Larasati International Autumn Sale - 31 October 2021 by PT. Balai Lelang Larasati

LARASATI AUCTIONEERS

INTERNATIONAL AUTUMN SALE, 31 October 2021 i

Important Notice The property is sold “AS IS” with all imperfections, incompleteness, faults and errors of description in accordance with the Conditions of Business. Any assistance offered by One Larasati Arts staff to a buyer in selecting a lot to purchase is given without prejudice to the above.

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Cataloguing-in-Publication Data LARASATI INTERNATIONAL AUTUMN SALE London • Singapore • Jakarta One Larasati Arts Sunday, 31 October 2021 Singapore: ONE LARASATI ARTS PTE LTD 2021 pp. 21 x 29.7 cm includes index of artists I. Paintings - Asia. II. Painters - Asia. III. Title

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LARASATI INTERNATIONAL AUTUMN SALE LIVE STREAMING FROM London • Singapore • Jakarta

AUCTION 31 October 2021 (Sunday) Starting from 11 am (London) | 7 pm (Singapore) | 6 pm (Jakarta)

IMPORTANT NOTICE:

PREVIEW

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Sale Code

In sending written bids or making enquiries, this sale should be referred to as “Boutique” The sale will be conducted in English. Bidding is carried out in Pound Sterling (GBP). All sales are subject to the terms and conditions as stated on One Larasati Arts’website as well as those printed in the catalogue, other supplements of them provided at the registration and notices announced by the auctioneer or posted in the saleroom by way of notice.

To comply with the regulations concerning the covid-19 pandemic, viewing will be on-line only, and we will gladly provide bidders with any information concerning the lots offered. However, it may be possible for bidders who have already registered for phone or on-line bids as well as those who have placed written/ absentee bids to view the artworks physically by appointment. We could only provide a limited number of slots for physical viewing, and it will be based upon first come first serve basis. By appointment only “physical” viewing will not be available a day before auction day and on auction day.

FOR THIS PARTICULAR SALE, LARASATI WILL NOT CHARGE AN ADDITIONAL ON-LINE COMMISSION. PREMIUM IS 22% ON FINAL HAMMER PRICE

Correspondence address for this sale: Singapore: 34 Upper Cross Street, #04-156 Chin Swee View, Singapore 050034 Tel. +65 6737 2130 Hong Kong: 25th Floor, Three Exchange Square, 8 Connaught Place, Central, Hong Kong Jakarta: Jl. Pasuruan No.1C, Menteng, Jakarta 10310, Indonesia Tel. +62-21 315 6110, +62-21 315 5923, +62 811 116 5778 info@larasati.com • www.larasati.com

LARASATI INTERNATIONAL AUTUMN SALE London • Singapore • Jakarta

LIVE BIDDING FROM London, Singapore & Jakarta 31 October 2021 (Sunday) Starting from 11 am (London) | 7 pm (Singapore) | 6 pm (Jakarta)

lot 701 - 722

701

Gustave Bettinger (1872 - 1914, French)

A House at a Waterside gouaches on paper; 47 x 21.5 cm signed on lower right £ 50 - 100 US$ 70 - 140 The lot will be sold with no reserve Pick up point: London/Jakarta

702

Poortenaar, jan Christiaan (1886 - 1958, Dutch)

Pasar etching; 49.5 x 64 cm signed on lower right £ 400 - 800 US$ 554 - 1,108 Pick up point: London/Jakarta

703

Pol, Louis van der (1896 - 1982, Dutch)

Javanese Warrior oil on cardboard; 60 x 30 cm signed on lower left £ 700 - 1,200 US$ 970 - 1,660 Pick up point: London/Jakarta

704

Strasser, Roland (1895 - 1974, Austrian)

Balinese Man charcoal on paper; 47 x 21.5 cm signed on lower right £ 400 - 800 US$ 554 - 1,108 Pick up point: London/Jakarta 11

705

Bonnet, Johan Rudolf (1895 - 1978, Dutch)

Portrait of a Balinese Man executed in 1973; pastel on paper; 72 x 52 cm signed and dated on lower right inscribed on lower left £ 4,200 - 6,000 US$ 5,790 - 8,310 Pick up point: London/Jakarta

