Larasati Auctioneers - Bali, 11 March 2012

Bali, 11 March 2012

Insights - Connections - Expertise

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Insights - Connections - Expertise

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auctioneers Insights - Connections - Expertise

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Copyright Š 2012 PT Balai Lelang Larasati

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

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ISBN 978-979-3774-31-2

Cataloguing-in-Publication Data

Traditional Modern & Contemporary Art Larasati, Bali, 11 March 2012

Jakarta, Indonesia: PT Balai Lelang Larasati 2012 pp. 21 x 27 cm includes index and biographies of artists I.Paintings - Asia. II. Painters - Asia. III. Title

Auction

Sunday, 11 March 2012 starting at 2 pm Viewing

Friday, 9 March 2012

Saturday, 10 March 2012

11 am - 8 pm 11 am - 8 pm

at

Agung Rai Museum of Art (ARMA) Jl. Raya Pengosekan, Ubud, Gianyar Bali - Indonesia

Sale Code

In sending written bids or making enquiries, this sale should be referred to as “Warrior” 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 9.000 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

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Contents Guide for Prospective Buyers

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Bidder Registration Form

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Traditional, Modern & Contemporary Art

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Index of Artists

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Biography of the Artists

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Absentee / Written Bid Form

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Guide for Absentee Bidders

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Conditions of Business for Buyers

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Conditions of Business for Seller

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Saleroom & Offices

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Front Cover: lot 58, Ida Bagus Tilem, Sleeping Man Back Cover: lot 57, Ida Bagus Njana, Flute Player

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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 22% of the hammer price of the lot .

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:

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 22% of the hammer price of each lot. Please note that a late charge is specified in the Conditions of Business in each catalogue and is subject to change without separate notice.

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

LARASATI Correspondence address : 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

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LARASATI Bali, 11 March 2012 starting at 2 pm

lot # 1 - 77

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Arie Smit & The Young Artists

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1 Punduh, Ketut Temple Festival acrylic on canvas 85 x 93.5 cm signed (lower left)

Rp 8 - 11.000.000 US$ 880 – 1,220 Provenance: Previously in the collection of Cecily Freitas Johnston, Hawaii, USA

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2 Tapa, I Nyoman

(b. Sayan, Ubud, Bali, Indonesia, 1959)

Temple Festival 2005 oil on canvas 70 x 90 cm

signed and dated (lower right)

Rp 22 - 27.000.000 US$ 2,440 – 3,000 Exhibition: Songs of Ubud, Agung Rai Museum, Bali, 19 June - 11 July 2010. Illustrated in colour on exhibition catalogue, p. 51

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3 Tjakra, I Nyoman

(b. Mas, Ubud, Bali, Indonesia, 1936)

Rice Harvesting 2006 oil on canvas 81 x 136 cm

signed and dated (lower left)

Rp 13 - 18.000.000 US$ 1,440 – 2,000

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4 Pageh, I Wayan Melasti Procession oil on canvas 70 x 90 cm

signed (lower left)

Rp 8 - 11.000.000 US$ 880 – 1,220

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5 Kaler, I Wayan

(b. Ubud, Bali, Indonesia, 1965)

Daily Life in Bali oil on canvas 70 x 90 cm

signed (lower right)

Rp 15 - 18.000.000 US$ 1,660 – 2,000 Exhibition: Bali, Nature and Figuration, Galeri Nasional Indonesia, 16 - 21 September 2010.

Illustrated in colur in exhibition catalogue, p. 62

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6 Lusuh, I Made

(b. Kutuh, Ubud, Bali, Indonesia, 1967)

Calonarang Performance 2007 oil on canvas 65 x 85.5 cm

signed and dated (lower left)

Rp 9 - 12.000.000 US$ 1,000 – 1,330

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7 Dirga I Wayan

(b. Bongkasa, Bali, Indonesia, 1955)

Daily Life in Bali 2009 oil on canvas 110 x 200 cm

signed and dated (lower left)

Rp 38 - 48.000.000 US$ 4,220 – 5,330 Exhibition: Songs of Ubud, Agung Rai Museum, Bali, 19 June - 11 July 2010. Illustrated in colour on exhibition catalogue, p. 46

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8 Kaler, I Wayan

(b. Ubud, Bali, Indonesia, 1965)

Daily Life in Bali

1994 acrylic on canvas 80 x 115 cm signed and dated (lower right) Rp 25 - 35.000.000 US$ 2,770 – 3,880

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9 Arie Smit

(b. Zandaam, The Netherlands, 1916)

Candi Bentar

1991 acrylic on paper laid on board 25 x 39 cm

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

Rp 25 - 35.000.000 US$ 2,770 – 3,880 This lot is accompanied with certificate of authenticity from Neka Art Museum, Bali, Indonesia.

Photo courtessy of Bamboo Gallery, Ubud, Bali

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10 Symon

(b. Midwest, USA, 1947)

Tirta Gangga oil on canvas 114 x 185 cm

signed (lower right)

Rp 15 - 18.000.000 US$ 1,660 – 2,000

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Ubud Style - Bali Life

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11 Pugug, Ida Bagus Made

12 Kepakisan, I Gusti Agung

Melasti Procession

Temple Ceremony

(b. Sanur, Denpasar, Bali, Indonesia, 1920) 1974 acrylic on canvas 60 x 80 cm

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

Rp 20 - 25.000.000 US$ 2,220 – 2,770

(b. Kapal, Ubud, Bali, Indonesia, 1974) 2007 acrylic on canvas 100 x 70 cm

signed and dated (lower right)

Rp 12 - 15.000.000 US$ 1,330 – 1,660

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13 Rai, Ida Bagus

(Ubud, Bali, Indonesia, 1933 - 2007)

Balinese Beauty acrylic on canvas 106 x 86 cm signed (lower right)

Rp 15 - 18.000.000 US$ 1,660 – 2,000

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14 Nadera, Ida Bagus Made

(Tegallinggah, Bali, Indonesia, 1905 - 1998)

Bali Landscape with Three Men Fishing 1996 acrylic on canvas 110 x 77 cm signed (lower right)

Rp 15 - 18.000.000 US$ 1,660 – 2,000 This lot is accompanied with certificate of authenticity from the artist’s family.

