Modern & Contemporary Art, Saturday, 18 January 2014 by PT. Balai Lelang Larasati

Important Notice

the

The

names of the artists documented in

offered by Larasati staff to a buyer in selecting

this catalog should not be considered as

a lot to purchase is given without prejudice to

unqualified attributions to the artists named.

the above.

Unqualified

independent professional advice on selection

attributions to any artist or date

have not been intended.

Current scholarship in

the field of Indonesian and

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Business. Any

assistance

are recommended to take

of purchases .

Southeast Asian art

does not permit unqualified statements as to

authorship or date of execution.

Therefore,

exchange fluctuations cause major differences

none of the property in this catalog is subject

in values that have been quoted in this catalog.

accept no responsibility should currency

to any guarantee of authenticity and all of the property is sold imperfections,

“AS IS”

incompleteness,

with all

faults

and

errors of description in accordance with

T his

sale has been organized in close

cooperation between and

A ntique G roup .

L arasati

and

A rts

Cataloguing-in-Publication Data Modern & Contemporary Art Larasati, Singapore, 18 January 2014 Jakarta, Indonesia: PT Balai Lelang Larasati 2014 pp. 21 x 27 cm includes index and biographies of artists I. Paintings - Asia. II. Painters - Asia. III. Title Copyright © 2014 PT Balai Lelang Larasati

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Auction

Saturday, 18 January 2014 starting at 3 pm

Viewing

Friday, 17 January 2014 Saturday, 18 January 2014

10 am - 8 pm 10 am - 12 pm

Grand Park Orchard Orchard Room Level 4 270 Orchard Road Singapore

Sale Code

In sending written bids or making enquiries, this sale should be referred to as “Knot” 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$ 1.25 All sales are subject to the conditions printed in catalog and the buyer’s attention is drawn to this information.

in collaboration with:

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i n f o @ l a ra s a t i . c o m w w w. l a ra s a t i . c o m

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LARASATI - Modern & Contemporary Art (Singapore, 18 January 2014)

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Contents Guide for Prospective Buyers

Bidder Registration Form

Modern & Contemporary Art

Index of Artists

118

Absentee / Written Bid Form

119

Conditions of Business for Buyers

120

Conditions of Business for Seller

122

Saleroom & Offices

126

Front Cover: lot 58, Chang Fee Ming, The Knot (2007 2008) water colour and mixed media on paper Back Cover: lot 96, Bonnet, Rudolf, MepĂ¨Ă¨d (1943) pastels and gouache on pigmented paper

Grand Park Orchard Singapore, 18 January 2014 starting at 3 pm

lot 1 - 96

Modern & Contemporary

Art

Traditional Balinese Art

1 Sobrat, Anak Agung Gde

(Padangtegal, Ubud, Bali, Indonesia, 1911 - 1992)

Portrait of a Balinese Girl charcoal on paper 50 x 32.5 cm signed on lower right

S$ 2,500 - 4,000 US$ 2,000 - 3,200

2 Raka Puja, Anak Agung Gde

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

Balinese Traditional Market 1974 acrylic on canvas on board 72 x 120.2 cm signed and dated on lower right

S$ 7,500 - 9,000 US$ 6,000 - 7,200

Provenane: Private collection, The Netherlands

Property of John Fowler (lot 3-5) Author of World Encyclopedia of Naive Art 3 a. Togog, Ida Bagus Made

(Batuan, Bali, Indonesia, 1924 - 1984)

Ramajawa and Rangda acrylic on board 51 x 37 cm

b. Dewa Made Kawan Kala Swallows the Moon

(b. Pengosekan, Bali, Indonesia, 1942) acrylic on canvas 50 x 65.5 cm signed on lower right S$ 2,500 - 4,000 US$ 2,000 - 3,200 Provenance: Purchased from the artist in early 1970s by the present owner Publication (lot 3a): Hilton Horizon Magazine, Vol. 7 No. 3, Spring Issues, 1985. Illustrated, p. 11

The artist Ida Bagus Made Togog Photo: Courtesy of John Fowler 3a

4 Widja, Ida Bagus Made

(Batuan, Bali, Indonesia, 1912 - 1992)

Temple Festival ca. 1968 acrylic on canvas 64 x 98 cm S$ 7,000 - 10,000 US$ 5,600 - 8,000 Provenance: Purchased from the artist in late 1960s by the present owner

The artist Ida Bagus Made Widja Photo: Courtesy of John Fowler

5 Widja, Ida Bagus Made

(Batuan, Bali, Indonesia, 1912 - 1992)

At the Holy Spring ca. 1969 acrylic on canvas 38 x 77.5 cm S$ 3,500 - 5,000 US$ 2,800 - 4,000 Provenance: Purchased directly from the artist in late 1960s by the present owner 12

6 Togog, Ida Bagus Made

(Batuan, Bali, Indonesia, 1924 - 1984)

Barong Performance acrylic on canvas 51 x 118.3 cm signed and inscribed on lower middle. S$ 9,000 - 12,000 US$ 7,200 - 9,600 Provenance: Private collection, The Netherlands

Indo European

7 Eland, Leonardus Joseph

(Java, 1884 - The Netherlands, 1952)

Boats in the Bay oil on canvas 40 x 80.3 cm signed on lower right S$ 1,800 - 2,500 US$ 1,440 - 2,000 Provenance: Private collection, The Netherlands

8 Eland, Leonardus Joseph

(Java, 1884 - The Netherlands, 1952)

Coastal Scene at Evening Dawn oil on jute 30.7 x 40.6 cm signed on lower right S$ 1,000 - 1,500 US$ 800 - 1,200 Provenance: Private collection, The Netherlands 8

9 Eland, Leonardus Joseph

(Java, 1884 - The Netherlands, 1952)

The Sawah at Dawn oil on canvas 41 x 60.3 cm signed on lower right S$ 900 - 1,500 US$ 720 - 1,200 Provenance: Private collection, The Netherlands

10 Eland, Leonardus Joseph

(Java, 1884 - The Netherlands, 1952)

Lake View oil on canvas 30 x 40.3 cm signed on lower left S$ 900 - 1,500 US$ 720 - 1,200 Provenance: Private collection, The Netherlands 10

11 Dake Jr., Carel Lodewijk

(Schaerbeek, Belgium, 1886 - Jakarta, Indonesia, 1946)

The Flamboyant Tree oil on panel 50 x 65.2 cm signed on lower right S$ 1,800 - 2,500 US$ 1,440 - 2,000 Provenance: Private collection, The Netherlands

12 van Velthuysen, Henry

(Tandjung, 1881 - The Hague, 1945)

Prauwen oil on panel 38.5 x 45.3 cm signed on lower left S$ 600 - 900 US$ 480 - 720 Provenance: Private collection, The Netherlands 12

