Larasati Singapore, 12 March 2011 by PT. Balai Lelang Larasati

singapore, 12 March 2011

Traditional, Modern & Contemporary Art

Insights - Connections - Expertise

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Important notIce The

names of The arTisTs documenTed in This

caTalog should noT be considered as unqualified aTTribuTions To The arTisTs named.

unqualified

aTTribuTions To any arTisT or daTe have noT been inTended.

currenT

indonesian

and

scholarship in The field of

souTheasT asian

arT does noT

permiT unqualified sTaTemenTs as To auThorship or daTe of execuTion.

Therefore,

none of

The properTy in This caTalog is subjecT To any guaranTee of auThenTiciTy and all of The properTy is sold “as is” wiTh all imperfecTions, incompleTeness, faulTs and errors of descripTion in accordance wiTh The

any

condiTions of business.

assisTance offered by

larasaTi

sTaff To a

buyer in selecTing a loT To purchase is given wiThouT prejudice To The above.

buyers

are

recommended To Take independenT professional advice on selecTion of purchases.

accepT no responsibiliTy should currency

exchange flucTuaTions cause major differences in values ThaT have been quoTed in This caTalog.

This sale has been organized in close cooperaTion beTween l arasaTi and a rTs and a nTique g roup .

ISBN 978-979-3774-27-5

Cataloguing-in-Publication Data

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

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Auction

Saturday, 12 March 2011 starting at 2 pm at ONE EAST Artspace 30 Bideford Road #03-02 Thong Sia Building Singapore 229922 Viewing Thursday, 10 March 2011 Friday, 11 March 2011

2 pm - 9 pm 11 am - 9 pm

at Peony Junior Ballroom 4411 & 4412 Level 4, Sands Expo & Convention Centre Marina Bay Sands, 10 Bayfront Avenue Singapore 018956

Sale Code

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

in collaboration with:

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

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

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

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contents guide for prospecTive buyers

bidder regisTraTion form

TradiTional, modern & conTemporary arT

index of arTisTs

biography of The arTisTs

absenTee / wriTTen bid form

100

guide for absenTee bidders

101

condiTions of business for buyers

102

condiTions of business for seller

104

saleroom & offices

106

Front Cover: lot 90, Lee Man Fong, Satay Seller Back Cover: lot 33, Hendra Gunawan, Gembala Kerbau Insights - Connections - Expertise

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GuIde for prospectIve Buyers Buying at Auction The following pages are designed to give you useful information on how to buy at Larasati Muse Investments Pte. Ltd - herein referred to as LARASATI - fine art auction. Buyer’s Premium A buyer’s premium is payable by the buyer of each lot at a rate of 20% on the first S$ 500,000 of the hammer price of the lot and at a rate of 12% on the amount by which the hammer price of the lot exceeds S$ 500,000. GST at the appropriate rate is payable on the hammer price and premium. These charges are explained in detail under Larasati’s charges and GST at the back of this catalog.

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

2. THE AUCTION Conditions of Business The Auction is governed by the Conditions of Business printed in this catalog. These Conditions of Business apply to all aspects of the relationship between Larasati and actual and prospective bidders and buyers. Anyone considering bidding in the auction should read them carefully. They may be amended by way of notices posted in the saleroom or by way of announcement made by the auctioneer. Bidding at Auction Bids may be executed in person by paddle during the auction, in writing prior to the sale or by telephone. All auctions are conducted in Singapore Dollars. Auction speeds vary, but usually average between 40 - 50 lots per hour.

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

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

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

S$ S$ S$ S$

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

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

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 by Telephone If you cannot attend the auction, it is possible to bid on the telephone on lots with a minimum low estimate of S$ 4,000. As the number of telephone lines is limited, it is necessary to make arrangements for this service 24 hours before the sale. We also suggest that you have a maximum bid which we can execute on your behalf in the event we are unable to reach you by telephone. Bilingual staff are available to execute bids for you.

Bidding Increments Bidding generally opens below the low estimates and advances in the following increments:

Successful Bids The fall of the auctioneer’s hammer indicates the final bid. The auctioneer will call out and record the name

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

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

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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. : ________________________________ Office phone No. :________________Home phone No.: ______________Fax No. : ___________email:______________ BANK REFERENCES : Name of Bank & Branch : ______________________________________________________________________ Account No. : ____________________________________Contact Name : _________________________________ Tel No. : ________________________________________Fax No. : ____________________________________ Credit Card No. : __________________________________Type / Expire Date : ______________________________ OTHER REFERENCES : Name : _________________________________________Address : _____________________________________ Tel No. : _________________________________________Fax No. : ______________________________________ Please register me for the following session :

LARASATI Traditional, Modern & Contemporary Art

• I have read the conditions of business and notices printed in the sale catalog and agree to be bound by them. • I agree to be bound by notices announced by auctioneer or posted in the sale room by the way of notice. • I authorise Larasati to request bank references relating to the account(s) specified by me in the above. • I authorise Larasati to fax invoices to (fax) : ________________ _______________Signature___________________ Signature : ______________________________________ Date : ________________________________________ Bidders are reminded that the purchase price payable by the successful bidder shall be the aggregate of the final bid and a premium of 20% of the first S$ 500,000 of the hammer price of each lot and 12% on the excess of the hammer price above S$ 500,000. Please note that a late charge is specified in the Conditions of Business in each catalogue and is subject to change without separate notice. PAYMENT FOR PURCHASE CAN BE MADE IN CASH, BANK TRANSFER OR CHEQUE IN FAVOUR OF LARASATI. GOODS CAN BE COLLECTED ONLY WHEN PAYMENT HAS CLEARED. LARASATI DOES NOT ACCEPT CREDIT CARDS AS PAYMENT FOR PURCHASE.

LARASATI Correspondence address : Singapore:

Thong Sia Building, 30 Bideford Road #03 - 02, Singapore 229922 Tel. +65 6737 2130 Fax. +65 6737 1859 Indonesia:

Jl. Pasuruan no . 9, Menteng - Jakarta 10310 - Indonesia Insights - Connections - Expertise Tel. +62 21 315 8636, 315 6110, +62 855 101 5778 Fax. +62 21 3989 9533

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TradiTiOnaL, MOdern & COnTeMpOrary arT Singapore, 12 March 2011 starting at 2 pm LOT # 1 - 90

Insights - Connections - Expertise

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TradiTiOnaL BaLineSe painTingS Insights - Connections - Expertise

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1 NADERA, IDA BAGuS MADE

(Tegallinggah, Bali, Indonesia, 1905 - 1998)

Tari Keris

1994 acrylic on canvas 75 x 100 cm signed and dated (lower right)

S$ 2,800 - 3,500 uS$ 2,200 - 2,700 Literature: Bali: Nature and Figuration, Illustrated, p. 23 Exhibition: “Ceremony 60 - Masterpieces of Chinese Brushpaintings & Selected Balinese Traditional Paintings”, Galeri Nasional Indonesia, Jakarta, 16 - 21 September 2010.

2 MENDuR, I KETuT

(b. Bitera, Ubud, Bali, Indonesia, 1933)

Sacred Ceremony 2000 acrylic on canvas 70 x 50 cm signed (lower right)

S$ 5,000 - 7,000 uS$ 3,900 - 5,500

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3 KICEN, KETuT

(b. Batuan, Bali, Indonesia, 1929)

Pemain Musik Upacara acrylic on canvas 60 x 80 cm

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

S$ 1,800 - 2,500 uS$ 1,400 - 1,900 Literature: Bali: Nature and Figuration. Illustrated, p. 28. Exhibition: “Ceremony 60 - Masterpieces of Chinese Brush Paintings & Selected Balinese Traditional Paintings”, Galeri Nasional Indonesia, Jakarta, 16 - 21 September 2010.

4 MOKOH, DEWA PuTu

(Ubud, Bali, Indonesia, 1936 - 2010)

Berenang-renang 2008 acrylic on canvas 80 x 60 cm

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

S$ 2,800 - 3,500 uS$ 2,200 - 2,700 Literature: Bali: Nature and Figuration. Illustrated, p. 29. Exhibition: “Ceremony 60 - Masterpieces of Chinese Brush Paintings & Selected Balinese Traditional Paintings”, Galeri Nasional Indonesia, Jakarta, 16 - 21 September 2010.

4 Insights - Connections - Expertise

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5 KASTA, KETuT

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

Arja Dancers 2007

acrylic on canvas

125 x 75 cm signed (lower centre), signed and dated (verso)

S$ 4,000 - 5,000 uS$ 3,100 - 3,900 Exhibition: Soaring Spirit, The Heart and Soul of Traditional Balinese Paintings, Neka Museum, Bali, 22 July - 22 August 2007. Illustrated in colour on exhibition catalogue, p. 45

6 RAKA PuDJA, ANAK AGuNG GDE (b. Penestanan, Bali, Indonesia, 1952)

Market in Bali 2002

acrylic on canvas

90 x 60 cm signed and dated (lower right)

S$ 5,000 - 7,000 uS$ 3,900 - 5,500

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7 MEJA, I NyOMAN

(b. Ubud, Bali, Indonesia, 1952)

Cockfight

2000 acrylic on canvas 65 x 90 cm signed and dated (lower right), inscribed, signed and dated (verso)

S$ 9,000 - 12,000 uS$ 7,000 - 9,400 Exhibition: Songs of Ubud, Agung Rai Museum, Bali, 19 June - 11 July 2010. Illustrated in colour on exhibition catalogue, p. 58

Insights - Connections - Expertise

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8 TOGOG, IDA BAGuS MADE

(Batuan, Bali, Indonesia, 1913 - 1989)

Bali Life

acrylic on canvas 129 x 68,3 cm signed (lower right)

S$ 6,000 - 8,000 uS$ 4,700 - 6,200 Provenance: Private Collection, Holland

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9 SOBRAT, ANAK AGuNG GEDE (Ubud, Bali, Indonesia, 1911 - 1992)

Suasana Kampung Bali 1991 acrylic on canvas 125 x 85 cm signed (lower left)

S$ 17,000 - 20,000 uS$ 13,300 - 15,700 This lot is accompanied with certificate of authenticity from family of the artist. Insights - Connections - Expertise

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10 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)

S$ 5,000 - 7,000 uS$ 3,900 - 5,500 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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11 KAyuN, I NyOMAN

(b. Ubud, Bali, Indonesia, 1954)

