Larasati Bali, 13 August 2011 by PT. Balai Lelang Larasati

LARASATI Bali, 13 August 2011

auctioneers Insights - Connections - Expertise

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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.

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ISBN 978-979-3774-28-2 Cataloguing-in-Publication Data

Traditional Modern & Contemporary Art Larasati, Bali, 13 August 2011

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

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Auction Saturday, 13 August 2011 starting at 2 pm Viewing Thursday-Friday, 11-12 August 2011 Saturday, 13 August 2011

11 am - 8 pm 11 am - 1 pm

at Nyoman Sumertha Fine Art Gallery Jl. Goa Gajah, Banjar Teges Peliatan Gianyar, Bali - Indonesia

Sale Code

In sending written bids or making enquiries, this sale should be referred to as “PArAdise” The sale will be conducted in English. Bidding is carried out in Indonesian Rupiahs. Please note that all US Dollar estimates are for reference only. US$ 1 = Rp 8.530 All sales are subject to the conditions printed in catalog and the buyer’s attention is drawn to this information.

Correspondence address: 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

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

i n f o @ l a ra sa t i . c o m w w w. l a ra sa t i . c o m Insights - Connections - Expertise

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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

104

Guide for aBsentee Bidders

105

conditions of Business for Buyers

106

conditions of Business for seller

108

saleroom & offices

110

Front Cover: lot 62, Rungun, I Dewa Ketut, Birds of Paradise Back Cover: lot 60, Ida Bagus Made, Rajapala

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Important notICe the

names of the artists documented in this

any

assistance offered By

larasati

staff to a

cataloG should not Be considered as unquali-

Buyer in selectinG a lot to Purchase is Given

fied attriButions to the artists named.

Without Prejudice to the aBove.

unquali-

Buyers

are

fied attriButions to any artist or date have not

recommended to take indePendent Professional

Been intended.

advice on selection of Purchases.

current scholarshiP in the field

of indonesian and southeast asian art does not Permit unqualified statements as to authorshiP or date of execution.

therefore,

accePt no resPonsiBility should currency

none of the

exchanGe fluctuations cause major differences

ProPerty in this cataloG is suBject to any Guar -

in values that have Been quoted in this cataloG.

antee of authenticity and all of the ProPerty is sold

â&#x20AC;&#x153;as isâ&#x20AC;?

With all imPerfections, incom-

Pleteness, faults and errors of descriPtion in accordance With the

conditions of Business.

this sale has Been orGanized in close cooPeration BetWeen

l arasati and a rts and a ntique

G rouP .

Insights - Connections - Expertise

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GuIde for prospeCtIve Buyers Buying at Auction The following pages are designed to give you useful information on how to buy at PT. Balai Lelang Larasati - herein referred to as LARASATI - fine art auction. Buyer’s Premium A buyer’s premium is payable by the buyer of each lot at a rate of 20% on the first Rp 750.000.000,of the hammer price of the lot and at a rate of 12% on the amount by which the hammer price of the lot exceeds Rp 750.000.000,1. 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 Indonesian Rupiahs. 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:

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Rp 1 - 2.000.000,- by Rp 100.000,Rp 2 - 5.000.000,- by Rp 2 - 3 - 400.000,Rp 5 - 10.000.000,- by Rp 500.000,Rp 10 - 20.000.000,- by Rp 1.000.000,Rp 20 - 50.000.000,- by Rp 2 - 3 - 4.000.000,Rp 50 - 100.000.000,- by Rp 5.000.000,Rp 100 - 200.000.000,- by Rp 10.000.000,Rp 200.000.000,- and above by Auctioneer’s direction However, the auctioneer may change the increments during the course of the auction at his or her discretion. Bidding in Person To bid in person at the auction, you will need to register for and collect a numbered paddle before the auction begins. Proof of identity will be required. The paddle is used to indicate your bids to the auctioneer during the sale. Should you be the successful buyer of any lot, please ensure that your paddle can be seen by the auctioneer and that it is your number that is called out. Should there be any doubts as to price or buyer, please draw the auctioneer’s attention to it immediately. All lots sold will be invoiced to the name and address in which the paddle has been registered and cannot be transferred to other names and addresses. Please do not mislay your paddle; in the event of loss please inform the Sales Clerk immediately. At the end of the sale, please return your paddle to the registration desk.

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 Indonesian Rupiahs, 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 Indonesian Rupiahs. 3. AFTER THE AUCTION Payment Payment must be made within seven calendar days of the sale and may be made by telegraphic transfer direct to Larasati’s account at CIMB Niaga Bank, Kota Branch, Jalan Kopi, Jakarta. Acc. No. 171-01-00189-00-1. Please include your name, Larasati’s account number and invoice number with your instructions to your bank. Payment can also be made in Indonesian Rupiahs cash, Indonesian Rupiahs banker’s drafts (drawn on a recognized Indonesian bank). Although personal and company cheques are accepted, you are advised that property will not be released until such cheques have cleared.

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.

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

Telephoned absentee bids must be confirmed before the sale by letter or fax. Fax number for bids only: +62 21 3989 9533. The telephone number during viewing and auction days: +62 855 101 5778.

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.

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 Rp 10.000.000,-. 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.

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.

Packing and Handling We shall use all reasonable effort to take care when handling and packing a purchased lot but remind the buyer that after seven days or from the time of collection, the lot is entirely at the buyer’s risk. Shipping Shipping can also be arranged on your behalf. You can also instruct the shipper of your choice, either immediately after the sale, if you are attending or in writing on the instruction form sent with our invoice.

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LARASATI

Sale Number :________Paddle Number :______ Sale Date

:________ Client Number :______

BIDDER REGISTRATION FORM

(INVOICES CANNOT BE CHANGED ONCE THEY HAVE BEEN PRINTED) Bidders Details (Complete the details of the person who will be bidding in the Auction Room. When making a bid, prospective buyers will be accepting personal liability, unless it has been agreed in writing before the sale, that a bidder is acting as agent on behalf of a third party acceptable to LARASATI) Family Name : ________________________________ Given Name : __________________________________ Address : _______________________________________________________Postcode : ___________________ IC/Pasport No. : ____________________Mobile/Pager No. : ____________________email : ____________________ Office phone No. : _________________Home phone No. : _________________Fax No. : __________________ BANK REFERENCES : Name of Bank & Branch : ____________________________________________________________________ Account No. : __________________________________Contact Name : __________________________________ Tel No. : _______________________________________ Fax No. : ________________________________ Credit Card No. : ____________________________Type / Expire Date : __________________________________ OTHER REFERENCES : Name : ____________________________________________Address : __________________________________ Tel No. : ___________________________________________Fax No. : __________________________________ Please register me for the following session : LARASATI Traditional, Modern & Contemporary Art • I have read the conditions of business and notices printed in the sale catalog and agree to be bound by them. • I agree to be bound by notices announced by auctioneer or posted in the sale room by the way of notice. • I authorise Larasati to request bank references relating to the account(s) specified by me in the above. • I authorise Larasati to fax invoices to (fax) : _________________________Signature_____________________ Signature : ______________________________________ Date : ________________________________________ Bidders are reminded that the purchase price payable by the successful bidder shall be the aggregate of the final bid and a premium of 20% of the first Rp 750.000.000,- of the hammer price of each lot and 12% on the excess of the hammer price above Rp 750.000.000,-. Please note that a late charge is specified in the Conditions of Business in each catalogue and is subject to change without separate notice. PAYMENT FOR PURCHASE CAN BE MADE IN CASH, BANK TRANSFER OR CHEQUE IN FAVOUR OF LARASATI. GOODS CAN BE COLLECTED ONLY WHEN PAYMENT HAS CLEARED. LARASATI DOES NOT ACCEPT CREDIT CARDS AS PAYMENT FOR PURCHASE. AFTER THE HAMMER IS DOWN, LARASATI WILL NOT ACCEPT ANY CANCELLATION.

LARASATI Correspondence address : Jl. Pasuruan no . 9, Menteng - Jakarta Pusat, Jakarta 10310 - Indonesia Tel. +62 21 315 8636, 315 6110, +62 855 101 5778

Fax. +62 21 3989 9533

Insights - Connections - Expertise

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LARASATI Bali, 13 August 2011 starting at 2 pm

lot # 1 - 111 Insights - Connections - Expertise

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Arie Smit & The Young Artists

1 Dampuk, I Wayan

Rice Harvesting ca. 1960s acrylic on canvas 85 x 134 cm signed (lower left)

Rp 15 - 18.000.000 uS$ 1,750 â&#x20AC;&#x201C; 2,110 Provenance: Previously in the collection of Cecily Johnston, Hawaii, USA.

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2 kInIgan

Bencana Alam Gunung Agung ca. 1960s acrylic on canvas 90 x 120 cm signed (lower left); inscribed / titled (on the reverse)

Rp 15 - 18.000.000 uS$ 1,750 â&#x20AC;&#x201C; 2,110 Provenance: Previously in the collection of Cecily Johnston, Hawaii, USA.

Insights - Connections - Expertise

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3 TjakRa, I nyoman

4 SokI, I keTuT

(b. Penestanan, Ubud, Bali, 1945)

(b. Ubud, Bali, Indonesia, 1946)

Adu Banteng

Barong Landung Parade

acrylic on canvas 70 x 90 cm

acrylic on canvas 40 x 100 cm

signed (lower left)

signed (lower right); signed again on the reverse

Rp 8 - 11.000.000 uS$ 930 – 1,280

Rp 7 - 9.000.000 uS$ 820 – 1,050

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5 Tapa, I nyoman (b. Sayan, Ubud, Bali, Indonesia, 1959)

Hari Raya Galungan oil on canvas 50 x 75 cm signed (lower left)

Rp 15 - 18.000.000 uS$ 1,750 â&#x20AC;&#x201C; 2,110

Insights - Connections - Expertise

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6 Tapa, I nyoman (b. Sayan, Ubud, Bali, Indonesia, 1959)

Hari Raya Galungan oil on canvas 71 x 90 cm signed (lower right)

Rp 20 - 25.000.000 uS$ 2,340 â&#x20AC;&#x201C; 2,930

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7 DIRga, I Wayan

(b. Bongkasa, Bali, Indonesia, 1955)

Temple Festival oil on canvas 90 x 140 cm signed (lower left)

Rp 27 - 35.000.000 uS$ 3,160 â&#x20AC;&#x201C; 4,100

Insights - Connections - Expertise

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8 SuanDI, I Wayan

Kehidupan di Bali oil on canvas 110 x 200 cm signed (lower right)

Rp 37 - 45.000.000 uS$ 4,330 â&#x20AC;&#x201C; 5,270

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Insights - Connections - Expertise

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9 aRIe SmIT (b. Zaandam, The Netherlands, 1916)

Shrines in Bali 2011 acrylic on canvas glued on board 30 x 40 cm signed and dated (lower right); signed, inscribed, and dated (on the reverse)

Rp 35 - 45.000.000 uS$ 4,100 â&#x20AC;&#x201C; 5,270 This lot is accompanied with certificate of authenticity from the artist.