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15 Djawi, I Ketut

(b. Padang Tegal, Ubud, Bali, Indonesia 1958)

Harvesting

2011 acrylic on canvas 85 x 60 cm signed and dated (lower right); signed and dated (on the reverse)

Rp 20 - 25.000.000 US$ 2,220 – 2,770

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16 Matra, I Wayan

(b. Taman Kaja, Ubud, Bali, Indonesia, 1962)

Cock Fighting acrylic on canvas 70 x 105 cm

signed and dated (lower right); dated and signed (on the reverse)

Rp 20 - 25.000.000 US$ 2,220 – 2,770

17 Suweta, Ketut

(Taman Kaja, Ubud, Bali, Indonesia, 1962 - 2006)

Melasti Procession acrylic on canvas 65 x 85 cm signed (lower right)

Rp 7 - 10.000.000 US$ 770 – 1,110 Literature : - Agus Dermawan T, Bali Bravo, Lexicon of Balinese Traditional Painters 200 Years (Panitia Bali Bangkit, second edition). Jakarta, 2007. Illustrated in colour, p. 264

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18 Sadia, I Wayan

(b. Penestanan, Ubud, Bali, Indonesia, 1942)

Galungan Festival acrylic on canvas 125 x 250 cm

signed (lower right); signed (on the reverse)

Rp 45 - 55.000.000 US$ 5,000 – 6,100

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19 Lesug, I Nyoman

(b. Ubud, Bali, Indonesia, 1939)

Traditional Market Scene 2003 acrylic on canvas 60 x 60 cm

signed and dated (lower right)

Rp 15 - 18.000.000 US$ 1.660 – 2,000 Exhibition: Songs of Ubud, Agung Rai Museum, Bali, 19 June - 11 July 2010. Illustrated in colour on exhibition catalogue, p. 62

20 Gelgel, I Ketut

(b. Pengosekan, Ubud, Bali, Indonesia)

Traditional Market Scene acrylic on canvas 74.5 x 125.5 cm signed (lower right)

Rp 40 - 50.000.000 US$ 4,400 – 5,500

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21 Ginarsa, I Ketut

(b. Tebesaya, Ubud, Bali, Indonesia, 1953)

Traditional Fish Market 2005 acrylic on canvas 100 x 140 cm

signed and dated (lower left)

Rp 40 - 50.000.000 US$ 4,400 – 5,500

Exhibition: Songs of Ubud, Agung Rai Museum, Bali, 19 June - 11 July 2010. Illustrated in colour on exhibition catalogue, p. 75

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22 Matra, I Wayan

(b. Taman Kaja, Ubud, Bali, Indonesia, 1962)

Hunting Naughty Fox 1999 acrylic on canvas 105.5 x 70 cm

signed and dated (lower left)

Rp 25 - 30.000.000 US$ 2,770 – 3,330 Exhibition: Songs of Ubud, Agung Rai Museum, Bali, 19 June - 11 July 2010.

Illustrated in colour on exhibition catalogue, p. 74

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23 Kayun, I Nyoman

(b. Banjar Tengah, Peliatan, Ubud, Bali, Indonesia, 1954)

Rice Harvesting acrylic on canvas 55.5 x 40.5 cm signed (lower centre)

Rp 45 - 55.000.000 US$ 5,000 – 6,100 Exhibition: Songs of Ubud, Agung Rai Museum, Bali, 19 June - 11 July 2010.

Illustrated in colour on exhibition catalogue, p. 63

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Indo-European & Modern Painters of Indonesia

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24 Huang Fong

(b. Banyuwangi, E. Java, Indonesia, 1936)

Two Balinese Beauties 1968 oil on canvas 39 x 47 cm

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

Rp 6 - 8.000.000 US$ 660 - 880

25 Mukahar, Rudi

(b. Solo, C. Java, Indonesia, 1971)

A Beauty with Buterflies 2001 pastels on paper 36 x 26 cm

signed and dated (lower right); dated and signed (on the reverse)

Rp 4 - 5.000.000 US$ 440 - 550 25

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26 hauRe, jean-PhIlIPPe (b. Orleans, France, 1969)

Duality XXI, She’s Not Just a Pretty Face

gouache, mixed media, gold leaf on paper laid on canvas 99 x 73 x 7 cm signed and dated (lower right)

Rp 27 - 35.000.000 uS$ 3,000 – 3,880

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27a

27b

27 Murniasih, NI Gusti Ayu Kadek

28 Murniasih, nI Gusti Ayu Kadek

a. Hampir/Sedang Menikmati b. Membelai Nikmat

a. Belajar Sepatu Roda b. Trauma II

(Ubud, Bali, Indonesia, 1966 - 2005) a. 1998 b. 2001 acrylic on canvas a. 50 x 50 cm b. 50 x 50 cm

a.inscribed, signed, and dated (on the reverse) b. signed and dated (on the reverse), inscribed (on the upper edge)

Rp 12 - 15.000.000 US$ 1,330 – 1,660

(Ubud, Bali, Indonesia, 1966 - 2005) a. 2001 b. 1998 acrylic on canvas a. 60 x 40 cm b. 60 x 50 cm

a. signed and dated (on the reverse), inscribed (on the upper edge)

Rp 12 - 15.000.000 US$ 1,330 – 1,660

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28b

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29 Wiradana, I Made

(b. Denpasar, Bali, Indonesia, 1968)

Temple of Love

2011 acrylic on canvas.

100 x 120 cm

signed and dated (lower right)

Rp 10 - 15.000.000 US$ 1,110 – 1,660

30 Wiradana, I Made

(b. Denpasar, Bali, Indonesia, 1968)

Love Beach

2007 acrylic on canvas.

120 x 140 cm

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

Rp 13 - 18.000.000 US$ 1,440 – 2,000

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31 Mangu Putra, Gusti Agung

(b. Pengosekan, Ubud, Bali, Indonesia, 1945)

Melasti Procession 2006 pastel on paper 53 x 76 cm

signed and dated (lower right)

Rp 12 - 15.000.000 US$ 1,330 – 1,660

32 Taman, Pande Ketut

(b. Peliatan, Bali, Indonesia, 1970)

A Girl in Blue Dress 2000 acrylic on canvas 150 x 60 cm

signed and dated (lower right)

Rp 15 - 18.000.000 US$ 1,660 – 2,000

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33 Sujana “Kenyem”, I Nyoman (b. Sayan, Ubud, Bali, Indonesia, 1972)

Menuju Damai ( In To the Peace) 2007 mixed media on canvas 200 x 200 cm

signed and dated (lower right), inscribed and signed (verso)

Rp 30 - 40.000.000 US$ 3,330 – 4,400

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34 Srihadi Soedarsono

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

Dinamika Legong 2002 oil on canvas 100 x 90 cm

signed and dated (upper right), signed, dated and titled (on the reverse)

Rp 270 - 350.000.000 US$ 30,000 – 38,800

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35 Meier, Theo

36 Meier, Theo

Study

Ricefields at the Foot of Gunung Agung

(Basel, Switzerland, 1908 - Berne, Switzerland, 1982) red chalk on paper 40 x 50 cm

signed and dated (lower left)

Rp 30 - 40.000.000 US$ 3,330 – 4,400 This lot is accompanied with certificate of authenticity from Duta Fine Arts Gallery, Kemang, Jakarta Literature: Didier Hamel, Theo Meier - A Swiss Artist Under the Tropics, Hexart Publishing, Jakarta, 2007. Illustrated in colour, p. 246

(Basel, Switzerland, 1908 - Berne, Switzerland, 1982) 1949 oil on board 39 x 35 cm

indistinctly signed (lower left)

Rp 100 - 125.000.000 US$ 11,100 – 13,800 This lot is accompanied with certificate of authenticity from Duta Fine Arts Foundation, Jakarta, Indonesia.