Kusir Dokar

2007 acrylic on canvas 40 x 70 cm signed (lower right), inscribed and signed (verso)

S$ 6,000 - 8,000 uS$ 4,700 - 6,200 Exhibition: Soaring Spirit, The Heart and Sould of Traditional Balinese Paintings, Neka Museum, Bali, 22 July - 22 August 2007. Illustrated in colour on exhibition catalogue, p. 45

Insights - Connections - Expertise

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12 RAKA PuDJA, ANAK AGuNG GDE (b. Penestanan, Bali, Indonesia, 1952)

Ceremony in Bali 2006 acrylic on canvas 120 x 180 cm

signed and dated (lower left)

S$ 30,000 - 40,000 uS$ 23,600 - 31,400

Insights - Connections - Expertise

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13 NADERA, IDA BAGuS MADE

(Tegallinggah, Bali, Indonesia, 1905 - 1998)

Bali Landscape

tempera on board 64 x 80 cm inscribed (verso): “Ida Bgs Md Nadera, Tegallinggah”

S$ 3,500 - 4,500 uS$ 2,700 - 3,500

Insights - Connections - Expertise

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prOperTy

Mr. ajip rOSidi (LOT 14 - 28)

14 BATARA LuBIS

(Hutagadong, N. Sumatra, Indonesia, 1927 - 1986)

Kuda Gunung 1979 oil on canvas 67 x 100 cm

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

S$ 1,800 - 2,500 uS$ 1,400 - 1,900

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15 NASHAR

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

Topeng Topeng

1991 acrylics on canvas 65 x 90 cm signed and dated (upper left)

S$ 3,500 - 4,500 uS$ 2,700 - 3,500

Insights - Connections - Expertise

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16 NASHAR

17 NASHAR

Fosil-fosil

Pohon-Pohon

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

1987 oil on canvas 64 x 89 cm

1968 pastels on paper 39 x 55 cm

signed and dated (lower left)

S$ 4,000 - 5,000 uS$ 3,100 - 3,900

S$ 1,000 - 1,500 uS$ 780 - 1,100

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18 NASHAR

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

Irama Alam

1964 acrylics on canvas 70 x 50 cm signed and dated (lower left)

S$ 2,500 - 3,500 uS$ 1,900 - 2,700

19 NASHAR

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

Jala Ikan 18

1985 oil on canvas 64 x 94 cm signed and dated (lower right)

S$ 4,000 - 5,000 uS$ 3,100 - 3,900

19 Insights - Connections - Expertise

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20 OESMAN EFFENDI

(Padang, W. Sumatra, Indonesia, 1919 - Jakarta, Indonesia, 1985)

Awan Berarak 1975 oil on canvas 63 x 93 cm

signed and dated (lower left)

S$ 2,000 - 3,000 uS$ 1,500 - 2,300

21 OESMAN EFFENDI

(Padang, W. Sumatra, Indonesia, 1919 - Jakarta, Indonesia, 1985)

Minna

1974 oil on canvas 105 x 74 cm signed and dated (lower right)

S$ 2,000 - 3,000 uS$ 1,500 - 2,300

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22 SALIM

(b. Medan, N. Sumatra, Indonesia, 1908)

Etude

1961 oil on canvas 59 x 72 cm signed and dated (lower right)

S$ 3,000 - 4,000 uS$ 2,300 - 3,100

23 SALIM

(b. Medan, N. Sumatra, Indonesia, 1908)

The Swan

oil on canvas 72 x 52 cm signed (lower right)

S$ 3,000 - 4,000 uS$ 2,300 - 3,100

23 Insights - Connections - Expertise

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24 RuSLI

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

Pelabuhan

1982 oil on canvas 50 x 65 cm signed and dated (lower right)

S$ 3,000 - 4,000 uS$ 2,300 - 3,100

25 RuSLI

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

Gunung

1979 oil on canvas 50 x 65 cm signed and dated (lower right)

S$ 3,000 - 4,000 uS$ 2,300 - 3,100

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26 RuSLI

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

At the Temple Entrance 1982 oil on canvas 60 x 50 cm

signed and dated (lower right)

S$ 3,000 - 4,000 uS$ 2,300 - 3,100

27 RuSLI

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

The Boats

1982 oil on canvas 50 x 65 cm 26

signed and dated (lower right)

S$ 3,000 - 4,000 uS$ 2,300 - 3,100

27 Insights - Connections - Expertise

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piOneerS

indOneSian MOdern arT

Insights - Connections - Expertise

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28 POPO ISKANDAR

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

Seascape

1973 oil on canvas 90 x 100 cm signed and dated (lower right)

S$ 5,000 - 7,000 uS$ 3,900 - 5,500

29 RuSLI

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

Landscape Kaliurang 1968 oil on canvas 40 x 50 cm 28

signed with artistâ&#x20AC;&#x2122;s monogram and dated (lower right)

S$ 4,000 - 5,000 uS$ 3,100 - 3,900

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30 JEIHAN

(b. Solo, C. Java, Indonesia, 1938)

Wanita

oil on canvas 90 x 100 cm signed and dated (lower left), inscribed and dated (verso)

S$ 7,500 - 10,000 uS$ 5,900 - 7,800 This lot is accompanied with certificate of authenticity from the artist.

31 DJOKO PEKIK

(b. Purwodadi, C. Java, Indonesia, 1938)

Menjelang Pentas 2000 oil on canvas 60 x 50 cm

signed and dated (lower right)

S$ 1,500 - 2,000 uS$ 1,100 - 1,500

31 Insights - Connections - Expertise

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32 S. SuDJOJONO

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

Pacitan Beach 1979 oil on canvas 60 x 110 cm

signed with the artistâ&#x20AC;&#x2122;s monogram, inscribed and dated (upper left), signed (lower right)

S$ 27,000 - 37,000 uS$ 21,200 - 29,100 Provenance: Private collection, Central Java, Indonesia

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Insights - Connections - Expertise

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33 HENDRA GuNAWAN

(Bandung, Indonesia, 1918 - Denpasar, Bali, Indonesia, 1983)

Gembala Kerbau oil on canvas 73 x 135 cm

signed (lower right)

S$ 60,000 - 80,000 uS$ 47,200 - 62,900 Provenance: Property of the co-founder of OASIS Restaurant, Jakarta, Indonesia.

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Insights - Connections - Expertise

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34 HENDRA GuNAWAN

(Bandung, Indonesia, 1918 - Denpasar, Bali, Indonesia, 1983)

Ngerumpi

1980 oil on canvas 80 x 140 cm signed and dated (lower left)

S$ 90,000 - 120,000 uS$ 70,000 - 94,000 Provenance: Private collection, Singapore.

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Insights - Connections - Expertise

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arie SMiT - The Living Legend prOperTy

MaTThiaS TauCherT (LOT 35 & 36)

These pictures were taken in February 1958 in Puncak showing Han Snel, Arie Smit and Mr. Matthias’ parents chatting by the swimming pool. At the time, due to the political tensions between Indonesia and The Netherlands, both Arie Smit and Han Snel had to leave Indonesia because the government would not extend their staying permit. Smit and Snel asked Mr. Matthias’ father to help them talk to the authority to renew their visa. Back then his father worked as surgeon at PMI Hospital in Bogor and regularly met President Sukarno at the Presidential Palace there. The present lots were gifts from Arie Smit to Mr. Matthias’ parents as his token of appreciation and friendship.

Arie Smit and Han Snel talking with parents of Mathias Tauchert (Photo courtesy of Mathias Tauchert)

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35 ARIE SMIT

(b. Zaandam, The Netherlands, 1916)

In front of the Temple ca. 1950s oil on cardboard 20 x 40 cm signed (lower left)

S$ 2,500 - 3,500 uS$ 1,900 - 2,700

36 ARIE SMIT

(b. Zaandam, The Netherlands, 1916)

Playing by the Beach ca. 1950s oil on cardboard 19 x 23 cm

signed (lower right)

S$ 1,200 - 1,800 uS$ 940 - 1,400 36 Insights - Connections - Expertise

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37 ARIE SMIT

(b. Zaandam, The Netherlands, 1916)

Pohon-pohon Kelapa 1992 acrylic on canvas 31.5 x 46 cm

signed and dated (lower right)

S$ 5,000 - 7,000 uS$ 3,900 - 5,500

38 ARIE SMIT

(b. Zaandam, The Netherlands, 1916)

Bali Scene

2004 acrylic on canvas 27 x 32 cm signed and dated (lower right), inscribed and signed (verso)

S$ 4,500 - 6,000 uS$ 3,500 - 4,700 This lot is accompanied with certificate of authenticity from the artist & Neka Museum, Bali.

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39 ARIE SMIT

(b. Zaandam, The Netherlands, 1916)

The Temple in the Hill 2009 acrylic on canvas 40 x 50 cm

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

S$ 7,000 - 10,000 uS$ 5,500 - 7,800 This lot is accompanied with certificate from the artist.