13 Ohl, Lucien Frits

(Sumatra, Indonesia, 1904 - The Hague, The Netherlands, 1976)

Under the Flamboyant Tree oil on board 35.2 x 50 cm signed on lower right S$ 2,700 - 3,500 US$ 2,160 - 2,800 Provenance: - Kunsthandel Gebroders Koch, Den Haag - Private collection, The Netherlands

14 Ohl, Lucien Frits

(Sumatra, Indonesia, 1904 - The Hague, The Netherlands, 1976)

Activity in the Village oil on board 50 x 40 cm signed on lower right S$ 2,700 - 3,500 US$ 2,160 - 2,800 Provenance: Private collection, The Netherlands 14

15 Eland, Leonardus Joseph

(Java, 1884 - The Netherlands, 1952)

Traveling by Cart with Buffaloes oil on cloth 60.1 x 80.3 cm signed on lower right S$ 1,000 - 1,500 US$ 800 - 1,200 Provenance: Private collection, The Netherlands

16 Eland, Leonardus Joseph

(Java, 1884 - The Netherlands, 1952)

Activity at the Paddy Fields oil on canvas 60 x 100.2 cm signed on lower right S$ 2,200 - 3,500 US$ 1,760 - 2,800 Provenance: Private collection, The Netherlands

Japanese Contemporary Art 22

17 Hiroto Kitagawa (b. Japan, 1967)

Works 2006 acrylic paint on teracotta 13.5 x 7.5 x 7.5 cm S$ 3,400 - 5,100 US$ 2,720 - 4,080

18 Shinsaku Nagayama (b. Japan, 1974)

Portrait 2 2009 acrylic on canvas 70 x 60.8 cm signed and titled on the reverse S$ 4,500 - 7,000 US$ 3,600 - 5,600 18

19 Yayoi Kusama (b. Japan, 1929)

Hat 1984 #37, Shuppan, lithograph i. 31.2 x 40.7 cm s. 43 x 56 cm numbered 26/30 on lower right, dated on lower centre, and signed on lower left S$ 4,500 - 6,500 US$ 3,600 - 4,800

20 Ayako Rokkaku (b. Japan, 1982)

Untitled 2006 oil on canvas 91 x 91 cm S$ 3,000 - 5,000 US$ 2,400 - 3,200

21 Hiroyuki Matsuura (b. Japan, 1964)

Blister Collection (complete set, set of 8) 2007 piezograph package 38 x 30 cm; i. 22 x 22 cm each signed and numbered. 47/88 S$ 4,500 - 6,000 US$ 3,600 - 4,800

22 Hiroyuki Matsuura (b. Japan, 1964)

Pancake 2006 acrylic on canvas 35 x 35 cm S$ 6,000 - 8,500 US$ 4,800 - 6,800

23 Takashi Murakami (b. Japan, 1962)

Project KO2 1/5 Miss KO2 1999 resin cast figure 50.5 x 17 x 21.8 cm (including base) artistâ&#x20AC;&#x2122;s proof (& april fool) edition, edition 200 S$ 8,000 - 11,000 US$ 6,400 - 8,800

24 Takashi Murakami (b. Japan, 1962)

Hypha will cover the world, little by little. â&#x20AC;&#x153;We should be able to get out hands on that door to the alien world soon. Wait till we get there!â&#x20AC;? 2009 offset lithography 4c process with silver and green 65.7 x 129.5 cm signed, dated and numbered 128/300 on lower right S$ 3,100 - 4,500 US$ 2,480 - 3,600

25 Chiho Aoshima (b. Japan, 1974)

Japanese Apricot 3 - Twighlight 2007 colour photograph, plexi-glass, aluminum 140 x 169 cm edition of 6/6 + 2 AP S$ 10,000 - 15,000 US$ 8,000 - 12,000

26 Izumi Kato

(b. Japan, 1969)

Untitled 2003 oil on canvas 162 x 130.3 cm inscribed on the reverse S$ 12,000 - 15,000 US$ 9,600 - 12,000

Prominent & Established Asian Modern Artists

27a

27b

27 Bui Xuan Phai

(Ha Dong, Vietnam, 1920 - Hanoi, Vietnam,1988)

Old Hanoi Street Scene I & II

1986 a. oil and collage on cardboard b. oil on canvas glued on board 12.5 x 18.5 cm (each) signed on lower right (each) S$ 6,000 - 9,000 US$ 4,800 - 7,200

Literature: - Tran Hau Tuan, “Bui Xuan Phai”, Ho Chi MInh City, Vietnam, 1992 (illustrated, unpaged) - Bui Thanh Phuong and Tran Hau Tuan, “Bui Xuan Phai Life and Work”, Ho Chi Minh City, Vietnam, 1998 (illustrated, p. 296) Provenance: - Private Collection, Singapore - Anonymous sale , Christie’s Hong Kong, 25 November 2012, lot 282

28 Choo Keng Kwang (b. Singapore, 1931)

Padi Planting 1970 oil on canvas 70 x 95 cm signed S$ 3,500 - 5,000 US$ 2,800 - 4,000 Provenance: Galerie F. Hessler, Luxembourg

29 Choo Keng Kwang (b. Singapore, 1931)

Floating Market oil on canvas 60 x 80 cm signed S$ 3,500 - 5,000 US$ 2,800 - 4,000 Provenance: Galerie F. Hessler, Luxembourg

30 Jeihan SUkmantoro

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

Man with Hat 1973 oil on canvas 65 x 45 cm signed and dated on upper left, inscribed on the reverse S$ 2,700 - 3,500 US$ 2,160 - 2,800

31 Jeihan SUkmantoro

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

Murni 1991 oil on canvass 70 x 70 cm signed and dated on upper left, inscribed on the reverse S$ 3,700 - 4,500 US$ 2,960 - 3,600

32 Supono, Ogeng Heru

33 Soedibio

Mother and Child

Tjampuhan

1987 oil on canvas 131 x 91 cm signed and dated on lower right, inscribed and signed on the reverse

1969 oil on canvas 135 x 90 cm signed and dated on lower left.

(Surabaya, E. Java, Indonesia, 1937 - Denpasar, Bali, Indonesia, 1991)

S$ 3,000 - 4,000 US$ 2,400 - 3,200

(Madiun, E. Java, Indonesia 1912 - Solo, C. Java, Indonesia, 1981)

S$ 8,000 - 11,000 US$ 6,400 - 8,800 Literature: Helena Spanjaard “Indonesian Odyssey : A Private Journey Through Indonesia’s Most Renowned Fine Art Collections”, Equinox Publishing (Asia), Singapore, 2008. Illustrated in colour on the opening page of the book.