Literature: Didier Hamel, Theo Meier - A Swiss Artist Under the Tropics, Hexart Publishing, Jakarta, 2007. Illustrated in colour, p. 105

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Tribute to Bonnet

37a

37b

37 Bonnet, Johan Rudolf

(Amsterdam, The Netherlands,1895 - Laren, The Netherlands,1978)

a. Two Female Nudes b. Two Figures a. pen and ink on paper b. charcoal on paper a. 29 x 22 cm b. 28.5 x 22 cm a.signed (upper side)

Rp 3.5 - 4.500.000 US$ 380 - 500

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38 Sadia, I Wayan

(b. Penestanan, Ubud, Bali, Indonesia, 1942)

Fishermen with Their Catches acrylic on canvas 140 x 110 cm signed (lower right)

Rp 22 - 27.000.000 US$ 2,440 – 3,000

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39 Ridi, I Nyoman

(b. Penestanan, Ubud, Bali, Indonesia, 1945)

Enjoying the Fresh Coconut 2005 acrylic on canvas 80 x 90 cm

signed and dated (lower right)

Rp 18 - 25.000.000 US$ 2,000 – 2,770 Exhibition: Songs of Ubud, Agung Rai Museum, Bali, 19 June - 11 July 2010. Illustrated in colour on exhibition catalogue, p. 81

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40 Sadia, I Wayan

(b. Penestanan, Ubud, Bali, Indonesia, 1942)

Fishermen acrylic on canvas 125 x 200 cm signed (lower right)

Rp 40 - 45.000.000 US$ 4,400 – 5,000

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Flora & Fauna

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41 Kebut, I Ketut

(b. Pengosekan, Ubud, Bali, Indonesia, 1940)

Cows Herd acrylic on canvas 52 x 76 cm signed (lower side)

Rp 9 - 12.000.000 US$ 1,000 – 1,330 Literature : Agus Dermawan T, Bali Bravo, Lexicon of Balinese Traditional Painters 200 Years (Panitia Bali Bangkit, second edition). Jakarta, 2007. Illustrated in colour, p. 120

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42 Supartha, I Made Birds of Paradise

2011 watercolor on paper 53 x 73 cm

signed and dated (lower left)

Rp 12 - 15.000.000 US$ 1,330 – 1,660

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43 Sepi, I Ketut

(b. Tebesaya, Ubud, Bali, Indonesia, 1942)

Heron Birds

1966 acrylic on canvas 79 x 135 cm

signed (lower right); signed and dated (on the reverse)

Rp 15 - 18.000.000 US$ 1,660 – 2,000

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44 I Regep Heron Birds 1986

acrylic on canvas

90 x 135 cm

signed (lower right)

Rp 50 - 60.000.000 US$ 5,500 – 6,600

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45 Rungun, Dewa Ketut

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

Garden of the Gods acrylic on canvas 74 x 166 cm signed (lower left)

Rp 70 - 80.000.000 US$ 7,700 – 8,800 Provenance: Private Collection, United Kingdom

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Mythology

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46 Sugata, Ida Bagus

47 Budi, I Made

Barong

Ganesha

(b. Peliatan, Ubud, Bali, Indonesia, 1966) acrylic on canvas 40 x 50 cm

signed (lower right), signed (on the reverse)

Rp 6 - 9.000.000 US$ 660 – 1,000 Literature : Agus Dermawan T, Bali Bravo, Lexicon of Balinese Traditional Painters 200 Years (Panitia Bali Bangkit, second edition). Jakarta, 2007. Illustrated in colour, p. 253

(b. Batuan, Gianyar, Bali, Indonesia 1932) 2002 watercolor on paper 36 x 27 cm

signed and dated (lower right)

Rp 15 - 18.000.000 US$ 1,660 – 2,000

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48 Ding, Dewa Ketut

49 Tutur, I Wayan

Ramayana Scene

Ramayana Scene

(Padangtegal, Gianyar, Bali, Indonesia, 1920 - Bali, Indonesia 1996) tempera on cloth 130 x 65 cm Rp 25 - 30.000.000 US$ 2,770 – 3,330

(b. Petulu, Ubud, Bali, Indonesia, 1952) 1980 tempera on canvas 95 x 63 cm

signed and dated (lower right)

Rp 18 - 25.000.000 US$ 2,000 – 2,770

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50 Djumu, I Wayan

(b. Tegalalang, Ubud, Bali, Indonesia,1959)

Wisnu Murti acrylic on canvas 100 x 200 cm signed (lower right)

Rp 27 - 35.000.000 US$ 3,000 – 3,880

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51 Regig, I Ketut

(Tebesaya, Ubud, Bali, Indonesia, 1919 - 2002)

Music in Harmony 1992 acrylic on canvas 57 x 68 cm

signed and dated (lower right)

Rp 12 - 15.000.000 US$ 1,330 – 1,660

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52 Gerudug, I Wayan

(Tebesaya, Bali, Indonesia, 1905 - 1989)

Mahabarata Scene tempera on cloth 71 x 105 cm

signed in Balinese characters (lower right)

Rp 18 - 21.000.000 US$ 2,000 – 2,330

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53 Rai, Ida Bagus

(Ubud, Bali, Indonesia, 1933 - 2007)

Mahabaratha scene tempera on canvas 63 x 83 cm

signed (lower right)

Rp 9 - 12.000.000 US$ 1,000 – 1,330 Provenance: Private Collection, USA

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54 Madra, I Ketut

(b. Pengosekan, Ubud, Bali, Indonesia, 1945)

Scene from Anggada Duta 2009 acrylic on canvas 89 x 61 cm

signed and dated (lower right)

Rp 15 - 18.000.000 US$ 1,660 – 2,000

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55 Sena, Ida Bagus Putu

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

Barong Dance

1996 acrylic on canvas 47 x 58 cm

signed (lower right); signed and dated (verso)

Rp 48 - 58.000.000 US$ 5,300 – 6,400 Exhibition: Songs of Ubud, Agung Rai Museum, Bali, 19 June - 11 July 2010. Illustrated in colour on exhibition catalogue, p. 90

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Balinese Old Masters 56 Ida Bagus Made Poleng

(Tebesaya, Ubud, Bali, Indonesia, 1915 - 1999)

Warior Dance

acrylic on canvas 79 x 52 cm signed (lower side)

Rp 170 - 220.000.000 US$ 18,800 – 24,400 Literature : Agus Dermawan T, Bali Bravo, Lexicon of Balinese Traditional Painters 200 Years (Panitia Bali Bangkit, first edition). Jakarta, 2006. Illustrated in colour, p. 19.

Purchased directly from the artist in Bali by the previous owner.

Ida Bagus Made Poleng (1915 – 1999, Tebesaya, Gianyar, Bali), better known as Ida Bagus Made, first learned panting from his father, Ida Bagus Made Kembeng (1897 – 1952), a Pitamaha artists’ association member who won the Argent Certificate of Merit and a Silver Medal at the 1937 International Exposition in Paris, France. Poleng also was a member if Pitamaha. Some of his works featured figures based on diagrams of Balinese magic. Under the influence of Rudolf Bonnet (Dutch, 1895 – 1978), he focused instead on scenes of daily life with more naturalistic looking figures and foliage in softer colors. Awards: Wija Kusuma (Gianyar, Bali), Dharma Kusuma (Bali, 1980).

Collections: Taman Budaya (Denpasar, Bali), Tropenmuseum (Amsterdam, Holland), Rijkmuseum voor Volkendkunde (Leiden, Holland). Exhibition: Museum Nasional, Jakarta, Indonesia, 1995.