706

Theo Meier

(1908 - 1982, Swiss)

Portrait of a Lady executed in 1962; red chalk, pastel, charcoal on paper 64 x 51.5 cm; signed and dated on lower right £ 1,300 - 2,000 US$ 1,800 - 2,770 Pick up point: London/Jakarta

707

Anton Huang

(1935 - 1985, Indonesian)

Cili painted in 1979; oil on canvas colage on board 48 x 25 cm; signed and dated on lower right £ 1,800 - 2,500 US$ 2,490 - 3,460 Pick up point: Jakarta

708

Wen Peor

(1920 - 2007, Indonesian)

Balinese Dancer dated 1990; oil on canvas; 44 x 41 cm signed and dated on lower right £ 900 - 1,500 US$ 1,245 - 2,075 Pick up point: Jakarta 15

709

Blanco, Antonio

(1911 - 1999, Indonesian)

Portrait of the Artist's Son, Mario mixed media on paper; 27 x 20 cm signed on lower middle, inscribed and stamped with The Blanco Art Foundation's stamp on the reverse £ 4,500 - 6.000 US$ 6,230 - 8,310 Provenance: Private Collection, Germany Mr. Mario Blanco, son of the artist, has kindly confirmed the authenticity of this lot. Pick up point: Jakarta

details on the back of the painting

18 710a

710b

710

F.X. Harsono

(b. 1949, Indonesian)

a. Republik Indochaos 3 in 1

executed in 2002; drypoint, ed. 41/100; 16 x 36 cm numbered, inscribed, signed and dated on lower side

b. Pig or Angel? So What?

executed in 2002; drypoint, ed. 41/100; 24 x 22 cm numbered, inscribed, signed and dated on lower side

£ 500 - 1,000 US$ 690 - 1,385 Pick up point: Jakarta

711a

711

Tisna Sanjaya

(b. 1958, Indonesian)

a. Theater

executed in 1987; aquatint; ed. 3/9; 23 x 19 cm numbered, titled, signed and dated on lower side

b. Dari Bali Buat Artaud

executed in 1987; etsa, aquatint; ed. 3/10; 25 x 28 cm numbered, titled, signed and dated on lower side

£ 700 - 1,200 US$ 970 - 1,660 Pick up point: Jakarta 19

711b

712

Mangu Putra, Gusti Agung (b. 1963, Indonesian)

Fosil-fosil painted in 1999; oil on canvas 10 panels, each 10 x 14 cm signed and dated on each panel £ 1,000 - 1,500 US$ 1,385 - 2,075 Pick up point: Jakarta

details

713a

713

Ugo Untoro

(b. 1970, Indonesian)

a. Dialogue no. 8

executed in 2007; oil on paper; 32 x 40 cm inscribed, signed and dated on lower left

b. Language no. 3

executed in 2007; oil on paper; 40 x 32 cm inscribed, signed and dated on lower middle

£ 800 - 1,500 US$ 1,108 - 2,075 Pick up point: Jakarta 21

713b

714a

714

Rudi Mantofani (b. 1973, Indonesian)

a. Pohon

painted in 2001; acrylics on canvas; 25 x 30 cm signed and dated on lower right signed, inscribed and dated on the reverse

b. Awan di Atas Gunung

painted in 2001; acrylics on canvas; 35 x 30 cm signed and dated on lower right signed, inscribed and dated on the reverse

£ 1,400 - 2,400 US$ 1,935 - 3,320 Pick up point: Jakarta

714b

715

Yuki Tham

(b. 1992, Malaysian)

Flower bed painted in 2021; oil on canvas; 120 x 120 cm signed and dated on lower left £ 1,000 - 1,500 US$ 1,385 - 2,075 Pick up point: Singapore

The beauty of a flower is similar to that of a woman. The phases that it goes through before it blooms, and then towards withering, are similar to the life stages of a woman. The identity never changes. It was and still is a beautiful flower. Much like a woman. As a female visual arts practitioner, I explore the beauty and femininity of women, as well as their vulnerability. From bloom to wilt, every stage is memorable. The beautiful appearance will wither over time, but the inner beauty can bloom forever 23