10 aRIe SmIT (b. Zaandam, The Netherlands, 1916)

Flowers and Hills 1999 acrylic on canvas 70 x 80 cm signed and dated (lower right); inscribed, signed and dated on the reverse

Rp 150 - 170.000.000 uS$ 17,500 â&#x20AC;&#x201C; 19,900

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Insights - Connections - Expertise

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Ubud Style - Bali Life

11 SupaRTha, I Wayan (b. Peliatan, Ubud, Bali, Indonesia, 1971)

Suasana Pasar 2010 acrylic on canvas 85 x 140 cm signed and dated (lower right); signed and dated (on the reverse)

Rp 25 - 35.000.000 uS$ 2,930 – 4,100

12 DjaWI, I keTuT (b. Padang Tegal, Ubud, Bali, Indonesia 1958)

Harvesting acrylic on canvas 60 x 40 cm signed (lower right)

Rp 15 - 18.000.000 uS$ 1,750 – 2,110 12

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13 maTRa, I Wayan (b. Ubud, Bali, Indonesia, 1962)

Melasti 2005 acrylic on canvas 68 x 95 cm signed and dated (lower right)

Rp 17 - 22.000.000 uS$ 1,990 â&#x20AC;&#x201C; 2,570 Literature: Garret Kam, Reflections of Reality, illustrated in colour, p.20

14 SuWeTa, I keTuT (Ubud, Bali, Indonesia, 1962 - 2006)

Barong Dance acrylic on canvas 60 x 80 cm signed (lower right)

Rp 5 - 7.000.000 uS$ 580 - 820 14 Insights - Connections - Expertise

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15 gelgel, I keTuT (b. Pengosekan, Ubud, Bali, Indonesia, ca. 1944)

Setelah panen Raya 2011 acrylic on canvas 70 x 50 cm signed (lower right)

Rp 20 - 30.000.000 uS$ 2,340 â&#x20AC;&#x201C; 3,510

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16 leSug, I nyoman (b. Ubud, Bali, Indonesia, 1939)

Bali Life acrylic on canvas 76 x 140 cm signed (lower right)

Rp 40 - 50.000.000 uS$ 4,680 â&#x20AC;&#x201C; 5,860

Insights - Connections - Expertise

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17 BeDIl, DeWa puTu (Ubud, Bali, Indonesia, 1921 - 1999)

Bercocok Tanam acrylic on canvas 50 x 31 cm indistinctly signed (lower left)

Rp 12 - 15.000.000 uS$ 1,400 – 1,750

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

18 TanTRa, I Wayan

Women in the Market tempera on canvas 71 x 53 cm signed (lower right)

Rp 15 - 18.000.000 uS$ 1,750 – 2,110 18

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19 RaI, IDa BaguS (b. Ubud, Bali, Indonesia, 1933)

Bali Life acrylic on canvas 96 x 126 cm signed (lower right)

Rp 20 - 30.000.000 uS$ 2,340 â&#x20AC;&#x201C; 3,510

20 kaRSa, panDe Wayan Berburu Rusa acrylic on canvas 64 x 46 cm signed (lower right)

Rp 3 - 5.000.000 uS$ 350 - 580 20 Insights - Connections - Expertise

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21 kayun, I nyoman (b. Banjar Tengah, Peliatan, Ubud, Bali, Indonesia, 1954)

Kawin Lari 2001 acrylic on canvas 43 x 37.5 cm signed (lower left), signed and dated (on the reverse)

Rp 30 - 40.000.000 uS$ 3,510 â&#x20AC;&#x201C; 4,680

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22 kayun, I nyoman (b. Banjar Tengah, Peliatan, Ubud, Bali, Indonesia, 1954)

Babi Guling 2008 acrylic on canvas 47 x 33 cm signed (lower left), signed, dated (on the reverse)

Rp 28 - 38.000.000 uS$ 3,280 â&#x20AC;&#x201C; 4,450

Insights - Connections - Expertise

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23 SepI, I keTuT (b. Tebesaya, Ubud, Bali, Indonesia, 1942)

Hari Raya Galungan acrylic on canvas 100 x 105 cm signed (lower right)

Rp 33 - 43.000.000 uS$ 3,860 – 5,040 Exhibition: ”60 Tahun Indonesia - China, Bali: Alam dan Figurasi”, Indonesia’s National Gallery, Jakarta, 16 - 21 September 2010. Illustrated in colour in exhibition catalogue, p. 38

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24 Raka puja, anak agung geDe (b. Padang Tegal, Ubud, Bali, Indonesia, 1932)

Balinese Traditional Market 2005 acrylic on canvas 74 x 100 cm signed and dated (lower left)

Rp 65 - 75.000.000 uS$ 7,620 – 8,790 Exhibition: “Songs of Ubud”, Agung Rai Museum of Art, Bali, 2010. Illustrated in colour in exhibition catalogue, p. 61

Insights - Connections - Expertise

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Indo-European & Modern Painters of Indonesia

25 Dake, CaRl louDeWIjk (Schaerbeek, Belgium, 1886 - Jakarta, Indonesia, 1946)

A Mountain Landscape oil on board 51 x 83 cm signed (lower left)

Rp 15 - 18.000.000 uS$ 1,750 â&#x20AC;&#x201C; 2,110

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26 ChRIS SuhaRSo (Solo, C. Java, Indonesia, 1931 - Jakarta, Indonesia, 1999)

Balinese Temple 1981 oil on canvas 40 x 50 cm signed and dated (lower left)

Rp 25 - 30.000.000 uS$ 2,930 â&#x20AC;&#x201C; 3,510

Insights - Connections - Expertise

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27 FRIenD, DonalD (Sydney, Australia, 1915 - 1989)

A Boy With Bird 1977 ink and watercolour on paper 71x 55 cm signed and dated (lower left)

Rp 50 - 60.000.000 uS$ 5,860 – 7,030

28 gunaRSa, I nyoman (b. Klungkung, Bali, Indonesia, 1944)

A Seated Balinese Man 1973 oil on canvas 100 x 120 cm signed and dated (lower right)

Rp 25 - 35.000.000 uS$ 2,930 – 4,100

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29 han Snel (Scheveningen, The Netherlands, 1925-1998)

Balinese Beauty oil o n canvas 60 x 50 cm signed (lower left)

Rp 50 - 60.000.000 uS$ 5,860 – 7,030

30 maRSa, I nyoman

Gadis Bali 1992 acrylic on canvas 100 x 85 cm signed and dated (lower right)

Rp 12 - 15.000.000 uS$ 1,400 – 1,750

30 Insights - Connections - Expertise

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31 nagano, paul TaTSumI

32 paul huSneR

(b. Honolulu, Hawaii, USA, 1938)

(b. Basel, Switzerland, 1942)

Sunset, Sawah Bali

Kosamba with Boats

2008 watercolour on paper 56.5 x 76.2 cm

2002 oil on canvas 80 x 100 cm

signed and dated (lower left)

signed and dated (lower right)

Rp 17 - 22.000.000 uS$ 1,990 â&#x20AC;&#x201C; 2,570

Rp 18 - 25.000.000 uS$ 2,110 â&#x20AC;&#x201C; 2,930 This lot is accompanied with certificate of authenticity from the artist.

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33 hauRe, jean-phIlIppe (b. Orleans, France, 1969)

Waiting mixed media on paper 78 x 107 cm signed (lower left)

Rp 35 - 45.000.000 uS$ 4,100 – 5,270

34 naShaR (Pariaman, W. Sumatra, Indonesia, 1928 - 1994)

Penari 1961 gouache on paper 66 x 50 cm signed and dated (upper left)

Rp 10 - 13.000.000 uS$ 1,170 – 1,520 Property of Mr. Ajip Rosidi, prominent scholar in Indonesia. Proceeds of the sale will benefit the establishment of the Library “Ali Sadikin” founded by Mr. Rosidi in Bandung, West Java, Indonesia.

34 Insights - Connections - Expertise

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35 SyahRI Banjir 2000 oil on canvas 62 x 85 cm signed and dated (lower right)

Rp 5 - 7.000.000 uS$ 580 - 820

Property of Mr. Ajip Rosidi, prominent scholar in Indonesia. Proceeds of the sale will benefit the establishment of the Library “Ali Sadikin” founded by Mr. Rosidi in Bandung, West Java, Indonesia.

36 SyahRI Jalan Setapak 1954 oil on canvas 59 x 43 cm signed and dated (lower right)

Rp 5 - 7.000.000 uS$ 580 - 820

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37 popo ISkanDaR (Garut, W. Java, Indonesia, 1927 - Bandung, W. Java, Indonesia, 2000)

Air Terjun 1970 oil on canvas 100 x 95 cm signed and dated (lower right)

Rp 45 - 55.000.000 uS$ 5,270 â&#x20AC;&#x201C; 6,440 This lot is accompanied with certificate of authenticity from Griya Seni Popo Iskandar.

Insights - Connections - Expertise

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38 naShaR

39 naShaR

(Pariaman, W. Sumatra, Indonesia, 1928 - 1994)

Irama Alam

acrylic on canvas 65 x 100 cm

1986 acrylic on canvas 65 x 90 cm

Rp 35 - 45.000.000 uS$ 4,100 – 5,270 Property of Mr. Ajip Rosidi, prominent scholar in Indonesia. Proceeds of the sale will benefit the establishment of the Library “Ali Sadikin” founded by Mr. Rosidi in Bandung, West Java, Indonesia.

signed and dated (lower right)

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40 SRIhaDI SoeDaRSono (b. Solo, C. Java, Indonesia, 1931)

Borobudur - A Moment of Contemplation 2008 oil on canvas 90 x 100 cm signed and dated (upper right); inscribed on the reverse.

Rp 275 - 350.000.000 uS$ 32,200 â&#x20AC;&#x201C; 41,000

Insights - Connections - Expertise

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41 RuSlI (Medan, N. Sumatra, Indonesia, 1916 - Jakarta, Indonesia, 2005)

Menuju Keabadian 1966 oil on canvas 60 x 73 cm signed and dated (lower right)

Rp 40 - 50.000.000 uS$ 4,680 – 5,860

42 SyahRI Patung 1990 oil on canvas 65 x 50 cm signed and dated (lower left)

Rp 8 - 10.000.000 uS$ 930 – 1,170

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43 eDI SunaRyo (b. Banyuwangi, E. Java, Indonesia, 1951)

Orang-Orangan Sawah 1978 oil on canvas 108 x 95 cm

signed and dated (lower right)

Rp 7 – 9.000.000 uS$ 820 – 1,050

44 SyahRI Relief 1994 oil on canvas 88 x 68 cm signed and dated (lower left)

44 Insights - Connections - Expertise

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45 SuDaRSo

46 SuDaRSo

(Purwakarta, W. Java, Indonesia, 1914 - 2006)

Pemandangan Rawa

Boats at Sanur Beach, Bali

1978 oil on canvas 88 x 125 cm

1998 oil on canvas 80 x 119 cm

signed and dated (lower right)

signed and dated (lower left)

Rp 17 – 22.000.000 uS$ 1,990 – 2,570

Rp 18 - 25.000.000 uS$ 2,110 – 2,930

Literature: Nasjah Djamin & Sides Sudyarto, The World of Sudarso, Hexart Publishing, Jakarta, Indonesia. Illustrated in colour, p. 148.

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47 popo ISkanDaR (Garut, W. Java, Indonesia, 1927 - Bandung, W. Java, Indonesia, 2000)

Bamboo 1974 oil on canvas 127 x 100 cm signed and dated (lower right)

Rp 70 - 90.000.000 uS$ 8,200 – 10,500 Property of Mr. Ajip Rosidi, prominent scholar in Indonesia. Proceeds of the sale will benefit the establishment of the Library “Ali Sadikin” founded by Mr. Rosidi in Bandung, West Java, Indonesia.

Insights - Connections - Expertise

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Mythology

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48 DagIng,I nyoman (b. Peliatan, Ubud, Bali, Indonesia, 1940)

Dewi Saraswati 2000 acrylic on canvas 85 x 62 cm signed and dated (lower right)

Rp 8 - 11.000.000 uS$ 930 – 1,280

49 DIng, DeWa keTuT (Padangtegal, Ubud, Bali, Indonesia, 1920 - 1996)

Jatayu acrylic on canvas 2 panels, 42 x 41 cm each each signed (lower right)

Rp 12 - 15.000.000 uS$ 1,400 – 1,750

This lot has been authenticated by family of the artist.

