Traditional, Modern & Contemporary Art, Saturday, 28 July 2012 by PT. Balai Lelang Larasati

singapore, 28 July 2012

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IMPORTANT NOTICE

The

names of The arTisTs documenTed in

offered by larasaTi sTaff To a buyer in selecTing

This caTalog should noT be considered as

a loT To purchase is given wiThouT prejudice To

unqualified aTTribuTions To The arTisTs named.

The above.

unqualified

independenT professional advice on selecTion

aTTribuTions To any arTisT or daTe

have noT been inTended.

currenT scholarship in

The field of indonesian and

condiTions

buyers

business. any

assisTance

are recommended To Take

of purchases .

souTheasT asian arT

does noT permiT unqualified sTaTemenTs as To

auThorship or daTe of execuTion.

Therefore,

exchange flucTuaTions cause major differences

none of The properTy in This caTalog is subjecT

in values ThaT have been quoTed in This caTalog.

accepT no responsibiliTy should currency

To any guaranTee of auThenTiciTy and all of The properTy is sold imperfecTions,

“as is”

incompleTeness,

wiTh all

faulTs

and

errors of descripTion in accordance wiTh

T his

sale has been organized in close

cooperaTion beTween and

a nTique g roup .

l arasaTi

and

a rTs

ISBN 978-979-3774-32-9

Cataloguing-in-Publication Data

Traditional, Modern & Contemporary Art Larasati, Singapore, 28 July 2012 Jakarta, Indonesia: PT Balai Lelang Larasati 2012 pp. 21 x 27 cm includes index and biographies of artists I.Paintings - Asia. II. Painters - Asia. III. Title Copyright © 2012 PT Balai Lelang Larasati

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

AUCTION

Saturday, 28 July 2012 starting at 3 pm at Marriott Hotel Singapore Legacy Room, level 2 320 Orchard Road Singapore VIEWING

Thursday, 26 July 2012 Friday, 27 July 2012 Saturday, 28 July 2012

10.30 am - 8 pm 10.30 am - 8 pm 10.30 am - 1 pm

at ONE EAST Artspace 15 Scotts Road #05-08/09 Thong Teck Building Singapore

Sale Code

In sending written bids or making enquiries, this sale should be referred to as “BOGOR” The sale will be conducted in English. Bidding is carried out in Singapore Dollars. Please note that all US Dollar estimates are for reference only. US$ 1 = S$ 1.27 All sales are subject to the conditions printed in catalog and the buyer’s attention is drawn to this information.

in collaboration with:

Correspondence address: Singapore: Thong Teck Building 15 Scotts Road #05-08/09 Singapore 228218 t. +65 6737 2130 f. +65 6737 1859

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

i n f o @ l a ras at i.co m w w w. l a ras at i.co m Insights - Connections - Expertise

Guide for Prospective Buyers Buying at Auction The following pages are designed to give you useful information on how to buy at Larasati Muse Investments Pte. Ltd - herein referred to as LARASATI - fine art auction. Buyer’s Premium A buyer’s premium is payable by the buyer of each lot at a rate of 22% of the hammer price of the lot. GST at the appropriate rate is payable on the hammer price and premium. These charges are explained in detail under Larasati’s charges and GST at the back of this catalog.

1. BEFORE THE AUCTION Pre-sale Estimates The pre-sale estimates are intended as a guide for prospective buyers. Any bid between the high and the low pre-sale estimates would, in our opinion, offer a fair chance of success. However, all lots, depending on the degree of competition, can realise prices either above or below the pre-sale estimates. Reserves The reserve is the minimum price the seller is willing to accept below which the lot will not be sold. Condition of Lots Prospective buyers are encouraged to inspect the property at the pre-sale exhibition. Solely as a convenience, Larasati may provide condition reports. The absence of reference to the condition of a lot in the catalog description does not imply that the lot is free from faults or imperfections.

2. THE AUCTION Conditions of Business The Auction is governed by the Conditions of Business printed in this catalog. These Conditions of Business apply to all aspects of the relationship between Larasati and actual and prospective bidders and buyers. Anyone considering bidding in the auction should read them carefully. They may be amended by way of notices posted in the saleroom or by way of announcement made by the auctioneer. Bidding at Auction Bids may be executed in person by paddle during the auction, in writing prior to the sale or by telephone. All auctions are conducted in Singapore Dollars. Auction speeds vary, but usually average between 40 - 50 lots per hour. Consecutive and Responsive Bidding The Auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The Auctioneer may further bid on behalf of the seller, up to the amount of the reserve, by placing consecutive or responsive bids for a lot. Bidding Increments Bidding generally opens below the low estimates and advances in the following increments:

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

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

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

S$ S$ S$ S$

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

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

Successful Bids The fall of the auctioneer’s hammer indicates the final bid. The auctioneer will call out and record the name or “paddle” number of the buyer, if your written bid is successful, you will be notified immediately after the sale by post. Bidding may be reopened at the auctioneer’s discretion. Currency Conversion Bidding is carried out in Singapore Dollars, but Larasati may provide a currency conversion board in the saleroom for the convenience of bidders. Please note that figures shown in foreign currencies are only approximates and do not represent exact exchange rates. Payment will be requested in Singapore Dollars.

3. AFTER THE AUCTION Bidding in Person To bid in person at the auction, you will need to register for and collect a numbered paddle before the auction begins. Proof of identity will be required. The paddle is used to indicate your bids to the auctioneer during the sale. Should you be the successful buyer of any lot, please ensure that your paddle can be seen by the auctioneer and that it is your number that is called out. Should there be any doubts as to price or buyer, please draw the auctioneer’s attention to it immediately. All lots sold will be invoiced to the name and address in which the paddle has been registered and cannot be transferred to other names and addresses. Please do not mislay your paddle; in the event of loss please inform the Sales Clerk immediately. At the end of the sale, please return your paddle to the registration desk. Absentee / Written Bids If you cannot attend the auction, we will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalog. This service is free and confidential.Lots will always be bought as cheaply as is consistent with other bids, the reserves and Larasati’s commission. In the event of identical bids, the earliest bid received will take precedence. Always indicate a “top limit”- the hammer price to which you would bid if you were attending the auction yourself. “Buy” and unlimited bids will not be accepted. Telephoned absentee bids must be confirmed before the sale by letter or fax. Fax number for bids only: +65 6737 1859. To ensure satisfactory service to bidders, please ensure that we receive your bids at least 24 hours before the sale. Bidding by Telephone If you cannot attend the auction, it is possible to bid on the telephone on lots with a minimum low estimate of S$ 4,000. As the number of telephone lines is limited, it is necessary to make arrangements for this service 24 hours before the sale. We also suggest that you have a maximum bid which we can execute on your behalf in the event we are unable to reach you by telephone. Bilingual staff are available to execute bids for you.

Payment Payment must be made within seven calendar days of the sale and may be made by telegraphic transfer direct to Larasati Muse Investments Pte. Ltd.’s account at Hongkong and Shanghai Bank Corporation, Tanglin Branch, Singapore 229571. acct. No. 143-420180-001. Please include your name, Larasati’s account number and invoice number with your instructions to your bank. Payment can also be made in Singapore Dollars cash, Singapore Dollars banker’s drafts (drawn on a recognized Singapore bank). Although personal and company cheques are accepted, you are advised that property will not be released until such cheques have cleared. Collection Lots will be released to you or your authorized representative when full and cleared payment has been received by Larasati. Items retained will be covered by our insurance from the date of sale for a period of seven days or, if by then the goods have been collected, to the time of collection. After seven days or from the time of collection, whichever is the earlier, the lot will be entirely at the buyer’s risk. Storage and Insurance All purchases will initially be held for collection at the saleroom at no charge. Larasati provides insurance cover for a maximum of seven days after the sale. If purchases are not collected within the time stated in the catalog, they will be deposited in the warehouse and charges will be incurred. Packing and Handling We shall use all reasonable effort to take care when handling and packing a purchased lot but remind the buyer that after seven days or from the time of collection, the lot is entirely at the buyer’s risk. Shipping Shipping can also be arranged on your behalf. You can also instruct the shipper of your choice, either immediately after the sale, if you are attending or in writing on the instruction form sent with our invoice.

Sale Number :_______Paddle Number :_______ Sale Date

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BIDDER REGISTRATION FORM

(INVOICES CANNOT BE CHANGED ONCE THEY HAVE BEEN PRINTED) Bidders Details

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

Family Name : Address

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LARASATI Traditional, Modern & Contemporary Art (Singapore, 28 July 2012)

• I have read the conditions of business and notices printed in the sale catalog and agree to be bound by them. • I agree to be bound by notices announced by auctioneer or posted in the sale room by the way of notice. • I authorise Larasati to request bank references relating to the account(s) specified by me in the above. • I authorise Larasati to fax invoices to (fax) : __________________________________Signature___________________

Signature : __________________________________________ Date : ____________________________________ Bidders are reminded that the purchase price payable by the successful bidder shall be the aggregate of the final bid and a premium of 22% of the hammer price of each lot together with any goods and service tax chargeable thereon. Please note that a late charge is specified in the Conditions of Business in each catalogue and is subject to change without separate notice. PAYMENT FOR PURCHASE CAN BE MADE IN CASH, BANK TRANSFER OR CHEQUE IN FAVOUR OF LARASATI. GOODS CAN BE COLLECTED ONLY WHEN PAYMENT HAS CLEARED. LARASATI DOES NOT ACCEPT CREDIT CARDS AS PAYMENT FOR PURCHASE. AFTER THE HAMMER IS DOWN, LARASATI WILL NOT ACCEPT CANCELLATION.