34 Pang Jiun

(b. China, 1936)

Lily 1992 oil on canvas 27 x 22 cm signed, dated and stamped on lower right S$ 6,000 - 8,000 US$ 4,800 - 6,400 This lot is accompanied with certificate from the artist

35 Pang Jiun

(b. China, 1936)

Phalaenopsis and Chrysanthemum 2005 oil on canvas 50 x 60.5 cm signed, dated and stamped on lower right S$ 16,000 - 20,000 US$ 12,800 - 16,000 This lot is accompanied with certificate of authenticity from the artist.

36 Nashar

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

Kucing dan Ikan 1987 oil on canvas 90 x 121 cm signed and dated on lower right S$ 3,000 - 5,000 US$ 2,400 - 3,200

37 Nashar

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

Wanita Bali 1985 oil on canvas 95 x 126 cm signed and dated on lower right S$ 3,000 - 5,000 US$ 2,400 - 3,200

38 Chu Teh-Chun (b. China, 1920)

Snowstorm 2000 lithograph 59.5 x 79.5 cm signed in Pinyin, signed in Chinese and numbered 137/150 on lower edge S$ 7,500 - 10,000 US$ 6,000 - 8,000

39 Chu Teh-Chun (b. China, 1920)

Untitled 2000 lithograph 80 x 59.5 cm signed in Pinyin, signed in Chinese and numbered 138/150 on lower edge S$ 7,500 - 10,000 US$ 6,000 - 8,000

40 Arturo Luz

(b. Philippines, 1926)

Musician and Cyclists 2003 acrylic on canvas laid on panel 91 x 122 cm signed on lower right, authenticated by the artist on the reverse S$ 12,000 - 15,000 US$ 9,600 - 12,000 Provenance: Anonymous sale, Sothebyâ&#x20AC;&#x2122;s, 9 October 2005, Singapore, lot 76

41 Srihadi Soedarsono

(Madiun, E. Java, Indonesia 1912 - Solo, C. Java, Indonesia, 1981)

Wayang Puppets 1972 oil on canvas 73.1 x 92.2 cm signed and dated on upper right; signed, titled, dated and numbered on the reverse, with â&#x20AC;&#x153;Galeri Srihadiâ&#x20AC;? on the stretcher. S$ 27,000 - 35,000 US$ 21,600 - 28,000 Provenance: Purchased directly from the artist by the present Dutch collector in 1977

42 Srihadi Soedarsono

(Madiun, E. Java, Indonesia 1912 - Solo, C. Java, Indonesia, 1981)

Bedaya, Spirit of Love and Peace 2013 oil on canvas 150 x 150 cm signed and dated on upper right, inscribed and signed on the reverse S$ 75,000 - 100,000 US$ 60,000 - 80,000

Contemporary Asian Art

43 Heri Dono

(b. Jakarta, Indonesia, 1960)

Matador 1985 acrylic on canvas 97 x 97 cm signed and dated on lower right S$ 7,000 - 9,000 US$ 5,600 - 7,200

44 Lim Khim Katy

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

The Barrier 2008 oil on canvas 80 x 100 cm signed and dated on lower left S$ 1,500 - 2,000 US$ 1,200 - 1,600

45 Dede Eri Supria

(b. Jakarta, Indonesia, 1956)

Concrete Jungle 1999 oil on canvas 70 x 94 cm signed and dated on lower right S$ 5,000 - 7,000 US$ 4,000 - 5,600

46 Entang Wiharsa

(b. Tegal, C. Java, Indonesia, 1967)

Ekspresi 1999 oil on canvas 220 x 145 cm signed and dated on lower left S$ 6,000 - 8,000 US$ 4,800 - 6,400

47 Erica Hestu Wahyuni

(b. Yogyakarta, Indonesia, 1971)

The Golden 1001 Nights Aladdin 2013 acrylic on canvas 80 x 110 cm signed and dated on lower left; signed and inscribed on the reverse S$ 2,000 - 3,000 US$ 1,600 - 2,400 This lot is accompanied with certificate of authenticity from the artist.

48 Erica Hestu Wahyuni

(b. Yogyakarta, Indonesia, 1971)

Mother and Child 1998 oil on canvas 95 x 95 cm signed and dated on lower left, signed and inscribed on the reverse S$ 1,500 - 2,500 US$ 1,200 - 2,000 48

49 Dang Xuan Hoa

50 Dang Xuan Hoa

Anniversary

Self-Portrait

2007 oil on canvas 63 x 47 cm signed and dated on lower left

2004 oil on canvas 63 x 47.5 cm signed and dated on lower right

S$ 2,000 - 3,000 US$ 1,600 - 2,400

(b. Nam Dinh, Vietnam, 1959)

51a

51b

51 Diyanto

(b. Majalengka, W. Java, Indonesia, 1962)

Hospis & Hostis

2002 oil on canvas 2 panels, @ 145 x 100 cm a. signed and dated on upper left b. signed and dated on upper right. S$ 4,000 - 6,000 US$ 3,200 - 4,800 Literature: Helena Spanjaard “Indonesian Odyssey : A Private Journey Through Indonesia’s Most Renowned Fine Art Collections”, Equinox Publishing (Asia), Singapore, 2008. Illustrated in colour, p. 138

52 Nasirun

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

Imaji Jailangkung oil on canvas 145 x 250 cm S$ 12,000 - 15,000 US$ 9,600 - 12,000

Working in a country where Islam is the official religion, there is a particularly local discourse that regulates image making – the notion of the halal, or permissible, became Jai’s next formal inquiry.

profane amongst Muslims – abject, the lowest of low, detestable, and Jai’s “babi” paintings make an acerbic allusion to the corruption within political structures of the country.

The return of the subject to the canvas not as noise but as a coherent, gestalt form is a return towards a locus of meaning. In order to determine whether an image, or subject, is halal or not, reference has to be made to the structure that polices its appropriateness and suitability, hence its context, meaning and significance.

More interestingly, Babi Harus turn to another new formal strategy in order to further explore the notion of banned images – graffiti. Recent urban political discontent in Malaysia has often found its most strategic expression in graffiti scrawl. There is an element of criminality in the guerilla-like assault of information, but it represents a counterpoint to any form of slick and smooth mainstream propaganda, relying on its baseness to carry through a message about corruption, filth and wrongdoings.