50 gInaRSa, I keTuT (b. Tebesaya, Ubud, Bali, Indonesia, 1953)

Dewi Saraswati acrylic on canvas 85 x 62 cm signed (lower right)

Rp 17 - 22.000.000 uS$ 1,990 – 2,570

50 Insights - Connections - Expertise

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51 geRuDug, I Wayan (Bali, Indonesia, 1905 - 1989)

Tirta Kamandanu acrylic on canvas 88 x 48 cm signed (lower right)

Rp 20 - 30.000.000 uS$ 2,340 – 3,510 This lot is accompanied with certificate of authenticity from family of the artist.

52 DIng, DeWa keTuT (Padang Tegal, Ubud, Bali, Indonesia, 1920 - 1996)

Bima Bertarung acrylic on canvas 100 x 66 cm signed (lower left)

Rp 20 - 30.000.000 uS$ 2,340 – 3,510

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Singa painted wood carving 38 x 42 x 22 cm Rp 27 - 35.000.000 uS$ 3,160 â&#x20AC;&#x201C; 4,100

54 DeBlog, I guSTI maDe (Denpasar, Bali, Indonesia, 1906 - 1986)

Calonarang acrylic on canvas 60 x 50 cm signed (lower right)

Rp 35 - 45.000.000 uS$ 4,100 â&#x20AC;&#x201C; 5,270 This lot is accompanied with certificate of authenticity from Nyoman Sumerta Gallery, Ubud, Bali, Indonesia.

54 Insights - Connections - Expertise

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55 Sena, IDa BaguS puTu

56 SuDIla, I keTuT

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

(b. Klungkung, Bali, Indonesia, 1974)

Komposisi Topeng

Perkumpulan Topeng Tua

1999 acrylic on canvas 60 x 50 cm

acrylic on canvas 100 x 65 cm

signed (lower left)

Rp 50 - 60.000.000 uS$ 5,860 – 7,030 Literature: Agus Dermawan T., Bali Bravo, Lexicon of 200 Years Balinese Traditional Painters, Panitia Bali Bangkit, Jakarta, 2006. Illustrated in colour, p. 237

signed (lower left)

Rp 10 - 13.000.000 uS$ 1,170 – 1,520 Exhibition: “Siyu Taksu - The Thousand Spirits” - Plaza Indonsia, Jakarta, 13 - 25 October 2009. Illustrated in colour in the exhibition catalogue, p. 128

Exhibition: “Siyu Taksu - The Thousand Spirits” - Plaza Indonsia, Jakarta, 13 - 25 October 2009. Illustrated in colour in the exhibition catalogue, p. 130.

Insights - Connections - Expertise

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57 koBoT, I guSTI keTuT

58 Togog, IDa BaguS maDe

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

(Batuan, Ubud, Bali, Indonesia, 1913 - 1989)

Dewi Syiwa

Mythological Scene

1962 acrylic on canvas 50 x 40 cm

acrylic on canvas 39 x 49 cm

signed and dated (lower right)

Rp 40 - 50.000.000 uS$ 4,680 – 5,860

signed (lower right)

Rp 35 - 45.000.000 uS$ 5,970 – 5,270

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Painting for The Gods â&#x20AC;&#x153;Rajapala catches sight of a group

of celestial nymphs bathing in a pool. He approaches stealthilly, and without their knowledge, steal the skirt (kamben) of Sulasih. As her clothing contains magical powers enabling her to fly, the nymph cannot return home. Rajapala aska to marry her. She accepts on the condition that he will return her kamben so that she can return to heaven after the birth of a child. With time, she and Rajapala have a healthy young son. Years pass, and one day, Sulasih discovers her kamben hidden in the kitchen. She realises that she has been tricked and Rajapala was keeping her there. She takes her kamben and returns to heaven, leaving Rajapala and her son behind.â&#x20AC;? - Excerpt: Bali Dancing for The Gods brochure , HORNIMAN MUSEUM London

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59 koBoT, I guSTI keTuT (Pengosekan, Gianyar, Bali, Indonesia, 1917 - 1999)

Scene from Rajapala acrylic on canvas 50 x 70 cm signed (lower right)

Rp 70 - 90.000.000 uS$ 8,200 â&#x20AC;&#x201C; 10,900

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60 IDa BaguS maDe (Peliatan, Bali, Indonesia, 1915 - 1999)

Rajapala acrylic on canvas 62 x 72 cm signed (upper left), inscribed (upper right)

Rp 270 - 370.000.000 uS$ 31,600 â&#x20AC;&#x201C; 43,300

Photo: Courtessy of Bamboo Gallery, Ubud, bali

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61 Togog, IDa BaguS maDe (Batuan, Ubud, Bali, Indonesia, 1913 - 1989)

Procession in Bali acrylic on canvas 74 x 91 cm Rp 120 - 150.000.000 uS$ 14,000 â&#x20AC;&#x201C; 17,500 This lot is accompanied with certificate of authenticity from Museum Puri Lukisan, Ubud. Provenance: Private collection, USA.

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61 Insights - Connections - Expertise

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62 Rungun, I DeWa keTuT

(Padang Tegal, Ubud, Bali, Indonesia, 1922-1986)

Birds of Paradise acrylic on canvas 100 x 200 cm signed (lower right)

Rp 90 - 120.000.000 uS$ 10,500 â&#x20AC;&#x201C; 14,000 Provenance: Purchased directly from family of the artist.

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Insights - Connections - Expertise

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Sanur & Batuan Style

63 BelIk BeDa, I guSTI puTu

Kecak Dance pen, black ink, watercolour on paper 36 x 26 cm Rp 5 - 7.000.000 uS$ 580 â&#x20AC;&#x201C; 1,200

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64 RuDIn, I keTuT (Renon, Sanur, Bali, Indonesia, 1918 - ....)

Tari Legong watercolour, Chinese ink and gold ink on paper 56 x 76 cm signed (lower right)

Rp 12 - 15.000.000 uS$ 1,400 – 1,750

65 RuDIn, I keTuT (Renon, Sanur, Bali, Indonesia, 1918 - ....)

Arjuna Tapa watercolour, Chinese ink and gold ink on paper 75 x 55 cm signed (lower right), inscribed (lower left)

Rp 18 - 25.000.000 uS$ 2,110 – 2,930 65 Insights - Connections - Expertise

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66 kICen, I maDe

67 keTIg, I Wayan

(Batuan, Bali, Indonesia, ca. 1920s - ....)

(b. Batuan, Bali, Indonesia, 1930)

Upacara di Bali

Bali Life

acrylic on canvas 88 x 61 cm

acrylic on canvas 89 x 135 cm

Rp 20 - 25.000.000 uS$ 2,340 – 2,930

signed (lower left)

Rp 25 - 35.000.000 uS$ 2,930 – 4,100

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68 BuDI, I maDe (b. Batuan, Gianayar, Bali, Indonesia, 1932)

Dagang Nasi 2002 Chinese ink on paper 34 x 25 cm signed and dated (lower left)

Rp 10 - 13.000.000 uS$ 1,170 – 1,520

69 BuDI, I maDe (b. Batuan, Gianayar, Bali, Indonesia, 1932)

Tari Joged 2000 acrylic on paper 34 x 26 cm signed and dated (lower left)

Rp 10 - 13.000.000 uS$ 1,170 – 1,520

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70 BuDI, I maDe (b. Batuan, Gianayar, Bali, Indonesia, 1932)

Daily Life in Bali acrylic on canvas 70 x 51 cm signed (lower left)

Rp 45 - 55.000.000 uS$ 5,270 - 6,440 Exhibition: Songs of Ubud, Agung Rai Museum of Art, Bali, 2010, illustrated in colour, p. 78

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71 kICen, I maDe (Batuan, Bali, Indonesia, ca. 1920s - ....)

Upacara acrylic, black chalk on canvas 75 x 33 cm signed (on the reverse)

Rp 12 - 15.000.000 uS$ 1,400 â&#x20AC;&#x201C; 1,750

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72 paSek, I DeWa kompIang (b. Banjar Gede, Batuan, Sukawati, Bali, Indonesia, 1924)

Village Procession acrylic on canvas 62 x 119 cm signed (lower left)

Rp 25 - 35.000.000 uS$ 2,930 â&#x20AC;&#x201C; 4,100

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Flora & Fauna

73 puTRa jaya, I maDe

Burung Bangau Acrylic on canvas 80 x 120 cm signed (lower right)

Rp 22 - 27.000.000 uS$ 2,570 â&#x20AC;&#x201C; 3,160

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74 kayun, I nyoman (b. Banjar Tengah, Peliatan, Ubud, Bali, Indonesia, 1954)

Cangak Baka 2000 watercolour on paper 36 x 25 cm

signed and dated (lower left)

Rp 15 - 18.000.000 uS$ 1,750 – 2,110

75 SuDIaRka, I DeWa maDe

Tropical Birds acrylic on canvas 136 x 80 cm signed (lower right)

Rp 10 - 13.000.000 uS$ 1,170 – 1,520

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Contemporary Art 76 Taman, panDe keTuT (b. Peliatan, Bali, Indonesia, 1970)

Contemplation 2003 acrylic on canvas 145 x 145 cm signed, inscribed, and dated (lower right)

Rp 18 - 25.000.000 uS$ 2,110 – 2,930

77 puTu SuTaWIjaya (b. Bali, Indonesia, 1971)

Hentakan Penari 1997 gouache on paper 100 x 70 cm signed and dated (lower right)

Rp 10 - 13.000.000 uS$ 1,170 – 1,520

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78 eRaWan, I nyoman (b. Sukawati, Bali, Indonesia, 1958)

Pralayamatra XVII 1996 oil on canvas 90 x 70 cm signed and dated (upper right), dated, inscribed and signed (on the reverse)

Rp 12 - 15.000.000 uS$ 1,400 – 1,750

79 DjIRna, I maDe (b. Ubud, Bali, Indonesia, 1957)

Dunia Ikan 78

2008 oil on canvas 140 x 200 cm signed and dated (lower left)

Rp 35 - 45.000.000 uS$ 4,100 – 5,270

79 Insights - Connections - Expertise

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80 hojaTul (b. Payakumbuh, W. Sumatra, Indonesia, 1980)

Melihat Bayang 2007 oil on canvas 150 x 190 cm signed and dated (lower left); inscribed, signed and dated (on the reverse)

Rp 15 - 18.000.000 uS$ 1,750 â&#x20AC;&#x201C; 2,110

81 RoSID (b. Ciamis. W. Java, Indonesia, 1969)

Rasa Lamunan 2004 - 2005 mixed media on canvas 150 x 150 cm signed and dated (lower left); inscribed, signed, and dated on the reverse

Rp 15 - 18.000.000 uS$ 1,750 â&#x20AC;&#x201C; 2,110 81

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82 Tommy WonDRa (b. Bukittinggi, W. Sumatra, Indonesia, 1980)

Modern Urban 2005 acrylic on canvas 100 x 200 cm signed and dated, inscribed, signed and dated (on the reverse)

Rp 20 - 25.000.000 uS$ 2,340 – 2,930

83 pInToR SIRaIT (b. German, 1962)

Peeping Tina 2005 stainless steel 145 x 80 x 12 cm signed , dated and numbered

Rp 65 - 85.000.000 uS$ 7,600 – 9,940 83 Insights - Connections - Expertise

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84 SujenDRa, I maDe (b. Batuan, Ubud, Bali, Indonesia, 1974)

Legend of Cupak Grantang 1991 acrylic on canvas 70 x 97 cm signed (on the reverse)

Rp 15 - 20.000.000 uS$ 1,750 – 2,340

85 noDIa, I guSTI nyoman (b. Tanah Lot, Bali, Indonesia, ca. 1950)

Barong Landung acrylic on canvas 105 x 66 cm signed (lower right)

Rp 10 - 13.000.000 uS$ 1,170 – 1,520

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86 mokoh, I DeWa puTu

87 SugI, DeWa

(Ubud, Bali, Indonesia, 1936 - 2010)

Subali Sugriwa

Di Sawah

Chinese ink on canvas 78.5 x 136 cm

2001 acrylic on canvas 80 x 100 cm

signed (lower left)

signed (lower left), signed and dated (on the reverse)

Rp 20 - 30.000.000 uS$ 2,340 â&#x20AC;&#x201C; 3,510

Rp 20 - 25.000.000 uS$ 2,340 â&#x20AC;&#x201C; 2,930

This lot is accompanied with photo of the artist with the painting.