LARASATI Correspondence address : Singapore: Thong Teck Building, 15 Scotts Road #05 - 08/09, Singapore 228218 Indonesia: Jl. Pasuruan no . 9, Menteng - Jakarta 10310 - Indonesia

Tel. +65 6737 2130

Fax. +65 6737 1859

Tel. +62 21 315 8636, 315 6110, +62 855 101 5778

Fax. +62 21 3989 9533

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CONTENTS guide for prospecTive buyers

bidder regisTraTion form

TradiTional, modern & conTemporary arT

index of arTisTs

biography of The arTisTs

absenTee / wriTTen bid form

guide for absenTee bidders

condiTions of business for buyers

condiTions of business for seller

saleroom & offices

Front Cover: lot 24, S. Sudjojono, Pemandangan di Pinggir Jalan Cipayung (View of the Roadside Cipayung) (detail) Back Cover: lot 53, Sunaryo Behind the Stage (detail)

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Singapore, 28 JULY 2012 starting at 3 pm LOT # 1 - 53

1 KRIJONO

(Jakarta, Indonesia, 1951 - 2011)

Ritual at Koesamba Beach

1999 oil on canvas 70 x 70 cm signed and dated (lower right), signed and inscribed on the reverse S$ 1,500 - 2,000 US$ 1,180 - 1,570 Literature: Agus Dermawan T., “The Flying Elephant, illustrated in colour, p. 154

2 ARIE SMIT

(b. Zaandam, The Netherlands, 1916)

Kerosene Lamp in Sanur

1984 acrylic on canvas 28 x 28 cm signed and dated (lower right) S$ 3,000 - 4,000 US$ 2,360 - 3,140 Literature: Agus Dermawan T., “ARIE SMIT”, illustrated in colour, p. 86

2 Insights - Connections - Expertise

3 3 ARIE SMIT

4 ARIE SMIT

Shinres and Tree

Landscape

(b. Zaandam, The Netherlands, 1916) 2007 acrylic on canvas 22 x 32 cm signed and dated (lower right), signed, dated, and inscribed on the reverse

(b. Zaandam, The Netherlands, 1916) 2007 acrylic on canvas 21 x 26 cm signed and dated (lower right), signed, dated, and inscribed on the reverse

S$ 4,000 - 5,000 US$ 3,140 - 3,930

S$ 3,500 - 4,500 US$ 2,750 - 3,540

This lot is accompanied with certificate of authenticity from NEKA ART MUSEUM, Bali, Indonesia.

5 ARIE SMIT

(b. Zaandam, The Netherlands, 1916)

The Red Earth of North Bali

1997 acrylic on canvas 32 x 36 cm signed and dated (lower right), inscribed, signed, and dated on the reverse S$ 4,500 - 6,000 US$ 3,540 - 4,720 Literature: Rudolf G. Usman, â&#x20AC;&#x153;ARIE SMIT - Enchanting Tropicsâ&#x20AC;?, Rudolf Studio, Ubud, Bali, 2000. Illustrated in colour, on the front cover of the book and p. 40.

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6 WINKLER, RICHARD

(b. Norrkoping, Sweden, 1969)

Sunset of the Paddies

1998 oil on canvas 60 x 80 cm signed and dated (lower right) S$ 8,000 - 11,000 US$ 6,290 - 8,660 Provenance: Private Collection, The Netherlands

7 WINKLER, RICHARD

(b. Norrkoping, Sweden, 1969)

The Spa

2000 oil on canvas 60 x 80 cm signed and dated (lower right) S$ 6,000 - 8,000 US$ 4,720 - 6,290 Provenance: Private Collection, The Netherlands

8 WINKLER, RICHARD

(b. Norrkoping, Sweden, 1969)

Passing Rice Paddies

2002 oil on canvas 70 x 95 cm signed and dated (lower right) S$ 8,000 - 11,000 US$ 6,290 - 8,660 Provenance: Private Collection, The Netherlands

9 WINKLER, RICHARD

(b. Norrkoping, Sweden, 1969)

Afternoon by the Sea

2001 oil on canvas 60 x 50 cm signed and dated (lower right) S$ 4,500 - 5,500 US 3,540 - 4,330 Provenance: Private Collection, The Netherlands

9 Insights - Connections - Expertise

10 NADERA, IDA BAGUS MADE

(Tegallinggah, Bali, Indonesia, 1905 - 1998)

Going to the Market

acrylic on canvas 73 x 89 cm signed (lower left), signed on the reverse S$ 1,500 - 2,000 US$ 1,180 - 1,570

11 SUKADA, I MADE

(Ubud, Bali, Indonesia, 1945 - 1982)

Boy with Bamboo Stick

tempera on canvas 90 x 70 cm signed and annotated in Balinese writing (upper right) S$ 800 - 1,200 US$ 629 - 940

12 ROEPET, I GUSTI MADE (early 20th century)

Kecak Dance

ink and aquarelle on paper 44 x 35 cm S$ 300 - 500 US$ 236 - 393

12 Insights - Connections - Expertise

13 IDA BAGUS MADE POLENG

(Peliatan, Bali, Indonesia, 1915 - 1999)

Harvesting

acrylic on canvas 50 x 56.5 cm signed (upper left) S$ 13,000 - 15,000 US$ 10,230 - 11,800 Provenance: Private Collection USA

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CONTEMPORARY ART

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14 ARIFIEN NEIF

(b. Surabaya, E. Java, Indonesia, 1955)

Sharing the Moments

1995 oil on canvas 70 x 60 cm signed and dated (lower left) S$ 7,000 - 9,000 US$ 5,510 - 7,080

15 ARIFIEN NEIF

(b. Surabaya, E. Java, Indonesia, 1955)

Bathing Together

1998 oil on canvas 60 x 70 cm signed and dated (lower left), inscribed on the reverse. S$ 7,000 - 9,000 US$ 5,510 - 7,080

16 ARIFIEN NEIF

(b. Surabaya, E. Java, Indonesia, 1955)

Tragedy

1987 oil on canvas 90 x 90 cm signed and dated (lower right) S$ 10,000 - 12,000 US$ 7,870 - 9,440

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17 NASIRUN

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

Untitled

1997 acrylic on canvas 90 x 145 cm signed and dated (lower right) S$ 8,000 - 11,000 US$ 6,290 - 8,660

18 SUWAGE, AGUS

(b. Purworejo, C. Java, Indonesia, 1959)

Untitled

mixed media on paper 30 x 20 cm signed (lower left) S$ 1,200 - 1,500 US$ 940 - 1,180

19 MANGU PUTRA, I GUSTI AGUNG (b. Sangeh, Bali, Indonesia, 1963)

Ikan Yang Tersisa

2002 acrylic on canvas 90 x 120 cm signed and dated (lower right), inscribed and signed on the reverse S$ 12,000 - 15,000 US$ 9,440 - 11,800

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INDONESIAN MODERN MASTERS

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20 KERTON, SUDJANA

21 AFFANDI

Road to Danbury

Perahu Kusamba

(Bandung, W. Java, Indonesia, 1922 - 1993) watercolour on paper 21 x 28 cm titled and signed (lower right) S$ 700 - 1,200 US$ 550 - 940 Certificate of authenticity is available upon additional charge by Sanggar Luhur

(Cirebon, W. Java, Indonesia, 1907 - Yogyakarta, Indonesia, 1990) 1973 oil on canvas 49 x 66 cm signed and dated (lower right) S$ 25,000 - 30,000 US$ 19,680 - 23,620

“Affandi’s unusual personality and choice of vocation combined with his energetic but undeniable charisma to create a life which took on the stature of legend even in his own time. The widespread attention he received in the media caused people of all walks of life, urban and rural, Indonesian and foreign, to recognize his name and face and to make the pilgrimage to his colourful, self-built museum in Yogyakarta.” – Astri Wright – Excerpts from a text by Astri Wright in the book Soul, Spirit, and Mountain: Preoccupation of Contemporary Indonesian Painters, 1994.

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22 WIDAYAT

(Kutoardjo, C. Java, Indonesia, 1919 - Jakarta, Indonesia, 2002)

A Walk under the Flamboyant

2001 oil on canvas 90 x 102.5 cm signed and dated (lower left), inscribed on the reverse S$ 27,000 - 35,000 US$ 21,250 - 27,550

“A painting of quality does not merely show off its surface beauty; what is important is that it reveals the depth of its content … it must be filled with meaning. … I am a great admirer of primitive art, which is always loaded with magical and meaningful elements…and if an art critic from the Philippines calls my work magic-decorative, I fully agree with such a description.“ – Widayat – Excerpts from a text by Astri Wright in the book Soul, Spirit, and Mountain: Preoccupations of Contemporary Indonesian Painters, Oxford University Press, Kuala Lumpur, 1994, p. 96.

23 SRIHADI SOEDARSONO

(b. Solo, C. Java, Indonesia, 1931)

Krakatau

1984 oil on canvas 100 x 200 cm signed and dated (upper right), inscribed, signed, and dated on the reverse S$ 65,000 - 80,000 US$ 51,180 - 62,990

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24 S. SUDJOJONO

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

Pemandangan di Pinggir Jalan Cipayung (View of the Roadside Cipayung) 1974 oil on canvas 60 x 88 cm

S$ 40,000 - 60,000 US$ 31,490 - 47,240 Provenance: Acquired directly from the artist by present owner in mid 1980s. Literature: Ajip Rosidi, “PELUKIS S. SUDJOJONO”, PT. Dunia Pustaka Jaya, Bandung, 2000. Illustrated in colour, p. 30.

Sudjojono’s landscape work should not be viewed merely as a lyrical representation of the nature. In the context of his leading role in expounding the Modernist movement and his vehement attack on the Mooi Indie school (Beautiful Indonesia) which he felt was hindering the progressive tendencies in the development of Indonesian Art as artists, indigenous of foreign, continued to emphasized only the beautiful landscape or women, clearly demonstrating a ‘hierarchy of aesthetics’ in the choice of subject-matters. To him, the practice of painting only pretty landscape and other ‘acceptable’ themes is an insincere idealization of reality. To be truthful to oneself as an artist and to the subject is the only solution to Sudjojono as he states “Every artist must take as his starting-point his own nature. An artist must be courageous in all things, especially when it comes to offering his ideas to the world, even if he does not receive any public recognition at all… Each and every artist must embody these two qualities, truth and beauty. Not beauty in the sense of recognized by the public at large, but from the point of view of aesthetics as understood by the artist himself.” – Excerpts from a text by Astri Wright, from the book Soul, Spirit, and Mountain: Preoccupations of Contemporary Indonesian Painters, Oxford University Press, Kuala Lumpur, 1994, p. 157.