Photo courtessy of Bamboo Gallery, Ubud, Bali

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57 njana, Ida BaguS

(Ubud, Bali, Indonesia, 1912 - 1985)

Flute Player

hard wood 84 x 21 x 21 cm

signed on lower side

Rp 200 - 300.000.000 uS$ 22,200 – 33,300 Ida Bagus Ary Purnama (grandson of the artist, from Njana Tilem Gallery in Bali, Indonesia) has kindly confirmed the authenticity of the work.

Provenance: From the estate of Mr. Jacob Vredenbregt. Purchased directly from the artist by the present owner

Ida Bagus Njana was born in a Brahmin’s family in the village of Mas, near Ubud, Gianyar, Bali in 1912. Njana with I Njoman Tjokot (1888 – 1971) is one of the two great masters from the prewar renewal period of Balinese sculpture. This Renewal was set off by the Dutch colonial intervention (1906), which, shattering the feudal tradition and opening ‘markets’ to the arts, released sculpture and other arts from their religions function and thus enabled artists to create their own individual language. He studied sculpture in the traditional way, learning from his multi-talented father, a future pedanda (high priest). He was also a reputed undagi (Balinese architect) whose works can be seen in the temples of his village. His carvings are the epitome of the ‘sleek’ style that appeared in Mas in the thirties, when local sculptors started experimenting with stretching out form and devising stylistic techniques to make use of the grain and shape of the wood.

- Excerpts from a text by Jean Couteau in the book by Koes Karnadi “Modern Indonesian Art - from Raden Saleh to the Present Day”, published by Koes Artbooks, Bali, Indonesia, p. 38

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58 tIlem, Ida BaguS

(Mas, Ubud, Bali, Indonesia, 1936 - 1993)

Sleeping Man

hard wood 30 x 30 x 25 cm signed at the bottom

Rp 150 - 200.000.000 uS$ 16,600 – 22,200 Ida Bagus Ary Purnama (son of the artist, from Njana Tilem Gallery in Bali, Indonesia) has kindly confirmed the authenticity of the work.

Provenance: From the estate of Mr. Jacob Vredenbregt. Purchased directly from the artist by the present owner

Ida Bagus Tilem was born in the village of Mas, Gianyar, Bali, on 13 December 1936. The son of Ida Bagus Njana (1912 – 1985), he was locally trained in the traditional carving technique but also received a modern education in Denpasar, Bali. Besides being a woodcarver, he was also an inventive man, as well as a gifted communicator and keen businessman.

These qualities made him the driving force behind the development of handicraft and of much of the artistic landscape of his days. He traveled and exhibited widely throughout the world. Tilem won many honours since 1968, including the Satyalencana Kebudayaan award from the President of Indonesia in 1974, the Dharma Kusuma cultural award from the Balinese government in 1983, and Piagam Hadiah Seni award from the Minister of Education and Culture of Indonesia in 1988.

- Excerpts from a text by Jean Couteau in the book by Koes Karnadi “Modern Indonesian Art – from Raden Saleh to the Present Day”, published by Koes Artbooks, Bali, Indonesia, p. 109

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Batuan Style

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59 Sadia, Ketut

60 Diana, I Wayan

Life in Paradise

Anticipating Tsunami

(b. Penestanan, Ubud, Bali, Indonesia, 1942) 2009 acrylic on canvas 100 x 80 cm

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

Rp 10 - 15.000.000 US$ 1,100 – 1,660

(b. Batuan, Ubud, Bali, Indonesia, 1977) 2008 acrylic on canvas 85 x 133 cm

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

Rp 12 - 15.000.000 US$ 1,330 – 1,660 Exhibition: Bali, Nature and Figuration, Galeri Nasional Indonesia, 16 - 21 September 2010.

Illustrated in colur in exhibition catalogue, p. 71

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61 Kundel, Dewa Made

(b.Batuan, Ubud, Bali, Indonesia, 1926)

Ngaben Procession acrylic on canvas 41 x 56 cm

signed (lower right); signed (on the reverse)

Rp 6 - 8.000.000 US$ 660 - 880

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62 Ketig, I Wayan

(b. Batuan, Bali, Indonesia, 1930)

Scene from Arjuna Wiwaha ink on canvas 58 x 85 cm signed (lower left)

Rp 10 - 15.000.000 US$ 1,110 – 1,660

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63 Pasek, Dewa Kompiang

(b. Banjar Gede, Batuan, Sukawati, Bali, Indonesia, 1924)

Tantri Scene

acrylic on canvas 63 x 90 cm

signed (lower right), signed again (on the reverse)

Rp 30 - 35.000.000 US$ 3,330 – 3,880 Literature : Agus Dermawan T, Bali Bravo, Lexicon of Balinese Traditional Painters 200 Years (Panitia Bali Bangkit, second edition). Jakarta, 2007. Illustrated in colour, p. 195

I. D. K. Pasek has so far only painted in black and white, a few of his paintings having been coloured by other artists without his knowledge.

Over the years, his style has reached such perfection that, because of its great consistency, it has almost become signature.

Painters in the family: - I Dewa Ketut Pasek Gendjing, born 1921 (brother) - I Dewa Nyoman Senang, 1923 – 1948 (nephew) - I Dewa Made Kundel, born 1926 (brother) - I Dewa Putu Armana, born 1952 (son) - I Dewa Made Latra, born 1955 (son) - I Dewa Made Suarna, born 1968 (son) - Desak Nyoman Suarni, born 1968 (daughter) - I Dewa Putu Kamarhedi, born 1972 (nephew) - Ni Jero Ketut Suci, born 1972 (niece) Source: Klaus D. Hohn, Reflections of Faith – The History of Painting in Batuan 1834 – 1994, Pictures Publishers Art Books, The Netherlands, 1997, p. 108

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64 Bendi, I Wayan

(b. Batuan, Bali, Indonesia, 1950)

Bali in Time of Revolution 2006 acrylic on canvas 90 x 70 cm

signed and dated (lower left)

Rp 30 - 40.000.000 US$ 3,330 – 4,440 Insights - Connections - Expertise

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65 Gede, Ida Bagus Putu

(Batuan, Ubud, Bali, 1947 - 2011)

Ngaben Procession acrylic on canvas 113 x 117.5 cm signed (lower right)

Rp 38 - 48.000.000 US$ 4,220 – 5,300

Exhibition : Soaring Spirit, Neka Art Museum, Bali, 22 July - 22 August 2007.

Illustrated in the exhibition catalogue, p. 58-59

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66 Togog, Ida Bagus Made

(Batuan, Sukawati, Gianyar, Bali, Indonesia 1913 - 1989)

Bali Life

acrylic on canvas laid on board 58 x 86 cm Rp 70 - 80.000.000 US$ 7,700 – 8,800 This lot is accompanied with certificate of authenticity from Agung Rai Gallery.

When he began working in the new style of painting, this artist had already received a certain amount of ‘pre-schooling’ by his attempts to paint in the Kamasan style and by his copies of the old lontar books.