87 Insights - Connections - Expertise

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88 WIRaDana, I maDe (b. Denpasar, Bali, Indonesia, 1968)

Hero 2010 mixed media on canvas 120 x 150 cm signed and dated (lower right)

Rp 12 - 15.000.000 uS$ 1,400 – 1,750

89 palguna, I maDe aRya (b. Ubud, Bali, Indonesia, 1976)

Relax 2007 oil on canvas 130 x 140 cm Rp 15 - 18.000.000 signed and dated (lower right)

Rp 15 - 18.000.000 uS$ 1,750 – 2,110

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90 eRICa heSTu WahyunI (b. Yogyakarta, Indonesia, 1971)

Blessing Picnic in Golden Island 2009 acrylic on canvas 150 x 150 cm signed and dated (lower right), inscribed and signed (on the reverse)

Rp 40 - 50.000.000 uS$ 4,680 – 5,860

91 DjIRna, I maDe (b. Ubud, Bali, Indonesia, 1957)

Minum Tuak 2000 mixed media on canvas 90 x 70 cm signed and dated (lower right), inscribed (on the reverse)

Rp 12 - 15.000.000 uS$ 1,400 – 1,750

91 Insights - Connections - Expertise

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Ubud Style - Dance & Drama

92 SuDana, I keTuT (b. Ubud, Bali, Indonesia, 1937)

Latihan Menari acrylic on canvas 137 x 95 cm signed (lower right)

Rp 8 - 11.000.000 uS$ 930 â&#x20AC;&#x201C; 1,280

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93 SInom, I nyoman (b. Ubud, Bali, Indonesia, ca. 1940)

Tari Joged Bumbung acrylic on canvas 73 x 57 cm signed (lower right)

Rp 10 - 13.000.000 uS$ 1,170 – 1,520

94 DjuDjul, I Wayan (b. Peliatan, Ubud, Bali, Indonesia, 1942)

Penari

acrylic on canvas

37 x 27 cm signed (on the reverse)

Rp 10 - 13.000.000 uS$ uS$ 2,340 – 3,510 94 Insights - Connections - Expertise

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95 SuDana, I Wayan (b. Peliatan, Ubud, Bali, Indonesia, 1966)

Behind the Stage 2006 acrylic on canvas 120 x 70 cm signed (lower left)

Rp 18 - 22.000.000 uS$ 2,110 â&#x20AC;&#x201C; 2,570

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96 aDI anTaRa, I maDe (b. Tebesaya, Ubud, Bali, Indonesia, 1973)

Balinese Dance Performance 2010 acrylic on canvas 80 x 120 cm signed (lower right); signed and dated (on the reverse)

Rp 12 - 15.000.000 uS$ 2,340 â&#x20AC;&#x201C; 3,510

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97 SuDana, I Wayan (b. Peliatan, Ubud, Bali, Indonesia, 1966)

Tari Oleg Tambulilingan acrylic on canvas 100 x 80 cm signed (lower right)

Rp 22 - 27.000.000 uS$ 2,570 â&#x20AC;&#x201C; 3,160

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98 kWanjI, I guSTI maDe (b. Peliatan, Ubud, Bali, Indonesia, 1936)

Barong dan Rangda 2010 acrylic on canvas 80 x 60 cm signed and dated (lower right)

Rp 20 - 30.000.000 uS$ 2,340 â&#x20AC;&#x201C; 3,510

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99 Sena, IDa BaguS puTu (b. Tebesaya, Ubud, Bali, Indonesia, 1966)

Tari Barong 1999 acrylic on canvas 41 x 33 cm signed (lower right), signed and dated (on the reverse)

Rp 30 - 40.000.000 uS$ 3,510 â&#x20AC;&#x201C; 4,680

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100

100 Raka puja, anak agung geDe (b. Padang Tegal, Ubud, Bali, Indonesia, 1932)

Tari Jauk 1994 acrylic on canvas 68 x 40 cm signed and dated (lower left)

Rp 45 - 55.000.000 uS$ 5,270 â&#x20AC;&#x201C; 6,440 Insights - Connections - Expertise

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101

101 kaSTa, I keTuT (b. Peliatan, Ubud, Bali, Indonesia, 1945)

Tari Arja acrylic on canvas 190 x 120 cm signed (lower right)

Rp 160 - 190.000.000 uS$ 18,700 â&#x20AC;&#x201C; 22,200

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102

102 meja, I nyoman (b. Ubud, Bali, Indonesia, 1952)

Tari Baris 1983 acrylic on canvas 150 x 117 cm signed and dated (lower right)

Rp 180 - 270.000.000 uS$ 21,100 â&#x20AC;&#x201C; 31,600

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Tribute to Bonnet Rudolf Bonnet (AmsteRdAm, HollAnd, 1895-1978)

Rudolf Bonnet was an artist whose figure and life cannot be separated with the development of art in Bali. Born in 1895 in Amsterdam, he received his art training from the National Art and Crafts School and The National Academy of Fine Art in Amsterdam. He went to Italy with his parents in 1920 and stayed there for 8 years, resulting an enormous production of drawings of people, villages and landscapes. But it was his encounter with W.O.J Nieuwenkamp in Rome who advised him to go to Bali that turned out to be a revelation. In 1929 he arrived in Bali and settled in Campuhan. Together with Walter Spies and Tjokorde Gde Agung Soekawati, he established Pita Maha in 1936, an art organization set up with the purpose of preserving the quality of Balinese art. During Pita Maha years, he worked side by side with Balinese artists, giving material, artistic guidance and at the most, providing some instruction in the depiction of anatomy, which is one of his biggest contributions to the development of Balinese art. Bonnet was popular in Bali, with the painters as well as with the models. People admired his work and paid him the highest compliment of imitating his work as carefully as they could. Although there were painters who returned to Balinese traditions and matured in that direction, there was a large group of followers of Bonnet who developed a style with Balinese scenes of cock fights, markets and paddy fields, filled with figures in the style of Bonnet. To this day, there are painters who passed on this instantly recognizable way of painting from father to son. After the breakout of the Second World War, Bonnet was taken prisoner by the Japanese and put in prison near Makasar while Spies was interned and killed during transportation. After the war was over, Bonnet returned to Bali several times. His first return was in 1946 in which he established another art organization as a continuation of Pita Maha, known as Golongan Pelukis Ubud and formed an idea of opening a museum of Balinese art. The Museum, Puri Lukisan, officially opened in 1956 but due to the deterioration of relations between the Netherlands and Indonesia, Bonnet had to leave in 1958 and only to return in 1972, despite many attempts to bring him back to Indonesia. After a long illness, he passed away in 1978 in the Netherlands. He was cremated, and at the request of his Balinese friends his ashes were brought to Bali and burnt together with the body of his friend Tjokorde Gde Agung Sukawati in a great traditional ceremony in 1981. For his numerous contribution to Balinese art, he was awarded the Dharma Kusuma Award in 1980 by the Indonesian Government, the first foreign artist to receive such honour. Up until now, although Bonnet is no longer around, his presence is and will always be felt in Bali.

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103

103 BonneT, RuDolF (Amsterdam, The Netherlands, 1895 - Laren, The Netherlands, 1978)

Study for Padi Harvesting 1952 black and white chalk with East Indian ink on paper 35 x 39 cm signed (lower right), annotated (upper left)

Rp 27 - 35.000.000 uS$ 3,160 â&#x20AC;&#x201C; 4,100

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104 SaDIa, I Wayan (b. Penestanan, Ubud, Bali, Indonesia, 1942)

Panen Padi acrylic on canvas 150 x 125 cm signed and dated (lower left)

Rp 22 - 27.000.000 uS$ 2,570 – 3,160

104

105 RIDI, I nyoman (b. Penestanan, Ubud, Bali, Indonesia, 1945)

Berangkat Ke Sawah 1978 acrylic on canvas 86 x 66 cm signed and dated (lower right)

Rp 15 - 18.000.000 uS$ 1,750 – 2,110 105

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106

106 SaDIa, I Wayan (b. Penestanan, Ubud, Bali, Indonesia, 1942)

Pasar Ikan acrylic on canvas 150 x 250 cm signed (lower left)

Rp 45 - 55.000.000 uS$ 5,270 â&#x20AC;&#x201C; 6,440

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Tribute to Walter Spies WAlteR spies (moscoW 1895-indonesiA 1942)

Walter Spies was an artist with many talents. Born in Moscow on September 15, 1895, to a German diplomatic family, he grew up in an intellectual and artistic environment and showed a great interest in nature, music, dance and painting at a very early age. He first came to Indonesia in 1923 as a pianist but it was not long until his great talent was discovered and he was asked to become the conductor of the European orchestra at the sultan’s court in Yogyakarta. His first trip to Bali in 1925 made such a deep impression on him that he asked the Sultan of Yogyakarta to relieve him of his position and left for Bali two years later, where he was hospitably received by the Panggawa of Ubud, Cokorde Gde Agung Sukawati. In Bali, Spies found no boundaries to pursue his various interests in the artistic, cultural and natural world of the island. The Balinese were quick Collection of Presidential Palace, Jakarta, Indonesia to recognize his talents and to accept him into their community of artists. The response was mutual. Therefore, it is very interesting to highlight how the interaction between Spies and the Balinese shaped the face of Balinese art and Spies’ own work. Spies’ major contribution to the development of Balinese art perhaps can be acknowledged in his idea of perspective and light. But Spies also introduced them to a new subject-matter of landscape and daily life and breathed the notion of Surrealism to Balinese art, a concept that was totally foreign to the Balinese then, but an aspect that was exclusively his. Other various motifs dear to Spies are also evident in the high-lighting of the leaves, the use of the farmer and cow motif. On the other hand, Bali and its culture gave Spies growth in his own inner belief as evident in his oeuvre during his Bali period, which gained more spiritual and symbolic depth. He had unconsciously adopted the Balinese philosophy in his way of thinking and his execution of artistic works. Among others are the Balinese concepts of spatial orientation of Balinese paintings, which vertically divided the canvas into three different parts: the bottom deals with the mundane tasks and world of mankind; the middle consists of various ritual activities while the top part is concerned with the realm of the sacred. Also the appearance and reappearance of Mount Agung, the Balinese holy mountain focusing itself in the north-east corner, the most holy direction of Balinese cosmology. Another concept of Balinese philosophy that Spies also incorporated in his work is the notion of the ever-present aspect of good and evil represented by his dramatic use of light and dark. Between Spies and the Balinese artistic world of the thirties there existed a highly successful communal and symbiotic relationship. An extraordinary man in harmony with the extraordinary people of an extraordinary place. - Source: Hans Rhodius and John Darling, Walter Spies and Balinese art, Terra, Zutphen, 1980

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107

107 galuh, nI guSTI agung (b. Kapal, Ubud, Bali, Indonesia, 1968)

Suasana Desa di Bali acrylic on paper 54 x 75 cm signed (lower right)

Rp 27 - 35.000.000 uS$ 3,160 â&#x20AC;&#x201C; 4,100

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108

108 kepakISan, I guSTI agung (b. Kapal, Ubud, Bali, Indonesia, 1974)

Majestic Landscape 2006 acrylic on canvas

80 x 60 cm signed and dated (lower right)