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LE PHO

25 LE PHO

26 LE PHO

In the Garden

Les Seringas et La Femme

(North Vietnam, 1907 - 2001) oil on canvas 38 x 45.5 cm signed (lower right)

(North Vietnam, 1907 - 2001) oil on canvas 33 x 41 cm signed (lower right)

S$ 7,000 - 9,000 US$ 5,510 - 7,080

S$ 6,500 - 8,000 US$ 5,110 - 6,290

Provenance: Anonymous Sale, Sothebyâ&#x20AC;&#x2122;s Singapore, 3 October 1999, lot no.143

Provenance: Wally Findlay Galleries, Inc., Palm Beach, Florida, USA

“From 1950s onwards, Le Pho’s pallete becomes lighter. The painter adopts the manner of the sketch, or rather of the outline. His pictures are ‘boneless’. They have no linear scaffolding. Contact with Bonnard’s work played a decisive role in the evolution of the artist. Le Pho began to paint in oil on canvas. He achieved a harmonious synthesis between Chinese painting and Impressionism, or rather Post-Impressionism. If he retains his nostalgia for the country of a thousand flowers, if his figures are modeled from the same stuff as the air which envelopes them and blurs their outlines, if he devotes himself to translating light, that soul of all painting, he never ceases to be himself.” (Waldemar George in “Le Pho: The ‘Divine Painter’”, le-pho, Wally Findlay Galleries International, Inc. United States, p. 4.)

Photo courtesy of: Wally Findlay Galleries International, Inc.

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INDO-EUROPEAN PICTURES

RUDOLF BONNET

27 BONNET, JOHAN RUDOLF Self-portrait

The graceful, the elegance and the beautiful, these are the prevalent qualities for the works of Bonnet. It is a constant yearning for the artist to portray the people in the noblest form for eternity. Having spent some time in Florence where he is known to have been painting incessantly, the influence of the Italian masters was evident in the works of Bonnet, manifesting in his accentuation of the grandeur and elegance of people.

S$ 600 – 800 US$ 470 - 620

Apart from its beautiful people and breathtaking scenery, the rich ritualistic and ceremonial setting of Bali gives Bonnet the perfect grand stage as he depicts his ‘performers’. For his perfect delineation of the characters and the impeccable arrangement of the people and their settings, always give the finished work a dramatic and theatrical mood, befitting the lofty aspiration of the artist – to ensure the records of the people is ‘preserved on its classical state’.

(Amsterdam, The Netherlands,1895 - Laren, The Netherlands,1978) 1946 mixed media on paper 25.5 x 18.2 cm signed (lower left), annotated and dated (upper right)

The profiles of his beautiful sitters be it male or female are amongst the favourites renditions of the artist. This penchant for the delineation of human forms could be dated back to Bonnet’s Italian period where certainly the classical Greek sculptures and Renaissance works have made a great impression on the artist. The beauty of the sitters are certainly the most inspiring elements for the artist who depicts gentle features of the girls with a emotive hands that alludes the Balinese beauties to classical Greek sculptures. Insights - Connections - Expertise

28 BONNET, JOHAN RUDOLF

29 BONNET, JOHAN RUDOLF

Portrait of a Woman

Portrait of a Young Boy

(Amsterdam, The Netherlands,1895 - Laren, The Netherlands,1978) 1953 pastels on paper 56 x 40 cm signed and dated (upper right) S$ 28,000 - 38,000 US$ 22,040 - 29,920

(Amsterdam, The Netherlands,1895 - Laren, The Netherlands,1978) 1950 pastels on paper 60.5 x 48.5 cm signed (upper right), annotated and dated (upper left) S$ 18,000 - 28,000 US$ 14,170 - 22,040

Provenance: Acquired by the previous owner from Mr. Suteja Neka, Bali, Indonesia. Insights - Connections - Expertise

30 WICHERS, HENDRIK AREND LUDOLF (HAL)

(Tarutung, W.Sumatra, Indonesia, 1893 - Nijmegen, The Netherlands, 1968)

Seeking the shade on a warm day on the beach 1949 oil on board 29.8 x 39.8 cm signed and dated (lower right) S$ 1,000 - 1,500 US$ 780 - 1,180

31 IMANDT, WIHELMINUS JEAN FREDERIC (St. Jansteen, The Netherlands, 1882 - The Hague, The Netherlands, 1967)

View of cliffs at Bantimurung, Sulawesi oil on canvas 64 x 85 cm signed (lower left), titled on the stretcher S$ 600 â&#x20AC;&#x201C; 800 US$ 470 - 620

32 OHL, LUCIEN FRITS

33 DAKE JR., CAREL LODEWIJK

Working the Field

The Paddy Fields by Dawn

(Sumatra, Indonesia, 1904 - The Hague, The Netherlands, 1976) oil on board 40 x 59.8 cm signed (lower right) S$ 1,000 - 1,500 US$ 780 - 1,180

(Schaerbeek, Belgium, 1886 - Jakarta, Indonesia, 1946) oil on canvas 70 x 106 cm signed (lower left) S$ 600 - 800 US$ 470 â&#x20AC;&#x201C; 620

33 Insights - Connections - Expertise

34 ELAND, LEONARDUS JOSEPH (LEO)

(Salatiga, C. Java, Indonesia,1884 - The Hague, The Netherlands, 1952)

The Pass to Toba heights and the Road from Medan to Brastagi oil on canvas 40.2 x 50 cm signed (lower left) S$ 1,200 - 1,500 US$ 940 - 1,180

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

The Road to Sibolga with a View of the Bay of Tapanuli oil on canvas 45.5 x 60.6cm signed (lower left) S$ 700 - 900 US$ 550 - 700 Provenance: Private Collection, The Neterlands

36 ELAND, LEONARDUS JOSEPH (LEO)

(Salatiga, C. Java, Indonesia,1884 - The Hague, The Netherlands, 1952)

Leaving the Villa in Carts with Buffalos oil on canvas 60 x 90 cm indistinctly signed (lower right) S$ 1,200 - 1,500 US$ 940 - 1,180

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37 VAN DER DOES, WILLEM JAN PIETER

(Rotterdam, The Netherlands, 1889 - Zeist, The Netherlands, 1966)

Women Carrying the Goods 70 x 100 cm signed (lower left)

S$ 8,000 - 11,000 US$ 6,290 - 8,660

38 BASOEKI ABDULLAH

(Solo, Indonesia, 1915 - Jakarta, Indonesia,1993)

The Fruit Market

1954 oil on canvas 69.9 x 52.8 cm signed and dated (lower left) S$ 6,000 - 8,000 US$ 4,720 - 6,290 Insights - Connections - Expertise

39 HAURE, JEAN-PHILIPPE (b. Orleans, France, 1969)

Iâ&#x20AC;&#x2122;ve Got Dreams to Remember

2012 gouache, mixed media, gold leaf, on paper laid on canvas. 79 x 107 cm signed and dated (lower right), signed (on the reverse) S$ 4,000 - 6,000 US$ 3,140 - 4,720 This lot is accompanied with certificate of authenticity from the artist.

40 DOOIJEWARD, WILLEM

(Amsterdam, The Netherlands, 1892 - Blaricum, The Netherlands,1980)

Portrait of a Balinese Man oil on canvas laid on board 50 x 35 cm signed (lower left) S$ 5,000 - 7,000 US$ 3,930 - 5,510

41 SIEW HOCK MENG (b. Malaysia, 1942)

Seated Balinese Man

1991 pastels on paper 63 x 47 cm signed and dated (lower left) S$ 8,000 - 11,000 US$ 6,290 - 8,660 Provenance: Anonymous sale, Christieâ&#x20AC;&#x2122;s Singapore, 3 October 1999 Insights - Connections - Expertise

42 GOTH, CHARLOTTE (SARIKA)

(Vienna, Austria, 1900 - Veere, The Netherlands, 1992)

A Legong Dancer

1931 oil on canvas glued on board 67 x 50 cm signed and dated (lower right) S$ 2,500 - 3,500 US$ 1,960 - 2,750 Literature : Haks & Maris. Lexicon of Foreign Artists who Visualized Indonesia (1600 - 1950). illustrated in colour, p. 466

43 CRISTIANO, RENATO (b. Rome, Italy, 1926)

Portrait of a Balinese Girl oil on board 50 x 32 cm signed (lower left)

S$ 3,500 - 5,000 US$ 2,750 - 3,930

44 BLANCO, ANTONIO MARIA

(Manila, Philippines, 1911 - Bali, Indonesia, 1999)

Balinese Fantasy

water colour on paper 36 x 36 cm S$ 18,000 - 23,000 US$ 14,170 - 18,100 Provenance: Previously in the collection of Henry Ringer Estate, Belgium

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45 SONNEGA, AUKE CORNELIS

(Leeuwarden, The Netherlands, 1910 - The Hague, The Netherlands, 1963)

Balinese Dancer

oil on canvas 38.7 x 31.4 cm signed and dated (lower left) S$ 12,000 - 15,000 US$ 9,440 - 11,810 Provenance: Private Collection, The Netherlands

46 ADOLFS, GERARD PIETER

(Semarang, C. Java, 1897 - Den Bosch, The Netherlands, 1968)

Sculptor

1949 oil on canvas 41 x 33 cm signed with pseudonym, titled and dated on the reverse S$ 4,000 - 5,000 US$ 3,140 - 3,930 Provenance: Private Collection, Sweden Insights - Connections - Expertise

47 LE MAYEUR DE MERPRES, ADRIEN-CHARLES (Brussels, Belgium, 1844 - 1923)

Seascape

oil on canvas 148 x 105 cm S$ 8,000 - 10,000 US$ 6,290 - 7,870 This lot has been authenticated by Chatinka Huizing from Fountain Art Foundation, The Netherlands

Adrien-Charles Louis Leopold Le Mayeur de Merpres was active as a painter and an etcher. Although he depicted some landscapes, views of rivers or surrounding villages, Charles Le Mayeur is principally known as a marine painter. The major part of his works consists of seascapes, painted at the Belgian coast in De Panne, Niewpoort and Ostend. He was a pupil of Isodore Meyers together with Frans Courtens. It was under Meyer’s guidance that he painted his first marine paintings. In Adrien-Charles Le Mayeur’s seascapes, it is clearly visible that he studied the waves and knew hoe to depict it accurately. The whole surface of water in his canvases is filled with a clear structure of waves. The combination with his typical large and wide skies made his art become grandiose. Adrien-Charles Le Mayeur already was famous during his lifetime as the poet of the sea. His refined impressions were born out of an accurate observation between water and sky. From 1877 onwards, Charles Le Mayeur gave more attention to the role of the light. This brought more balance in his works as his seascapes were flooded with light, air and atmosphere. Adrien-Charles Le Mayeur is considered as one of the best Belgian painters of the sea. From his marriage with Louisa Marie Agusta de Bosch, he had two children, one of whom is Adrien Jean Le Mayeur de Merpres,who also shared the same passion on painting with his father and went on various journeys before settling in Bali and married Ni Pollok.