Even in the 1930s, I. B. M. Togog was well-known and an exhibition without his works, which were always characterized by his typical, very pronounced way of painting, was unthinkable. I. B. M. Togog remained an individualist throughout his life; he lived only for his painting and in the fifty-five years of his activity as an artist was extremely productive.

Ida Bagus Made Togog preserved his great creative vitality until advanced in age and was still active in January, 1989.

Painters in the family: - Ida Bagus Ketut Diding, 1914 – 1990 (cousin) - Ida Bagus Nyoman Tjeti, 1920 – 1990 (cousin) - Ida Bagus Ketut Panda, born 1941 (son) - Ida Bagus Putu Gede, 1947 – 2011 (son) - Ida Ayu Made Suti, born 1951 (daughter) - Ida Ayu Ketut Latri, born 1955 (daughter) - Ida Bagus Putu Oka, born 1965 (son) - Ida Bagus Putu Jelantik, born 1965 (grandson) - Ida Bagus Putu Antara, born 1966 (grandson) - Ida Bagus Made Mustika, born 1968 (grandson) - Ida Bagus Made Puspa, born 1969 (grandson)

- Excerpts from a book by Klaus D. Hohn, Reflections of Faith – The History of Painting in Batuan 1834 – 1994, Pictures Publishers Art Books, The Netherlands, 1997, p. 60 – 66.

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67 Padma, Ida Bagus Putu (b. Bali, Indonesia, 1972)

Ngaben Procession acrylic on canvas 60 x 100 cm signed (lower right)

Rp 12 - 15.000.000 US$ 1,330 – 1,660

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68 Widja, Ida Bagus Made

(Batuan, Bali, Indonesia, 1912 - 1992)

Daily Life in Bali

1974 acrylic on canvas 46 x 61 cm

‘I had no rice field of my own and thus no job. First of all, at the age of fifteen, I went to work on the chilli and coffee plantations in the mountains of Tabanan and later worked for six years in the rice fields of Batuan. This work was pretty strenuous and so I went to Sukawati and there bought myself a paint brush in a Chinese shop, together with some ink and paper and began to paint according to my own ideas and with no model to follow’.

- Ida Bagus Made Widja

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

Rp 50 - 60.000.000 US$ 5,500 – 6,600

Painters in the family: - Ida Bagus Kompiang Sana, 1834 – 1915 (father) - Ida Bagus Made Lanus, 1918 – 1980 (brother) - Ida Bagus Nyoman Tampi, born 1918 (nephew) - Ida Bagus Nyoman Pudja, 1921 – 1994 (brother) - Ida Bagus Ketut Togog/Warta, 1927 – 1983 (brother) - Ida Bagus Putu Tjakra, born 1952 (son) - Ida Bagus Putu Padma, born 1972 (grandson) Source: Klaus D. Hohn, Reflections of Faith – The History of Painting in Batuan 1834 – 1994, Pictures Publishers Art Books, The Netherlands, 1997, p. 70, 75

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Ubud Style - Dance & Drama

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69 Rudin, I Ketut

(Sanur, Bali, Indonesia, 1918)

Baris Dance watercolor on paper 56 x 76 cm signed (lower left)

Rp 13 - 18.000.000 US$ 1,440 – 2,000

The subject of dance has become famous in Sanur through the many works by I Ketut Rudin (b. 1918). Nowadays, hundreds of painters copy the ‘Rudin’ style; Rudin’s originals date to the 1950s. The resemblance between Rudin’s Legong Dancers (pl. 54) and drawings by the Mexican artist and anthropologist Miguel Covarrubias (1904-57) in his bestselling book of the Island of Bali is striking.

In his book Bali Verbeeld, Wim Bakker describes how this connection came about. A Dutch civil servant and gallery owner, Mr. Koopman, lent Covarrubias’ book to Rudin with the explicit request that he make paintings portraying Balinese dane. Rudin had to return the book within a month, but in the meantime a new ‘genre’ was born. He changed Covarrubias’ thin, sketchy line drawings into figures with more volume, adding gold, red and white accents. His style became a resounding success, and probably represents the most popular kind of painting sold in Bali today.

Soure: excerpts from a text by Helena Spanjaard in the book titled Pioneers of Balinese Painting – The Rudolf Bonnet Collection.

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70 Kasta, I Ketut

(b. Peliatan, Ubud, Bali, Indonesia, 1945)

Joged Bumbung Dance 2010 acrylic on canvas 65 x 60 cm

signed and dated (lower right)

Rp 17 - 22.000.000 US$ 1,880 – 2,440

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71 Sudana, I Wayan

72 Adi Antara, I Made

Arja Dance

Behind the Stage

(b. Peliatan, Ubud, Bali, Indonesia, 1966) acrylic on canvas 150 x 90 cm signed (lower left)

Rp 35 - 45.000.000 US$ 3,880 – 5,000

Exhibition: - Soaring Spirit, Neka Art Museum, Bali, 22 July - 22 August 2007. Illustrated in colour on exhibition catalogue, p. 21 - Bali, Nature and Figuration, Galeri Nasional Indonesia, 16 - 21 September 2010. Illustrated in colur in exhibition catalogue, p. 57

(b. Br. Tebesaya, Ubud, Bali, Indonesia, 1973) 2012 acrylic on canvas 90 x 120 cm signed (lower right)

Rp 20 - 30.000.000 US$ 2,220 – 3,330

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73 Sudana, I Wayan

74 Kwanji, I Gusti Made

Arja Dance

Arja Dance

(b. Peliatan, Ubud, Bali, Indonesia, 1966) acrylic on canvas.

120 x 90 cm signed (lower centre)

Rp 30 - 40.000.000 US$ 3,330 – 4,440

(b. Peliatan, Ubud, Bali, Indonesia, 1936) 2000 acrylic on canvas 60 x 50 cm

signed and dated (lower right)

Rp 22 - 27.000.000 US$ 2,440 – 3,000 Exhibition: “Songs of Ubud”, Agung Rai Museum of Art, Bali, 2010.

Illustrated in colour in exhibition catalogue, p. 93

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75 Djudjul, I Wayan

(Tebesaya, Ubud, Bali, Indonesia, 1942-2008)

Arja Dance

2006 acrylic on canvas 110 x 80 cm

signed and dated (lower right)

Rp 75 - 100.000.000 US$ 8,300 – 11,100

Born in Tebesaya, Peliatan – Ubud, 1942 as a member of I Wayan Balik’s family. He studied art in Institute Technology Bandung’s Art Department in 1960-1963. During his study in Bandung, his works were influenced by the modern art. He was in the same class with Sam Bimbo and Umi Dachlan.

Djujul went back to Ubud (Bali) in 1969. There, he began exploring the Ubud traditional style, that he had left for sometime but still considered as the root as his style. Djujul’s works illustrate various cultural themes, such as Legong dance, the scene behind the performing arts, barong dance and the traditional market scene.

His strength is in details. Djujul shares the same passion on details with pupils.

Among his potential pupils are I Wayan Tangkas, I Made Adi Antara and I Wayan Aryana.