Rp 9 - 12.000.000 uS$ 1,050 â&#x20AC;&#x201C; 1,400

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109

109 kepakISan, I guSTI agung (b. Kapal, Ubud, Bali, Indonesia, 1974)

Balinese Village Scene 2010 acrylic on canvas 80 x 140 cm signed and dated (lower left)

Rp 22 - 27.000.000 uS$ 2,570 â&#x20AC;&#x201C; 3,160 Exhibition: Songs of Ubud, Agung Rai Museum of Art, Bali, 2010, Illustrated in colour in exhibition catalogue, p. 68

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110 WIRanaTa, I guSTI agung (b. Kapal, Bali, Indonesia, 1969)

Membajak Sawah 2000 acrylic on canvas 100 x 120 cm signed and dated (lower right)

Rp 50 - 60.000.000 uS$ 5,860 â&#x20AC;&#x201C; 7,030

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111 WIRanaTa, I guSTI agung (b. Kapal, Bali, Indonesia, 1969)

Looking at My Village 1999 acrylic on canvas 120 x 200 cm signed and dated (lower left)

Rp 65 - 85.000.000 uS$ 7,620 â&#x20AC;&#x201C; 9.960

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Index of ArtIst the number following the name of the artists indicates lot numbers Adi Antara, I Made Arie Smit Balik Beda, I Gusti Putu Bedil, Dewa Putu Bonnet, Rudolf Budi, I Made Chris Suharso

96 9, 10 63 17 103 68, 69, 70 26

Daging, Nyoman Dake, Carl Loudewijk Dampuk, I Wayan Deblog, I Gusti Made Ding, Dewa Ketut Dirga, I Wayan Djawi, I Ketut Djirna, I Made Djudjul, I Wayan

48 25 1 54 49, 52 7 12 79, 91 94

Edi Sunaryo Erawan, I Nyoman Erica Hestu Wahyuni

43 78 90

Friend, Donald

Galuh, Ni Gusti Agung Gelgel, I Ketut Gerudug, I Wayan Ginarsa, I Ketut Gunarsa, Nyoman

107 15 51 50 28

Han Snel Haure, Jean-Philippe Hojatul

29 33 80

Ida Bagus Made

Karsa, Pande Wayan Kasta, I Ketut Kayun, I Nyoman Kepakisan, I Gusti Agung Ketig, I Wayan Kicen, I Made Kinigan Kobot, I Gusti Ketut Kwanji, I Gusti Made Lesug, I Nyoman Marsa, I Nyoman Matra, I Wayan Meja, I Nyoman Mokoh, I Dewa Putu

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20 101 21, 22, 74 108, 109 67 66, 71 2 57, 59 98

Nagano, Paul Tatsumi Nashar Nodia, I Gusti Nyoman Palguna, I Made Arya Pasek, I Dewa Kompyang Paul Husner Pintor Sirait Popo Iskandar Putra Jaya, I Made Putu Sutawijaya Rai, Ida Bagus Raka Puja, Anak Agung Gede Ridi, I Nyoman Rosid Rudin, I Ketut Rungun, I Dewa Ketut Rusli

31 34, 38, 39 85 89 72 32 83 37, 47 73 77 19 24, 100 105 81 64, 65 62 41

Sadia, I Wayan Sena, Ida Bagus Putu Sepi, I Ketut Sinom, I Nyoman Soki, I Ketut Srihadi Soedarsono Suandi, I Wayan Sudana, I Ketut Sudana, I Wayan Sudarso Sudiarka, I Dewa Made Sudila, I Ketut Sugi, Dewa Sujendra, I Made Supartha, I Wayan Suweta, I Ketut Syahri

104, 106 55, 99 23 93 4 40 8 92 95, 97 45, 46 75 56 87 84 11 14 35,36,42,44

Taman, Pande Ketut Tantra, I Wayan Tapa, I Nyoman Tjakra, I Nyoman Togog, Ida Bagus Made Tommy Wondra

76 18 5, 6 3 58, 61 82

Wiradana, I Made Wiranata, I Gusti Agung

88 110, 111

16 30 13 102 86

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BIogrAphIes of the ArtIsts Adi Antara, I Made (b. Banjar Tebesaya, Ubud, Bali, Indonesia, 1973) His formal education level is Senior High School in Ubud. Wayan Djujul in Tebesaya was his instructor for ten years since 1985. Since 1990 Adi Antara has been joining numerous group exhibitions in Bali and Jakarta. Arie Smit (b. Zaandam, The Netherlands, 1916) He was trained at the Academy of Arts in Rotterdam, and arrived in Indonesia in 1938 as a soldier in the Dutch Colonial Army. He obtained his Indonesian citizenship in 1951. From 1950-1956 he taught painting at ITB / Bandung Institute of Technology. In 1956 he moved to Bali, and has lived and painted there ever since. He has had solo exhibitions in Bandung, Jakarta, Palembang, Balikpapan, Jakarta, Singapore and Honolulu, USA. In 1992 he received a Gold Medal Dharma Kusuma award from the Balinese provincial government for his contribution to the development of Balinese painting. Bedil, Dewa Putu (Padang Tegal, Ubud, Bali, Indonesia, 1921 - 1999). He was a student of the Dutch painter Rudolf Bonnet (1895-1978), and was a member of Pita Maha Society during the 1930s. Most of his works are inspired by village life. They usually include large figures of people, especially their heads and upper bodies, in soft pastel colors. These were aesthetic features which he learned from Bonnet. His works are in the collections of the Art Centre in Denpasar, the Puri Lukisan Museum in Ubud, the Rijksmuseum Voor Volkenkunde in Leiden, and the Tropen Museum in Amsterdam. His work was included in the Art of Bali exhibit held in 1988 at the East-West Centre in Honolulu, Hawaii. Exhibitions include: Museum Nasional Jakarta, 1995, Centre of Strategic and International Studies, Jakarta in 1996, Indonesia-Japan Friendship Festival, Morioka, Tokyo in 1997. 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 co-founded 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. BudI, I Made (b. Batuan, Gianyar, Bali, Indonesia 1932) Besides as a painter, he also is a carver, musician, and dancer. He combines traditional themes from Balinese religion and mytholoy with contemporary images of reality on the island. He first popularized the ide of showing tourists in his works. He has had numerous exhibitions in USA and Indonesia. He was awarded Dharma Kusuma award in 1982. His works can be found at the Contemporary Museum (Honolulu, Hawaii) Chris Suharso (Solo, C. Java, 1931 - Jakarta, 1999) This self-taught artist was born as Siauw Swie Ching. He is best known as a watercolorist but also works in pastels and oils with elements of impressionism and realism. He helped Lee Man Fong in finishing the Ramayana painting at the Indonesia Hotel in 1963. Daging, I Nyoman (b. Banjar Tengah Kangin, Peliatan, Ubud, Bali, Indonesia, 1940) His works are inspired by history of Indonesian traditional puppeteers. He joined several exhibition such as in Singer Museum Concert Hall Laren NH, Netherlands in 1975 and also in Bentara Budaya, Jakarta, Indonesia in 1995 sponsored by Rudolf Bonnet. Dake Jr., Carl Lodewijk (b. Schaerbeek, Belgium, 1886 - Jakarta, 1946) He studied painting from E. Piter and H. M. Krabbe in Laren, the Netherlands. He went to Indonesia in 1912 and travelled through 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..

Deblog, I Gusti Made (Denpasar, Bali , Indonesia, 1906 - 1986) When he was 25 years old he started studying to paint from Yap Sin Tin. He joined the Pita Maha organization in 1940. In 1975 he joined Himpunan Pelukis Indonesia ‘Bali Citra’ and has joined several exhibitions with the group afterwards. He received several awards from the government. Ding, Dewa Ketut (Padangtegal, Gianyar, Bali, Indonesia, 1920 - Bali, Indonesia 1996) He Studied under artists Walter Spies and Rudolf Bonnet. He was a member of the Pitamaha artists’ association. First etched illustrations on dried lontar (palmyra palm) leaves before he began painting on cloth. His works are based on literary themes and the natural world. In 1991 he was recognized by the regional government of Bali as a senior artist during the 13th Annual Bali Arts Festival in Denpasar. He received Wija Kusuma award in 1990 and Dharma Kusuma award in 1992. He has participated in exhibitions in Indonesia (Museum Nasional, Jakarta) in 1995 and in Japan (Indonesia-Japan Friendship Festival, Morioka, Tokyo) in 1997. Dirga, I Wayan (b. Bongkasa, Bali, Indonesia, 1955) He has some promising pupils, one of whom is I Wayan Suandi. Dirga is regarded as one of the figures at School of Young Artist in his village. He exhibits his works in several galleries in Bali. Djawi, I Ketut (b. Padang Tegal, Ubud, Bali, Indonesia, 1958) Djawi was a pupil of I Wayan Serati who was the mentor of I Nyoman Meja, the famous artist from banjar Taman. His works have been exhibited in various exhibitions in Bali and Jakarta. Djirna, I Made (b. Ubud, Bali, 1957) He studied at the Indonesia Fine Arts Institute (ISI) Yogyakarta. He became a member of the Sanggar Dewata Indonesia Kelompok Tujuh. He received the Lempad Prize and Pratisara Affandi Adhi Karya. As a very versatile artist, his works range from pure abstraction to simplified figures inspired by primitive art. He has participated in exhibitions at the Northern Territory Museum of Art and Sciences (1989), Lotus Art Gallery, Rotterdam, Holland (1992), Art Centre, Guam, U.S.A. (1993), Museum fur Volkerkunde, Basel, (1993, 1995-1996), and Singapore Art Museum (1994). His work was included in the Soul Ties exhibition at the Singapore Art Museum, 1999. His works are in the collections of the Singapore Art Museum, The Northern Territory Museum of Art and Sciences, Darwin, Australia, Museum fur Volkerkunde, Basel, Switzerland. Djudjul, I Wayan (b. Tebesaya, Ubud, Bali, Indonesia, 1942) He studied art in Institute Technology of Bandung’s Art Department in 1960s. During his study in Bandung, his workks were influenced by modern art. He was in the same class with Sam Bimbo and Umi Dachlan. In 1969, he went back to Ubud (Bali) where he began exploring the Ubud traditional style that he had left forsometime but still considered as the root of his style. Djudjul shares the same passion on details with the pupils, among whom are I Wayan Tangkas, I Made Adi Antara and I Wayan Aryana Supartha. He married his deceased brother’s, I Ketut Djodjol’s, widow. Edi Sunaryo (b. Banyuwangi, E. Java, 1951) Graduated in Fine Arts from the Indonesian Art Academy in Yogyakarta (ASRI). Received the “Pratisara Affandi Adhi Karya” Award and “Best Student” Award. Continued for a master degree in Arts at Bandung Isntitute of Technology (ITB). Active as lecturer and headed the Pure Arts Department at Indonesia Instute of Arts (ISI) in Yogyakarta. Erawan, I Nyoman (b. Gianyar, Bali, Indonesia, 1957) Studied at the Institute Seni Indonesia/ISI (Indonesian Institute of the Art), in Yogyakarta, Central Java. His geometric abstract works often incoporate used materials and found objects. He also is one of Indonesia’s foremost installation and performance artists. He has been invited to Basel, Switzerland. Award : Philip Morris Group (Indonesia, 1994). Collection : Museum fur Volkerkunde (Basel, Switzerland). Exhibitions : Festival of Indonesia (U.S.A., 1990-1992), Gate Foundation (Amsterdam, Holland, 1993), Queensland Art Gallery (Brisbane, Australia, 1993), Singapore Art Museum (1994), Gedung Departement Pendidikan dan Kebudayaan (Jakarta, 1995), Museum fur Volkerkunde (Basel, 1995-1996), Indonesia - Japan Friendship Festival (Morioka, Tokyo, 1997).