Adrien Le Mayeur de Merprès (Sr.) Ships at Sea oil on canvas 105 x 150 cm signed bottom left, verso: ‘Namur […] en trois tableaux Le Mayeur père. Collection Family Motte, Belgium

Source: Drs. Jop Ubbers, M.A./Drs. Cathinka Huizing, M.A., 1880 – 1958, Adrien Jean Le Mayeur de Merprès, Painter-Traveller/Schilder-Reiziger, Pictures Publishers Art Books, Wijk en Aalburg/The Netherlands, 1995, p. 12

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48 LE MAYEUR DE MERPRES, ADRIEN JEAN (Brussels, Belgium, 1880 - 1958)

Portrait of Seated Ni Pollok charcoal and crayon on paper 24.7 x 20 cm signed (lower left) S$ 3,000 - 4,000 US$ 2,360 - 3,140

Provenance: Previously on the collection of Nico Eisenloeffel, Amsterdam

49 HOFKER, WILLEM GERARD

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

Two Balinese Beauties in the Temple 1948 etching 55 x 26 cm inscribed and dated (lower left) S$ 650 - 850 US$ 510 â&#x20AC;&#x201C; 660

50 SONNEGA, AUKE CORNELIS

(Leeuwarden, The Netherlands, 1910 - The Hague, The Netherlands, 1963)

Two Young Balinese Girls with Flowers in Their Hair 1956 oil on canvas 27.2 x 60.4 cm signed and dated (lower right) S$ 25,000 - 35,000 US$ 19,680 - 27,550

Literature: Didier Hamel, AUKE SONNEGA - Artist Of The Enhanting Tropics, Hexart Publishing, Jakarta, 2011. Illustrated in colour, p. 175

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DANCING FOR THE GODS

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51 SRIHADI SOEDARSONO

(b. Solo, C. Java, Indonesia, 1931)

Dinamika Legong

1995 oil on canvas 100 x 100 cm signed (upper right), inscribed, signed, and dated (on the reverse) S$ 50,000 - 70,000 US$ 39,370 - 55,110

“Colour is used to convey the emotional intensity of a person’s feelings and temperament. One’s ability to perceive the expressive power of colour is not only innate and personal, it is also determined by one’s culture. One may use colour freely or endow it with a cultural message. In my works, I blend the two approaches. I am strongly inspired by the colours from my Indonesian background, but I reinterpret them through a subliminal process that belongs to me and me alone.” 1 “A work of art is the expression and reflection of the ‘visible spirit’ of the artist while color is used to convey emotional sensation. So I use colors to represent the essence of what I see.” 2 _________________________________________________________________________________________________________________ 1

Srihadi Sudarsono in The Path of the Soul, A Retrospective of the Artist’s Career, The Lontar Foundation, Indonesia, 2003, pages 105 – 106

Srihadi Sudarsono, as told to Sonia Kolesnikov-Jessop in Art: At 73, New Horizons For An Artist, International Herald Tribune, Wednesday, February 9, 2005.

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52 SRIHADI SOEDARSONO

(b. Solo, C. Java, Indonesia, 1931)

Melasti - Praying for Love and Peace

2011 oil on canvas 150 x 150 cm signed and dated (upper right), inscribed, and signed (on the reverse) S$ 90,000 - 120,000 US$ 70,860 - 94,480

“The formal structure of Srihadi’s work is very simple; the composition of most of his paintings is organized either by a horizontal or a vertical axis. The horizon refers to nature and the cosmos, and the vertical to man. Paintings in the Horizon series are almost perfectly linear, save for their colour detailing or the minute irregularities in layering. Similarly, the figures of most of the dancers are upright, except for the hair, arms, and clothes that subtly divert the eye from the perfect axis. Within the core of these two simple axes, however, emerges a complex micro-versus-macro dialectic of repetition and symmetry, this time formally produced as vertical and horizontal waves. This is the visual equivalent of the iconographic dialectic outlined above: at the macro level, between the lines of the sea, sky, and land, or between the dancers; at the micro level, between their components, such as arms and headdresses; and finally between the macro and micro elements, in an intersection of all these- a small flower contrasted against a large white corset, or flowers scattered on the ground. This is achieved in a manner that is neither stiff nor repetitive. A small details – a rock, a tuft of grass, foam – always break the regularity of the symmetry and brings a subtle modulation of form and colour to the whole. In short, Srihadi’s paintings are constructed with a well-coordinated, multidimensional modulation of elements within a strong framework.” – Jean Couteau, Srihadi Soedarsono: The Path of the Soul, Lontar Foundation, Jakarta, 2003, p. 105.

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53 SUNARYO

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

Behind the Stage

2012 mixed media on canvas 150 x 250 cm signed and dated (lower right) S$ 130,000 - 180,000 US$ 102,360 - 141,730

“The habit and rituals practiced by traditional dancers in their dressing rooms while preparing their stage performance have inspired me to think of a concept about the ideal and desired social life of contemporary society, namely the establishment of cooperation, tolerance and respect for one another, even though ongoing modernization and globalization reach every corner of the world and cause such traditional values to vanish. I wish for spiritual unity in viewing the future; a situation that is far from violence; and, collective spirit to build peace by respecting the values of humanity.” – Sunaryo, 2007

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INDEX OF THE ARTISTS Adolfs, Gerard Pieter Affandi Arie Smit Arifien Neif

46 21 2, 3, 4, 5 14, 15, 16

Basoeki Abdullah Blanco, Antonio Maria Bonnet, Johan Rudolf

38 44 27, 28, 29

Cristiano, Renato

Dake Jr., Carel Lodewijk Dooijeward, Willem

33 40

Eland, Leonardus Joseph (Leo)

34, 35, 36

Goth, Charlotte (Sarika)

Haure, Jean-Philippe Hofker, Willem Gerard

39 49

Ida Bagus Made Poleng Imandt, Wilhelminus Jean Frederic Le Mayeur de Merpres, Adrien-Charles Le Mayeur de Merpres, Adrien-Jean Le Pho

13 31 47 48 25, 26

Kerton, Sudjana Krijono

20 1

Mangu Putra, I Gusti Agung

Nadera, Ida Bagues Mau Nasirun

10 17

Ohl, Lucien Frits

Reopet, I Gusti Made

S. Sudjojono Siew Hock Meng

24 41

Sonnega, Auke Cornelis Srihadi Soedarsono Sukada Sunaryo Suwage, Agus van der Does, Willem Jan Pieter Wichers, Hendrik Arend Ludolf (Hal) Widayat Winkler, Richard

45, 50 23, 51, 52 11 53 18 37 30 22 6, 7, 8, 9

BIOGRAPHIES OF THE ARTISTS Adolfs, Gerard Pieter (Semarang, C. Java, Indonesia, 1897 - Den Bosch, The Netherlands, 1968) Adolfs studied architecture in The Netherlands. He returned to Indonesia in 1922 and then lived in Surabaya. He held a solo exhibition at Hotel des Indes in Jakarta, 1938. He later traveled extensively in Asia, Europe and Africa, including Japan, Rome and the Middle East. He finally settled in The Netherlands, where he died in 1968. Affandi (Cirebon, W. Java, Indonesia, 1907 - Yogyakarta, Indonesia, 1990) Affandi was essentially self-taught. During the Japanese Occupation he was involved in POETERA / People’s Activity Centre. Moving to Yogyakarta during the Revolution, he participated in revolutionary activities and helped to set up Seniman Masjarakat / People’s Painters in 1946. He co-founded Pelukis Rakyat / People’s Painters with Hendra Gunawan in 1947. A scholarship to the art school of Santiniketan University took him and his family to India in 1949. Following this they proceeded on an extensive tour of Europe before returning to Yogyakarta in 1954 when he became a lecturer at ASRI / Indonesian Academy of Fine Arts. He participated in the Sao Paolo Biennial II in 1953 and represented Indonesia at the Venice Biennial in 1954. Affandi went to Honolulu in 1967 as part of the first East-West Centre Artist-in-Residence programme, where he painted his first fresco. He received an Indonesian Art Award from the Ministry of Education and Culture (1969), and was honoured by the University of Singapore with a Doctor Honoris Causa of Letters (1974) for his contribution to art. He also received the Dag Hammarskjoeld Prize from Italy (1977) and Indonesian Government Gold Medal (1978). Arie Smit (b. Zaandam, The Netherlands, 1916) He was trained at the Academy of Arts in Rotterdam, and arrived in Indonesia in 1938 as a soldier in the Dutch Colonial Army.&nbsp; He obtained his Indonesian citizenship in 1951. From 1950-1956 he taught painting at ITB / Bandung Institute of Technology. In 1956 he moved to Bali, and has lived and painted there ever since. He has had solo exhibitions in Bandung, Jakarta, Palembang, Balikpapan, Jakarta, Singapore and Honolulu, USA. In 1992 he received a Gold Medal Dharma Kusuma award from the Balinese provincial government for his contribution to the development of Balinese painting. Arifien Neif (b. Surabaya, E. Java, Indonesia, 1955) He moved to Jakarta in the 1970s. Interested in interior design and old colonial architecture, it was only in the mid-1980s that he began painting professionally. He was inspired by the works of artists such as Sudjojono, Matisse, Chagall and Bosch. He has participated in exhibitions in Indonesia, Singapore and USA. Basoeki Abdullah (Solo, Indonesia, 1915 - Jakarta, Indonesia, 1993) Basoeki Abdullah was the brother of Sudjono Abdullah, and second son of painter Abdullah Suriosubroto, a prominent landscape painter. In 1933 he studied at the Academie voor Beeldende Kunsten in The Hague and afterwards he visited Paris and Rome. He continued to study under the painter Schumacher upon his return to Indonesia. His work has been exhibited in Indonesia, Thailand, Malaysia, Japan, The Netherlands, England and Portugal. Blanco, Antonio Maria (Manila, The Philippines, 1911 - Bali, Indonesia, 1999) He studied at the Fine Arts Academy in New York, and was later professionally based in Florida and California. He has been honoured by several international art organizations. His awards include the Tiffany Fellowship, New York; La Cofradia del Arrios, Spain; and Chevalier du