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40 ARIE SMIT

(b. Zaandam, The Netherlands, 1916)

Balinese Village and Farm Lands 1991 acrylic on canvas 78 x 91 cm

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

S$ 35,000 - 45,000 uS$ 27,500 - 35,400

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Contemporary art

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41 GOH GEuN-HO

42 GOH GEuN-HO

Captain Hook

Salvador Dali

(b. Korea, 1966)

2010 steel, edition no. 2/6 67 x 37 x 20 cm

2010 steel, edition no. 5/6 67 x 22 x 29 cm

stamped and dated (bottom right of base)

S$ 3,000 - 4,000 uS$ 2,300 - 3,100

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43 LE Quy TONG

(b. Hanoi, Vietnam, 1977)

Face Series #4 2008 oil on canvas 120 x 100 cm

signed and dated (lower right)

S$ 5,000 - 7,000 uS$ 3,900 - 5,500

44 SuROSO, ISuR

(b. Pemalang, C. Java, Indonesia, 1982)

Expression #10 2010 oil on canvas 80 x 100 cm

signed and dated (lower left)

S$ 6,000 - 8,000 uS$ 4,700 - 6,200 44 Insights - Connections - Expertise

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45 PuRWA, IDA BAGuS PuTu (b. Sanur, Bali, Indonesia, 1977)

Struggle

2010 acrylic on canvas 200 x 200 cm signed and dated (lower right), inscribed (verso)

S$ 3,000 - 4,000 uS$ 2,300 - 3,100

46 SuGIyO DWIARSO

(b. Magelang, C. Java, Indonesia, 1968)

Balance of Life

1999 acrylic on canvas 60 x 130 cm signed and dated (lower right)

S$ 2,000 - 3,000 uS$ 1,500 - 2,300

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47 HEO WOOK

(b. Korea, 1973)

Between Tiers - Cars 67 2010

mixed media

81 x 122 cm signed, titled in Korean and English, and dated (verso)

S$ 9,000 - 12,000 uS$ 7,000 - 9,400

48 DIREK KINGNOK

(b. Nakhonratchasima, Thailand, 1976)

After Rain

2010 watercolour on paper 50 x 70 cm signed and dated (lower right)

S$ 1,500 - 1,700 uS$ 1,100- 1,300 48 Insights - Connections - Expertise

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49 MARSONO, HADI

(b. Yogyakarta, Indonesia, 1972)

The 39 Steps 2009 oil on canvas 120 x 145 cm

signed and dated (lower right)

S$ 1,500 - 2,000 uS$ 1,100 - 1,500

50 LIM KHIM KATy

(b. Ho Chi Minh City, Vietnam, 1978)

After Work

2008 oil on canvas 110 x 120 cm signed and dated (lower right)

S$ 5,000 - 7,000 uS$ 3,900 - 5,500 50

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51 NGuyEN THANH BINH (b. Hanoi, Vietnam, 1954)

Horses Race 2010 oil on canvas 100 x 130 cm

signed and dated (upper right)

S$ 5,000 - 7,000 uS$ 3,900 - 5,500

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52 RIyADI, AGuS

(b. Yogyakarta, Indonesia, 1979)

Mari Tumbuhkan Kebersamaan 2010 oil on canvas 145 x 180 cm

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

S$ 1,800 - 2,500 uS$ 1,400 - 1,900

53 WIBISONO, FAzAR A. R. (b. Bandung, Indonesia, 1981)

Battle for the Sun 2010 acrylic on canvas 120 x 160 cm

signed and dated (lower right)

S$ 4,000 - 5,000 uS$ 3,100 - 3,900 53

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54 PALGuNA, I MADE ARyA (b. Ubud, Bali, Indonesia, 1976)

Olim Meminisse Iuvabit 2008 acrylic on canvas 200 x 300 cm

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

S$ 6,000 - 8,000 uS$ 4,700 - 6,200

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55 SuJANA “KENyEM”, NyOMAN (b. Sayan, Ubud, Bali, Indonesia, 1972)

Menuju Damai

2007 mixed media on canvas 200 x 200 cm signed and dated (lower right), inscribed and signed (verso)

S$ 5,000 - 7,000 uS$ 3,900 - 5,500

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56 SuTAWIJAyA, PuTu (b. Bali, Indonesia, 1971)

Rhythm of Life

2004 acrylic on canvas 60 x 150 (triptych) each signed and dated

S$ 7,000 - 10,000 uS$ 5,500 - 7,800

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57 SuRAJI

(b. Bantul, Yogyakarta, Indonesia, 1971)

Antara Yang Besar dan Yang Kecil 2002 oil on canvas 100 x 130 cm

signed and dated (upper right)

S$ 4,500 - 6,000 uS$ 3,500 - 4,700

58 ROHAN CHANDRACHuD (b. Pune, India, 1986)

Breaking Bread, Watching ‘Crumble’ 2007 oil on canvas 122 x 122 cm signed

S$ 7,000 - 10,000 uS$ 5,500 - 7,800 58

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59 PINTOR SIRAIT (b. Germany, 1962)

a. Playboy b. Democracy c. Target 2009 stainless steel a. ed. 7 of 25; b. ed. 8 of 25; c. ed. 5 of 25 each 64 x 29 x 17 cm each signed, dated and numbered

S$ 12,000 - 15,000 uS$ 9,400 - 11,800

59 Insights - Connections - Expertise

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60 GuSMEN HERIADI

(b. Pariaman, W. Sumatera, Indonesia, 1974)

Sleep #2

2007 acrylic on canvas 100 x 120 cm signed and dated (lower right)

S$ 4,000 - 5,000 uS$ 3,100 - 3,900

61 TOMMy WONDRA

(b. Bukittinggi, W. Sumatra, Indonesia, 1980)

No. 14

2008 acrylic on canvas 120 x 120 cm signed and dated (lower right)

S$ 5,000 - 7,000 uS$ 3,900 - 5,500

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62 LEE CHANG-Kyu

(b. Daegu, Korea, 1967)

Light Wind

2010 oil on canvas 33 x 73 cm signed (lower right)

S$ 1,800 - 2,500 uS$ 1,400 - 1,900

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63 ERICA HESTu WAHyuNI

(b. Yogyakarta, Indonesia, 1971)

My Neverland

2010 acrylic on canvas 110 x 80 cm signed and dated (lower right), inscribed and signed (verso)

S$ 2,800 - 3,500 uS$ 2,200 - 2,700

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64 ERICA HESTu WAHyuNI

(b. Yogyakarta, Indonesia, 1971)

Neverland Dinosaurus 2010 acrylic on canvas 120 x 120 cm

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

S$ 6,000 - 8,000 uS$ 4,700 - 6,200

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65 ERICA HESTu WAHyuNI

(b. Yogyakarta, Indonesia, 1971)

My City, My Fantasy 2010 acrylic on canvas 150 x 150 cm

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

S$ 6,000 - 8,000 uS$ 4,700 - 6,200

65 Insights - Connections - Expertise

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66 KIM JIN-KyOuNG (b. Seoul, S. Korea)

Cake Puppet 2008 oil on canvas 130 x 97 cm

signed and dated (lower right)

S$ 5,000 - 7,000 uS$ 3,900 - 5,500

67 DONGI LEE

(b. Korea, 1967)

Bubbles

2008 acrylic on canvas 60 x 60 cm S$ 7,000 - 10,000 uS$ 5,500 - 7,800

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68 AyAKO ROKAKu (b. Japan, 1982)

Work

2006 acrylic on canvas 162 x 130 cm signed and dated (reverse)

S$ 6,000 - 8,000 US$ 4,700 - 6,200

69 yIM MAN-HyEOK

(b. Kangnung, Korea, 1968)

Boy and Dog 082

charcoal and ink on traditional Korean paper 74 x 52 cm signed and dated (lower right)

S$ 4,700 - 6,700 uS$ 3,700 - 5,200 69 Insights - Connections - Expertise

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TaKaShi MuraKaMi

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70 TAKASHI MuRAKAMI (b. Japan, 1962)

727

2003 offset lithography 4c process with white (UV ) 65.6 x 99.9 cm signed, dated and numbered 20/300 (lower right)

S$ 2,500 - 3,500 uS$ 1,900 - 2,700

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71 TAKASHI MuRAKAMI (b. Japan, 1962)

a. Kaikai Kiki & Me

2009 offset lithography 4c process with foil and gloss varnish 68 x 68 cm signed, dated and numbered 227/300 (lower right)

b. Kaikai Kiki and Me - Lots of Fun

2009 offset lithography 4c process with foil and gloss varnish 68 x 68 cm signed, dated and numbered 238/300 (lower right)

S$ 1,700 - 2,200 uS$ 1,300 - 1,700

72 TAKASHI MuRAKAMI (b. Japan, 1962)

a. Kaikai Kiki and Me - The Shocking Truth Revealed 2010 offset lithography 4c process with foil and UV. 68 x 68 cm signed, dated and numbered 50/300 (lower right)

b. Kaikai Kiki and Me - Better or Worse, in Good Times and Bad 2009 offset lithography 4c process with foil and gloss varnish. 68 x 68 cm signed, dated and numbered 127/300 (lower right)

S$ 1,700 - 2,200 uS$ 1,300 - 1,700

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73 TAKASHI MuRAKAMI (b. Japan, 1962)

a. And Then When Thatâ&#x20AC;&#x2122;s Done.... I Change. What I Was Yesterday Is Cast Aside, Like An Insect 2010 offset lithography 4c process 50 x 50 cm

signed, dated and numbered 32/300 (lower right)

b. And Then Platinum

2008 offset lithography 4c process with foil and gloss varnish 68 x 68 cm signed, dated and numbered 84/300 (lower right)

c. Melting DOB A

2008 offset lithography 4c process with foil and gloss varnish 68 x 68 cm signed, datedand numbered 250/300 (lower right)

S$ 2,500 - 3,500 uS$ 1,900 - 2,700

74 TAKASHI MuRAKAMI (b. Japan, 1962)

a. Kansei Korin Gold

2010 offset lithography 4c process with foil and gloss varnish diameter: 71 cm each signed, dated and numbered 149/300 (lower right)

b. With reference, I lay myself before you - Korin Chyrsantheum

2010 offset lithography 4c process with foil and gloss varnish diameter: 71 cm each signed, dated and numbered 148/300 (lower right)

c. Warhol, Silver

2010 offset lithography 4c process with foil and gloss varnish diameter: 71 cm each signed, dated and numbered 149/300 (lower right)

S$ 2,500 - 3,500 uS$ 1,900 - 2,700

74 Insights - Connections - Expertise

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indO-eurOpean piCTureS

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75 MORI KINSEN

76 HAL WICHERS

Wooden Bridge over Water

Batavia

(Yokohama, Japan, 1888 - Magelang, Indonesia, 1959) oil on canvas 40.2 x 61.1 cm

signed (lower right)

S$ 1,200 - 1,700 uS$ 900 - 1,300

(Tarutung, N. Sumatra, Indonesia, 1893 - Nijmegen, The Netherlands, 1968) 1927 oil on board 40 x 60 cm signed and dated (lower right)

S$ 2,800 - 3,500 uS$ 2,200 - 2,700

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77 ELAND, LEONARDuS JOSEPH

78 19TH CENTuRy COLONIAL SCHOOL

Working the Land at Sunset

oil on canvas 57 x 75 cm

(Salatiga, C. Java, Indonesia,1884 - The Hague, The Netherlands, 1952) oil on canvas 40 x 60.3 cm

signed (lower left)

A Fire in Indonesian Village

S$ 2,500 - 3,500 uS$ 1,900 - 2,700

S$ 1,500 - 2,000 uS$ 1,100 - 1,500

78 Insights - Connections - Expertise

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79 ADOLFS, GERARD PIETER

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

On the Streets of Soerabaja gouache on cardboard 63 x 48.7 cm signed (lower left)

S$ 1,200 - 1,700 uS$ 900 - 1,300 Provenance: Brought in by the family of the artist.

