Djaya

77, 86

Ernest Dezentje

29, 106, 156

Agus Suwage

151

Fadjar Sidik

182

Ahmad Sadali

169

Frederick Kasenda

62, 72

Alimin Tamin

Fx. Harsono

127

Anak Agung Gede Sobrat

Gan Gu

137

Arie Smit

3, 20, 59, 71, 92,

Gerard Pieter Adolfs

1, 4, 179

123, 164, 172

Giordano Giovanetti

Artist Collaboration

105

Goh Beng Kwan

157

Awang Damit

173

Han Snel

Ayu Arista Murti

177

Hasan Djaafar

139

Bagong Kussudiarja

Hening Purnamawati

Basoeki Abdullah

Heri Dono

Batara Lubis

I Dewa Putu Mokoh

Bui Xuan Phai

I Gusti Agung Wiranata

Carel Lodewijk Dake, Jr

Irsam

6, 117

Chen Wen Hsi

15, 67, 119, 134

Itji Tarmizi

100

Chen Zhiguang

Jacob Dooijewaard

Cheng Haw Chien

Jean Francois Larrieu

Cheong Soo Pieng

John Vander Sterren

Chusin Setiadikara

115

Josephine Linggar

Dede Eri Supria

51, 158

Kartono Yudho Kusumo

153

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Koeboe Sarawan

43, 111

Salvador Dali

Koeh Sia Yong

52, 145

Saraochim Salim

Lee Hock Moh

135

Seah Kim Joo

Lee Man Fong

39, 79, 82, 133,

Siew Hock Meng

75, 148

140,150, 163, 166

Soedibio

155

Leo Eland

12, 58, 61, 64

Soetopo

110

Liang Zhen Kang

171

Srihadi Soedarsono

91, 126

Lie Tjoen Tjay

Sudarso

25, 97, 129

Lim Leong Seng

Sudjono Abdullah

107, 120

Low Puay Hua

144, 170, 175

Sunaryo

102, 159

Lucien Frits Ohl

Suparto

33, 36

M. Irfan

112

Tan Kian Por

Mohd Shaparel Bin Haji Salleh

21, 57

Tatang Ganar

Nashar

101, 176

Tatang Koentjoro

Nasirun

84, 125

Tay Bak Koi

Nyoman Erawan

Theo Meier

Nyoman Gunarsa

76, 114

Thomas Yeo

38, 66, 142

Omar Yahya

73, 118, 138, 161

Trubus Sudarsono

152

Ong Kim Seng

55, 108, 113

Ugy Sugiarto

Otto Djaya

14, 78

Walasse Ting

41, 50, 160

Popo Iskandar

19, 89, 180

Water Furlan

Putu Sutawijaya

143, 167

Widayat

18, 47, 104, 128

Rearngsak Boonyavanishkul

Willem Dooijewaard

13, 131, 136

Roedyat Martadiredja

5, 95

Willem Gerard Hofker

Rudolph Bonnet

165

Yap Hian Tjay

30, 121, 174

Rusli

103

Yeo Hoe Koon

168

Rustamadji

Zhang Xi Hua

70, 146

S. Sudjojono

109, 154

Zheng Yue-Bo

149 MASTERPIECE FINE ART - SINGAPORE

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