Sahanetrei from Norodom Sihanouk of Cambodia. He lived in Ubud, Bali from 1952 until his death in 1999. Bonnet, Johan Rudolf (Amsterdam, The Netherlands,1895 - Laren, The Netherlands,1978) Studied painting at the Hendrick de Keijserschool, the Rijksschool voor Kunstnijverheid, and the National Academy of Fine Arts, Amsterdam. Bonnet first came to Bali in 1929, and later introduced Western artistic conventions of anatomy and proportion to Balinese artists. He cofounded the Pita Maha artists’ association in 1936. With Cokorda Gede Agung Sukawati, he established the Puri Lukisan Museum in Ubud in 1953. In 1972 he founded the Ubud Painters Group. In 1977 he became the first foreigner to receive the Dharma Kusuma Art Award from the Provincial Government of Bali and was posthumously recognized with the Satya Lencana Kebudayaan Cultural Award from the Indonesian Government in 1980. Cristiano, Renato (b. Rome, Italy, 1926) He studied at the Art Academies of Rome and Paris in the 1940s. He also studied anthropology and was interested in archaeology. He lived in Bali from 1955 to 1965, and later returned to Rome with his wife, a Balinese dancer. He had solo exhibitions in Jakarta in 1997, 1998, 1999 and 2001 and in Bali in 1996. Dake Jr., Carl Lodewijk (Schaerbeek, Belgium, 1886 - Jakarta, 1946) He studied painting from E. Piter and H. M. Krabbe in Laren, the Netherlands. He went to Indonesia in 1912 and travelled through the country. He painted scenes in Java, Bali and Sumatra. From Indonesia, he travelled to many countries, including Thailand and Cambodia. His depictions of the ancient ruins of Angkor Wat are among his impressive paintings. In 1915, he was appointed to create the Indonesian diorama displayed at the World Fair in San Francisco, USA.. Dooijewaard, Willem (Amsterdam, The Netherlands, 1892 - Blaricum, The Netherlands,1980) He was educated at the Rijksschool voor Kunstnijverheid in Amsterdam and was later taught by Roland Strasser. He first visited Indonesia in 1913 where he worked on a plantation in Sumatra. His second trip to Indonesia in 1919 brought him to Bali, where he met Roland Strasser, an Austrian artist. Together with Strasser, he spent over a year traveling through China, Mongolia, Japan and North Africa. He participated in group exhibitions in Indonesia from 1918-1932, and had solo exhibitions in Indonesia (1932 & 1992) and The Netherlands (1962). Eland, Leonardus Joseph (Leo) (Salatiga, C. Java, Indonesia, 1884 - The Hague, The Netherlands, 1952) Self-taught artist who lived and worked in Indonesia until 1920, visiting Sumatra, Java, Sulawesi, Bali and other islands. He participated in several exhibitions organized by the Bataviasche Kunstkring. He settled in The Hague in 1920, and later returned to Indonesia for a brief period in 1929 to prepare some huge Indonesian dioramas he made for several World Fairs. His work was selected for the International Colonial Exposition in Paris in 1931. Goth, Charlotte (Sarika) (Vienna, Austria, 1900 - Veere, The Netherlands, 1992) Of Hungarian origin, she was a pupil of arts in academy of arts in the Hague and was taught by H. Hofman in Munich (Germany) and by A. Lhote in Paris. There is no evidence that the artist ever visited Indonesia, however there are some paintings by her hand depicting Indonesia. Painter and draughtsman in a subtle realistic style Insights - Connections - Expertise

Haure, Jean-Philippe (b. Orleans, France, 1969) Graduated from Ecole Boulle of Paris, he has been a teacher of furniture design at the Catholic School in Gianyar, Bali, since1991. He is also skilled in photography and painting. He has a close relationship with the royal family of Abian Base, Gianyar, and his work reflects his love of Bali. Hofker, Willem Gerard (The Hague, The Netherlands, 1902 Amsterdam, The Netherlands, 1981) He studied at the Academy of Arts in The Hague and the Academy of Fine Arts in Amsterdam. Hofker arrived in Indonesia in 1938, visited Batavia, Bandung, Bogor and Bali. He lived in Bali 1938-1944 with his wife Maria Hofker-Reuter who was also a painter. During World War II he was interned by the Japanese and put in a camp. Some of the works he made there were shown in the exhibition Nederlanders in Japanse Kampen held in several cities in The Netherlands in 1975 and 1976. Hofker returned to the Netherlands in 1946. In 1978, he published part of his Balinese series: Bali Gezien door Willem Hofker, which is dedicated to his best friend Rudolf Bonnet. Ida Bagus Made Poleng (Peliatan, Bali, Indonesia, 1915 - 1999) He was born into a family of artists. His father, Ida Bagus Kembeng, was a well-known Balinese painter. Ida Bagus Made studied painting with Rudolf Bonnet, and was a member of the Pita Maha artists’ society. He received the Dharma Kusuma Award from the Balinese government in 1980. His works can be found at Taman Budaya (Denpasar, Bali), Tropenmuseum (Amsterdam, Holland), Rijksmuseum voor Volkenkunde (Leiden, Holland). Imandt, Wihelminus Jean Frederic (St. Jansteen, The Netherlands, 1882 - The Hague, The Netherlands, 1967) Imandt went to Indonesia in 1908, where he lived and worked as a painter and drawing teacher at secondary schools. He traveled all over the archipelago, and participated in several exhibitions organized by the Bataviasche Kunstkring in Jakarta from 1920 to 1925. After a stay in The Netherlands from 1928 to 1935 he returned to Indonesia. During World War II he was interned and put in a camp by the Japanese. Around 1946 he returned to The Netherlands, where he settled in The Hague. Kerton, Sudjana (Bandung, W. Java, Indonesia, 1922 - 1993) Between 1945 and 1949, he worked as a journalist-artist for the newspaper Patriot, Yogyakarta, under Usmar Ismail. In this period, he made documentary paintings, sketches and sculptures depicting scenes of the struggle for independence, which were exhibited at Sono Budoyo Museum, Yogyakarta. Together with Affandi, Hendra Gunawan, Sudarso, Trubus and others in 1947, he co-founded Pelukis Rakyat / People’s Painters. He was one of the first Indonesian artists to win fellowships to Amsterdam and Paris and later he also received a scholarship to study at the Art Students’ League in New York. In the late 1970s he returned to Indonesia and built a studio-gallery Sanggar Luhur, on Dago Hill overlooking Bandung. Krijono (Jakarta, 1951 - 2011) Born into an artist family, his father was a painting collector who owned the Harris Art Gallery and his mother owns a batik factory. In 1970, he studied at the Indonesian Fine Art Academy (Akademi Seni Rupa Indonesia/ASRI) Yogyakarta. His art works are often brightly colored and expressive with his own flamboyant personality Le Mayeur de Merprès, Adrien Jean (Brussels, Belgium, 1880 - 1958) Le Mayeur studied painting from his father and was also a pupil of Blanc-Garin in Brussels, Belgium. His first visit to Bali was in 1929 and he returned again in 1932, living in Sanur until 1958. In 1935 Le Mayeur married Ni Pollok, a Balinese dancer who was the model for many of his paintings. He had exhibitions in Singapore in 1931 and

1941. Le Mayeur donated his house and studio in Sanur with all his remaining paintings to the Indonesian Government, and it is now the Le Mayeur Museum. Le Pho (North Vietnam, 1907 - 2001) He studied at the Academy of Fine Arts, Hanoi in 1952, and furthered his study at the Academy of Fine Arts in Paris in 1931. He returned to Vietnam from 1932 to 1937, after which he chose to settle in France. He had exhibited in Paris and throughout France, New York, Chicago, San Fransisco and Buenos Aires. Mangu Putra, I Gusti Agung (b. Sangeh, Bali, Indonesia, 1963) He graduated from ISI / Indonesian Institute of the Arts, Yogyakarta in 1990, majoring in Visual Communication Design. He received awards for Best Work in Visual Communication Design at Dies Natalis IV (1988) and VI (1990) at ISI Yogyakarta; and was one of the Top Ten prize winners of the Indonesian Art Awards in 1994. He worked as a graphic designer from 1990-98. He has had solo exhibitions in Bali and Jakarta and has participated in group exhibitions in Indonesia and Singapore. Nadera, Ida Bagus Made (Tegallinggah, Bali, Indonesia, 1905 - 1998) Balinese artist who painted in the Ubud style, he was a member of the Pita Maha artists’ association. He participated in group exhibitions in Bali, Bandung, Jakarta, Medan, Madiun and overseas at the Fukuoka Art Museum, Japan in 1985. In 1984 he received the Dharma Kusuma Art Award from the government of Bali. Nasirun (b. Cilacap, C. Java, Indonesia, 1965) Graduated from ISI / Indonesian Institute of the Arts, Yogyakarta in 1994. He has had solo exhibitions in Yogyakarta, Solo and Jakarta, and has participated in group exhibitions in Indonesia, Singapore and The Netherlands. Awards received include Best Painting, ISI Yogyakarta, 1991; McDonald Award, Lustrum X, ISI Yogyakarta, 1994; and he was one of the Top Ten prize winners of the Indonesian Art Awards in 1997. Ohl, Lucien Frits (Sumatra, Indonesia, 1904 - The Hague, The Netherlands, 1976) Self taught artist, who lived and worked in Palembang, Jakarta and Yogyakarta until 1954. He then left Indonesia and settled in The Hague. Painter, watercolourist and draughtsman in a style reminiscent of the late period of G. P. Adolfs. He made the Indonesian illustrations in J.C. hamel’s “Soldatendominee”, The Hague, 1948. S. Sudjojono (Kisaran, N. Sumatra, Indonesia, 1913 - Jakarta, Indonesia, 1986) From 1925 he studied painting with Yudhokusumo (the artist Kartono’s father). In 1935 he began to study painting with Mas Pirngadi and the Japanese artist Chioyoji Yazaki. He received further education at the Taman Siswa Teachers’ College in Yogyakarta. In 1938 he and Agus Djaja co-founded PERSAGI / Indonesian Painters’ Union. From 1942-44 Sudjojono participated in POETERA / People’s Activity Centre and Keimin Bunka Shidoso Cultural Centre in Jakarta. In 1946, Sudjojono formed SIM / Young Indonesian Artists in Madiun. In the 1950s he worked closely with the communist-sponsored cultural organisation LEKRA / People’s Cultural Institute and in 1955, nominated by the Communist Party, was voted to Parliament. His expulsion from the Communist Party in 1958 saved him from the communist purge in 1965. In 1970 he was awarded recognition in the arts by the Indonesian Government. His work has been exhibited in The Netherlands and at the Fukuoka Art Museum in Japan in 1980. In Indonesia, Sudjojono’s work has been exhibited in Jakarta, Bandung, Yogyakarta and Denpasar. Siew Hock Meng (b. Malaysia, 1942) He studied at the Nanyang Academy of Fine Arts in Singapore. Awards