Having explored the notion of halal(ness), or permissibility, how does this read against Jai’s new series of work in Chanang? Perhaps the logical sequel to halal is for Jai to delve into its opposite but complementary other, which gives the work halal its meaning. This is the notion of haram, describing the forbidden or inappropriate, which becomes a useful lattice with which to grid his new paintings. Perhaps the most abrasive of the haram can be found in Jai’s series of paintings of pigs. The pig, or babi in Malay, is considered as a symbol of the

(excerpts from a text by Simon Soon titled “Halal and Haram: On the Permissibility of Image Production and Circulation”, published on the catalogue accompanying Jalaini Abu Hassan’s solo exhibition in Jakarta titled “Chanang”, 14 June – 28 June 2008)

53 Jalaini Abu Hasan

54 Rodel Tapaya

Babi Harus (Pig Definitely)

The Overseerâ&#x20AC;&#x2122;s Gaze

2008 mixed media on canvas 152.5 x 183 cm signed and dated on lower right

2009 acrylic on canvas 193 x 152.5 cm signed and dated on lower left

S$ 13,000 - 18,000 US$ 10,400 - 14,400

S$ 12,000 - 17,000 US$ 9,600 - 13,600

(b. Selanggor, Malaysia, 1963)

(b. Manila, The Philippine, 1980)

Exhibition: Chanang, artistâ&#x20AC;&#x2122;s solo exhibition organized by Valentine Willie Fine Art, Jakarta, 14 - 28 June, 2008. Illustrated in colour on the front cover of the exhibition catalogue and p. 25

55 Julian Opie

56 Ichwan Noor

(b. 1958, United Kingdom)

(b. Jakarta, Indonesia, 1963)

This is Monique, 11

Reconstruction

2004 silk screen on wood 90 x 50 cm

2008 stainless steel 200 x 90 x 60 cm

S$ 7,000 - 10,000 US$ 5,600 - 8,000

S$ 7,500 - 10,000 US$ 6,000 - 8,000

57 Masriadi, I Nyoman

(b. Gianyar, Bali, Indonesia, 1973)

Female Nude 1998 oil on canvas 81 x 62 cm signed and dated on lower right S$ 27,000 - 37,000 US$ 21,600 - 29,600

“Female Nude” by Masriadi was executed towards the end of the artist’s student years in Jogjakarta. As a student at the art school, Masriadi was introduced to many iconic works in art history, including that of Willem de Kooning’s, a towering figure in Abstract Expressionism. De Kooning’s ferocious Women of the 1950s are renowned monuments of Abstract Expressionism. They are not erotic paintings, but they triumph through their sexuality. Just like d Kooning’s “Woman and Bicycle”, Masriadi’s “Female Nude” bares big bulging eyes, mammoth breasts and protruding lush lips as if ready to kiss. The painting shows a giant leap from the conventional depiction of a female nude by his predecessors. While De Kooning’s Women reflect, among other things, the persistence of the sex symbol in American society, Masriadi’s early Female Nude is a contemporary portrayal of a Balinese woman in the 21st century.

Willem de Kooning, Woman and Bicycle (1952–53), oil on canvas, 194.3 x 124.5 cm, collection of Whitney Museum of American Art, New York;

Contemporary Realism

58 Chang Fee Ming

(b. Kuala Trengganu, Malaysia, 1959)

The Knot 2007 - 2008 watercolour and mixed media on paper 87 x 107 cm signed on lower right S$ 38,000 - 50,000 US$ 30,400 - 40,000 This lot is accompanied with certificate of authenticity from Vanessa Art Link Beijing, signed by the artist

Newspaper clipping collage of Gyalo Thondup (Dalai Lama’s little brother)

THE KNOT The Painting was executed after Chang Fee Ming returned from his first Tibetan journey. At first look, it seems like a painting that shows a Tibetan dancer untying the knot of his beautiful ceremonial costume. But a close look at the black and white collage surrounding the painting would indicate that the artist’s actual intent is to pass a message regarding the relationship between the Dalai Lama and the Chinese Government. In Chinese custom, a “knot” could also mean an issue, and someone who unties the knot refers to someone “who can solve the issue”. For a long time, Gyalo Thondup, the brother of Dalai Lama, has the important mission to negotiate on issues between the Dalai Lama and the Chinese government. Unfortunately until today the “knot” between this two parties is still intact and the artist himself wonders when this “knot“ will be untied or when the issue is solved.

Chang Fee Ming’s sketches on the newspaper clipping collage.

59 Do Quang Em

60 Wang Yidong

2006 oil on canvas 65.5 x 76.5 cm signed and dated on lower right

a. Daughter visiting parents at Chinese New Year

(b. Ninh Tuan province, Vietnam, 1942) Self-Portrait

S$ 3,000 - 5,000 US$ 2,400 - 4,000

(b. China, 1955) 1998 41.2 x 41 cm

b. Daughter visiting parents at Chinese New Year 1997 51.7 x 41 cm

c. Bride To-be 1995 62 x 41 cm

d. Peony 1993 58.8 x 42 cm lithograph all signed in pinyin and Chinese, titled, dated 2007 and numbered 25/99 S$ 17,000 - 23,000 US$ 13,600 - 18,400 This lot is accompanied with certificate from the artist

60a

60b

60c

60d

61a

61b

61c

61d

61 Julie Blackmon (b. USA, 1966)

a. Birthday Girl 2006 81.28 x 81.28 cm signed, titled, year of work on the reverse, ed. 1/10

b. Tipee Cup (Bubble) 2005 81.28 x 81.28 cm signed, titled, year of work on the reverse, ed. 1/10

c. Camptown Races 2005 81.28 x 81.28 cm signed, titled, year of work on the reverse, ed. 2/10

d. Clippers 81.28 x 81.28 cm 2006 signed, titled, year of work on the reverse, ed. 1/10 pigment ink print/ an edition of 10 S$ 3,000 - 5,000 US$ 2,400 - 3,200

62 Ruud van Empel

(b. The Netherlands, 1958)

Untitled #2 2005 cibachrome, dibond and plexiglass 118 x 84 cm signed on the reverse, ed. 7/7 S$ 7,000 - 10,000 US$ 5,600 - 8,000

The Early Years : Ronald Ventura Three superb works from Ronald Ventura’s early years are featured from the storied collection of Dr. Joel Mendez: The first, an untitled nude, dated from 2001, already combines Ventura’s trademark virtuosity as a draughtsman and his penchant for fusing styles, both ancient and new, in a unique paradigm. The female –- both goddess and sacrificial victim –- floats on an imaginary altar borne aloft by shadowy hands as well as melting candlewax, symbolisms of fleeting time. Two works, dated from 2002 and presented as a single lot, are created on weathered hardwood. Dr Mendez noted that Ventura selected, cleaned and smoothed the planks himself, found on Dimasalang Street in old Manila, famous as the repository of the bones of forgotten mansions. “Bridal Gown” is a tongue-in-cheek parsing of what is essential to the marital eye, surrounded by a hundred icons of feminine wiles. “The Shield” is another study in irony, where masculine past, present and future meld. The last work, “Anonymous”, dated from 2003, fuses the classical with the surreal, graffiti with the Renaissance, exploring the Ventura’s eternal juxtapositions of beauty and rage, captivity and release.