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80 BASOEKI ABDuLLAH

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

Portrait of Raden Mas Soedibio and his wife 1954 pastel on paper each 63 x 48.5 cm

both signed and dated (lower left)

S$ 1,800 - 2,500 uS$ 1,400 - 1,900

81 THEO MEIER

(Basel, Switzerland, 1908 - Berne, Switzerland, 1982)

Portrait of a Man wearing a turban 1949 red chalk on paper 46 x 36 cm

signed and dated (lower right)

S$ 2,200 - 2,700 uS$ 1,700 - 2,100

81 Insights - Connections - Expertise

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82 RADEN SALEH SJARIEF BuSTAMAN

(Terbaya, Semarang, C. Java, Indonesia, 1807 - Bogor, W. Java, Indonesia, 1880)

The Lion Attack 1832 32.5 x 42.5 cm

signed and dated (lower right)

S$ 13,000 - 17,000 uS$ 10,200 - 13,300 Provenance: Anonymous sale, Christies, 10 April 2008, Paris, sale 5509, lot 202

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83 BEyNON, JAN DANIEL

(Jakarta, Indonesia, 1830 - 1877)

A Lazy Afternoon 1859 oil on canvas 43.2 x 52.6 cm

signed and dated (lower right)

S$ 50,000 - 70,000 uS$ 39,000 - 55,000 Provenance: Private collection, The Netherlands.

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83 Insights - Connections - Expertise

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84 SONNEGA, AuKE

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

Two Young Balinese Girls with Flowers in their hair 1956 oil on canvas 27.2 x 60.4 cm

signed and dated (lower right)

S$ 6,000 - 8,000 uS$ 4,700 - 6,200 Provenance: Private collection, The Netherlands.

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85 PAuL HuSNER

(b. Basel, Switzerland, 1942)

Balinese Landscape with Banyan Trees in the Village of Bayad 2005 - 2006 oil on canvas 140 x 140 cm

signed (lower left), signed, dated and inscribed (verso).

S$ 9,000 - 12,000 uS$ 7,000 - 9,400 Insights - Connections - Expertise

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86 DuLLAH

87 BLANCO, ANTONIO

Legong Dancer

Portrait of Rinkie

(Solo, Indonesia, 1919 - 1996)

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

1979 oil on canvas 50 x 60 cm

oil on canvas laid on board 26.8 x 21 cm

signed and dated (lower right)

S$ 13,000 - 17,000 uS$ 10,200 - 13,300

Labeled with address of the gallery and titled. Comments by the artist on the reverse side: Ear-plugs (SUBANG) are of many varieties in Bali. This young Balinese girl is seen wearing the fragrant (BAKONG-PLANTâ&#x20AC;&#x2122;s leaf) which when rolled-up serves not only as an ear-plug, but as a decorative green touch for this sketch in oil colors painted on canvas-board.

S$ 18,000 - 25,000 uS$ 14,100 - 19,600 Provenance: Purchased by the present owner in a gallery in Bali.

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87 Insights - Connections - Expertise

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prOperTy

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Of a

duTCh COLLeCTOr

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88 LEE MAN FONG

(Guangzhou, Canton, China, 1913 - Jakarta, Indonesia, 1988)

Portrait of a Sitting Young Boy oil on board 76.3 x 66.3 cm

signed and signed again in Chinese characters

S$ 7,000 - 10,000 uS$ 5,500 - 7,800

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89 LEE MAN FONG

(Guangzhou, Canton, China, 1913 - Jakarta, Indonesia, 1988)

Gold Fish

oil on board 118.5 x 56.5 cm stamped with artist’s seal and inscribed (lower left)

S$ 25,000 - 35,000 uS$ 19,600 - 27,500

90 LEE MAN FONG

(Guangzhou, Canton, China, 1913 - Jakarta, Indonesia, 1988)

Satay Seller oil on board 96 x 40 cm

stamped with artist’s seal and inscribed (upper left).

S$ 35,000 - 45,000 uS$ 27,500 - 35,400

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Index of artIst the number following the name of the artists indicates lot numbers 19th Century Colonial School Adolfs, Gerard Pieter Arie Smit Ayako Rokaku

78 79 35, 36, 37, 38, 39, 40 68

Basoeki Abdullah Batara Lubis Beynon, Jan Daniel Blanco, Antonio

80 14 83 87

Direk Kingnok Djoko Pekik Dongi Lee Dullah

48 31 67 86

Eland, Leonardus Joseph Erica Hestu Wahyuni

77 63, 64, 65

Goh Geun-ho Gusmen Heriadi

41, 42 60

Hal Wichers Hendra Gunawan Heo Wook

76 33, 34 47

Jeihan Sukmantoro

Kasta, I Ketut Kayun, I Nyoman Kicen, I Ketut Kim Jin-Kyoung

5 11 3 66

Le Quy Tong Lee Man Fong Lee, Chang-kyu Lim Khim Katy Marsono, Hadi Meja, I Nyoman Mendur, I Ketut Mokoh, Dewa Putu Mori Kinsen

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43 88, 89, 90 62 50

Nadera, Ida Bagus Made Nashar Nguyen Thanh Binh Oesman Effendi Palguna, I Made Arya Paul Husner Pintor Sirait Popo Iskandar Purwa, Ida Bagus Putu Raden Saleh Sjarief Bustaman Raka Pudja, Anak Agung Gde Riyadi, Agus Rohan Chandrachud Rusli S. Sudjojono Salim Sena, Ida Bagus Putu Sobrat, Anak Agung Gede Sonnega, Auke Sugiyo Dwiarso Sujana â&#x20AC;&#x153;Kenyemâ&#x20AC;?, Nyoman Suraji Suroso, Isur Sutawijaya, Putu

Takashi Murakami Theo Meier Togog, Ida Bagus Made Tommy Wondra

1, 13 15, 16, 17, 18, 19 51 20, 21 54 85 59 28 45 82 6, 12 52 58 24, 25, 26, 27, 29 32 22, 23 10 9 84 46 55 57 44 56

70, 71, 72, 73, 74 81 8 61

Wibisono, Fazar A. R.

Yim Man-hyeok

49 7 2 4 75

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BIoGraphIes of the artIsts Adolfs, Gerard Pieter (Semarang, C. Java, Indonesia, 1897 - Den Bosch, The Netherlands, 1968) Adolfs studied architecture in The Netherlands. He returned to Indonesia in 1922 and then lived in Surabaya. He held a solo exhibition at Hotel des Indes in Jakarta, 1938. He later traveled extensively in Asia, Europe and Africa, including Japan, Rome and the Middle East. He finally settled in The Netherlands, where he died in 1968. 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. Ayako Rokkaku (b. Japan, 1982) Rokkaku began learning to paint by herself from 2002, and in this way established her individual style. She uses a technique of painting acrylics directly onto paper or cardboard with her fingers; depicting wide-eyed, long-limbed, contemporary girls. She won the Scout Prize at Geisai-4, and the Akio Goto Prize at Gesai #9. She has also performed her painting live at overseas art-fairs, attracting the attention of Western collectors. This year she held solo exhibition at JULIANA GALLERY (Korea, in January), GALERIE WILD (German, in May), joined art fairs at Netherlands, Japan, Taiwan; thus continuing to expand the site of her artistic activities. Basoeki Abdullah (Solo, Indonesia, 1915 - Jakarta, Indonesia, 1993) Basoeki Abdullah was the brother of Sudjono Abdullah, and second son of painter Abdullah Suriosubroto, a prominent landscape painter. In 1933 he studied at the Academie voor Beeldende Kunsten in The Hague and afterwards he visited Paris and Rome. He continued to study under the painter Schumacher upon his return to Indonesia. His work has been exhibited in Indonesia, Thailand, Malaysia, Japan, The Netherlands, England and Portugal. Batara Lubis (Hutagadong, N. Sumatra, Indonesia, 1927 - 1986) Starting to learn painting from Affandi and Hendra Gunawan he studied at Indonesian Academy of Arts (ASRI) in Yogyakarta. Once he worked on Batik Painting. Beynon, Jan Daniel (Jakarta, Indonesia, 1830 - 1877) In 1848 he came to The Netherlands to become a pupil of the Koninklijke Academie in Amsterdam. In 1855 he returned to Indonesia and settled in Jakarta, where he established his studio at Molenvliet

(Jalan Gajah Mada). He painted delicate portraits, landscapes and still-lifes. A still-life of Indonesian fruit by his hand is reproduced in C. K. Elout’s “Indisch dagboek” (Santpoort, 1926) Blanco, Antonio (Manila, The Philippines, 1911 - Bali, Indonesia, 1999) He studied at the Fine Arts Academy in New York, and was later professionally based in Florida and California. He has been honoured by several international art organisations. His awards include the Tiffany Fellowship, New York; La Cofradia del Arrios, Spain; and Chevalier du Sahanetrei from Norodom Sihanouk of Cambodia. He lived in Ubud, Bali from 1952 until his death in 1999. Direk Kingnok (b. Nakhonratchasima, Thailand, 1976) He studied art at Faculty of Fine and Applied Arts at Khon Kaen University. He also work as art lecturer at the same university from 1999 – 2001. He has held three solo exhibitions in his country, each in 2001, 2005 and latest in 2010 at Silom Galeria, Bangkok entitled “Still in real time”. He has also participated in numerous group exhibitions since 1982, where he fetched Gold Medal Youth Art Contest in Tokyo, Japan, and since then continued to actively exhibiting his works in Thailand, Laos, and Norway. Among his achievements are Special Prize Diploma from International Museum of Children Art, Oslo, Norway (1993), Prize Winner on drawing contest held by SK Bearin (Thailand) Limited (1993) and several others. His works are now in the collection of private collectors in USA, Holland, Belgium, UK, Germany, France, Sweden, Singapore, Hong Kong, Japan and Thailand. Djokopekik (b. Purwodadi, C. Java, Indonesia, 1938) He studied painting under Trubus Soedarsono and Hendra Gunawan at ASRI / Indonesian Academy of Fine Arts in Yogyakarta, graduating in 1963. He stopped painting in 1966 when he was imprisoned for purported communist associations after the abortive communist coup in October 1965. Djoko resumed painting around 1980. He held his first solo exhibition in 1989. He has held several solo exhibitions in Jakarta and Yogyakarta and has participated in various exhibitions in Indonesia, USA and Japan. Dongi Lee (b. Korea, 1967) Obtained his B.F.A. in 1990 and M.F.A. in painting in 1995 from Hongik University, Seoul, Korea. From 1986 to 1998, he continuously participated in Yehong Exhibition. He has held several solo exhibitions in Korea, Japan and china, and the first one was held at Gallery On, Seoul, Korea in 1993. Dongi has also participated in numerous group exhibitions in Korea, China, Taiwan, France, The Netherlands and Japan, among which are “Contemporary Korea Art”:Wonderland, National Art Museum of China, Beijing, China in 2007, “The World of Expression”, Seoul Arts Center, Seoul, Korea in 2008, “Art from North and South Korea”, Canvas International Art, Amsterdam, Netherlands in 2005. Insights - Connections - Expertise