received include the National Day Medal for Fine Arts, Singapore in 1977 and a Special Award for Visual Arts from the Nanyang Academy of Fine Arts Alumni Association, Singapore in 1984. He has had solo exhibitions and participated in group exhibitions in Taiwan, Indonesia, Singapore and the USA. Sonnega, Auke Cornelis (Leeuwarden, The Netherlands, 1910 - The Hague, The Netherlands, 1963) Sonnega studied at the Kunstnijverheidschool in Amsterdam. He first visited Indonesia in 1935 as a commercial artist. In 1937 he settled in Bali and dedicated himself fully to painting. During World War II he was interned and put in a camp by the Japanese. After a stay in Europe he returned to Indonesia to settle in Sumatra in 1953, then in Ubud, Bali. In 1958 he left Indonesia unwillingly and returned to The Netherlands. He had several solo exhibitions in The Netherlands in Amsterdam (1953), Amersfoot (1958) and The Hague (1965). Srihadi Soedarsono (b. Solo, C. Java, Indonesia, 1931) During the Revolution, he fought in the Studentsâ&#x20AC;&#x2122; Army and was a member of SIM / Young Indonesian Artists. In 1953, Srihadi enrolled in ITB / Bandung Institute of Technology. There, he was influenced by the Cubist-inspired style of his Dutch teacher, Ries Mulder. In 1959 he graduated from ITB. He obtained his masterâ&#x20AC;&#x2122;s degree at Ohio State University in the United States where he studied from 1960-1962. His sojourn overseas influenced him to experiment with pure abstraction in the 1960s but he was soon to return to figuration. By the early 1970s he had developed a meditative semi-abstract style with broad sweeps of pure colours. In 1980 he returned to Ohio State University under a Fulbright-Hays Fellowship for a research program. Srihadi has taught at and chaired the art departments in ITB and IKJ / Jakarta Institute of the Arts. He has received many art and achievement awards in Indonesia and overseas. Since 1962, Srihadi has held numerous solo exhibitions in the USA, Indonesia, Australia, The Netherlands, Poland, Germany and Japan. Since 1945, he has participated in group exhibitions in Indonesia, Singapore, Thailand, Philippines, Malaysia, China, Japan, India, Taipei, Korea, Australia, Bahrain, USA, Brazil, The Netherlands, Germany and Switzerland. Sukada, I Made (Ubud, Bali, Indonesia, 1945 - 1982) He learned to paint from his father, I Gandung who was a traditional Balinese painter. He was also greatly influenced by Dutch painter Rudolf Bonnet in style and subject matter. In 1975 he had a solo exhibition at Museum Puri Lukisan, Ubud and he participated in group exhibitions in Indonesia and The Netherlands Sunaryo (b. Banyumas, C. Java, Indonesia, 1943) Painter and sculptor who graduated from the Department of Art, ITB / Bandung Institute of Technology in 1969, and became a lecturer there in 1970. He was Head of the Sculpture Department at ITB from 1976 to 1980, and Chairman of the Department of Art at ITB from 1988. Sunaryo studied sculpture, in particular the techniques of carving and sculpting marble, in Carrara, Italy in 1975. He has participated in solo and group exhibitions world-wide. UNESCO and the International Association of Art in Paris, France awarded him a Silver Medal for graphic design in 1978. In 1998 he founded the Selasar Sunaryo Museum in Bandung.

Thailand, Cuba, Malaysia, India, Singapore, The Netherlands, Germany, Mexico and Australia. van der Does, Willem Jan Pieter (Rotterdam, The Netherlands, 1889 Zeist, The Netherlands, 1966) He came to Indonesia ca 1918 as a civil servant to survey the country. He participated in several group exhibitions in Jakarta, Medan, Surabaya between 1918 and 1938. He returned to The Netherlands in 1946. He was a painter, illustrator, and draughtsman of harbour scenes, city views and landscapes. Wichers, Hendrik Arend Ludolf (Hal) (Tarutung, W. Sumatra, Indonesia, 1893-Nijmegen, The Netherland, 1968) He was a pupil of the Rijksacademie in Amsterdam and returned to his native country in 1919, where he lived and worked in Bandung, Semarang and Jakarta. He was a member of Bataviasche Kunstkring and participated in several of their exhibition between 1923 and 1936. Widayat (Kutoarjo, C. Java, Indonesia, 1919 - Jakarta, Indonesia, 2002) Widayat began his artistic career by painting picturesque landscapes in the Mooi Indie tradition for the tourist market in Bandung. During the Revolution he was an officer in the Indonesian armed forces involved in intelligence work in South Sumatra. His war-time activities included making anti-Dutch propaganda posters and organising dramatic performances to drum up nationalist fervour. Widayat was among the first batch of students at ASRI / Indonesian Academy of Fine Arts, Yogyakarta. He graduated from ASRI in 1954, and then became a teacher in the school and remained a staff member until he retired in 1988. He co-founded the artists group PIM / Young Indonesian Painters in 1952. In 1960 he went to Japan for two years where he studied traditional gardens and ceramics. The Indonesian government presented him with the Anugerah Seni Art Award in 1972. Other awards received include First Prize at the First Indonesian Biennial in 1974; award at the Yogyakarta Biennial in 1986; Lempad Prize awarded by Sanggar Dewata Indonesia in 1987; ASEAN Art Award in 1993; and the Budaya Upa Pradana from the Government of Central Java in 1994. Winkler, Richard (b. Norrkoping, Sweden, 1969) As a child he was inspired by his grandfather, a painter, who later gave him his first lessons. After high school, he attended the Nyckelviken School of Art where he studied visual arts, and the Beckmans School of Design where he studied fine arts. From 1992 to 1997 he worked as an illustrator for magazines, advertising and television. In 1997 he moved to Bali and became a full-time painter. He has had solo exhibitions in Indonesia and Sweden and has participated in group exhibitions in Sweden, Denmark and Indonesia.

Suwage, Agus (b. Purworejo, C. Java, Indonesia, 1959) Studied graphic design at ITB / Bandung Institute of Technology from 1979 to 1986. Upon graduation, he worked as a freelance illustrator in Jakarta. In 1996, his work was selected as one of the Top Ten winners of the Indonesian Art Awards, and was included in the ASEAN Art Awards in Bangkok, Thailand. He has had solo exhibitions in Jakarta, Bandung, Yogyakarta, Koshigaya City, Saitama (Japan) and Brisbane (Australia), and has participated in group exhibitions in Indonesia, Japan, Korea, Insights - Connections - Expertise

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Account No. : ______________________________ Contact Name : ____________________

Payment may be made by cash or telegraphic transfer to Larasati Muse Investments Pte. Ltd.’s account at Hongkong and Shanghai Bank Corporation Tanglin Branch, Singapore 229571. Acc. No. 143-420180-001. Please include your name, Larasati’s account number and invoice number with your instructions to your bank. AFTER THE HAMMER IS DOWN, LARASATI WILL NOT ACCEPT ANY CANCELLATION. Please mail or fax to: Larasati Muse Investments Pte. Ltd. Thong Teck Building, 15 Scotts Road #05 - 08/09 Singapore 228218 Fax : +65 6737 1859

BANK REFERENCES : Name of Bank & Branch : ________________________________________________________

Tel No. : ______________________________________

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

Visa/Master/Amex Type : ____________________

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

____________________________________________________________________________ Signed (we must have your signature to execute this bid)

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

Lot No. Catalog / Description

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

S$ S$

S$ (please print or type)

Fax No. : ____________________

Prospective bidders are reminded that the auction will be conducted in Singapore Dollars and are requested to leave bids in Singapore Dollars.

on viewing and auction days at least 24 hours before the sale: Fax : +65 6737 1859

Lot No. Catalog / Description

____________________________________________________________________________ Fax / Home (Business) email

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

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

Using the Absentee Bid Form Please use the absentee bid form provided and be sure to record accurately the lot numbers and descriptions and the top hammer price you are willing to pay for each lot. “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers. Bids must be placed in the same order as the lot numbers appear in the catalog.

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

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

Fax number for bids only : +65 6737 1859

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

Sale Details Paddle No. Lot No. Invoice No.