716

Sutawijaya, Putu

(b. 1971, Indonesian)

Dua Sisi painted in 1997; mixed media on canvas 145 x 120 cm signed and dated on lower middle £ 2,000 - 3,000 US$ 2,770 - 4,145 Pick up point: Jakarta

717

Suwage, Agus

(b. 1959, Indonesian)

Daughter of Democrazy II acrylics on canvas; 200 x 150 cm £ 6,500 - 8,500 US$ 8,980 - 11,740 Pick up point: Jakarta 25

718

Andres Barrioquinto (b. 1975, Filipino)

Night of the Warrior Dance painted in 2013; oil on canvas; 3 panels, each 152 x 121 cm signed and dated on lower right £ 72,000 - 82,000 US$ 100,000 - 114,000 Provenance: Sotheby's Modern & Contemporary Southeast Asian Paintings, Hong Kong, 6 October 2013, lot #284 Pick up point: Singapore

Night of The Warrior Dance, 2013 This 2013 triptych by Filipino artist Andres Barrioquinto is a multi-layered work of characteristic ambiguity. Its formal qualities of composition, colour and motif enable it to be firmly situated within the artist’s oeuvre of the early 2010s. It falls after the period where close-up, discombobulated mask-faces stand against flatly patterned grounds and the earlier Schiele-like graphic figurations, and the later forms of the mid-2010s where the faces are swarming with butterflies, flowers and insects against fragmentary landscapes. Night of the Warrior Dance has the brooding qualities of other works of the period and the visual characteristics of a collage, despite the fact that it is entirely painted. The pseudo cut-out flowers, aniline-bright and clustered around the three heads that anchor each of the triptych panels in place, are a regular feature of works of this period. The birds emanate a Hitchcockian sense of threat, like a squadron of raptors in formation around the warriors’ heads. The inclusion of the monkey in the right panel conjures Hindu folklore too, where Hanuman, the monkey warrior of the 5th – 4th century BCE Ramayana epic, is the avatar of the Hindu god Śiva, The Destroyer. The sense of tension and darkness is pervasive. The simian and avian imagery so dominant here is a visual language Barrioquinto frequently employs at this time; this can be seen in comparable pieces, such as Arms Around Your Love, 2011, sold at Sotheby’s Hong Kong in 2011 for HK$550,000/ US$70,730 hammer, and again in 2018 for HK$1.6million/ US$204,400 hammer. This period of production also sees Barrioquinto’s most conspicuous use of Japanese woodblock imagery of samurai – the musha-e of the ukiyo-e tradition so popular and accessible in Edo period Japan. It is an artistic motif familiar far outside of Japanese culture too, its popularity in Europe and America from the 1860s onwards a direct result of violence as Japan was forced at gunpoint to open its borders to trade with the West. The triptych format references the Christian altarpiece and could be interpreted as a reflection of the artist’s own deeply-held faith, which drives his productivity: Regarding my talents and abilities, these things come to me naturally and effortlessly, just like any other normal individual. I certainly have God to thank for bestowing me my talents. To show my gratitude, I never stop challenging myself as an artist. I always find ways to improve my craft and learn more techniques every day.1

Excerpts from an interview in Contemporary Art Philippines (now titled Art+), Issue No. 25, 2013.

Like a Christian triptych, where the savagery of Christ’s crucifixion is rendered in visually beautiful terms, the warriors here are aestheticised by their painterly treatment. This aestheticisation of violence is familiar to contemporary viewers not only through religious imagery of the past but also through popular cinema, where the macabre is played out like a refined dance or visual feast – think of film classics by the likes of Stanley Kubrick, Peter Greenaway or Quentin Tarantino. The appeal of Barrioquinto’s work is a result of his invocation of the past, of the deeply embedded norms of multiple cultures, and of popular culture in a way that is utterly contemporary. A work of this size and quality from his mid-career just when he was finding a mature visual language is a rare opportunity. Smaller works come onto the market occasionally, including The Wedding Present, 2013 (first exhibited and sold by One East Asia, Singapore, at Asian Art in London in November 2013), which was sold by Larasati in March 2021 for SGD36,000/ US$26,740 hammer.