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Dullah (Solo, C. Java, Indonesia, 1919 - 1996) He studied painting with Affandi and Sudjojono. During the late 1940s he documented the Indonesian Revolution and Struggle for Independence through his paintings. In the 1950s he was the official painter for Indonesia’s first president, Soekarno. Dullah was also the first curator of Soekarno’s art collection and he coordinated the publication of the first edition of the collection catalogue in 1956. He helped establish Himpunan Budaya Surakarta / Surakarta Cultural Foundation in 1950, and he headed the Sanggar Pejeng artists’ group in Bali. In 1988 he opened the Dullah Museum in Solo, which exhibits modern Indonesian paintings. His work has been shown in exhibitions in Indonesia and abroad, including a solo exhibition in Melbourne, Australia in 1977.

Sanggar Sakato, Galeri Nasional, Jakarta Lustrum ISI, Galeri ISI Yogyakarta (2004); Indonesian Contemporary, iPreciation, Singapore (2005); Nuansa Eksotika, Balikpapan (2006); Episodes, Gusmen Heriadi & Tommy Wondra, Edwin’s Gallery, Jakarta (2007).

Eland, Leonardus Joseph (Java, 1884 - The Netherlands, 1952) He was a self-taught artist who livedd and worked in Indonesia. He played important role in the Union of Dutch East Indies Art Circles in the beginning of the twentieth century. In the Indies, he was admired as highly esteemed artist, until 1920 when he left to settle in The Hague. His work was selected for the International Colonial Exhibition in Paris in 1931, but was unfortunately destroyed by fire. His works can be found today in several Dutch museums.

Hendra Gunawan (Bandung, W. Java, 1918 - Bali, 1983) Together with Wahdi Sumanta, he began to paint seriously in 1940 to 1950s. He established the art club Pusaka Sunda together with Barli. He recorded the events of the Revolutionary Struggle in his paintings. He took part in the founding of Front Seniman (Artists’ Front) in Bandung, Pelukis Rakyat (People’s Artists) in Yogyakarta. In 1957, he taught at the Indonesia Fine Art Academy (ASRI) in Yogyakarta. After being interned for his involvement with LEKRA (People’s Cultural Bureau of the Indonesian Communist Party) in 1981 he settled in Bali and died there in 1983. He was considered to be one of the best and most versatile painters of Indonesia, together with Affandi and S. Sudjojono.

Erica Hestu Wahyuni (b. Yogyakarta, Indonesia, 1971) Erica started to study painting when she was in primary school. She also joined Sanggar Katamsi, a children’s drawing club where she studied with Suharto P.R. and Herry Wibowo. From 1989-96 she studied at ISI / Indonesian Institute of the Arts, Yogyakarta. She received the award for Best Work at the Ninth Dies Natalis ISI Yogyakarta in 1993. She has had solo exhibitions in Yogyakarta and Jakarta and has participated in group exhibitions in Indonesia, Singapore, Philippines, Japan and Russia. Goh, Geun-Ho (b. Gwangju, Korea, 1966) Obtained his BFA and MFA degree from Chosun University. Goh then joint Korean Fine Arts Association, Gwangju young Artist Group, Group Down and Namdo Sculptor’s Association, For Environment Artist Association. He is a lecturer at Chosun University, Seonam University, Seogang Collage and Academy of Gwangju City Art Museum. He was also a juror at Gwangju City Exhibition. Goh has had several solo exhibitions. He has also participated in numerous group exhibitions in Singapore, Korea and Germany, among which were Singapore Art Fair 2008, Suntec Singapore, Korea International Art Fair KIAF, COEX, Seoul in 2007 and International Museum Expo, Korea International Museum. Gusmen Heriadi (b. Pariaman, W. Sumatera, Indonesia, 1974) He graduated from Indonesia Institute of Art (ISI) Yogyakarta. He held his solo exhibition “Problema Masyarakat Kota” at ISI Yogyakarta in 2005. He has participated in numerous group exhibitions, among which were Sanggar Sakato, Galeri langgeng, Magelang (2003); Drawing, Sanggar Dewata Indonesia, Yogyakarta (2003); Interplation, C.P. Open Bienalle, Gallery Nasional, Jakarta (2003); Affandi Prize, Galeri ISI, Yogyakarta (2003); Menimbang Tradisi,

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Hal Wichers (Tarutung, N. Sumatra, Indonesia, 1893 - Nijmegen, The Netherlands, 1968) After finishing his study at the Rijksacademie, Amsterdam, he went back and stayed in Indonesia in 1919. He was a member of Bataviassche Kunstskring and participated in their exhibitions between 1923 and 1936. His works are represented in the collections of the Tropenmuseum and The Nijmeegs Museum Commanderie van St. Jan, The Netherlands.

Heo Wook (b. Korea, 1973) Graduated from the Seoul high school of Music and Art, and pursued higher training in the prestigious Ecole Nationale Superieure des Beaux-Arts de Paris (DNSAP) in Paris. He has exhibited extensively in outside of Korea in arts and cultural capitals such as Beijing, New York, Japan, and Sydney. In the same year, Heo Wook was selected to participate in the China Mordern Art- Songzhang special project commissioned by the Beijing Olympics Committee. Other events that involved Heo Wook include the ‘Korea-Japan Interchange (2002 & 2005)’ in Hiroshima and Seoul respectively, as well as frequent features in the Korean International Art Fair where the best of Korea is displayed. Jeihan Sukmantoro (b. Solo, C. Java, Indonesia, 1938) From 1953-55 he studied painting at HBS / Himpunan Budaya Surakarta under the guidance of Sumitro Hendronoto. From 1960-66 he studied painting at ITB / Bandung Institute of Technology. He has had solo exhibitions in Jakarta, Bandung, Solo, Surabaya, Rome (Italy) and Paris (France). He has participated in numerous group exhibitions in Indonesia, USA, Algeria, The Netherlands and Switzerland. In 1978 he established the Studio Seni Rupa Bandung (Bandung Fine Arts Studio) with Dr. Sudjoko. 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 Ba-

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linese 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. Kicen, I Ketut (b. Batuan, Bali, Indonesia, 1929) He began painting in the 1940’s. He also studied painting under the guidance of the artist I Made Djata in 1943, and he learned a lot from I Made Windu as well. People still esteem him as a distinctive proponent of the Batuan style. Kim Jin Kyoung (b. Seoul) She obtained her Bachelor in Fine Art from Sung Kyun Kwan University, Seoul in 1997, and her Master in Painting from Long Island University, New York in 2000. Her 1st solo exhibition was held at Long Island University Sculpture Building, New York in 1999. “J was beautiful” was her 2nd solo exhibition held at Munhawa ilbo Gallery, Seoul. Her art works has also been exhibited in numerous exhibitions in Seoul and New York. Award received include HP Turn On Award in 2007 and New York Asian Council for the Arts Fellowshipin2002. Le Quy Tong (b. Hanoi, Vietnam, 1977) Graduated from Hanoi Fine Art College in 2001. He has had numerous exhibitions since 1999 in Vietnam, Japan, France, Thailand, and USA, including the Asian Exhibition for Young Artist held in Japan in 1999 and Vietnam Artists Today held in Hanoi in 2000. He has also held several solo exhibitions in Vietnam in 2005,2006 and 2007. Lee Man Fong (Guangzhou, Canton, China, 1913 - Jakarta, Indonesia, 1988) In 1916, Lee Man Fong’s family moved from Canton to Singapore. He began his studies of painting in Singapore, and in 1932 he moved to Jakarta where he started an advertising agency and worked as a commercial artist. In 1941 he visited Bali and painted there for a brief period; in the same year he had a solo exhibition in Jakarta. In 1947 he was awarded the Malino grant by the Dutch GovernorGeneral to study painting in Holland and he stayed there until 1952. He traveled widely during those years and held several solo exhi-

bitions. In 1955 he founded the Yin Hua artists’ association, and served as chairman. He became a Presidential Palace painter for the former Indonesian President Soekarno in 1961, and also compiled the 5-volume edition of President Soekarno’s art collection. Lee, Chang-Kyu (b. Daegu, Korea, 1967) He obtained his BFA and MFA in painting from Daegu University, Daegu, Korea. Lee has held his solo show at Gallery Soheon. He has participated in numerous group exhibitions, among which were Korea Art Figuratif at Seoul Arts Center in Seoul, Bamboo Exhibition at Hyundai-Arts center in ulsan in 2008; Seoul Art Fair at Seoul Arts Center in Seoul, KIAF at COEX in Seoul, Art Deagu at EXCO in Daegu, Bongsan Winter Art Fair, Bongsan Culture and Art Hall in Daegu in 2007; Korea Young Artist Biennale at Daegu Culture and Art Hall in Daegu Young Generation in Sa at Insa Art Plaza, Seoul, Art Miami at Miami Beach Convention CTR in USA in 2006; The International Contemporary Art exposition at Art Istanbul in Turkey, the International Fair of Contemporary Art at Strasbourg in France in 2005. Lim Khim Katy (b. Ho Chi Minh City, Vietnam, 1978) Graduated from Ho Chi Minh City Fine Art University in 2001. She is member of Fine Art Association of Ho Chi Minh City and also member of Vietnam’s Ethnic Minorities. Katy displays a surprising emotional maturity and seriousness of intent in her work. Her paintings subjects are often the urban or rural poor or people in the midest of some distressing or painful moment in their lives. Unlike many Vietnamese artists, she eschews the comon tendency to portray an idyllic picture of Vietnamese life in favor of someting more true to her own experience. As she describes it : “My paintings come from the feelings generated from the life all around me, from people’s eyes, gestures and the individual emotions they express. She has participated in several exhibitions. Marsono, Hadi (b. Yogyakarta, Indonesia, 1972) He is a graduate of Faculty of Fine Art and Design, Bandung Institute of Technology (ITB), Majoring in Visual Communication Design. He has participated in some exhibitions in Indonesia, and his recent solo shows include BAndung Initiative #5 at Vanessa Artlink, Jakarta and Indonesia Art Awards at Galeri Nasional, Indonesia, both in 2010. Among awards received are 1st and 3rd winner at National Stamp Design “Dialogue Among Civilization” in 2000. In 2006 he won 1st place at the National Mascot Design of Junior Art Sport Competition. Meja, I Nyoman (b. Ubud, Bali, Indonesia, 1952) He began hiis career as a Balinese traditional artist. After his encounter with Rudolf Bonnet, he began focussing his paintings on children and their world. He participated in a group exhibition in the Netherlands in 1975, and also in some cities in Indonesia. His works could be found at several Museums in Bali. He is a finalist of Indofood Art Awards 2002. Mendur, I Ketut (b. Bitera, Ubud, Bali, Indonesia, 1933)