- Excerpts from a text by Agus Dermawan T., from the book “Bali Bravo” first edition, published by Panitia Bali Bangkit, p. 77

The steps involved in Ubud traditional paintings are: a) sketching in pencil, b) outlining the sketch in black paint using penelak (bamboo pen), c) undercoat shading from black to white to intensify or soften the effect of colors added later, d) applying transparent colors over the undercoat, and e) adding whit or yellow to give special lighting effects. The last two steps will be repeated as many times as necessary to give the desired effects. Because of the repeated layering of colors, it will take months to complete even a small canvas.

The present lot is the last large work completed by the artist before he passed away in 2008.

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The artist working on the present lot.

Photo courtessy of Tebesaya Gallery, Ubud, Bali

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76 Raka Pudja, Anak Agung Gde

(b. Padang Tegal, Ubud, Bali, Indonesia, 1932)

Dressing Up

1999 acrylic on canvas 156 x 195 cm

signed and dated (lower right)

Rp 270 - 350.000.000 US$ 30,000 – 38,800 Exhibition: “Songs of Ubud”, Agung Rai Museum of Art, Bali, 2010.

Illustrated in colour in exhibition catalogue, p. 100 - 101

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77 Raka Pudja, Anak Agung Gde

(b. Padang Tegal, Ubud, Bali, Indonesia, 1932)

Market - Selling Baby Pigs 1970 tempera on canvas 82 x 74 cm

signed and dated (lower left)

Rp 65 - 75.000.000 US$ 7,200 – 8,300

Raka Pudja is the eldest son of Anak Agung Gde Meregeg. Together with Sobrat, Meregeg was the first two students of Walter Spies. This painting came from an estate of a gentleman in the US, who traveled extensively in Southeast Asia. This painting is one of the rare examples of Raka Pudja’s painting from 1970s. The colors and the lines are very strong. Bonnet was still alive when this painting was created. The present lot depicts a person selling baby pigs (piglets) in a traditional Balinese market. The consultation with Bonnet on the picture and color composition is evident. After Bonnet’s death in 1978, Raka Pudja’s works became softer and his picture composition lacks luster.

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Index of Artist the number following the name of the artists indicates lot numbers Adi Antara, I Made Arie Smit

72 9

Nadera, Ida Bagus Made Njana, Ida Bagus

Bendi, I Wayan Bonnet, Johan Rudolf Budi, I Made

64 37 47

Diana, I Wayan Ding, Dewa Ketut Dirga I Wayan Djawi, I Ketut Djudjul, I Wayan Djumu, I Wayan

60 48 7 15 75 50

Padma, Ida Bagus Putu 67 Pageh, I Wayan 4 Pasek, Dewa Kompiang 63 Pugug, Ida Bagus Made 11 Punduh, Ketut 1

Gede, Ida Bagus Putu Gelgel, I Ketut Gerudug, I Wayan Ginarsa, I Ketut

65 20 52 21

Haure, Jean-Philippe 26 Huang Fong 24 Ida Bagus Made Poleng

56

Kaler, I Wayan Kasta, I Ketut Kayun, I Nyoman Kebut, I Ketut Kepakisan, I Gusti Agung Ketig, I Wayan Kundel, Dewa Made Kwanji, I Gusti Made

8, 5 70 23 41 12 62 61 74

Lesug, I Nyoman Lusuh, I Made

19 6

Madra, I Ketut 54 Mangu Putra, Gusti Agung 31 Matra, I Wayan 16, 22 Meier, Theo 35, 36 Mukahar, Rudi 25 Murniasih, I Gusti Ayu Kadek 27, 28

14 57

Rai, Ida Bagus 53, 13 Raka Pudja, Anak Agung Gde 76, 77 Regep 44 Regig, I Ketut 51 Ridi, I Nyoman 39 Rudin, I Ketut 69 Rungun, Dewa Ketut 45 Sadia, I Wayan 18, 38, 40 Sadia, Ketut 59 Sena, Ida Bagus Putu 55 Sepi, I Ketut 43 Srihadi Soedarsono 34 71, 73 Sudana, I Wayan Sugata, Ida Bagus 46 Sujana “Kenyem�, I Nyoman 33 Supartha, I Made 42 Suweta, Ketut 17 Symon 10 Taman, Pande Ketut Tapa, I Nyoman Tilem, Ida Bagus Tjakra, I Nyoman Togog, Ida Bagus Made Tutur, I Wayan Widja, Ida Bagus Made Wiradana, I Made

32 2 58 3 66 49 68 29 , 30

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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.

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.

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.

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.

Bendi, I Wayan (b. Batuan, Bali, Indonesia, 1950) He comes from a family artists. He learnt to paint from his father, I Wayan Taweng. Bendi’s Balinese style painting has its roots in the Batuan style which emerged in the 1930s. Under his treatment, the elaborate and moody schema of the Batuan style, traditionally applied to mythical themes, is applied to comment on contemporary Balinese life where traditions and tourist consumerism of Balinese culture warily meet.

Bonnet, Johan Rudolf (Amsterdam, The Netherlands,1895 - Laren, The Netherlands,1978) Studied painting at the Hendrick de Keijserschool, the Rijksschool voor Kunstnijverheid, and the National Academy of Fine Arts, Amsterdam. Bonnet first came to Bali in 1929, and later introduced Western artistic conventions of anatomy and proportion to Balinese artists. He cofounded the Pita Maha artists’ association in 1936. With Cokorda Gede Agung Sukawati, he established the Puri Lukisan Museum in Ubud in 1953. In 1972 he founded the Ubud Painters Group. In 1977 he became the first foreigner to receive the Dharma Kusuma Art Award from the Provincial Government of Bali and was posthumously recognized with the Satya Lencana Kebudayaan Cultural Award from the Indonesian Government in 1980.

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) Diana, I Wayan (b. Batuan, Ubud, Bali, Indonesia, 1977) Learning to paint with guidance from his brother I Wayan Bendi. He has exibited in several galleries in Bali. In Jakarta he has exhibited at CSIS (Centre of Strategic and International Studies).

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.

Djudjul, I Wayan (Tebesaya, Ubud, Bali, Indonesia, 1942-2008) 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.

Djumu, I Wayan (b. Tegalalang, Ubud, Bali, Indonesia,1959) first he painted in balinese traditional style and drew together with the art community in his neighborhood. Entering the Art High School in Ubud, his painting reflected modern influences.

But it did not last long as his mentor, I Ketut Budiana encouraged him to return and explore the traditional art. His Works have been displayed in various exhibition in Bali and 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.

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.

Huang Fong (b. Banyuwangi, E. Java, Indonesia, 1936) From 1952-1967 he lived in Surabaya. He learned watercolor technique from the painter Tan KiawTek in Surabaya, and in 1961 he began to study oil painting technique with Nurdin BS. He also studied at IKIP Seni Rupa / Art Teachers Training College in Surabaya. In 1967 he moved to Bali, and received guidance in his painting technique from Affandi. He held his first solo exhibition in Jakarta in 1969. Since 1961 he has had ten solo exhibitions and participated in more than 30 group exhibitions in Indonesia, Taiwan, Korea and Australia. He was one of the founders of Sanggar Kamboja in Bali.

Ida Bagus Made Poleng (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.