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Erica Hestu Wahyuni (b. Yogyakarta, Indonesia, 1971) Erica started to study painting when she was in primary school. She also joined Sanggar Katamsi, a children’s drawing club where she studied with Suharto P.R. and Herry Wibowo. From 1989-96 she studied at ISI / Indonesian Institute of the Arts, Yogyakarta. She received the award for Best Work at the Ninth Dies Natalis ISI Yogyakarta in 1993. She has had solo exhibitions in Yogyakarta and Jakarta and has participated in group exhibitions in Indonesia, Singapore, Philippines, Japan and Russia. Friend, Donald (Sydney, Australia, 1915 - 1989) He learned to paint at The Royal Art Society School at Sydney and later studied at Westminster, London. He lived in Bali from 1966 to 1980. Because of his health he moved to Australia in 1980 and passed away in 1989. He received awards from Sydney University for his contribution for art paintings. Galuh, Ni Gusti Agung (b. Kapal, Ubud, Bali, Indonesia, 1968) She learned painting from her father, a well known artist from the village of Kapal, West Bali and also from Walter Spies, from which she learned a lot about the use of color shade and light. In 1995, she was invited to Koln, Germany from where she continued to travel to Europe, visiting museums and galleries to learn about European traditions of arts. She actively participated in many group exhibitions in Germany, Hong Kong, Singapore and Indonesia. since 1991. Gelgel, I Ketut (b. Pengosekan, Ubud, Bali, Indonesia) In mid 1970s, a new genre of paintings was developed in Pengosekan. This style of paintings pay attention on the natural world, which they descibe in detail and I Ketut Gelgel was a master of this new style. Gerudug, I Wayan (Tebesaya, Bali, Indonesia, 1905 - Bali, Indonesia 1989)He has actively involved in painting and interior carving at a very young age, however he was more famous as a carver. In 1936 Gerudug joined Pita Maha led by Rudolf Bonnet, and he learned much about painting from Bonnet. He was also member of Golongan Pelukis Ubud. His works are colection of Neka Museum, Museum Puri Lukisan, Arma Museum and Bentara Budaya Jakarta. Ginarsa, I Ketut (b. Tebesaya, Ubud, Bali, Indonesia, 1953) He learned painting from I Wayan Djudjul from 1970-1973. His works predominantly illustrated the Goddess of Saraswati. This figure then is presented in numerous scenes. When participating in an exhibition at Bentara Budaya Jakarta in 1985, he featured Saraswati celebrating a baby’s 100 days celebration. In this picture, cheerful atmosphere is depicted with flying butterflies and blooming lotus. Dove as the symbol of peace added to complete the painting. His colours were inspiring. Beside Saraswati, Ginarsa also explores variety of subject including barong, legong dance, baris dance and Balinese daily live. He has joined many exhibitions such as Selaksa Daya Rupa in Jakarta in 2002. He has a potential pupil, I Nyoman Nurtika. Gunarsa, I Nyoman (b. Klungkung, Bali, Indonesia, 1944) He graduated from STSRI “ASRI” / Indonesian College of Fine Arts, Yogyakarta in 1976 and worked as a lecturer at ISI / Indonesian Institute of the Arts, Yogyakarta from 1967 to 1994. In 1970, Gunarsa was one of the co-founders of Sanggar Dewata Indonesia. He has received numerous awards since the 1960s, including the Pratisara Affandi Adhi Karya from STSRI “ASRI” Yogyakarta in 1976; Best Painting Award at the Indonesian Painting Biennial in 1978 and 1980; Lempad Prize awarded by Sanggar Dewata Indonesia in 1980; and the Dharma Kusuma awarded by the Governor of Bali. Gunarsa has participated in dozens of exhibitions throughout Indonesia, Japan, Malaysia, Singapore, Australia, USA, Germany, The Netherlands, France and Italy. He has founded two museums: the Museum of Contemporary Indonesian Painting, Yogyakarta which opened in 1989, and the Museum of Classical Balinese Painting in Klungkung, Bali which opened in 1994. Han Snel (Scheveningen, The Netherlands, 1925-1998) He trained at a graphic arts academy in The Hague. He went to Indonesia in 1946 as a soldier, and in late 1949 after Holland acknowledged Indonesia’s independence, he applied for political asylum: he was the first European citizen to be granted Indonesian citizenship. Snel lived in Bali from 1950 to 1998. He fell in love with his favourite model, Ni Made Siti and they married in 1958. He had his first solo exhibition in Jakarta in 1962, solo exhibition in Tokyo in 1965, and participated in numerous exhibitions in Indonesia and overseas.

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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 Abiansbase, Gianyar, and his work relects his love of Bali. Ida Bagus Made (Tebesaya - Ubud, Bali, 1915 - 1999) He was born in a family of artists. His father, Ida Bagus Kembeng, was famous traditional Balinese painter. Made studied painting under Rudolf Bonnet, and was a member of the Pita Maha artists’ society. His works appeared at Ubud’s Puri Lukisan, Bali Art Centre, Museum Neka, and Agung Rai Museum of Art. He has received the Dharma Kusuma Award from the Balinese government. Kasta, I Ketut (b. Peliatan, Ubud, Bali, Indonesia, 1945) After graduated from elementary school, he learned painting under the guidance of I Ketut Djodjol from Tebesaya. Kasta works evidently show his characteristic and became an important element of Balinese traditional art scene. His subjects lingered around the daily life of Bali such as the market scene, legong dance barong, women doing bebanten or weaving cili-cili: all illustrated meticulously. His figures were drawn in wayang’s anatomy of elongated hands and feet in slender body. The impression of his figure is innocent. Some of his pupils are I Ketut Sundra, Ida Bagus Sugata, I wayan Joni and also his son, I Made Sudiarta. His works are exhibited in Bali, Jakarta, Singapore and various European cities. Kayun, I Nyoman (b. Banjar Tengah, Peliatan, Ubud, Bali, Indonesia, 1954) He learned carving from I Wayan Alip in 1962. A year later, he learned painting fro I Gusti Made Kwanji. Tutorial lesson on art once received from Rudolf Bonnet, especially on colour and composition. He once participated in group exhibitions since 1970s, including the exhibitions in Balai Desa Peliatan, Lembaga Indonesia-Amerika in Surabaya, Museum Puri Lukisan (Ubud), Bali Museum (Denpasar) and Bentara Budaya Jakarta. Kepakisan, I Gusti Agung (b. Bali, Indonesia, 1974) His works are often exhibited in Bali and Jakarta. He pursues his artistic career in Ubud, not in his home village, together with his siblings Wiranata and Galuh. Recently one of his works appeared on the cover of the Museum Puri Lukisan exhibition catalog. Ketig, I Wayan (b. Batuan, Bali, Indonesia, 1930) He leared to paint from his seniors in Batuan like I Made Djata and I Wayan Reneh. His themes include the colossal ceremony of ngaben cremation and the rice field scenes with farmers working. Ketig’s paintings has a strong charcter. He used to paints in black ink on canvas. Kicen, I Made (b. Batuan, Bali, Indonesia, 1920s) Known as a consistently black and white painter. The Phillosophy of black and white refered to the idea of Poleng (black and white), motif for cloth that signifies the contrast between black and white, darkness and light, day and night, virtue and evil. Kicen began his painting career in the 1940s. His early work are in ink on paper. Now he paints on canvas that he prepares himself. Kobot, I Gusti Ketut (Ubud, Bali, Indonesia, 1917 ) He learned painting at Puri Peliatan from Tjokorda Oka Gambir. In 1936, Bonnet taught him. He was also a member of Piita Maha and Ubud Painters Group. In 1978, he was awarded Certificate of Wijaya Kusuma from the regency of Gianyar. Kwanji, I Gusti Made (b. Peliatan, Ubud, Bali, Indonesia, 1936) He joined Golongan Pelukis Ubud led by Rudolf Bonnet when he was 20 years old. He also learned painting from senior painters in his banjar. He was a mentor/painter with several successful students; among them was I Nyoman Kayun. The subject of his paintings mainly derived from mythology and folk tales. One of his paintings illustrating Rajapala was collected by Arma Museum (Ubud). Lesug, I Nyoman (b. Kutuh, Ubud, Bali, Indonesia, 1939) Started painting since 1953 under Ida Bagus Rai’s tutorial. Beside as a painter, he also served as pemangku in the nearby temple. His works are meticulous and thorough featuring various scenes of Balinese daily live, especially Ubud natural scenery. Lesug frequently exhibited in Bali Art Festival in Taman Budaya (Denpasar). His

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works are among the collections of Museum Puri Lukisan (Ubud), Neka Museum (Ubud), and Museum East West Centre (Honolulu). He participated in the Art of Bali Exhibition in East-West Centre in Honolulu (August - October 1988), and was asked to demonstrate his painting skill. Lesug has several pupils, among the emerging ones are Mangku Sayang, I Made Jiwa and I Made Madra. Matra, I Wayan (b. Taman Kaja, Ubud, Bali, Indonesia, 1962) His name is actually I Wayan Matra Arjana, But he is known as Matra, thus the name Arjana is not being used in his life. He lived in the same banjar as I Nyoman Meja, he then took an intern in Meja Studio around the Monkey Forest area in Ubud. He weriously paints since 1978. Exploring Meja’s style and tecnique, he created works depicting comical scene of daily life and filled with sensations. He frequently paints compositions of masks. His works are collected by serious Balines art collectors. Frequently exhibited in Museum Puri Lukisan (Ubud) and Taman Budaya (Bali). He paints with acrylic on canvas. Meja, I Nyoman (b. Ubud, Bali, Indonesia, 1952) He began hiis career as a Balinese traditional artist. After his encounter with Rudolf Bonnet, he began focussing his paintings on children and their world. He participated in a group exhibition in the Netherlands in 1975, and also in some cities in Indonesia. His works could be found at several Museums in Bali. He is a finalist of Indofood Art Awards 2002. Mokoh, I Dewa Putu (Ubud, Bali, 1936 - 2010) He learned painting from Gusti Ketut Kobot. He joined the Kelompok Pelukis Pengosekan and always participated in the art exhibitions at the Art Centre, Denpasar, Museum Puri Lukisan Ubud and abroad, together with the society. Nagano, Paul Tatsumi (b. Honolulu, Hawaii, USA, 1938) He studied art at the Pennsylvania Academy of Fine Arts in Philadelphia, USA. He first visited Bali in 1984. His works are amog the collections of Hawaii State Foundation on Culture and Arts (USA), Contemporary Arts Center (USA), Boston Public Library (Massachusetts, USA), New Britain Museum of American Art (Conneticut, USA). He has participated in numerous exhibitions in Hawaii, Boston, Jakarta, Bali and Singapore. Nashar (Pariaman, W. Sumatra, Indonesia, 1928 - 1994) He studied under Indonesian artists, S. Sudjojono and Affandi. He co-founded and taught at the Institute Kesenian Jakarta from 1970 - 1972 and from 1979 - 1991, and was a member of the Dewan Kesenian Jakarta (Jakarta Arts Council) from 1973 - 1976. His works have spontaneous strokes and lines, indicating his rejection of technique, aesthetics, and concepts (three nons, non-teknik, non-estetik, and nonkonsep). He participated in several exhibitions: Festival of Indonesia, USA, 1990 - 1992 and at the Gate Foundation, Amsterdam, Holland, 1993. Nodia, I Gusti Nyoman (Tanah Lot, Tabanan, Bali, ca. 1950) He is one among the few painters from the area of Tanah Lot, Tabanan, Bali. In comparison with Western painting, Nodia’s works show affinity with the biomorphic surealism of Joan Miro, the spanish painter. His works are often on exhibition in Bali and different cities. An international bureau like Glerum once sold his works Palguna, I Made Arya (b. Ubud, Bali, Indonesia, 1976) Born in 1976 in Ubud, Bali and studied at Institut Seni Indonesia (Indonesian Art Institute). Considered as a promising and talented young artist, he has made his marks quite rapidly not only within the local art community but he has also been invited to exhibit his works abroad, among others in Nakzkov, Denmark and in Los Angeles, USA. He won a Philip Morris Art award and was put in big-five category in Nokia Art awards. Pasek, I Dewa Kompiang (b. Banjar Gede, Batuan, Sukawati, Bali, Indonesia, 1924) He has already studiously observed the paintings by Ida Bagus Made Widja, I Nyoman Ngendon. I Nyoman Patera and others in his teens. Then in the following years, he learned painting from his mentor I Made Djata. He joined Golongan Pelukis Ubud, founded by Rudolf Bonnet. He regarded Bonet as the main mentor. His works have often been exhibited in Bali and abroad. His older brother, I Dewa Ketut Pasek Genjing, and his son, I Dewa Made Latra, are also good painters of the Batuan style.