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He learned painting from I Wayan Karya and later from Ida Bagus Nadera. His works received acknowledgement from art experts, like Rudolf Bonnet who later chose Mendur work as part of the colletion for Neka Museum (Ubud). This particular piece often considered among the best pieces of Balinese traditional artworks, at that time was exhibited in Taman Budaya (Denpasar), 1974. Other work, Menjangan, was reproduced in Alison Taylor’s Living Traditions in Balinese Painting, a book published by Agung Rai Gallery of Fine Art. Many of his paintings have been exhibited in Jakarta various cities in the world. Mokoh, I Dewa Putu (Ubud, Bali, 1936 - 2010) He learned painting from Gusti Ketut Kobot. He joined the Kelompok Pelukis Pengosekan and always participated in the art exhibitions at the Art Centre, Denpasar, Museum Puri Lukisan Ubud and abroad, together with the society. Mori Kinsen (Yokohama, Japan, 1888 - Magelang,C. Java, Indonesia, 1959) Mori came to Indonesia in 1914. He was interned in 1941 together with Walter Spies and A. J. Konig. In 1949, he went back to Japan but returned to Indonesia in 1956. He was a painter and watercolorist of landscapes and seascapes. His paintings were also included in the Sukarno’s collection. Nadera, Ida Bagus Made (Tegallinggah, Bali, 1915 - 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. Nashar (Pariaman, W. Sumatra, Indonesia, 1928 - 1994) He studied under Indonesian artists, S. Sudjojono and Affandi. He co-founded and taught at the Institute Kesenian Jakarta from 1970 - 1972 and from 1979 - 1991, and was a member of the Dewan Kesenian Jakarta (Jakarta Arts Council) from 1973 - 1976. His works have spontaneous strokes and lines, indicating his rejection of technique, aesthetics, and concepts (three nons, non-teknik, nonestetik, and non-konsep). He participated in several exhibitions: Festival of Indonesia, USA, 1990 - 1992 and at the Gate Foundation, Amsterdam, Holland, 1993. Nguyen Thanh Binh (b. Hanoi, Vietnam, 1954) Graduated from Hanoi College of Fine Arts in 1972, and later specialized in oil painting at Gia Dinh National College of Fine Arts in Ho Chi Minh. Thanh Binh has participated in numerous group exhibitions in Vietnam, and other countries such as France, Hong Kong, Singapore, Japan, South Korea, Great Britain, USA, Australia, and Thailand. Oesman Effendi (b. Padang, Sumatra 1919) He began his career during the revolution period in 1947 and became one of the most prominent Indonesian painters. Later in his life he moved to Jakarta. He still pursued his career in painting and also made book illustrations and covers. He had printmaking diploma from Della Art-Del Disegno Academy, Firenze, Italy. In 1951

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he was sent to the Netherlands to design the first Indonesian bank notes. 1970-1972 he became head of Jakarta Art Council, and started teaching in Jakarta Institute of Art. In 1972 he returned to his hometown and built a museum. He died in 1985 in Jakarta. Palguna, I Made Arya (b. Ubud, Bali, Indonesia, 1976) Born in 1976 in Ubud, Bali and studied at Institut Seni Indonesia (Indonesian Art Institute). Considered as a promising and talented young artist, he has made his marks quite rapidly not only within the local art community but he has also been invited to exhibit his works abroad, among others in Nakzkov, Denmark and in Los Angeles, USA. He won a Philip Morris Art award and was put in big-five category in Nokia Art awards. Paul Husner (b. Basel, Switzerland, 1942) He studied graphic art and painting at the Gerrit Rietveld Academy, Amsterdam in 1965 and 1967 and painting at the Rijks Academie voor Beeldende Kunsten / National Academy of Arts in Amsterdam. He has received Dutch awards such as the Urio Prijs in 1969; Willink van Collen Prijs in 1971; the Jeanne Bieruma Oosting Prijs in 1974; and the Arti Medaille in 1987. From 1980-88 he was Professor at the National Academy of Arts in Amsterdam where he taught drawing and painting. From 1997, Husner has been dividing his time between Amsterdam and Bali. He has held solo exhibitions and participated in group exhibitions in The Netherlands, Switzerland, USA, Singapore and Indonesia. Pintor Sirait (b. Germany, 1962) He is one of Indonesia’s famous sculptors who has held solo exhibitions in his home country and the USA where he had lived and worked for a long time. He has also participated in various international collective exhibitions such as The Busan Biennale 2004, Paris Art Fair 2005, Beijing Art Fair and many important others. He has also been commissioned by many prominent institutions such as The Deutsche Bank, Indonesian Central Bank, Medco Group, Novotel Nusa Dua, Bali, Saint Mary’s Church Jakarta, Indonesia, and collaborated on the Mural wall for Changi Airport, Singapore. Pintor received the Public Award from the French Government at the 6th Symposium d’Arts Plastiques in France (1994). Popo Iskandar (Garut, W. Java, Indonesia, 1927 - Bandung, W. Java, Indonesia, 2000) He began painting in 1944 as a poster painter for the information service of the Indonesian Armed Forces. In 1958, he graduated from the Department of Art, ITB / Bandung Institute of Technology. He was an assistant lecturer at ITB from 1957 to 1961, and was also a lecturer in the Art Department of IKIP / Teacher’s Training Institute, Bandung for many years. He had solo exhibitions in Jakarta, Yogyakarta, Medan (Indonesia), The Hague and Leiden (The Netherlands). He participated in numerous group exhibitions in Indonesia, China, UK, India, Japan, USA, The Netherlands and Brazil. Popo was also an art critic and essayist on art and literature, and was made a life member of the Jakarta Academy in 1970. He received the Anugerah Seni Art Award from the Indonesian government in 1980.

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Purwa, Ida Bagus Putu (b. Sanur, Bali, Indonesia, 1977) He graduated from Indonesia Art High School (STSI) in 1998. Heawarded as the best painting in South Denspasar.Since 1996 he has actively in many group exhibitions among others “Gebyar SMK se-Indonesia” Denpasar (1996), “Himpunan Pelukis Sanur” (2001), “The Journey Himpunan Pelukis Sanur” (2004), “Maskulin in Danest Art Veranda Bali” (2006), and “Unlimited Ten Fine Art” in Bali (2006). Raden Saleh Sjarief Bustaman, (Semarang, 1814 - Bogor, 1880) Saleh Sjarief Bustaman, Raden, so was his full name, was born in 1814 at Terbaya, a little town near Semarang Central Java. As a painter, he studied with A.A. J. Payen, a Belgian painter. In 1829 he had an oppotunity to visit the Netherlands where he studied painting with Dutch painters, Cornelius Krusemen and Andreas Schelfhout. In 1839 he visited Berlin, Dresden and Coburg. He painted portraits of the royal and the noble families in these cities. He had a chance to visit his tutor, Payen in Doornik, the Netherlands. Then he continued his tour of France and studied painting with Horace Vernet and some other prominent French painters. With his tutor, Vernet he went to Aljazair. Raden Saleh returned to Indonesia in 1851. He lived in Jakarta and made many portraits of high ranking persons of that time. His first married Miss Winkelman, a rich Eurasian, but ended in divorce. For the second time he married R.A. Danuredjo. From 1875 until 1879 Raden Saleh went again to Europe and after returning to Indonesia he lived in Bogor, West Java. He died in this town on April 23, 1880. As a pioneer of the art of painting in Indonesia, his name is permanently written in the history of the Indonesian Fine Arts. 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. Riyadi, Agus (b. Yogyakarta, Indonesia, 1979) He studied art at Indonesia’s Institute of Art (ISI) Yogyakarta. He has participated in several group exhibitions in Yogyakarta since 1998 until now. In 2008, he exhibited his works in KIAFF, Seoul, Korea. Rohan Chandrachud (b. Pune, India, 1986) Rohan Chandrachud is a young highly talented artist who has a very distinctive depiction of detailed visuals in his characteristic impasto style. Born in Pune he paints the world he sees around him. Landscapes, figures, all come to life with his frenzied brush and vibrant colors, giving birth to works like ‘Breaking bread, watching “Crumbs”, “M G Road @ 6pm” etc. Rohan is a great fan of noted film makers, Fellini and Troufeau and a great admirer of masters like Picasso and M F Husain. These masters are the inspiration to Rohan and their distinctive styles drive him to his goal of being part

of the club of great creative minds. Rusli (Medan, N. Sumatra, Indonesia, 1922 - Jakarta, Indonesia, 2005) He taught at Taman Siswa (1945-1949). In 1951 he was appointed as an art instructor at the Indonesian Academy of Fine Arts (ASRI), Yogyakarta. He went for two years (1954-1956) to Rusli’s works were exhibited at the Biennale Exhibition II in Sao Paolo, Brazil in 1953. A solo exhibition was held at Palazzo Brancaccio , Rome, Italy (1954-1956). He was elected in 1970 as a life member of the Jakarta Academy. S. Sudjojono (Kisaran, N. Sumatra, Indonesia, 1913 - Jakarta, Indonesia, 1986) From 1925 he studied painting with Yudhokusumo (the artist Kartono’s father). In 1935 he began to study painting with Mas Pirngadi and the Japanese artist Chioyoji Yazaki. He received further education at the Taman Siswa Teachers’ College in Yogyakarta. In 1938 he and Agus Djaja co-founded PERSAGI / Indonesian Painters’ Union. From 1942-44 Sudjojono participated in POETERA / People’s Activity Centre and Keimin Bunka Shidoso Cultural Centre in Jakarta. In 1946, Sudjojono formed SIM / Young Indonesian Artists in Madiun. In the 1950s he worked closely with the communistsponsored cultural organisation LEKRA / People’s Cultural Institute and in 1955, nominated by the Communist Party, was voted to Parliament. His expulsion from the Communist Party in 1958 saved him from the communist purge in 1965. In 1970 he was awarded recognition in the arts by the Indonesian Government. His work has been exhibited in The Netherlands and at the Fukuoka Art Museum in Japan in 1980. In Indonesia, Sudjojono’s work has been exhibited in Jakarta, Bandung, Yogyakarta and Denpasar. Salim (b. Medan, 1908) In 1920 he left for The Netherlands before going to France and met Fernand Leger from whom he learned painting. He won several awards from the French government and many other international awards. He now lives in Paris and still paints at the age of 94. 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. Sobrat, Anak Agung Gde (Ubud, Bali, Indonesia, 1911 - 1992) He was the first artist to assimilate the Renaissannce style introduced by Bonnet and Spies within the context of traditional painting style of Bali. He taught at the Indonesia Academy of Fine Art, Yogyakarta from 1957 to 1959. His efforts earned him the Wijaya Kusuma Art Award and Dharma Kusuma Art Award from the government.