Kaler, I Wayan (b. Ubud, Bali, Indonesia, 1965) He sees I Wayan garung and Gerebig as his early mentors. However, his mingling with senior figures of the Young Artist school like I Made Sinteg and I Ketut Soki, has caused his painting to absorb distintive influences. His paintings integrate the naive Sinteg and Soki styles. the detailed and intricate Ubud style, and the modern style with its attentiveness to perspective.

His works are cheerful in colors, yet tranquil in moods. The Fusion that Kaler invents attracts other painters to follow. This Kalerism was attractive to Bali art market in the late 1990s; the demand was high among cultural tourist. His works have been exhibited in Bai, jakarta and other cities abroad 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.

Kebut, I Ketut (b. Pengosekan, Ubud, Bali, Indonesia, 1940) He learned to paint, starting at an early age, under guidance of ac-tual two very well known artists, his cousin I Wayan Gedot and Ketut Liyer. Scenes from daily Balinese village life, dances,

Insights - Connections - Expertise

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and the endless work in the fields that dominates daily traditional life inspire his favorite themes.

Kebut has participated in many exhibitions, including the Bali arts festival in Denpasar.

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.

Kundel, I Dewa Made (b.Batuan, Ubud, Bali, Indonesia, 1926) Known as the Batuan School painter who preferred to paint the colossal Ngaben ritual. He also paints the evil creatures of the dark world. In painting, he received tutorial from I Made Djata and Ida Bagus Made Widja. Intensively paints since 1939. His paintings were interrupted when he was asked to team up with on art dealer. This has been the consequence of growing tourism business in Bali during 1960s. He sourced paintings foe sale, a job that he did around 25 years.

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).

Lusuh, I Made (b. Kutuh, Ubud, Bali, Indonesia, 1967) He joined art communityin Penestanan. Learned to paint from I Wayan Mundik.

Madra, I Ketut (b. Pengosekan, Ubud, Bali, Indonesia, 1945) Madra had his first painting lessons from his older cousin Dewa Putu Sugi while he was still a boy. He learned to paint market scenes, temple festivals, and rice harvests. His second teacher, Tjokorda Oka Gambir, also of Peliatan, had been an early member of the pre-war Pita Maha group of Balinese artists who had adapted European painting materials, styles and subjects to Bali. Working with Gambir, Madra learned not only the stories that are the subject matter of wayang painting, but also the details of iconography and costume for all the scores of specific characters. He is known in Indonesia and beyond as a master painter of wayang stories whose work is collected on every continent.

Mangu Putra, I Gusti Agung (b. Sangeh, Bali, Indonesia, 1963) He graduated from ISI / Indonesian Institute of the Arts, Yogyakarta in 1990, majoring in Visual Communication Design. He received awards for Best Work in Visual Communication Design at Dies Natalis IV (1988) and VI (1990) at ISI Yogyakarta; and was one of the Top Ten prize winners of the Indonesian Art Awards in 1994. He worked as a graphic designer from 1990-98.

He has had solo exhibitions in Bali and Jakarta and has participated in group exhibitions in Indonesia and Singapore.

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.

Meier, Theo (Basel, Switzerland, 1908 - Berne, Switzerland, 1982) Meier studied at the Kunstgewerbeschule in Basel and the Academies of Art in Berlin and Dresden. He was inspired by expressionist works of French painter Paul Gauguin, and German artists Emil Nolde and Max Pechstein. Meier went to the South Pacific during the 1930s in search of a paradise to paint; he eventually came to Bali and lived there from 1936 to 1957. He participated in the “Bali Exhibition” organized by the Bataviasche Kunstkring in Jakarta in 1939.

In 1957 he settled in Chiang Mai, Thailand.

Mukahar , Rudi (b. Solo, C. Java, Indonesia, 1971) He studied painting under the guidance of artists at Pasar Seni Ancol / Ancol Art Market in Jakarta. In 1991, he moved to Bali and joined the Sanggar Pejeng founded by the artist Dullah.

Murniasih, Ni Gusti Ayu Kadek (Ubud, Bali, Indonesia, 1966 - 2005) She is a self-taught painter, also studied with Mundo, an Italian painter living in Ubud. She then developed her traditional techniques from Mokoh, a well known Pengosekan painter who is creating a genre parallel to the current sosio-cultural circumstances. Most of the paintings are figurative, with a strong nuance of traditional techniques. The narration of her thoughts appears through the main figures. Although some of these are depicted as ordinary objects; animals, trees, or other living creatures, the most conspicuous form is often the central figure, which then represents a personificationn of herself. Her first solo exhibition was held at Cemeti Art House, Yogyakarta.

Nadera, Ida Bagus Made (Tegallinggah, Bali, Indonesia, 1905 - 1998) The self taught artist was born in Tegallinggah, Bali. He was a member of Pita Maha and had close association with R. Bonnet. His works are to be found in the Neka Museum, Ubud Bali.

Njana, Ida Bagus (Ubud, Bali, Indonesia, 1912 - 1985) A great innovator of carving styles in the 1960s, some say the inventor of modern Balinese carving. He is recognized as one of Bali’s most talented wood sculptors. Ida Bagus Njana allowed his son Ida Bagus Njana Tilem to also follow him to be woodcarver. His work is among the collection of Museum Puri Lukisan, Ubud.

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.

Pugug, Ida Bagus Made (b. Sanur, Denpasar, Bali, Indonesia, 1920) During his study, he got much advice from La Mayeur and Ida Bagus Ketut Soenia. He is a member of “Citra” and joined in the exhibitions at Bali Beach Hotel, Sanur Beach Hotel and Art-Centre, Denpasar.

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.

Regig, I Ketut (b. Tebesaya, Ubud, Bali, Indonesia, 1919) He has started painting in 1935. He was a member of Pita Maha. Here he received lesson from Rudolf Bonnet and Walter Spies. Regig at first painted the common theme of traditional Ubud style illustrating the relations of human-nature and human-culture. After the art lesson on the freedom of expression from his maestri teachers, he later had found other interesting subject matters for his paintings, including frog, cricket and other little animals. The frogs were personified in daily human life. Regig’s works have been intersting one. Thus Presiden Sukarno collected his work and published it in Lukisan-lukisan dan Patung-Patung Koleksi Presiden Sukarno. We can also found his works in Neka Museum, Arma Museum, Museum Puri Lukisan in Ubud and Presidential Palace. His works have been frequently exhibited in various art events in and outside of the country. Eventhough he is a skilled painter, he barely read and write.

Therefore, he could not sign his own pictures and he would ask his close friend to write his name in his paintings. So his name would be spelled differently in his signature such as “I Kt. Regig”, “Ketut Regig”, “IK Regig” and Regig”.

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.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).

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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.

Sadia, Ketut (b. Batuan, Bali, Indonesia, 1966) He is a younger brother of the famous artist, I Wayan Bendi, whom he began to leared painting with. Sadia’s early works resemble Bendi’s, but in a later development, Sadia takes to use bright colours, giving his paintings their “pop” looks. His works often exhibited in Bali and Jakarta.

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.

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 1960-1962. His sojourn overseas influenced him to experiment with pure abstraction in the 1960s but he was soon to return to figuration. By the early 1970s he had developed a meditative semi-abstract style with broad sweeps of pure colours. In 1980 he returned to Ohio State University under a Fulbright-Hays Fellowship for a research program.