Paul Husner (b. Basel, Switzerland, 1942) He studied graphic art and painting at the Gerrit Rietveld Academy, Amsterdam in 1965 and 1967 and painting at the Rijks Academie voor Beeldende Kunsten / National Academy of Arts in Amsterdam. He has received Dutch awards such as the Urio Prijs in 1969; Willink van Collen Prijs in 1971; the Jeanne Bieruma Oosting Prijs in 1974; and the Arti Medaille in 1987. From 1980-88 he was Professor at the National Academy of Arts in Amsterdam where he taught drawing and painting. From 1997, Husner has been dividing his time between Amsterdam and Bali. He has held solo exhibitions and participated in group exhibitions in The Netherlands, Switzerland, USA, Singapore and Indonesia. Pintor Sirait (b. Germany, 1962) He is one of Indonesia’s famous sculptors who has held solo exhibitions in his home country and the USA where he had lived and worked for a long time. He has also participated in various international collective exhibitions such as The Busan Biennale 2004, Paris Art Fair 2005, Beijing Art Fair and many important others. He has also been commissioned by many prominent institutions such as The Deutsche Bank, Indonesian Central Bank, Medco Group, Novotel Nusa Dua, Bali, Saint Mary’s Church Jakarta, Indonesia, and collaborated on the Mural wall for Changi Airport, Singapore. Pintor received the Public Award from the French Government at the 6th Symposium d’Arts Plastiques in France (1994). Popo Iskandar (Garut, W. Java, Indonesia, 1927 - Bandung, W. Java, Indonesia, 2000) He began painting in 1944 as a poster painter for the information service of the Indonesian Armed Forces. In 1958, he graduated from the Department of Art, ITB / Bandung Institute of Technology. He was an assistant lecturer at ITB from 1957 to 1961, and was also a lecturer in the Art Department of IKIP / Teacher’s Training Institute, Bandung for many years. He had solo exhibitions in Jakarta, Yogyakarta, Medan (Indonesia), The Hague and Leiden (The Netherlands). He participated in numerous group exhibitions in Indonesia, China, UK, India, Japan, USA, The Netherlands and Brazil. Popo was also an art critic and essayist on art and literature, and was made a life member of the Jakarta Academy in 1970. He received the Anugerah Seni Art Award from the Indonesian government in 1980. Putu Sutawijaya (b. Tabanan, Bali, Indonesia, 1971) He graduated in 1998 from the Art Faculty of Indonesia’s Institute of Arts (ISI) Yogyakarta. He received the best Fine Art Award from ISI in 1995 and was cited as one of the Top 10 Best Artists in the Philip Morris ASEAN Art Awards – Indonesia, 1999. In 2000 he received the Lempad Prize for from Sanggar Dewata, Bali. He has actively participated in numerous exhibitions regionally and internationally since 1989, among others are “5 Indonesian Artists” at Chouinard Gallery Hong Kong (1999), “Asia Contemporary” in London, United Kingdom (2000), “Dermensch Als Mass” at Der Kulturen Museum, Basel – Switzerland (2001). His solo shows were held at Gajah Galery (1999), Chouinard Gallery Hong Kong (2000, 2002) and Chouinard Gallery, Chicago, USA (2003), and Valentine Willie Fine Art, Malaysia (2006), Sin Sin Fine Art, Hong Kong (2007), and CIGE Beijing, China (2008). Rai, Ida Bagus (Ubud, Bali, Indonesia, 1933-2007) He studied painting from Dewa Ketut Rungun and Rudolf Bonet. His paintins reflect his sensitivity in composing color to convey daily life and mythological episodes with a beauty that refreshes the eyes. His paintings are permeated with a bright and happy character. His works are displayed at the Tropen museum in Amstrdam, the Netherlands, and the Neka Museum in Ubud, Bali. Raka Puja, Anak Agung Gde (b. Padang Tegal, Ubud, Bali, Indonesia, 1932) He socialized with the member of Golongan Pelukis Ubud painters that influence his style of paintings from ordinary Ubud Traditional style to become more spatially. His figures were illustrated in realistic manner. He has participated in numerous group exhibitions. In 2005 his works were exhibited in Gianyar’s Art Exhibition at YDBA (Yayasan Dharma Bhakti Astra) Gallery, Jakarta. Some of his works are among the important works sought by various auction houses in Jakarta, Den Haag and Amsterdam. Ridi, I Nyoman (b. Penestanan, Ubud, Bali, Indonesia, 1945) He learned painting at the age of 9 from several painters who lived near by his house. In 1956, he intensively painted under the guidance of Rudolf Bonnet who lived in Campuhan-Ubud. This is why Ridi has left somehow ordinary traditional style.

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Rosid (b. Ciamis, W. Java, Indonesia, 1969)Rosid learned much from the artist in Bandung and once studied at Studio Riau 66 and much supervised by Sunaryo. The use of conte or charcoal in his paintings makes him popular with strong elements of his paintings and that becomes his specialty. Rudin, I Ketut (Sanur, Bali, Indonesia, 1918) He contributes significantly to the world of painting in Sanur that has eventually generated the Sanur style. The style is characterized by simple lines and forms couple with supple deformation and stylization. His works find their ways into the collections of true art lovers like Hendra Hadiprana in Jakarta. Museum Puri Lukisan, Ubud also cherises his works. Rungun, I Dewa Ketut (Padang Tegal, Ubud, Bali, Indonesia, 1922 - 1986) He learned painting by himself, but after Pita Maha was founded, he joined in. He then received his art lesson from Walter Spies and Rudolf Bonnet. He later joined Golongan Pelukis Ubud that was established in 1956 by Bonnet. From this mentor, he was introduced to the idea of an artist personal style illustrates the painter’s objects, forms and characters. He later found his own signature theme, the lives of butterflies amongst the tree, wild birds in the jungle and herons in the paddy field. Though, he paint wayang in several rare occasions. He displayed his works in Surabaya in 1950. In 1953, he painted the mural for Menteng Theatre in Jakarta. His works are collected by various institutions, including Museum Puri Lukisan (Ubud) Neka Museum, Bali Museum, Taman Budaya (Denpasar), Presidential Place’s Museum (Jakarta), and Rijkmuseum voor Volkenkunde (Leiden). Rusli (Medan, N. Sumatra, Indonesia, 1922 - Jakarta, Indonesia, 2005) He taught at Taman Siswa (1945-1949). In 1951 he was appointed as an art instructor at the Indonesian Academy of Fine Arts (ASRI), Yogyakarta. He went for two years (1954-1956) to Rusli’s works were exhibited at the Biennale Exhibition II in Sao Paolo, Brazil in 1953. A solo exhibition was held at Palazzo Brancaccio , Rome, Italy (1954-1956). He was elected in 1970 as a life member of the Jakarta Academy. Sadia, I Wayan (b. Penestanan, ubud, Bali, 1939) He learned painting within his community. At the age of 20, he met Rudolf Bonnet who encouraged him to join Golongan Pelukis Ubud. Ever since then, Sadia’s works had been influenced by Bonnet especially the illustration of human anatomy. But Bonnet’s influence obviously had been shown in his vision leading him to paint more secular themes, such as the peasant life, market scene and others. He had abandoned the traditional theme since then.His works was illustrated in bright colour, aesthetic figures and elongated deformation found in the figures of animal and vegetation (rice and grass). Aside from Indonesia, Sadia’s works have been exhibited in Netherlands, German, Swiss, Mexico and United States. Sena, Ida Bagus Putu (b. Tebesaya, ubud, Bali, Indonesia, 1966) He started to paint seriously since he was 23, after learned the skill from his father, Ida Bagus Wiri, a Pita Maha alumni and a brother of Ida Made Poleng. Sena’s works are delicate dominated with earth colour. He has illustrated various themes of Balinese performing art scene and yoouth’s dynamic daily life. His works feature various figures in a small canvas, therefore the figures are presented in detailed. Sena’s works have been displayed in various important exhibitions including the one held in Museum Puri Lukisan. Sepi, I Ketut (b. Tebesaya, Ubud, Bali, Indonesia, 1942) He has been an orphan since he was a child and taken care of by his brother. In 1955, he graduated from the elementay school and later worked in Denpasar. Returning from Denpasar, he learned painting from I Wayan Turun for three years in 1954-1957. He later continued his painting lesson to Anak Agung Gede Dana in 1958. He joined the Purnama painter association in Peliatan and has held several exhibitions together with the association. At first he painted Balinese daily live and various mythology stories as the object of his painting. In mid 1960s, he received commission to paints bird within natural landscapes. He then observed herons in Petulu area and illustrated them in his canvas. Eversince then, Sepi has been known as the painter of herron. Sepi’s works have been collected by Neka Museum (Ubud), Museum Puri Lukisan (Ubud), and Arma Museum. His works also have been displayed in various exhibitions in Jakarta, among them was the Santi Gallery’s Satwa dalam Estetika. His works were also displayed in overseas exhibitions.

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Sinom, I Nyoman (b, Ubud, Bali, Indonesia, 1940s) His works are easily identified. His women figures are beautifully drawn with sharp chin and small chinese eyes. The figures symbolize gentleness. His colours are soft dominated by ochre and greenish grey. He has several potential pupils including I Nyoman Meja. participated in numerous important exhibitions. Soki, I Ketut (b. Penestanan, Ubud, Bali, Indonesia, 1946) He was one among the first group of Youngsters to study under Arie Smit in 1960. He favors bright colors in his paintings which influenced other Young Artists painters. His works are filled with figures arranged rhytmically. He also includes architectural motifs and decorative foliage to make his works symmetrical. Neka Museum collected his artwork. Soki has participated in numerous domestic and overseas exhibitions. Srihadi Soedarsono (b. Solo, C. Java, Indonesia, 1931) During the Revolution, he fought in the Students’ 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 master’s degree at Ohio State University in the United States where he studied from 19601962. 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. Sudana, I Ketut (b. Ubud, Bali, 1937) He began painting wayang by self-training at the age of ten. Learned to paint from Ida Bagus Pugug for more ten years from 1954 through 1973. After that he learned from Rudolf Bonnet. In the 1970s Sudana had a number of pupils that included I Made Djongko from Keliki. Sudana’s son, I Made Palguna is now a modern painter educated at the Institute for the Art in Yogyakarta. His works featuring elongated figures, often exhibited in Bali and Jakarta also in Australia, Thailand, Malaysia, Italy, the USA and Japan. Sudana, I Wayan (b. Peliatan, Ubud, Bali, Indonesia, 1966) Sudana began his painting education since he was ten, at Mr. Ketut Ginarsa’s house. In 1988 he continued study painting with Mr. I Wayan Djudjul. He has had solo exhibitions and has participated in a group exhibition at Bintara, Jakarta. Sudarso (Purwakarta, W. Java, Indonesia, 1914-2006) He studied painting with Affandi, Barli Sasmitawinata, Hendra Gunawan and Wahdi. He was a member of POETERA / People’s Activity Centre in Jakarta. Together with Affandi, Hendra Gunawan and others in 1947 he co-founded Pelukis Rakyat / People’s Painters. In 1949-51 he became a member of Gabungan Pelukis Indonesia / Indonesian Painters’ Group. He was a lecturer at ASRI / Indonesian Academy of Fine Arts in Yogyakarta and has participated in numerous exhibitions in Indonesia, Singapore and Malaysia. Sudila, I Ketut (b. Klungkung, Bali, Indonesia, 1974) At first he was interested with Kamasan paintings. But later after his visit and encounter with I Wayan Bendi in batuan, his painting soon revealed in contemporary Batuan style. In mid 1990, he has found his own sgnature style by illustrating various mask as the objects of his paintings. His works have been exhibited in Museum Puri Lukisan (Ubud), Arma Museum (Ubud), Taman Budaya (Denpasar) and various venues in Jakarta. His works had intrigued the viewers during one big exhibition in Jakarta. His Terhanyut dalam Situasi illustrated various human masks – in variety of expression such as laughing, crying, sad and anger – floated on the flood. “They had been carried away by the flood of reformation in Indonesia,” Sudila once said. The painting was selected as the finalist of Indofood Art Award during the fifth year commemoration Indonesian Reformation in 2003.