Viv Lawes Consultant Lecturer, Sotheby’s Institute of Art Course Leader, University of the Arts London Senior Lecturer, City & Guilds of London Art School

details

719

But Muchtar

(1930 - 1993, Indonesian)

A Family Portrait painted in 1965; oil on canvas; 63 X 70 cm signed and dated on upper right £ 3,800 - 4,800 US$ 5,250 - 6,630 Pick up point: Jakarta

details

720

Sadali, Ahmad

(1924 - 1987, Indonesian)

Totem-Totem Dengan Bongkah Emas executed in 1987; mixed media on paper; 40 x 37 cm signed and dated on lower right £ 2,800 - 3,800 US$ 3,870 - 5,250 Provenance: - Acquired directly from the artist by the present owner - Private Collection, Indonesia Pick up point: Jakarta 29

721

Affandi

(1907 - 1990, Indonesian)

Boats from Tegal painted in 1983; oil on canvas 100 x 130 cm signed and dated on lower right £ 50,000 - 65,000 US$ 70,000 - 90,000 This lot is accompanied with certificate of authenticity issued by Museum Affandi, document no.: 130/YA-IS/VIII.2021 Pick up point: Jakarta

certificate of the present lot

Boats from Tegal Ecstatic, alive, with saturated colours counterbalanced throughout the canvas, Boats from Tegal, 1983, is one of Affandi’s late masterpieces. Fresh to the market, it sparkles. The composition is almost classical in construction, with the pyramidical structure rising to a loose pinnacle of masts breaking the sea’s horizon. Reds play alongside greens and mango tints warm the inky blue that forms the framework within which the central motif of the boats are embraced. The blurs of colour Affandi rubbed into the canvas by hand form the depth that allows the oil paint squeezed directly from the tube to stand out through texture and gesture. The striking clarity of colours in Boats from Tegal is not a happy accident but a direct consequence of the period in which Affandi painted it. Dated 1983, the early eighties saw the artist seeking to lighten his palette. In a documentary made for television in 1982 he explains his battles to express himself gesturally while also using colour to convey mood:

author of Ways of Seeing (1972), John Berger, picked up on in his reviews of Affandi’s peripatetic series of shows in Britain in 1952. Describing him as a “genius”, Berger admits that Affandi can be “unequal, capable of badly erratic work” and that “the bad, insufficiently organised works remain bad because to Affandi they are as irrevocable as past actions”.4 Berger’s praise of the best pieces then frames them in a way quite different from other Western critics of the time. Rather than categorising Affandi’s style through comparison to established Western painters, he writes without reserve that “Affandi has made, not consciously but instinctively, a real synthesis between Eastern and Western styles of colour and drawing.” Recommending particularly the “large, violent, Indian town and landscapes, the huge, upright watercolours of beggars and the various pictures of unexotic animals” – the latter conveying the earthiness and urgency of Affandi’s work that stood in stark contrast to the exoticising character of the better-known (at this date) mooi indies paintings of Indonesia – he then crystallises the uniqueness of Affandi’s work:

with dark colours, it’s easier to express my feelings. But now I try to use bright colours. It is much more difficult to get the same effect with light colours. Before I know [it] I use dark colours again, but I have to keep on trying.1 Often described by critics and curators as Expressionist, and indeed categorising himself in that way2, Affandi worked quickly and spontaneously after intensely studying the subject of his painting. He would stop the moment he felt it was right. It was only after he ceased to paint that he judged whether the work was a success or not. In the 1982 TV documentary he states that he judges his own painting firstly to see if it’s “good enough”, then to see if he finds: the feeling I wanted to put in it, back in this painting … I am sure that what I see is a result of my feeling, emotion of that moment. And that moment has passed – I can’t do nothing [sic] more.3 This way of working was something that the ground-breaking British art critic and Hungry to Paint, Produksi PPFN dan Mayagita Audio Visual, 1982. (http://archive.ivaa-online.org/khazanahs/detail/701)