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

Methods of Despatch

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

_______________________________________________________________________ Telephone Fax

Insurance in Transit Please arrange/do not arrange* transit insurance. All lots will be insured at the aggregate price unless otherwise specified. Postal Consignments Only Please do not remove frames. (Glass will be discarded). Please remove frames and glass.*

Registered post / Airfreight / Commercial Courier*

_______________________________________________________________________ Delivery Address _______________________________________________________________________

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

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Conditions of Business for Buyers We hereby inform all those participating in the auction, that it shall be held subject to the following conditions and that anyone taking part in it, hereby accepts these conditions as applicable. Larasati as agent As auctioneer, Larasati Muse Investments Pte. Ltd. here-in referred to as Larasati acts as agent for the seller. Unless otherwise agreed, sales of goods at this auction result in contracts made between the seller, through our agency, with the buyer. Definitions of terms used in these conditionsIn the conditions set out below, some terms are used regularly that need explanation. They are as follows: • the “Buyer” means the person with highest bid accepted by the auctioneer; • a “Lot” means any item deposited with us for sale at auction and, in particular, the item or items described against any lot number in any catalog; • the “Hammer Price” means the charge pay able by the auctioneer in relation to a lot; • the “Buyer’s Premium” means the charge payable by the buyer as a percentage of the hammer price; • the “Reserve” means the amount below which we agree with the Seller that the lot cannot be sold; • “Forgery” means a Lot constituting an imitation originally conceived and executed as a whole with a fraudulent intention to deceive as to authorship, origin, age, period, culture or source where the correct description as to such matters is not reflected by the description in the catalog nd which at the date of the auction had a value materially less than it would have had if it had been in accordance with the description in the catalog. Accordingly, no lot shall be capable of being a forgery by reason of any damage and/or restoration work of any kind (including repainting); • the “Insured Value” means the amount that Larasati in its absolute discretion from time to time shall consider to be the value for which a lot should be covered by insurance (whether or not insurance is arranged by us).

BEFORE THE SALE Examination of goods Prospective buyers are strongly advised to examine personally any goods in which they are interested, before the auction takes place. Condition reports are usually available on request. Larasati is not responsible for any faults or defects in any lot or the correctness of: - any statement as to the authorship; - origin; - date and age of the lot; - attribution; - genuineness; - provenance and conditions of any lot. Larasati does not make or give, nor has any person in the employment of Larasati any authority to make or give, any representation or warranty regarding the authorship, origin, date, age, size, medium, attribution, genuiness, description, provenance, condition or estimate selling price of any lot. Catalog descriptions Statements by us in the catalog or condition report, or made orally or in writing elsewhere, regarding the authorship, origin, date, age, size, medium, attribution, genuineness, provenance, condition or estimate selling price of any lot are merely statements of opinion given in good faith, and are not to be relied on as statements of definitive fact. Catalog illustrations are for guidance only, and should not be relied on either to determine the tone or colour of any item or to reveal imperfections. Estimates of the selling price should not be relied on as a statement that this price is either the price at which the lot will sell or its value for any other purpose. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalog or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and the absence of such reference does not imply that an item is free from defects or restoration nor does the reference to particular defects imply the absence of any others. Buyers Responsibility

Buyers are responsible for satisfying themselves concerning the condition of the goods and the matters referred to in the catalog description. AT THE SALE Refusal of admission Our sale takes place on our own premises or premises over which we have control for the sale, and we have the right, exercisable at our complete discretion, to refuse admission to the premises or attendance at the auction. Registration before bidding Every prospective buyer must complete and sign a registration form and provide identification before making a bid at auction. Prospective buyers should be aware that we usually require buyers to undergo a credit check. Bidding as Principal When making a bid, prospective buyer will be accepting personal liability, unless it has been agreed in writing, at the time of registration, that a bidder is acting as agent on behalf of a third party acceptable to us. Commission Bids If a prospective buyer gives us instructions to bid on his behalf, by using the form printed after the catalog entries, we shall use reasonable efforts to do so, provided these instructions are received not later than 24 hours before the sale. Bids should be placed in Singapore Dollars. Bids placed in other currencies will be converted to Singapore Dollars using the one month forward rate of exchange quoted to us by HSBC Bank at opening on the date of the auction and the Singapore Dollars figure may be subject to rounding. The Buyer’s invoice will be in Singapore Dollars and we shall not be liable to the buyer for any loss suffered as a result of exchange rate movements after the date of the sale. If we receive commission bids on a particular lot for identical amounts, and at auction these bids are the highest bids for the lot, it will be sold to the person whose bid was received first. Commission bids are undertaken subject to other commitments at the time of the sale, and the conduct of the sale may be such that we are unable to

bid as requested. Since this is undertaken as a free service to prospective buyers on the terms stated, we cannot accept liability for failure to make a commission bid. Prospective buyers should therefore always attend personally if they wish to be certain of bidding. Telephone Bids If prospective buyers make arrangements with us not less than 24 hours before the sale, we shall use reasonable efforts to contact the bidders to enable them to participate in bidding by telephone, but under no circumstances will we be liable to either the seller or any prospective buyer as a result of failure to do so. Currency Converter At this auction, a currency converter may be operated, based on the one month forward rates of exchange quoted to us by HSBC Bank at opening on the date of the auction. Bidding will however take place in Singapore Dollars. The currency converter is not always reliable, and errors may occur beyond our control either in the accuracy of the lot number displayed on the converter, or the foreign currency equivalent of Singapore Dollars bids. We shall not be liable to the buyer for any loss suffered as a result of the buyer following the currency converter, rather than the Singapore Dollars bidding. Video images At this auction there will be a video screen. Mistakes may occur in its operation, and we cannot be liable to the buyer regarding either the correspondence of the image to the lot being sold or the quality of the image as a reproduction of the original. The auctioneer’s discretion The auctioneer has the right at his absolute discretion to refuse any bid, to advance the bidding in such manner as he may decide, to withdraw or divide any lot, to combine any two or more lots and, in the case of error or dispute, to put an item up for bidding again. Successful bid Subject to the auctioneer’s discretion, the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer.

AFTER THE SALE Buyer’s Premium In addition to the hammer price, the buyer must pay us the buyer’s premium at a rate of 22% of the hammer price of the lot. Good and Service Tax (GST) Unless otherwise stated in the catalog, GST is payable by the Buyer on the Hammer Price and premium at the rates prevailing on the date of the auction. And unless otherwise informed, all sums payable to Larasati by the buyer are exclusive of any goods and service tax or other value added tax (whether imposed is Singapore or otherwise) which shall, where appllicable, be paid by the Buyer in addition to the sums otherwise payable, at the rate in force at the due time for payment or such other time as is stipulated under the relevant legislation. Payment Following the sale, the buyer must provide us with his or her name and permanent address and, if so requested, details of the bank from which payment will be made and then pay the full amount due (comprising the hammer price and the buyer’s premium) within seven days after the date of the sale. The buyer will not acquire title to the lot until all amounts due to us have been paid to us, even in circumstances where we have released the lot to the buyer. Collection of Purchases Unless we specifically agree to the contrary, we shall retain items sold until all amounts due to us, or to Larasati or to any of its other subsidiaries, have been paid in full. Items retained will be covered by our insurance from the date of the sale for a period of seven days or, if by then the goods have been collected, to the time of collection. After seven days or from the time of collection, whichever is the earlier, the lot will be entirely at the buyer’s risk. Packing and handling We shall use all reasonable efforts to take care when handling and packing a purchased lot but remind the buyer that after seven days or from the time of collection, the lot is entirely at the buyer’s risk. Remedies for non-payment or failure to collect purchases

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

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Conditions of Business For Sellers Larasati Muse Investments Pte. Ltd. herein refered to as Larasati, hereby informs all those participating as sellers in the auction, that it shall be held subject to the terms and conditions of the Consignment Agreement and the following conditions. LARASATI as agent As auctioneer, Larasati Muse Investments Pte. Ltd. here-in referred to as Larasati acts as agent for the seller. Unless otherwise agreed, sales of goods at this auction result in contracts made between the seller and the buyer. Larasati shall not be responsible for any default by the seller or the buyer. Definitions of terms used in these conditions In the conditions set out below, some terms are used regularly that need explanation. They are as follows: • the “Buyer” means the person with highest bid accepted by the auctioneer; • a “Lot” means any item deposited with us for sale at auction and, in particular, the item or items described against any lot number in any catalog; • the “Hammer Price” means the charge payable by the auctioneer in relation to a lot; • the “Buyer’s Premium” means the charge payable by the buyer as a percentage of the hammer price; • the “Reserve” means the amount below which we agree with the seller that the lot cannot be sold; • “Forgery” means a Lot constituting an imitation originally conceived and executed as a whole with a fraudulent intention to deceive as to authorship, origin, age, period, culture or source where the correct description as to such matters is not reflected by the description in the catalog and which at the date of the auction had a value materially less than it would have had if it had been in accordance with the description in the catalog. Accordingly, no Lot shall be capable of being a forgery by reason of any damage and/or restoration work of any kind (including repainting); • the “Insured Value” means the amount thatLarasati in its absolute discretion from time to time shall consider to be the value for which a lot should be covered by insurance (whether or not insurance is arranged by us). Commission We shall charge the seller commission calculated by reference to the amounts, percentages, terms and conditions of the Consignment Agreement.