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Sujendra, I Made (b. batuan, Ubud, Bali, Indonesia, 1964)He first learned to paint from his father, I Wayan Kabetan. Completed his education at the faculty of Art of Udayana University in Denpasar. Despite the modern art orientation in his campus, Sujendra kept championing traditional art. Since 1983 he’s been involved in collective exhibitions that include those at Museum Puri Lukisan-Ubud, Taman Budaya Denpasar, Nusa Dua Beach Hotel< denpasar and Bentara Budaya, Jakarta. Supartha, I Wayan (b. Peliatan, Ubud, Bali, Indonesia, 1971) He learned painting since he was in elementary school with his friends until now, at Mr. I. Wayan Jujul’s house. He learned from I. Wayan Jujul and take Ubud traditional as a theme. He has participated in group exhibitions in Bali and Jakarta. Suweta, I Ketut (Taman Kaja, Ubud, Bali, Indonesia, 1962-2006) Formerly he painted in the typical Ubud style. After a while he learned painting techniques from I Nyoman Meja. Equipped with skills he re-painted the works of world’s painters like Henry Rouseau, the French artist, after the reproductions he viewed in books. However later on he learned Meja’s lighting style. He died from a sudden illness in January 2006 Taman, Pande Ketut (b. Peliatan, Bali, Indonesia, 1970) Graduated from ISI / Indonesian Institute of the Arts, Yogyakarta in 1998. He has held solo exhibitions in Bali, Jakarta and Singapore and has participated in various group exhibitions in Switzerland, Germany and throughout Indonesia in Jakarta, Semarang, Yogyakarta, Magelang, Bali, Surabaya and Solo. Taman received Best Painting Award, at the Dies Natalis ISI Yogyakarta in 1998; and Lempad Prize awarded by Sanggar Dewata Indonesia in 2000. He also creates sculptures and installations. Tapa, I Nyoman (b. Sayan, Ubud, Bali, 1959) His formal art background is Senior High School for Art. He exhibits at Museum Puri Lukisan, Ubud, Art Center Denpasar, Bali and several art galleries in Jakarta. Tjakra, I Nyoman (b. Penestanan, Ubud, Bali, Indonesia, 1945) Nyoman Tjakra is one of the first students of Arie Smit in 1960, and became a Pioneer in the Young Artists Style of naive painting. His figures are well proportioned and animated. He has a very good sense of composition and color, his landscapes stretch far into the distance. Neka Museum collected his artwork. Tjakra has pariticipated in numerous domistic and overseas exhibitions.

Togog, Ida bagus Made (Batuan, Sukawati, Gianyar, Bali, Indonesia 1913 - 1989) He was a famous painter who received the Wija Kusuma award from Gianyar District and the Dharma Kusuma award from Bali Provincial Government in 1984. Regarded as someone whose great contrbution is in introducing the anatomical rendering of human figures in the modern sense to traditional balinese painting. Most of his surviving works dated 1930-1940 are black and white. Formerly painted in the Kamasan style, copying drawings he found in lontar manuscripts. In 1930 he met Win Bakker who asked him to draw an illustration on paper. Since then, he worked to improve his forms and themes. And the Batuan style prevailed in his works on paper. Togog knew Rudolf Bonnet and Walter Spies very well. He even joined Pita Maha. His works are cherished in Museum Puri Lukisan, Museum Neka, Museum Arma in Ubud, Rijksmuseum voor Volkendunde, Leiden and Tropenmusuem-Amsterdam, among others. Participated in in tens of exhibitions, at Taman Budaya, Denpasar, Sari Pan pacific Hotel, jakarta, pasar Seni Ancol, jakarta and in several cities in Japan and Europe. Tommy Wondra (b. Bukit Tinggi, W. Sumatra, Indonesia, 1980) He is one of the new generation of up and coming young artists. Wondra studied at the Indonesia College of the Arts, Yogyakarta and has participated in numerous group exhibitions in Yogyakarta, Bandung and Bali. He was a nomination in the Phillip Morris Indonesian Art Awards in Jakarta in 1998. Tommy influenced and inspired by fellow Sumatra artist Handiwirman Saputra. Wiradana, I Made (b. Denpasar, Bali, Indonesia, 1968) He graduated from ISI / Indonesian Institute of the Arts, Yogyakarta in 1995. He has had solo exhibitions in Bali and Yogyakarta. Wiradana has participated in group exhibitions in Hong Kong and throughout Indonesia in Bali, Surabaya, Solo, Yogyakarta and Jakarta. Wiranata, I Gusti Agung (b. Desa Kapal, Bali, Indonesia, 1969) He grew up in an artist family, and known as a regeneration of Walter Spies stily with his own theme. Some of his works are collected by those who interested in art all over the world and also by museums in Bali, one of them is Puri Lukisan Ratna Warta wich was found by Rudolf Bonnet. Gusti A. Wiranata was a Finalist of Indofood Art Awards in 2002.

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LARASATI

ABsentee BId form

Written Bid Phone Bid

Sale Title

Traditional, Modern & Contemporary Art Date 13 August 2011 Sale Code “Paradise” Please bid on my behalf at the above sale for the following lot(s) up to the price(s) mentioned below. These bids are to be executed as cheaply as is permitted by other bids or reserves if any. I agree to comply with the Notices and Conditions of Business as printed in the Catalog. I understand that in the case of a successful bid a premium of 20% for the first Rp 750.000.000,- and a premium of 12% for any exceeding amount will be payable by me on the hammer price. Arranging Payment In order to avoid delay in clearing purchases, buyers who are unknown to us are advised to make arrangements for payment before the sale or for satisfactory references to be supplied. If such arrangements are not made cheques will be cleared before purchases are delivered. Payment may be made by cash or telegraphic ransfer to Larasati’s account at CIMB Niaga Bank, Kota Branch, Jalan Kopi, Jakarta. Acc. No. 171-01-00189-00-1. Please include your name, Larasati’s account number and invoice number with your instructions to your bank. LARASATI does not accept credit cards as payment for purchase. AFTER THE HAMMER IS DOWN, LARASATI WILL NOT ACCEPT ANY CANCELLATION.

Please mail or fax to:

LARASATI

Jl. Pasuruan no. 9, Menteng Jakarta 10310 fax. +62 21 3989 9533 on viewing and auction days: Fax : +62 21 3989 9533 Tel : +62 855 101 5778

Lot No.

Catalog / Description

Top limit of Bid in Rp., not including the buyer’s premium

Lot No.

Catalog / Description

Rp.

Rp. (please print or type)

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Top limit of Bid in Rp., not including the buyer’s premium

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

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guIde for ABsentee BIdders Absentee Bids If you are unable to attend the auction in person, and wish to place bids, you may give Larasati Bid Department instructions to bid on your behalf. We will then try to purchase the lot or lots of your choice for the lowest price possible, and never for more than the top amount you indicate. This service is free and confidential. Please note : Larasati offers this service as a convenience to clients who are unable to attend the sale, and although we will make every effort, Larasati will not be responsible for error or failure to execute bids. Absentee bids, when placed by telephone, are accepted only at the caller’s risk and must be confirmed by letter, or fax. Fax number for bids only : +62 21 3989 9533. 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. 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. 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.

shIppIng InstructIon Please complete this section, and delete where aplicable* Shipping Information Please complete this form and we shall arrange for the despatch of all your purchase throug one of our nominated shipping agents, at your expense. Charges I do/do not require* a quotation before the shipment is processed 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.*

Sale Details Paddle No.

Lot No.

Invoice No.

Methods of Despatch Registered post / Airfreight / Commercial Courier* ___________________________________________________________________ Delivery Address ___________________________________________________________________ ___________________________________________________________________ Telephone Fax ___________________________________________________________________ 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, PT. Balai Lelang Larasati 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 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 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

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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 Indonesian Rupiahs. Bids placed in other currencies will be converted to Indonesian Rupiahs using the one month forward rate of exchange quoted to us by CIMB Niaga Bank at opening on the date of the auction and the Indonesian Rupiahs figure may be subject to rounding. The buyer’s invoice will be in Indonesian Rupiahs 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

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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 CIMB Niaga Bank at opening on the date of the auction. Bidding will however take place in Indonesian Rupiahs. 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 Indonesian Rupiahs 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 Indonesian Rupiahs 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 20% of the first Rp 750.000.000,- of the hammer price plus 12% of any sum in excess of Rp 750.000.000,-. 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.

with interest, charged at 4% per annum above CIMB Niaga Bank 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 the buyer together with any costs incurred in connection with the buyer’s failure to make payment.

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

Remedies for non-payment or failure to collect purchases If the buyer fails to make payment within 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 Lippo Bank 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

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condItIons of BusIness for sellers PT. Balai Lelang Larasati here-in 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, PT. Balai Lelang Larasati here-inreferred 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 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). Commission We shall charge the seller commission calculated by reference to the amounts, percentages, terms and conditions of the Consignment Agreement. BEFORE THE SALE

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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 nosold, 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 be automatically 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

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(iii)

(iv)

(v)

lot will eventually fetch. 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. 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. 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 Indonesian Rupiahs, 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 Indonesian Rupiahs 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 Indonesian Rupiahs. 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 Rp. 100.000,- 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. CONDITION 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 Indonesian 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 Indonesian courts. Insights - Connections - Expertise

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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 cale and limited warranty. Buyers are advised to inspect the property themselves. Written conditions reports are usually available on request. Name(s) or recogNised desigNatioN of aN artist without aNy qualificatioN

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

“Follower of...” In Larasati’s qualified opinion a work executed in the artist’s style but not necessarily by a pupil. “Manner of...” In Larasati’s qualified opinion a work executed in the artist’s style but of a later date. “After...” In Larasati’s qualified opinion a copy (of any date) of a work of the artist. “Signed...”/ “Dated...”/ “Inscribed...” In Larasati’s qualified opinion the work has been signed/ dated/inscribed by the artist. “With signature...”/ “With inscription...” In Larasati’s qualified opinion the signature/inscription appears to be by a hand other than that of the artist. “With date...” In Larasati’s qualified opinion the date on the item was not executed on that date. The date given for old master, modern and contemporary prints is the date (or approximate date when prefixed with ‘circa’) on which the matrix was worked and not necessarily the date when the impression was printed or published.

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

sAleroom & offIces Singapore

Hong Kong

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

66/F, The Centre 99 Queens Road Central Hong Kong t. +852 2273 5623 f. +852 3965 3222

Jakarta

Amsterdam

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

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

03. Bio & Index JPI 021.indd 110

info@larasati.com www.larasati.com

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LARASATI

ISBN 978-979-3774-28-2