(Images: Sketches of Dr. Joel Mendez by Ronald Ventura)

63 Ventura, Ronald C.

(b. Manila, The Philippines, 1973)

Anonymous 2003 oil on canvas 61 x 45.7 cm signed on lower right S$ 17,000 - 20,000 US$ 13,600 - 16,000

64a

64b

64 Ventura, Ronald C.

(b. Manila, The Philippines, 1973)

a. The Shield b. Bridal Gown 2002 oil on board 68.6 x 30.5 cm (each) both signed on lower right S$ 10,000 - 15,000 US$ 8,000 - 12,000

A Beautiful Mind A chance encounter in 1999 –- in a printmaking session with the likes of Kiko Escora and Andres Barroquintos –- convinced Dr. Joel Mendez that the then-wholly unknown Ronald Ventura would be a name to be reckoned with in Philippine Art. “It was the way he put his brush to paper,” says Mendez, making little, gentle arabasques with his hand in the air. “I thought to myself, here is someone with a great talent that must be nurtured. It didn’t seem that I had any choice in the matter.” Mendez quickly became Ventura’s impresario, agent and agent provocateur, father and older brother. At one point, Ventura turned up at his doorstep, unexpected, with the announcement that he was moving in that instant, as if it was the most natural thing in the world. “Those were incredible years,” grins Mendez, “since I had very little money of my own since my practice was just starting.” Girlfriends would drift in and out of the house in a suburb north of Manila, the only other constant inmate being the doctor’s pet monkey called “Osang”, named after a local bombshell. Ventura resembled a rock musician in those early days (stringy, shoulder-length hair, tattered jeans) but Mendez says Ventura kept a pristine workplace (brushes and paints lined up like soldiers), subsisting for days only on air and sautéed beansprouts. The doctor would singlehandedly go from one established gallery to the next -– ‘hawking’ is the impolite word, says Mendez –- Ventura’s paintings. The art establishment raised its eyebrows and turned a cold shoulder. At Ventura’s very first exhibit, Mendez wound up purchasing the entire collection. Meanwhile, Ventura was soaking up the images that filled Dr. Mendez’s library – medical tomes like Gray’s Anatomy that illustrated the sinuous dissections that now inform Ventura’s works as well as books on Albrecht Duhrer who harnessed mathematics to create works of unmatched proportion and perspective, littered with allegorical symbols. Ventura was a graduate of Fine Arts at the University of Santo Tomas in Manila, later an instructor also in the same college. “He had all the benefits of a Catholic education,” says Mendez, “meaning he could champion convention with the best of them –- while at the same time tending to his inner demons.” Mendez describes Ventura as “the ultimate outsider”, having grown up in the outskirts of Manila, next door to a factory for fish sauce whose fermented odors soaked the air of his family’s house. His father was a cook who worked in other people’s kitchens overseas; his mother, a plain-spoken public school teacher who egged her son on to pursue art. Ventura was drawing before he had learned to write his ‘A, B, C’s’. When he came to Manila, Mendez says, Ventura was “completely watchful, all eyes, peering into our lives, his nose pressed up to the glass windows of our very bourgeois lives, seeing more than we ourselves could ever see.” The atmosphere was slowly shifting : Ventura was named Artist of the Year by Art Manila in 2001, two years later, one of the ’13 Artists’ of 2003 by the Cultural Center of the Philippines. Two more years later, he was likewise named winner of the Ateneo de Manila Art Awards 2005, with an Australian residency, the same

year that Dr. Mendez’ gallery, Big & Small Art exhibited his works in Singapore for the Art Fair. “In a way,” Mendez notes, “I put up this gallery for him.” Two other galleries had also decided to back Ventura, and Mendez noted with some self-satisfaction,”his works would start being sold-out.” And then, the Ventura-mania exploded. It was destiny, says Dr. Mendez.

65 Ventura, Ronald C.

(b. Manila, The Philippines, 1973)

Untitled Nude oil on canvas 91.4 x 152.4 cm signed on lower right S$ 45,000 - 65,000 US$ 36,000 - 52,000

Takashi Murakami

66a

66 Takashi Murakami (b. Japan, 1962)

a. Whoâ&#x20AC;&#x2122;s Afraid of Red, Yellow, Blue and Death 2011 offset lithography, 4c process with foil and silk UV 77 x 60 cm ed. 88/300

b. Kansei - Skull 2011 offset lithograhy 4c process with foil and gloss varnish d: 710 cm ed. 172/159

c. Architect of the Heart 2011 offset lithography, 4c process with foil d: 710 cm ed. 159/300 S$ 2,800 - 4,000 US$ 2,240 - 3,200

66b

66c

67a

67b

67c

67d

67 Takashi Murakami (b. Japan, 1962)

a. Time Bokan: Green 2011 offset lithography, 4c process with silver 50 x 50 cm ed. 132/300

b. Red Time 2011 offset lithography, 4c process with silver 50 x 50 cm ed. 114/300

d. Bokan camouflage pink 2011 offset lithography, 4c process with silver 50 x 50 cm ed. 17/300 S$ 3,500 - 5,000 US$ 2,800 - 4,000

c. Time Bokan: Lime Green 2011 offset lithography, 4c process with silver 50 x 50 cm ed. 74/300

68a

68 Takashi Murakami (b. Japan, 1962)

a. A Homage to IKB, 1957 B 2012 offset lithography 4c process with foil 73.8 x 53 cm ed. 164/300

b. A Homage to Monopoink, 1960 B 2012 offset lithography 4c process with foil 73.8 x 53 cm ed. 172/300

c. A Homage to Yves Klein, Multicolour B 2012 offset lithography 4c process with foil 73.8 x 53 cm ed. 166/300 S$ 2,500 - 4,200 US$ 2,000 - 3,360

68b

68c

69a

69b

69c

69d

69e

69 Takashi Murakami (b. Japan, 1962)

a. Jellyfish Eyes 2011 offset lithography 4c process with silver 50 x 50 cm ed. 34/300

b. Jellyfish Eyes 2013 offset lithography 4c process with silver 50 x 50 cm ed. 188/300

c. Jellyfish Eyes - White 4 2012 offset lithography 4c process with silver 50 x 50 cm ed. 17/300

d. Playful And Carefree / A Leisure Meander on Puppy Island Response to Leonardo da Vinci 2010 offset lithography 4c process with foil and silk UV 58.2 x 100 cm ed. 30/300

e. Pom & Me

2010 offset lithography 4c process with silver 77 x 50 cm ed. 53/300

S$ 4,500 - 7,000 US$ 3,600 - 5,600

70 Takashi Murakami (b. Japan, 1962)

a. Of Chinese Lions, Peonies, Skulls and Fountains 2012 offset lithography 4c process with silver ed. 147/300

b. As the Inter-dimensional Waves Run Through Me, I Can Distinguish The Voices of Angel and Devil 70