Ibid

It would be possible to label Affandi’s work Expressionist, and to point out the similarities with Van Gogh and Kokoschka, but to do so would be very superficial. His work is different in kind from nearly everything being produced in Europe. And for this reason it shows a way out of the impasse now reached in Paris, New York and London […] The strength and sensitivity of the good works is not the result of romantic identification, but rather of the endurance of a protagonist.5 Boats from Tegal, despite being painted thirty years after Berger was writing, stands as one of the great works. It fulfils every quality that Berger asserts but with the experience of a lifetime behind it. Viv Lawes Consultant Lecturer, Sotheby’s Institute of Art Course Leader, University of the Arts London Senior Lecturer, City & Guilds of London Art School 4 John Berger, ‘Affandi and Other Indonesian Painters, at the Army and Navy Stores’, The New Statesman and Nation, May 17 1952. Available at IVAA-online.org, the Digital Archive of Indonesian Contemporary Art. (http://archive.ivaa-online.org/files/uploads/texts/017_Affandi%20and%20Other%20Indonesian %20Painters,%20at%20the%20Army%20and%20Navy%20Stores_Newspaper%20clipping_ The%20New%20Statesman%20and%20Nation_May%2017,%201952_This%20archive%20 was%20donated%20by%20TNAGS%202012-04-26.pdf) 5

Ibid

722

Cheong Soo Pieng (1917 - 1983, Singaporean)

Amis Maidens executed in 1981; ink and colour on paper; 78 x 128 cm signed in Chinese and inscribed on middle right £ 40,000 - 55,000 US$ 55,000 - 76,000

Provenance: Private Collection, Asia The lot is accompanied with Certificate of Authenticity by Cheong Wai Chi, son of the artist Pick up point: Singapore

Amis Maidens Cheong Soo Pieng was an international artist in all respects. In parallel with his ability to fuse Chinese ink painting with Western modernist tropes, producing anything from precise linear figurative work lightly filled with muted tones to full-blown colour saturated abstractions, there ran a chameleon-like ability to fit into whatever international centre he occupied. In contradiction to the romantic image of artist as outsider, everywhere seemed to be home. Perhaps this is the paradox of the diasporic person who, having left their homeland, morphs constantly to fit in. Amis Maidens is a rare subject for Soo Pieng. Although he first visited Taiwan as early as 1945, the year before he permanently left his studio in Shanghai to emigrate to Singapore, he did not have his first exhibition there – a group show – until 1971, at the Alpha Art Gallery’s inaugural event in Taipei. However, it was in the last few years before his sudden death in 1983 that Soo Pieng tightened his association with Taiwan with two solo shows in Taipei: the first at the Alpha Art Gallery (1980) and then at the National Art Gallery (1981).1 Sandwiched between them was another one-man show at the British Council in Singapore. This was the period in which he painted Amis Maidens, 1981, taking advantage of his trip to the island state to seek out the Amis people in Hualien county on the eastern coast, who make up the largest of the ethnic groups on the Han Chinese-dominated island. His two Amis women in the painting bear the same figurative style that had its genesis as early as the 1950s and reached its characteristic mature form in the mid-1970s: linear, flattened with spaghetti arms and legs, inky almond eyes and large heads held improbably aloft on tiny spindle necks, minimally coloured. Throughout his life Soo Pieng was consistently drawn to indigenous communities of people who managed to retain some of their cultural traditions – codes of dress, festivals, music and dance – and this figurative style was born from his visits to Bali (the earliest being the seminal trip in 1952 with his colleagues from the Nanyang Academy of Fine Art in Singapore) and his observations of the Dayak people of Borneo.2 The Dayaks’ traditional wooden sculptures and ceremonial masks have the protruding almond eyes that are such a distinct feature of Soo 1

Artcommune Gallery, Singapore. Timeline: https://www.cheongsoopieng.com/timeline

Soo Pieng made two documented trips to Malaysian Borneo – to Sarawak in 1959 and Sabah in 1961 – where he observed the lives of the Dayak (non-Muslim indigenous) people. However, the centenary exhibition in 2017 at the Asia Art Center, Taipei, featured forty of Soo Pieng’s works, most of which had not been shown to the public before; it included Sarawak Sisters, 1953 (oil on board), which suggests that Soo Pieng might have travelled to Borneo earlier than the documented trips. See http://www.asiaartcenter.org/asia/portfolio/cheong-soo-pieng-a-centenary-celebration-intaiwan/?lang=en