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Some of his paintings are collected by Tropen Museum, Amsterdam, Rijkmuseum vor Volkenkunde, Leiden, and Neka Museum, Bali. Sonnega, Auke Cornelis (Leeuwarden, The Netherlands, 1910 The Hague, The Netherlands, 1963) Sonnega studied at the Kunstnijverheidschool in Amsterdam. He first visited Indonesia in 1935 as a commercial artist. In 1937 he settled in Bali and dedicated himself fully to painting. During World War II he was interned and put in a camp by the Japanese. After a stay in Europe he returned to Indonesia to settle in Sumatra in 1953, then in Ubud, Bali. In 1958 he left Indonesia unwillingly and returned to The Netherlands. He had several solo exhibitions in The Netherlands in Amsterdam (1953), Amersfoot (1958) and The Hague (1965). Sugiyo Dwiarso (b. Magelang, C. Java, Indonesia, 1968) Graduated from Indonesia Institute of Art (ISI), Yogyakarta, Indonesia in 1997. He held some group exhibitions in 2006, Indonesian Contemporary, 1918 ArtSpace, Shanghai, China, 2008, New Age-New Blending: New Generation Chinese & Indonesian Artists Exchange, New Age Gallery, Beijing, China.Became Finalist of Sovereign Asia – Art Award, Hongkong, 2007 – 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. Suraji (b. Bantul, Yogyakarta, Indonesia, 1971) He graduated from the Faculty of Fine arts at Institut Seni Indonesia Yogyakarta (Indonesia Institute of the Artas Yogyakarta) in 2001, in which year he had a solo exhibition in Yogyakarta. He won the Osaka 21st Century Association Prize in the Osaka Triennial, prizes in the Indofood Art Awads 2002 and 2003, and an Honourable Mention in the Hyogo International Competition of Painting in Japan in 2005, and 1st winner in the Jakarta Art Awards 2008. Suroso, Isur (b. Pemalang, C. Java, Indonesia, 1983) Graduated from Indonesia Art Institute (ISI), Yogyakarta majoring Fine Art Department, 2010. In 2008 until today he was registered as a Student of Korean Department, Gajah Mada University, Yogyakarta. Among the awards received are, won the Asia Prize at the Bepu Asia Biennale of Contemporary Art 2010, Bepu, Japan (2010)., 30 Finalists, Sovereign Art Prize, SAF - Hongkong, (2008); Jurors Choice of Soekarno Portrait Painting Competition, Pe-

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kalongan, Central Java, Indonesia (2006); 10 Top Nominee of Pratisara Affandi Adi Karya Painting Competition from Art Department, Indonesia Art Institute, Yogyakarta (2005); First Winner of International Population Poster Competition, New York, USA (2004); First Winner of Megawati Soekarnoputri Portrait Painting Competition, Solo(2004); First Winner of International Population Poster Competition, New York, USA (2003); Second Winner of Youth Healthy Poster Competition, Semarang (1999). Sutawijaya, Putu (b. Tabanan, Bali, Indonesia, 1971) He graduated in 1998 from the Art Faculty of Indonesia’s Institute of Arts (ISI) Yogyakarta. He received the best Fine Art Award from ISI in 1995 and was cited as one of the Top 10 Best Artists in the Philip Morris ASEAN Art Awards – Indonesia, 1999. In 2000 he received the Lempad Prize for from Sanggar Dewata, Bali. He has actively participated in numerous exhibitions regionally and internationally since 1989, among others are “5 Indonesian Artists” at Chouinard Gallery Hong Kong (1999), “Asia Contemporary” in London, United Kingdom (2000), “Dermensch Als Mass” at Der Kulturen Museum, Basel – Switzerland (2001). His solo shows were held at Gajah Galery (1999), Chouinard Gallery Hong Kong (2000, 2002) and Chouinard Gallery, Chicago, USA (2003), and Valentine Willie Fine Art, Malaysia (2006), Sin Sin Fine Art, Hong Kong (2007), and CIGE Beijing, China (2008). Takashi Murakami (b. Tokyo, Japan, 1963), Received his BFA, MFA and PhD from the Tokyo National University of Fine Arts and Music. He has had solo shows at Marianne Boesky Gallery, New York (2003); Fondation Cartier pour l’art contemporain, Paris (2002); Museum of Contemporary Art, Tokyo (2001); Museum of Fine Arts, Boston (2001); and Galerie Emmanuel Perrotin, Paris (2001). In addition to his work as an artist, Takashi Murakami is a curator, entrepreneur, and a student of contemporary Japanese society. In 2000, Murakami curated an exhibition of Japanese art titled Superflat, which acknowledged a movement toward massproduced entertainment and its effects on contemporary aesthetics. Murakami is also internationally recognized for his collaboration with designer Marc Jacobs to create handbags and other products for the Louis Vuitton fashion house. His works has been exhibited in prestigious museums all over the world, including the Tokyo Metropolitan Museum of Art; the Museum of Fine Arts, Boston; and a recent solo retrospective exhibition at the Bard College Museum of Art. Murakami has also curated “Super Flat” an exhibition of contemporary Japanese artists. Theo Meier (Switzerland, 1908 - 1982) Meier studied at the Kunstgewerbeschule in Basel and the Academies of Art in Berlin and Dresden. After studying in Germany, he travelled to Tahiti in the 1930s to the South Pacific and eventually settled in Bali in 1936 where he would stay, with some intervals until 1957, when he settled in Chiang Mai, Thailand. The artist participated in the Bali Exhibition organized by the Bataviasche Kunstkring in Jakarta in 1939. His work is represented in the collections of the former President Sukarno, The Neka Museum in Ubud Bali, the

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Agung Rai Fine Art Gallery in Paliatan, Bali and the Kunstmuseum in Basel, Switzerland. Togog, Ida bagus Made (Batuan, Sukawati, Gianyar, Bali, Indonesia 1913 - 1989) He was a famous painter who received the Wija Kusuma award from Gianyar District and the Dharma Kusuma award from Bali Provincial Government in 1984. Regarded as someone whose great contrbution is in introducing the anatomical rendering of human figures in the modern sense to traditional balinese painting. Most of his surviving works dated 1930-1940 are black and white. Formerly painted in the Kamasan style, copying drawings he found in lontar manuscripts. In 1930 he met Win Bakker who asked him to draw an illustration on paper. Since then, he worked to improve his forms and themes. And the Batuan style prevailed in his works on paper. Togog knew Rudolf Bonnet and Walter Spies very well. He even joined Pita Maha. His works are cherished in Museum Puri Lukisan, Museum Neka, Museum Arma in Ubud, Rijksmuseum voor Volkendunde, Leiden and Tropenmusuem-Amsterdam, among others. Participated in in tens of exhibitions, at Taman Budaya, Denpasar, Sari Pan pacific Hotel, jakarta, pasar Seni Ancol, jakarta and in several cities in Japan and Europe. Tommy Wondra (b. Bukit Tinggi, W. Sumatra, Indonesia, 1980) He is one of the new generation of up and coming young artists. Wondra studied at the Indonesia College of the Arts, Yogyakarta and has participated in numerous group exhibitions in Yogyakarta,

Bandung and Bali. He was a nomination in the Phillip Morris Indonesian Art Awards in Jakarta in 1998. Tommy influenced and inspired by fellow Sumatra artist Handiwirman Saputra. Wibisono, Fazar A. R. (b. Bandung, Indonesia, 1981) He graduated from Sekolah Tinggi Seni Rupa & Design Indonesia (STISI) Bandung, Indonesia in 2006. He has participated in several group exhibitions since 2000 in Bandung and Jakarta. His solo exhibitions were held in 2006 at Galeri STISI, Bandung and twice in 2010, at Srisasanti Arthouse Jakarta and Bazaar Art Jakarta. Yim, Man-Hyeok (b. KangNung, Korea, 1968) He studied at Department of Fine Arts, KangNung National University, Majoring in Western Painting and obtained B.F.A in 1994. Then continued study for Master degree at Department of Painting, JungAng University Graduate School, majoring in Korean painting, and obtained his M.F.A in 1999. He has held number of solo exhibitions in Korea and China. He has also had many selected group exhibitions in Korea as well as overseas, like in Senegal, Germany, USA, Australia, China and Italy. Yim has awarded Artist of Forture from Sung-Kok Art Museum in 2002 and received Dong-A Art Awards Exhibition, Dong-A Fine Arts in 2000. His works are widely collected around the world, among which are National Museum of Contemporary Art, Guachun, Sungkok Art Museum, Seoul, Daejeon Museum of Art, Daejeon, S.C Johnson and Son co.collection USA, Gallery 406, Chicago, USA, Mavin Kumar Gallery, NY, USA and Mary & Bob Brower, Chicago, USA.