2012 offset lithography 4c process with silver ed. 165/300

c. A Picture of the Blessed Lion Who Stares at Death 2010 offset lithography 4c process with foil ed. 184/300 70.9 x 140 cm (each) S$ 2,500 - 4,200 US$ 2,000 - 3,360

71a

71b

71c

71 Takashi Murakami (b. Japan, 1962)

a. Red Demon and Blue Demon with 48 Arhats 2013 offset lithography 4c process with foil and silver 70.9 x 118.2 cm ed. 73/300

c. Flowers Have Bloomed 2010 offset lithography 4c process with foil 80 x 60 cm ed. 227/300 S$ 2,500 - 4,200 US$ 2,000 - 3,360

b. Fields of Smiling Flowers 2010 offset lithography 4c process with foil 68 x 68 cm ed. 170/300

Bandung School

72 Popo Iskandar

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

Two Cats 1984 oil on paper 48 x 64 cm signed and dated on lower right S$ 4,000 - 6,000 US$ 3,200 - 4,800

73 Sitti Farida Srihadi

(b. Baturaja, S. Sumatra, 1942)

Jatiluhur 1988 oil on canvas 100 x 147 cm signed and dated on lower right; inscribed and signed on the reverse S$ 5,000 - 7,000 US$ 4,000 - 5,600

74 Umi Dachlan

(W. Java, Indonesia, 1942 - 2009)

Untitled 1999 mixed media on canvas 75 x 65 cm signed and dated on lower left S$ 4,000 - 6,000 US$ 3,200 - 4,800

75 Sunaryo

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

Abstraksi 1994 mixed media on canvas 120 x 150 cm signed and dated on lower right S$ 12,000 - 15,000 US$ 9,600 - 12,000 This lot has been authenticated by the artist.

76 Srihadi Soedarsono

(Madiun, E. Java, Indonesia 1912 - Solo, C. Java, Indonesia, 1981)

Pura di Pantai 1966 oil on canvas 90 x 95 cm signed and dated on lower right; inscribed and signed on the reverse S$ 30,000 - 40,000 US$ 24,000 - 32,000

Founding Fathers of Indonesian Modern & Contemporary Art 91

77 Hendra Gunawan

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

Mother and Child oil on canvas 142 x 62 cm signed on lower right S$ 150,000 - 220,000 US$ 120,000 - 176,000 Provenance: - From the estate of Mr & Mrs A. Papadimitreu - Anonymous sale, Christieâ&#x20AC;&#x2122;s Hong Kong, 25 November 2012, lot 116

78 Affandi

(Cirebon, Indonesia, 1907 - Yogyakarta, Indonesia, 1990)

Nyeret 1968 oil on canvas 138 x 98 cm signed and dated (lower right) S$ 100,000 - 150,000 US$ 80,000 - 120,000 This work is accompanied with certificate of authenticity from Santi Gallery. Provenance: Previously in the collection of Santi Gallery, Kemang, Jakarta, Indonesia

Considered as Indonesia’s most renowned artist of the expressionist movement in the 1950s and 1960s, Affandi acclaimed praises from Indonesia as well as international art enthusiasts. Herbert Read, a famous art critic, once stated him as a painter who had succeeded in ‘developing a new course of Expressionism’. The artist’s life and career documented the daily life of a young nation in transition from colony to a republic. Affandi’s works display the artist’s fervent brush strokes, inundating his subjects with such emotions that every work screams out the true personality of the artist. His original rather conventional and realistic style gradually morphed into one of the distortion and deformation in the 1950s and since then his works of the 1960s showed the artist’s love of vitality and movement, often with forceful subject matters painted in dynamism of his brushstrokes. Through present lot titled “Nyeret” (in Indonesia: ‘nyandu’, or English: drugs addiction) dated 1968, Affandi tried to record a lifestyle that existed during and post-Dutch colonial era in Java In those days Javanese people did ‘nyeret’ for the purpose to resist sleepiness, for example a puppeteer who would perform a whole-night wayang performance. However, other parts of the communities such as Chinese traders and local Javanese people did nyeret for recreational purpose, social standing or as catharsis (escaping from the reality or problem). Back then it was reported that there was a special place that provided people to buy and enjoy the drug. At the rental place, wooden beds, tea pot, drinking water and some sugar cubes were provided so the addicts can enjoy their time while taking drugs. Levels of addiction is very high, so there were addicts who died in emaciated state. Affandi documented very well how such lifestyle existed in the Javanese culture, and in the present lot he combines together the closeness of life delight and death threat co-existing in a drug addiction with death symbolized by the skull at the back of the skinny man enjoying the ‘nyeret’. Executed in 1968 portraying the Javanese culture then, the painting expresses that addiction is a classic and global social threat and still popular until today. Society at large is systematically failing to engage on the issue. We can safely watch such tragedy, gawking as we drive by the destruction, insulated from the suffering and still unable to help.

79 S. Sudjojono

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

Anakku Cantik 1969 oil on canvas 75 x 60 cm signed with the artist’s monogram and dated (upper left), inscribed “Anakku Cantik”(lower right). S$ 55,000 - 75,000 US$ 44,000 - 60,000 Literature: Amir Sidharta, VISIBLE SOUL, Museum S. Sudjojono & Canna Gallery, Indonesia, 2006. Illustrated in color, p. 138

S. Sudjojono was a multi-talented artist as well as a profound thinker. He freely expressed what was in his heart and did not want to be restrained by the visual art conventions. He felt he had to paint as his heart urged him to. Most of his works display issues that emotionally matter to him, such as patriotism, social commentaries, political issues or national identity. After marrying Rose Pandanwangi, his more personal works were created, portraying his family members or daily activities reflecting his passionate love to his family and the importance of having them in his artistic and spiritual life. The present lot is an exquisite picture of the artist’s little daughter, Maya who, unlike her other sisters, enjoyed modeling for her father. As an active two-year old girl, it was not easy for any father, not only Sudjojono, to make her little girl stay still for a long time in order to find the perfect angle. And yet, when it comes to painting his loved ones, Sudjojono’s inner camera was always at its most powerful mode. The result in this case is a secondto-none portrait by the artist.