Srihadi has taught at and chaired the art departments in ITB and IKJ / Jakarta Institute of the Arts. He has received many art and achievement awards in Indonesia and overseas. Since 1962, Srihadi has held numerous solo exhibitions in the USA, Indonesia, Australia, The Netherlands, Poland, Germany and Japan. Since 1945, he has participated in group exhibitions in Indonesia, Singapore, Thailand, Philippines, Malaysia, China, Japan, India, Taipei, Korea, Australia, Bahrain, USA, Brazil, The Netherlands, Germany and Switzerland.

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.

Sugata, Ida Bagus (b.Peliatan, Ubud, Bali, Indonesia, 1952) His teachers were the famous painters of I Wayan Tohjiwa, I Gusti Putu Kwanji and I Ketut Kasta. He also once learned from I Wayan Djudjul. Participated in various exhibitions in Museum Puri Lukisan (Ubud) and Taman Budaya (Denpasar), Jakarta and several European cities.

Sujana “Kenyem”, I Nyoman (b. Sayan, Ubud, Bali, Indonesia, 1972) He graduated from STSI School of Art in Denpasar, Bali. He has had solo Exhibitions, among which are at Gallery Nakita in Stockholm, Sweden (1996); “Leafscape” at Danes Art Veranda in Denpasar, Bali (2004); “Dance of Life” at Conrad Hotel, Tanjung Benoa and “Pre Bali Biennale Exhibition” at Raka Gallery, in Bali (2005). He has also actively participated in numerous group exhibitions in Jakarta, Bali, Yogyakarta and Canberra, Australia. He was awarded The Best Painting of Kamasra Prize, Indonesian Art Institute (STSI), Denpasar in 1996. Other award received is The Best Artworks of Bachelor of Fine Art Examination, Indonesian Art Institute (STSI), Denpasar, Bali in 1998.

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 Symon (b. Midwest, USA, 1947) Started to learn painting at the Cranbrook Institute of Art in Detroit, Michigan. After visiting several galleries in USA and Europe, he become interested in sculpturing. In 1968 he learnt the art of statue sculpturing at Emilio Greco, Academia Belles Artist, Roma. SInce 1972 he remained in Bali. His works have been exhibited in several places such as the British Museum in London, Yantra Gallery Amsterdam, Basle Art Fair Switzerland, and Solander Gallery in Canberra, Australia.

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.

Tilem, Ida Bagus (b. Mas, Ubud, Bali, Indonesia, 1936-1993) A long tradition of family woodcarvers, he learnt to carving from his father, Ida Bagus Njana, recognized as one of Bali’s most talented sculptors of wood. Slowly, the child developed his talent, despite battered hands from his first few attempts with his father’s razor-sharp chisels, carving tiny animals and birds, and traditional figures from the Wayang stories. He now has more than 100 apprentices and the same number of fully fledged carvers working with him.

Since his first trip abroad, when he was chosen to represent Indonesia at the New York World Fair in 1964, he has had numerous overseas exhibitions and demonstrations in Thailand, Hong Kong, Australia, Germany, Austria, and Mexico. He uses each trip to develop his knowledge and appreciation of art, but always finds himself eager to hurry home to his family and village, and to carry on with his work.

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.

Tutur, I Wayan (b. Petulu, Ubud, Bali, Indonesia, 1952) Had participated in several exhibition in Bali and Jakarta. He illustrates light themes in his paintings featuring herron in his hometown Petulu. The latest theme of his painting would be the dance performing art.

Widja, Ida Bagus Made (Batuan, Bali, Indonesia, 1912 - 1992) He started painting in 1933 from I Nyoman Patera. His early works - prior to 1950s - are dominated by the colours of black, brown and creme. Wija is a rebel on traditional themes in the history of Batuan style, therefore he earned the art award from Indonesian Higher Educatuon in Art (ASRI) in 1982. He also received the medal of Wija Kusuma and Dharma Kusuma from Balinese government. In 1985, he was rewarded with Anugerah Seni from Indonesian government. While in 1990, Indonesian Art Institute (ISI) rewarded him. He was a noted painter with works were already collected by Presiden Sukarno even during the 1950s. Until now, his work is still on displayed in the Presidential Palace. His work has been exhibited in Indonesia, Hawai, Singapore, Australia and USA. 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.

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LARASATI

Absentee Bid Form

Written Bid Phone Bid

Sale Title

Traditional, Modern & Contemporary Art Date 11 March 2012 Sale Code “Warrior”

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 22% 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.

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.

Rp.

Rp.

Rp.

Rp.

Rp.

Rp.

Rp.

Rp.

Rp.

Rp.

Rp.

Rp.

Rp. (please print or type)

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 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.

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 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.

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.

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.

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

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.

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AFTER THE SALE Buyer’s Premium In addition to the hammer price, the buyer must pay us the buyer’s premium at a rate of 22% of the hammer price of the lot.

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.

• •

together with the costs of such proceedings on a full indemnity basis and 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.

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

Remedies for non-payment or failure to collect purchases If the buyer fails to make payment within seven days, we shall be entitled to exercise one or more of the following rights or remedies: • to charge interest at a rate per annum not exceeding 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,

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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 hereinreferred 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 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)

(iv)

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 The seller has notified us in writing of any material alterations to the lot of which the seller is aware and any concerns expressed by third parties in relation to the ownership, condition or attribution of the lot.

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

AT THE SALE Sale Arrangements (i) We shall have complete discretion as to the way a lot is described and illustrated in the catalog or any condition report, the place and manner sale; the decision as to which person should be admitted to the auction, and as to which bids should be accepted; whether expert advice should be sought; and the combination or division of goods for sale. (ii) Any estimate given, orally or in writing, is a matter of opinion only and is not an assurance in relation to the price that the lot will eventually fetch. (iii) Upon signing the Consignment Agreement, the seller may not withdraw a lot from auction without the consent of Larasati. Should such lot be withdrawn, the seller agrees to indemnify Larasati on a full indemnity basis in respect of all costs and expenses incurred in putting up the lot for auction or against any liability, claims, costs or expenses howsoever incurred as a result of dealing with any claim arising out of that respect. (iv) Larasati may at its sole discretion withdraw a lot from auction at any time if (a) we have any doubt as to its attribution or authenticity or as to the accuracy of the statements made by the seller in the Consignment Agreement, (b) there is any breach of these conditions or the terms and conditions of the Consignment Agreement or (c) we believe it would be improper to include the lot in the sale. (v) If we withdraw the lot, we shall charge the seller a equal to 10% of the insured value, plus an amount equal to our commission if the lot had been sold at the insured value, together with any applicable Government Service Charge and insurance and other expenses.

Conduct of Sale (i) The lot will be sold subject to the reserve, which cannot be above the low estimate printed in the catalogue unless the reserve is agreed to in a currency other than Indonesian Rupiahs, and the exchange rates fluctuate between the

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(ii)

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.

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.

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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

Jakarta

Amsterdam

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

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

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

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

info@larasati.com www.larasati.com

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LARASATI

ISBN 978-979-3774-31-2 Insights - Connections - Expertise

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