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Sale Code “SAte”

____________________________________________________________________________ Telephone / Home (Business)

Please bid on my behalf at the above sale for the following lot(s) up to the price(s) mentioned below. These bids are to be executed as cheaply as is permitted by other bids or reserves if any. I agree to comply with the Notices and Conditions of Business as printed in the catalog. I understand that in the case of a successful bid a premium of 20% for the first S$ 500,000 and a premium of 12% for any exceeding amount will be payable by me on the hammer price, together with any Goods and Services Tax chargeable thereon.

____________________________________________________________________________ City Country Zip Code

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.

Tel No. : ______________________________________

Payment may be made by cash or telegraphic transfer to Larasati Muse Investments Pte. Ltd.’s account at Hongkong and Shanghai Bank Corporation Tanglin Branch, Singapore 229571. Acc. No. 143-420180-001. Please include your name, Larasati’s account number and invoice number with your instructions to your bank. Please mail or fax to: Larasati Muse Investments Pte. Ltd. Thong Sia Building, 30 Bideford Road #03 - 02 Singapore 229922 Fax : +65 6737 1859 on viewing and auction days at least 24 hours before the sale: Fax : +65 6737 1859 Lot No. Catalog / Description

____________________________________________________________________________ Fax / Home (Business) email BANK REFERENCES : Name of Bank & Branch : ________________________________________________________ Account No. : ______________________________ Contact Name : ____________________

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

Visa/Master/Amex Type : ____________________

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

____________________________________________________________________________ Signed (we must have your signature to execute this bid) Prospective bidders are reminded that the auction will be conducted in Singapore Dollars and are requested to leave bids in Singapore Dollars.

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

Lot No. Catalog / Description

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

S$ S$

S$ (please print or type)

Fax No. : ____________________

(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 at least 24 hours in advance of the sale.

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

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

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

Fax number for bids only : +65 6737 1859

shIppInG InstructIon Please complete this section, and delete where aplicable* Shipping Information Please complete this form and we shall arrange for the despatch of all your purchase through one of our nominated shipping agents, at your expense. 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.

Methods of Despatch

Registered post / Airfreight / Commercial Courier*

Invoice No.

_______________________________________________________________________ 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, Larasati Muse Investments Pte. Ltd. here-in referred to as Larasati acts as agent for the seller. Unless otherwise agreed, sales of goods at this auction result in contracts made between the seller, through our agency, with the buyer. Definitions of terms used in these 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 pay able by the auctioneer in relation to a lot; • the “Buyer’s Premium” means the charge payable by the buyer as a percentage of the hammer price; • the “Reserve” means the amount below which we agree with the Seller that the lot cannot be sold; • “Forgery” means a Lot constituting an imitation originally conceived and executed as a whole with a fraudulent intention to deceive as to authorship, origin, age, period, culture or source where the correct description as to such matters is not reflected by the description in the catalog nd which at the date of the auction had a value materially less than it would have had if it had been in accordance with the description in the catalog. Accordingly, no lot shall be capable of being a forgery by reason of any damage and/or restoration work of any kind (including repainting); • the “Insured Value” means the amount that Larasati in its absolute discretion from time to time shall consider to be the value for which a lot should be covered by insurance (whether or not insurance is arranged by us).

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

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

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at the time of the sale, and the conduct of the sale may be such that we are unable to bid as requested. Since this is undertaken as a free service to prospective buyers on the terms stated, we cannot accept liability for failure to make a commission bid. Prospective buyers should therefore always attend personally if they wish to be certain of bidding. Telephone Bids If prospective buyers make arrangements with us not less than 24 hours before the sale, we shall use reasonable efforts to contact the bidders to enable them to participate in bidding by telephone, but under no circumstances will we be liable to either the seller or any prospective buyer as a result of failure to do so. Currency Converter At this auction, a currency converter may be operated, based on the one month forward rates of exchange quoted to us by HSBC Bank at opening on the date of the auction. Bidding will however take place in Singapore Dollars. The currency converter is not always reliable, and errors may occur beyond our control either in the accuracy of the lot number displayed on the converter, or the foreign currency equivalent of Singapore Dollars bids.

AFTER THE SALE Buyer’s Premium In addition to the hammer price, the buyer must pay us the buyer’s premium at a rate of 20% of the first S$ 500,000 of the hammer price plus 12% of any sum in excess of S$ 500,000. Good and Service Tax (GST) Unless otherwise stated in the catalog, GST is payable by the Buyer on the Hammer Price and premium at the rates prevailing on the date of the auction. And unless otherwise informed, all sums payable to Larasati by the buyer are exclusive of any goods and service tax or other value added tax (whether imposed is Singapore or otherwise) which shall, where appllicable, be paid by the Buyer in addition to the sums otherwise payable, at the rate in force at the due time for payment or such other time as is stipulated under the relevant legislation. Payment Following the sale, the buyer must provide us with his or her name and permanent address and, if so requested, details of the bank from which payment will be made and then pay the full amount due (comprising the hammer price and the buyer’s premium) within seven days after the date of the sale.

We shall not be liable to the buyer for any loss suffered as a result of the buyer following the currency converter, rather than the Singapore Dollars bidding.

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.

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.

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.

The auctioneer’s discretion The auctioneer has the right at his absolute discretion to refuse any bid, to advance the bidding in such manner as he may decide, to withdraw or divide any lot, to combine any two or more lots and, in the case of error or dispute, to put an item up for bidding again. Successful bid Subject to the auctioneer’s discretion, the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer.

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

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

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condItIons of BusIness for sellers Larasati Muse Investments Pte. Ltd. herein refered to as Larasati, hereby informs all those participating as sellers in the auction, that it shall be held subject to the terms and conditions of the Consignment Agreement and the following conditions.

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; LARASATI as agent As auctioneer, Larasati Muse Investments c. Packing and shipping the lot if it is rePte. Ltd. here-in referred to as Larasati acts turned to the seller; as agent for the seller. Unless otherwise d. Any restoration of the lot agreed in adagreed, sales of goods at this auction result vance with the seller; in contracts made between the seller and e. Framing; the buyer. Larasati shall not be responsible f. Storage of the lot after the sale, where applicable; for any default by the seller or the buyer. g. Any examination by external experts we believe necessary for catalog description; Definitions of terms used in these conditions h. Any external expert opinion we believe In the conditions set out below, some terms appropriate; are used regularly that need explanation. i. Our administration costs if expenses are They are as follows: incurred under sub-paragraphs (d), (e), (f), • the “Buyer” means the person with high- (g), and (h), being 10 % of such expenses; est bid accepted by the auctioneer; j. Any applicable goods and services tax; • a “Lot” means any item deposited with k Insurance under Larasati’s policy (exus for sale at auction and, in particular, plained below); the item or items described against any lot l. Catalog illustration at our discretion; number in any catalog; m. Contribution to our general expenses if • the “Hammer Price” means the charge the lot is notsold, equal to 5% of the insured payable by the auctioneer in relation to a lot; value; • the “Buyer’s Premium” means the n. any applicable custom duties. charge payable by the buyer as a percentage of the hammer price; When Insurance is Arranged by us • the “Reserve” means the amount below (i) Unless we agree otherwise, the lot will which we agree with the seller that the lot beautomatically insured under Larasati polcannot be sold; icy for the amount that we from time to time • “Forgery” means a Lot constituting an consider to be its appropriate value. This imitation originally conceived and executed insured value is not a representation or waras a whole with a fraudulent intention to de- ranty or undertaking by us that the lot will be ceive as to authorship, origin, age, period, sold for this amount. culture or source where the correct descrip- (ii) Unless we agree otherwise, we shall tion as to such matters is not reflected by charge the seller a sum to cover insurance, the description in the catalog and which at at the rate 1% of either the hammer price the date of the auction had a value mate- or, if the lot is unsold, its insured value. If rially less than it would have had if it had we arrange transport, we shall charge the been in accordance with the description in seller an additional sum to cover the cost the catalog. Accordingly, no Lot shall be ca- of transit insurance, which will vary accordpable of being a forgery by reason of any ing to the particular circumstances of each damage and/or restoration work of any kind case. Although we shall suggest carriers if (including repainting); specially requested, we cannot accept any • the “Insured Value” means the amount liability in this respect. thatLarasati in its absolute discretion from (iii) The lot will remain insured until the extime to time shall consider to be the value piry of seven days after the sale. If the lot for which a lot should be covered by insur- has not been sold, it will be at the seller’s ance (whether or not insurance is arranged risk after that time. by us). (iv) We do not accept responsibility and shall not be liable for damage caused by Commission woodworm or changes in atmospheric conWe shall charge the seller commission ditions. calculated by reference to the amounts, percentages, terms and conditions of the Owner’s Insurance Consignment Agreement. If the seller specifically instructs us not to

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

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

35 working days after the date of the sale, unless we have received notice that the lot is a forgery (as defined in the definition of terms used in these Conditions of Business). In the event of late payment by the buyer we shall make such remittance to the seller within seven days of receipt of such payment by the buyer. If for any reason we make payment to the seller of any amount before payment by the buyer, we shall acquire complete ownership of and title in the lot, save only that in the event that we are obliged to accept the lot back from the buyer on the basis that it is a forgery, the seller will refund to us all proceeds of sale that have been paid to the seller. Payment will be made in Singapore Dollars.

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.

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.

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.

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

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.

unsold Lot If any lot is unsold, or is not included in a sale, or is withdraw from the sale for any reason, it must be collected from us within 7 days after we send the seller a notice requiring the seller to collect it. If any such lot remains uncollected for a period exceeding 7 days, a storage charge of S$ 30 per item per day will apply and additional charge will be made for insurance. The seller will not entitled to collect the lot until all outstanding charges are met.

CONDITIONS APPLICABLE TO BOTH BuyERS AND SELLERS

Notices Any notice given under these conditions is to be in writing and, if given by post, will be taken to have been received by the addressee on the second working day after posting, or if the addressee is overseas, on the fifth working day after posting. Severability If any part of these conditions is found by any court to be invalid, illegal or unenforceable, that part may be discounted and the conditions shall continue to be valid and enforceable to the fullest extent permitted by law. Law and Jurisdiction These Conditions of Business are governed by Singapore law, which shall apply to their construction as well as to their effect. For our benefit, the buyer hereby submits to the exclusive jurisdiction of the Singapore courts.

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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 Sale and Limited Warranty. Buyers are advised to inspect the property themselves. Written conditions reports are usually available on request. name(s) or recognised designaTion of an arTisT wiThouT any qualificaTion

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

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

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

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LARASATI - GLERUM ISBN 978-979-3774-27-5