Early 1900s Modern Painters in Indonesia

80 Adolfs, Gerard Pieter

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

At the Market 1934 oil on canvas 40.3 x 30.4 cm signed and dated on lower left; signed, titled in Dutch, dated and numbered 290 on the reverse S$ 5,500 - 7,500 US$ 4,400 - 6,000 Provenance: Private collection, The Netherlands

81 Adolfs, Gerard Pieter

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

Padipluk ca. 1937 oil on plywood 40 x 50 cm signed on lower right S$ 5,500 - 7,500 US$ 4,400 - 6,000 Provenance: Acquired by the father in-law of the current Dutch owner in the 1970-80s in The Hague

82 Adolfs, Gerard Pieter

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

A Village in Mojokerto 1936 oil on plywood 30.2 x 40.2 cm titled in Dutch and numbered 523 on artistâ&#x20AC;&#x2122;s label on the reverse S$ 7,500 - 9,000 US$ 6,000 - 7,200 Provenance: - Kunsthandel Koch, Amsterdam - Private collection, The Netherlands 82

83 Eland, Leonardus Joseph

(Java, 1884 - The Netherlands, 1952)

Village in Sumatra oil on canvas 60.3 x 91.2 cm signed on lower right S$ 2,200 - 3,500 US$ 1,760 - 2,800 Provenance: Private collection, The Netherlands

100

84 Eland, Leonardus Joseph

(Java, 1884 - The Netherlands, 1952)

Tea Culture oil on jute 100.5 x 150.3 cm signed on lower left S$ 5,500 - 7,500 US$ 4,400 - 6,000 Provenance: Private collection, The Netherlands

101

85 Dullah

(Solo, C. Java, Indonesia, 1919 - 1996)

Hibiscus Bouquet 1980 oil on canvas 60.1 x 50 cm signed and dated on lower right S$ 1,800 - 2,500 US$ 1,440 - 2,000 Provenance: Private collection, The Netherlands

102

86 Dullah

(Solo, C. Java, Indonesia, 1919 - 1996)

Brother and Sister 1976 oil on canvas 60.1 x 50.2 cm signed and dated on lower right S$ 2,700 - 3,500 US$ 2,160 - 2,800 Provenance: Private collection, The Netherlands

103

Artists on Bali

104

87 Mangu Putra, Gusti Agung (b. Sangeh, Bali, Indonesia, 1963)

Rumahku di Desa 2005 acrylic on canvas 115 x 145 cm signed and inscribed on the reverse S$ 6,000 - 8,000 US$ 4,800 - 6,400

105

88 Gunarsa, Nyoman

(b. Klungkung, Bali, Indonesia, 1944)

Three Balinese Women 1992 oil on canvas, in original Balinese frame 95 x 95 cm signed and dated on lower right S$ 3,700 - 4,500 US$ 2,960 - 3,600

106

89 Blanco, Antonio

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

Enchanting Face, Bali mixed media on paper 23 x 20 cm signed on lower middle S$ 7,000 - 10,000 US$ 5,600 - 8,000

107

90 Paul Husner

(b. Basel, Switzerland, 1942)

Balinese Mountain Landscape of Jatiluwih 2005/2006 oil on canvas 100 x 140 cm signed on lower left; inscribed and titled on the reverse. S$ 8,000 - 11,000 US$ 6,400 - 8,800

108

91 Renato Cristiano (b. Rome, Italy, 1926)

A Balinese Foreshortening 2008 oil and goldleaf on canvas 50 x 75 cm signed and dated on lower right, signed and inscribed on the reverse S$ 20,000 - 30,000 US$ 16,000 - 24,000

109

92 Arie Smit

93 Arie Smit

Persawahan

Portrait of Nyoman

2002 acrylic on canvas 28 x 53 cm signed and dated (lower right), inscribed and signed on the reverse

1974 acrylic on canvas 100 x 72 cm signed and dated on lower left, inscribed on lower right

S$ 4,000 - 6,000 US$ 3,200 - 4,800

S$ 17,000 - 25,000 US$ 13,600 - 20,000

(b. Zaandam, The Netherlands, 1916)

Provenance: Purchased directly from the present owner from the Neka Gallery, Ubud, Bali, Indonesia

110

(b. Zaandam, The Netherlands, 1916)

111

112

94 Blanco, Antonio

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

Balinese Dancer mixed media on paper d. 40 cm S$ 30,000 - 40,000 US$ 24,000 - 32,000

113

114

95 Hofker, Willem Gerard

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

Portrait of Made Toei 1943 pencil, crayon, and white chalk on paper 44 x 32 cm titled and dated on upper left, signed and inscribed on upper right S$ 45,000 - 55,000 US$ 36,000 - 44,000 Literature: Hofker, S., & Orsini, G.: Willem Gerard Hofker (1902-1981), Uitgeverij de Kunst, Zwolle, the Netherlands, 2013, illustrated in color, p. 207.

115

96 Bonnet, Rudolf

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

Mepèèd 1943 pastels and gouache on pigmented paper 57 x 34 cm titled and indistinctly dated 2603 (=1943) on upper right; signed with initials on lower right. S$ 40,000 - 55,000 US$ 32,000 - 44,000 Provenance: Private Collection, the Netherlands.

In February 1942, when Japan invaded Bali, a strange vacuum in time occured for Western artists living on the island. Rudolf Bonnet and Willem & Maria Hofker were imprisoned in Denpasar, but were released a few months thereafter as soon as the Japanese found out that they were artists. They returned to Ubud, and were confronted with an ambiguous situation: most Western tourists had fled the island, the Dutch government was gone, and the Balinese natives, without the economy of tourism, had to rely on their own natural resources again. Bonnet lived in relative freedom over the 1.5 years that followed. Drawing and painting material was scarce. At times, Cokorde Gde Raka Sukawati’s French wife, Gilberte Sukawati, a close friend of Bonnet and the Hofkers, used her power to arrange paper, canvas, and drawing media.

of women carrying offerings (mostly fruit and cakes, Gebogan) from their homes toward the temple. This ritual is held once every 210 days, during a temple anniversary. Clearly, Bonnet has stylized certain anatomic features, like the size of the girls’ eyes, and the sculptural shape of the breasts. Usually he stylized for artistic reasons, elongating faces and shoulders. However, one could suspect there was a more commercial purpose involved in the current lot to stylize the ladies’ features. Nevertheless, Bonnet once again shows his unrivaled talent in making portraits with strong cultural elements. Mepèèd is a rare example of a commercial work by Bonnet, made during the 1.5 years in Bali, just before his internment.

‘Zij (i.e. Bonnet & Hofker) voorzagen in hun onderhoud door tekeningen te verkopen aan winkeltjes in Denpasar, waarin deze werden verkocht aan Japanners. Vooral tekeningen van vrouwen met blote borstjes waren zeer in trek!’ ‘They (i.e. Bonnet & Hofker) provided for themselves by selling drawings to little shops in Denpasar, that sold these drawings to Japanese officers. Especially drawings of bare-breasted women were very popular!’ (Roever-Bonnet, Dr. H. de, Rudolf Bonnet, een Zondagskind, Wijk en Aalburg, 1993, p.39)