Pieng’s figures, but otherwise they bear the imprint of the wayang kulit puppets of Malaysia and Indonesia. Wearing their characteristic red appliquéd and embroidered garments, which were made from cotton from the 20th century rather than the earlier bark cloth or rattan, the women’s traditional clothing is faithfully reproduced with a top, skirt and headdress in red and black, heightened with bleached whites. The effect is formal: the red primary, though subtle, anchors the shades of black ink brushwork like a wax seal on a Chinese calligraphy, or like JMW Turner’s red buoy in his 1832 oil painting Helvoetsluys. Incidentally, Soo Pieng adored Turner.3 It can be difficult for the contemporary viewer to think of people in costume as living human beings, but photographs of today’s Amis festival celebrations show that they are still wearing the same style of garments. A viewer of Amis Maidens might bring their imaginations to life by engaging more of the senses. Try listening to Enigma’s anthem ‘Return to Innocence’ (1994), which samples the Amis people’s ‘Elders’ Drinking Song’ as a refrain in the dance hit. Cheong Soo Pieng’s Amis Maidens captures a particular cultural element of Taiwanese life. Testament to his association with the region was played more than three decades after his death when the flagship Asia Art Center in Taipei held a retrospective in 2017, Cheong Soo Pieng: A Centenary Celebration in Taiwan. This renowned centre, established in 1982, originally focused on Chinese emigrée artists who moved to Taiwan during the Second World War, but since then it has increased its scope to become a scholarly site for Nanyang School artists of Singapore as well as post-war Japanese Mono-ha.4 Soo Pieng holds a firm place as a representative of the former who transcended geographical boundaries, morphing to fit. Viv Lawes Consultant Lecturer, Sotheby’s Institute of Art Course Leader, University of the Arts London Senior Lecturer, City & Guilds of London Art School Choy Weng Yang. ‘The Art of Cheong Soo Pieng’ in exhibition catalogue Cheong Soo Pieng: Retrospective, Ministry of Culture & National Museum, Singapore. Summer Times, Singapore, 1983.

http://www.asiaartcenter.org/asia/portfolio/cheong-soo-pieng-a-centenary-celebration-in-taiwan/ ?lang=en

Index of the Artists Affandi Andres Barrioquinto Anton Huang

21 18 7

F.X. Harsono

Blanco, Antonio Bonnet, Johan Rudolf But Muchtar

9 5 19

Mangu Putra, I Gusti

Cheong Soo Pieng

Gustave Bettinger

Pol, Louis van der Poortenaar, Jan Christiaan

10 1 12 3 2

Rudi Mantofani

Sadali, Ahmad Strasser, Roland Sutawijaya, Putu Suwage, Agus

20 4 16 17

Theo Meier Tisna Sanjaya

6 11

Ugo Untoro

Wen Peor

Yuki Tham

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Singapore: 34 Upper Cross Street, #04-156 Chin Swee View, Singapore 050034 Tel. +65 6737 2130

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 One Larasati Arts’s opinion a work by the artist. “Atributed to...” In One Larasati Arts’s qualified opinion probably a work by the artist in whole or in part. “Studio of...”/ “Workshop of...” In One Larasati Arts’s qualified opinion a work executed in the studio or workshop of the artist, possibly under his supervision. “Circle of...” In One Larasati Arts’s qualified opinion a work of the period of the artist and showing his influence. “Follower of...” In One Larasati Arts’s qualified opinion a work executed in the artist’s style but not necessarily by a pupil. “Manner of...” In One Larasati Arts’s qualified opinion a work executed in the artist’s style but of a later date. “After...” In One Larasati Arts’s qualified opinion a copy (of any date) of a work of the artist. “Signed...”/ “Dated...”/ “Inscribed...” In One Larasati Arts’s qualified opinion the work has been signed/dated/inscribed by the artist. “With signature...”/ “With inscription...” In One Larasati Arts’s qualified opinion the signature/inscription appears to be by a hand other than that of the artist. “With date...” In One Larasati Arts’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, One Larasati Arts and the consignor assume no risk, liability and responsibility for the authenticity of authorship of any lot in this catalogue described by this term, and the Limited Warranty shall not be available with respect to lots described using this term.

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