BEFORE THE SALE Expenses The seller will bear all costs relating to: a. Packing and shipping the lot to us for sale; b. Any applicable transit insurance and custom duties; c. Packing and shipping the lot if it is returned to the seller; d. Any restoration of the lot agreed in advance with the seller; e. Framing; f. Storage of the lot after the sale, where applicable; g. Any examination by external experts we believe necessary for catalog description; h. Any external expert opinion we believe appropriate; i. Our administration costs if expenses are incurred under sub-paragraphs (d), (e), (f), (g), and (h), being 10 % of such expenses; j. Any applicable goods and services tax; k Insurance under Larasati’s policy (explained below); l. Catalog illustration at our discretion; m. Contribution to our general expenses if the lot is notsold, equal to 5% of the insured value; n. any applicable custom duties. When Insurance is Arranged by Us (i) Unless we agree otherwise, the lot will beautomatically insured under Larasati policy for the amount that we from time to time consider to be its appropriate value. This insured value is not a representation or warranty or undertaking by us that the lot will be sold for this amount. (ii) Unless we agree otherwise, we shall charge the seller a sum to cover insurance, at the rate 1% of either the hammer price or, if the lot is unsold, its insured value. If we arrange transport, we shall charge the seller an additional sum to cover the cost of transit insurance, which will vary according to the particular circumstances of each case. Although we shall suggest carriers if specially requested, we cannot accept any liability in this respect. (iii) The lot will remain insured until the expiry of seven days after the sale. If the lot has not been sold, it will be at the seller’s risk after that time. (iv) We do not accept responsibility and shall not be liable for damage caused by woodworm or changes in atmospheric conditions. Owner’s Insurance If the seller specifically instructs us not to

insure the lot, it shall remain at the seller’s risk at all times until buyer had made payment in full. The seller shall indemnify us and our employees and agents, and the buyer (where applicable) against any claim made against us or them in respect of the lot, however that claim may arise. The seller shall also reimburse us and them on demand for any expenses we or they may incur as a result of such claim, even if we or they are found to have been negligent and even where such reimbursement is required of a payment made without any legal liability being proved. The seller must notify the seller’s insurers of the terms of this clause. Seller’s representations and warranties regarding the Lot The seller warrants and represents to Larasati and to the buyer that: (i) The seller is the sole owner of the lot with an unrestricted right to transfer title to the buyer free from all third party rights or claims (including copyright claims); (ii) All information supplied to Larasati by the seller or his agents is accurate; (iii) The seller has complied with all requirements, legal or otherwise, relating to any export or import of the lot and has notified us in writing of any failure by third parties in complying with such requirements in the past; and (iv) The seller has notified us in writing of any material alterations to the lot of which the seller is aware and any concerns expressed by third parties in relation to the ownership, condition or attribution of the lot. If any of (i), (ii), (iii) or (iv) above is incorrect, the seller undertakes to and will indemnify Larasati and/or the buyer on a full indemnity basis against any liability, claims, costs or expenses whatsoever incurred as a result, whether arising in the relation to the lot or proceeds of sale or in dealing with any claim arising out of that respect. AT THE SALE Sale Arrangements (i) We shall have complete discretion as to the way a lot is described and illustrated in the catalog or any condition report, the place and manner sale; the decision as to which person should be admitted to the auction, and as to which bids should be accepted; whether expert advice should be sought; and the combination or division of goods for sale.

(ii) Any estimate given, orally or in writing, is a matter of opinion only and is not an assurance in relation to the price that the lot will eventually fetch. (iii) Upon signing the Consignment Agreement, the seller may not withdraw a lot from auction without the consent of Larasati. Should such lot be withdrawn, the seller agrees to indemnify Larasati on a full indemnity basis in respect of all costs and expenses incurred in putting up the lot for auction or against any liability, claims, costs or expenses howsoever incurred as a result of dealing with any claim arising out of that respect. (iv) Larasati may at its sole discretion withdraw a lot from auction at any time if (a) we have any doubt as to its attribution or authenticity or as to the accuracy of the statements made by the seller in the Consignment Agreement, (b) there is any breach of these conditions or the terms and conditions of the Consignment Agreement or (c) we believe it would be improper to include the Lot in the sale. (v) If we withdraw the lot, we shall charge the seller a equal to 10% of the insured value, plus an amount equal to our commission if the lot had been sold at the insured value, together with any applicable Government Service Charge and insurance and other expenses. Conduct of Sale (i) The lot will be sold subject to the reserve, which cannot be above the low estimate printed in the catalogue unless the reserve is agreed to in a currency other than Singapore Dollars, and the exchange rates fluctuate between the time the reserve is agreed and the day of the sale. In this case, unless we agree otherwise, the reserve shall be an amount equal to the Singapore Dollars equivalent based on the closing exchange rate on the business day immediately preceding the sale. We shall in no circumstances be liable if bids are not received at the level of the reserve. If we do so, we shall be obliged to account to the seller as if hammer price was equal to the reserve. (ii) The seller may not bid for the lot nor employ any person to do so on the seller’s behalf, although we shall have the right to bid on the seller’s behalf up to the amount of the reserve. AFTER THE SALE Accounting After the sale, we shall require payment in full from the buyer, including payment of the buyer’s premium. Provided this has occurred, we shall remit to the seller an amount equal to the hammer price less all charges due to be paid by the seller, within

35 working days after the date of the sale, unless we have received notice that the lot is a forgery (as defined in the definition of terms used in these Conditions of Business). In the event of late payment by the buyer we shall make such remittance to the seller within seven days of receipt of such payment by the buyer. If for any reason we make payment to the seller of any amount before payment by the buyer, we shall acquire complete ownership of and title in the lot, save only that in the event that we are obliged to accept the lot back from the buyer on the basis that it is a forgery, the seller will refund to us all proceeds of sale that have been paid to the seller. Payment will be made in Singapore Dollars. Non-Payment by the Buyer If the buyer fails to pay the full amount due within 35 working days after the date of sale, we shall be entitled (i) on the seller’s behalf, to agree special terms with the buyer for payment, storage and insurance, and (ii) to take any steps we consider necessary to collect the amount due from the buyer. However, we shall not be obliged either to remit the price due to the seller ourselves, nor to take any legal proceedings on the seller’s behalf. We shall discuss with the seller the appropriate course of action to be taken to recover the purchase price from the buyer. Forgeries If within 6 (six) months of the date of the auction the Buyer satisfies us that the Lot is a Forgery, with the condition that claim must be accompanied with satisfactory evidence in the form of a written opinion of at least 3 (three) independent experts with knowledge on the related property, confirming that the lot is a forgery, then: (i) if the Buyer at that time has not yet paid the full amount due, we shall have the right to cancel the sale and/or (ii) if the Buyer has paid the full amount and if we have at the time not paid the seller the whole or part of the full amount due to the seller, then we will refund to the Buyer the purchase price of the lot and/or (iii) If the Buyer had paid the full amount and if we at that time had also paid the Seller the whole or part of the full amount due, then the Seller must refund to us, on demand, the total amount paid. We shall then refund the total amount received from the Seller to the Buyer plus any balance due to the Buyer to pay back the full purchase price of the lot. The Buyer does not reserve the right to claim any interests on the purchase price paid by the Buyer. In the latter case we shall exercise a lien over any property of the Seller under our control as security for the amount due.

We reserve the right to seek for further expert opinion. There will be no refund if there is a conflict of opinion among the related experts. Larasati is not responsible for any faults or defects in any lot, including the genuineness of the work. Unsold Lot If any lot is unsold, or is not included in a sale, or is withdraw from the sale for any reason, it must be collected from us within 7 days after we send the seller a notice requiring the seller to collect it. If any such lot remains uncollected for a period exceeding 7 days, a storage charge of S$ 30 per item per day will apply and additional charge will be made for insurance. The seller will not entitled to collect the lot until all outstanding charges are met. If any such lot is not collected within 30 days after the date of the sale or the date of the notice referred to above (whichever occurs first), it may be disposed of by us as we see fit, which may involve its removal to a third party warehouse at the seller’s expense and its sale by public auction on such terms as we consider appropriate, including those relating to estimates and reserves. We shall then account to the seller for the proceeds of sale, having deducted all amounts due. CONDITIONS APPLICABLE TO BOTH BUYERS AND SELLERS Copyright The copyright in all images, illustrations and written material relating to a lot is and shall remain at all times our property and shall not be used by the buyer nor anyone else without our prior written consent. Notices Any notice given under these conditions is to be in writing and, if given by post, will be taken to have been received by the addressee on the second working day after posting, or if the addressee is overseas, on the fifth working day after posting. Severability If any part of these conditions is found by any court to be invalid, illegal or unenforceable, that part may be discounted and the conditions shall continue to be valid and enforceable to the fullest extent permitted by law. Law and Jurisdiction These Conditions of Business are governed by Singapore law, which shall apply to their construction as well as to their effect. For our benefit, the buyer hereby submits to the exclusive jurisdiction of the Singapore courts. Insights - Connections - Expertise

EXPLANATION OF CATALOGING PRACTICE Terms used in this catalog have the meanings ascribed to them below. Please note that all statements in this catalog as to authorship are made subject to the provisions of the Condition of Sale and Limited Warranty. Buyers are advised to inspect the property themselves. Written conditions reports are usually available on request. name(s) or recognised designaTion of an arTisT wiThouT any qualificaTion

In Larasati’s opinion a work by the artist. “Atributed to...” In Larasati’s qualified opinion probably a work by the artist in whole or in part. “Studio of...”/ “Workshop of...” In Larasati’s qualified opinion a work executed in the studio or workshop of the artist, possibly under his supervision. “Circle of...”

In Larasati’s qualified opinion a work of the period of the artist and showing his influence. “Follower of...” In Larasati’s qualified opinion a work executed in the artist’s style but not necessarily by a pupil. “Manner of...” In Larasati’s qualified opinion a work executed in the artist’s style but of a later date. “After...” In Larasati’s qualified opinion a copy (of any date) of a work of the artist. “Signed...”/ “Dated...”/ “Inscribed...” In Larasati’s qualified opinion the work has been signed/dated/inscribed by the artist. “With signature...”/ “With inscription...” In Larasati’s qualified opinion the signature/ inscription appears to be by a hand other than that of the artist. “With date...” In Larasati’s qualified opinion the date on

the item was not executed on that date. The date given for Old Master, Modern and Contemporary Prints is the date (or approximate date when prefixed with ‘circa’) on which the matrix was worked and not necessarily the date when the impression was printed or published. The term and its definition in this Explanation of Cataloging Practice are a qualified statements as to authorship. While the use of this term is based upon careful study and represents the opinion of specialists, Larasati and the consignor assume no risk, liability and responsibility for the authenticity of authorship of any lot in this catalog described by this term, and the Limited Warranty shall not be available with respect to lots described using this term.

SALEROOM & OFFICES Singapore

Thong Teck Building 15 Scotts Road #05 - 08/09 Singapore 228218 t. +65 6737 2130 f. +65 6737 1859

Hong Kong

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

Jakarta

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

info@larasati.com www.larasati.com

Amsterdam

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

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LARASATI - AAG ISBN 978-979-3774-32-9