Although Bonnet’s artistic and personal focus was not primarily on portraying bare-breasted women, the situation he was in together with Hofker forced him to make more commercially appealing work. Stemming from his personal preferences, Bonnet was more inclined to make stunning portraits of young Balinese men. The current theme of idealised beautiful Balinese girls, however, could even remind the viewer more of the themes that Hofker so often depicted. But still, the decisive and thick chalk lines, heightened with gouache paint, the composition of two women, one of which is typically portrayed en profile, the bold diagonal hatching lines, and the unique spattering technique Bonnet had developed together with Hofker a few years earlier, clearly show the master’s hand. What we see here is an extremely rare example of work that Bonnet made in the Japanese year 2603, i.e. 1943, only a few months before he and his close friends Willem and Maria Hofker would be arrested again, just before Christmas 1943, to be deported to the work camps in South-Celebes. The two Balinese beauties wear wooden offerings on their heads, the left being a winged lion (Singha), the right one an offering box with a deity figure (Pratima). The title, Mepèèd, refers to the Balinese procession

116

Larasati Singapore Sale, 8 October 2005 Hammer Price S$ 55,000

117

Index of the Artists Adolfs, Gerard Pieter Affandi Arie Smit Arturo Luz Ayako Rokkaku

80,81,82 78 92,93 40 20

Blanco, Antonio Bonnet, Rudolf Bui Xuan Phai

89,94 96 27

Chang Fee Ming Chiho Aoshima Choo Keng Kwang Chu Teh-Chun

58 25 28,29 38,39

Dake Jr., Carl Lodewijk Dang Xuan Hoa Dede Eri Supria Dewa Made Kawan Diyanto Do Quang Em Dullah

11 49,50 45 3b 51 59 85,86

Eland, Leonardus Joseph (Leo) 7,8,9,10,15,16,83,84 Entang Wiharsa 46 Erica Hestu Wahyuni 47,48 Gunarsa, Nyoman Hendra Gunawan Heri Dono Hiroto Kitagawa Hiroyuki Matsuura Hofker, Willem Gerard

77 43 17 21,22 95

Ichwan Noor Izumi Kato Jalaini Abu Hasan Jeihan Sukmantoro Julian Opie Julie Blackmon

118

Kerton, Sudjana

38, 39

Lim Khim Katy

Masriadi, I Nyoman Mangu Putra, Gusti Agung

57 87

Nashar Nasirun

36,37 52

Ohl, Lucien Frits

13,14

Pang Jiun Paul Husner Popo Iskandar

34,35 90 72

Raka Puja, Anak Agung Gde Renato Cristiano Rodel Tapaya Ruud van Empel

2 91 54 62

S. Sudjojono Shinsaku Nagayama Sitti Farida Srihadi Sobrat, Anak Agung Gde Soedibio Srihadi Soedarsono Sunaryo Supono, Ogeng Heru

79 18 73 1 33 41,42,76 75 32

Takashi Murakami 23,24,66,67,68,69,70,71 Togog, Ida Bagus Made 3a,6 Umi Dachlan

56 26

van Velthuysen, Henry Venturan, Ronald C.

12 63,64,65

53 30,31 55 61

Yayoi Kusama

Wang Yidong Widja, Ida Bagus Made

60 4,5

Written Bid

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Date 18 January 2014

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Sale Code

“Knot”

Please bid on my behalf at the above sale for the following lot(s) up to the price(s) mentioned below. These bids are to be executed as cheaply as is permitted by other bids or reserves if any. I agree to comply with the Notices and Conditions of Business as printed in the catalog. I understand that in the case of a successful bid a premium of 22% will be payable by me on the hammer price, together with any Goods and Services Tax chargeable thereon. Arranging Payment In order to avoid delay in clearing purchases, buyers who are unknown to us are advised to make arrangements for payment before the sale or for satisfactory references to be supplied. If such arrangements are not made cheques will be cleared before purchases are delivered. Payment may be made by cash or telegraphic transfer to Larasati Muse Investments Pte. Ltd.’s account at Hongkong and Shanghai Bank Corporation Tanglin Branch, Singapore 229571. Acc. No. 143-420180-001. Please include your name, Larasati’s account number and invoice number with your instructions to your bank. AFTER THE HAMMER IS DOWN, LARASATI WILL NOT ACCEPT ANY CANCELLATION. Please mail or fax to: Larasati Muse Investments Pte. Ltd. Thong Teck Building, 15 Scotts Road #05 - 08/09 Singapore 228218 Fax : +65 6737 1859 on viewing and auction days at least 24 hours before the sale: Fax : +65 6737 1859

Lot No. Catalog / Description

____________________________________________________________________________ Telephone / Home (Business) ____________________________________________________________________________ City Country Zip Code ____________________________________________________________________________ Fax / Home (Business) email BANK REFERENCES : Name of Bank & Branch : ________________________________________________________ Account No. : ______________________________ Contact Name : ____________________ Tel No. : ______________________________________

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

Visa/Master/Amex Type : ____________________

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

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

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)

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

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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

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

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

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

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

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

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

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

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

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

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A AG Arts & Antiques Group

THE LARGEST AND LEADING DUTCH AUCTION HOUSE

Specialized in Art, Antiques & Wines Amsterdam | Lekstraat 63, 1079 EM | T: +31-20-3012950 | F: +31-20-3012960 Geneva | Rue du Rh么ne 59-I, CH-1204 | T: +41-22-3103332 | F: +41-22-3120203

info@aagauctioneers.com | www.aagauctioneers.com

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65-6737-2130

ASIAN ART AUCTION ALLIANCE (A|A|A|A) was established as an overseas affiliated company of Shinwa Art Auction founded in 1989, an influential Japanese auction house listed on JASDAQ, a stock exchange for emerging companies in Japan. A|A|A|A was formed as a joint venture to accelerate Shinwa auction group’s presence in the Asian art market, and is aiming to achieve broad alliances and new developments among global art community in order to support/expand/vitalize a global art market from Asia.

A|A|A|A為親和藝術拍賣株式會社的海外附屬公司。親和藝

A|A|A|A has held its first sole organized auctions in Hong Kong on May 2010. A|A|A|A’s Art auctions feature a wide variety of items including Japanese, Western, and Asian works, and precious jewelleries, watches and wine. A|A|A|A is expanding Asian client base, increasing the impact of Japanese art, and further developing the Asian market.

2010年5月A|A|A|A在香港舉辦首次獨家主辦的拍賣

術拍賣於日本證券交易所JASDAQ創業板上市，是日本拍賣界內舉足輕重的業者。A|A|A|A作為親和藝術拍賣株式會社的合資公司，目標是促進親和藝術拍賣株式會社在亞洲藝術市場之地位，同時旨在國際藝術社群內廣結聯盟，並以鼓勵社群推陳出新為目標，希望在亞洲支持、擴展及復興國際藝術市場。

會。A|A|A|A的藝術拍賣精品，除了網羅日本、西方和亞洲的名家作品，更廣泛地包含名貴珠寶，鐘錶及洋酒。A|A|A|A將積極開拓其亞洲客戶層，提升日本藝術的影響力，並進一步拓展亞洲市場。

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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.

Saleroom & Offices Singapore

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