traditional, modern & contemporary art, saturday, 28 july 2012

Insights - Connections - Expertise

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singapore, 28 July 2012


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4IMPORTANT NOTICEThe 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 scholarship in The field of indonesian and 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

ISBN 978-979-3774-32-9Cataloguing-in-Publication Data Traditional, Modern & Contemporary ArtLarasati, Singapore, 28 July 2012 Jakarta, Indonesia: PT Balai Lelang Larasati 2012pp. 21 x 27 cmincludes index and biographies of artists I.Paintings - Asia. II. Painters - Asia. III. Title

Copyright 2012 PT Balai Lelang LarasatiNo 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.

The condiTions of business. any 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.

we 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 larasaTi and arTs and anTique group.


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AUCTIONSaturday, 28 July 2012 starting at 3 pmatMarriott Hotel SingaporeLegacy Room, level 2320 Orchard RoadSingapore

VIEWING Thursday, 26 July 2012 10.30 am - 8 pmFriday, 27 July 2012 10.30 am - 8 pmSaturday, 28 July 2012 10.30 am - 1 pmatONE EAST Artspace15 Scotts Road #05-08/09Thong Teck BuildingSingapore

Sale CodeIn sending written bids or making enquiries, this sale should be referred to as BOGOR

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 buyers attention is drawn to this information.

Correspondence address:

Singapore:Thong Teck Building15 Scotts Road #05-08/09Singapore 228218t. +65 6737 2130f. +65 6737 1859

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

info@larasati .comwww.larasati .com

in collaboration with:

6Buying at AuctionThe 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.

Buyers PremiumA buyers premium is payable by the buyer of each lot at a rate of 22% of the hammer price of the lot. GST at the appropriate rate is payable on the hammer price and premium. These charges are explained in detail under Larasatis charges and GST at the back of this catalog.

1. BEFORE THE AUCTION

Pre-sale EstimatesThe 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.

ReservesThe reserve is the minimum price the seller is willing to accept below which the lot will not be sold.

Condition of LotsProspective 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 BusinessThe 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 AuctionBids 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.

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

S$ 500 to S$ 1,000 by S$ 50 S$ 1,000 to S$ 2,000 by S$ 100S$ 2,000 to S$ 3,000 by S$ 200S$ 3,000 to S$ 5,000 by S$ 200

or S$ 200 - 500 - 800S$ 5,000 to S$ 10,000 by S$ 500S$ 10,000 to S$ 20,000 by S$ 1,000S$ 20,000 to S$ 30,000 by S$ 2,000S$ 30,000 to S$ 50,000 by S$ 2,000

or S$ 2,000 - 5,000 - 8,000S$ 50,000 to S$ 100,000 by S$ 5,000S$ 100,000 to S$ 200,000 by S$ 10,000S$ 200,000 up by Auctioneers direction

However, the auctioneer may change the increments during the course of the auction at his or her discretion.

Bidding in PersonTo 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 auctioneers attention to it immedi-ately. 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 BidsIf 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 Larasatis 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.

Bidding by TelephoneIf 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.

Successful BidsThe fall of the auctioneers hammer indicates the final bid. The auctioneer will call out and record the name or paddle number of the buyer, if your written bid is successful, you will be notified immediately after the sale by post. Bidding may be reopened at the auctioneers discretion.

Currency ConversionBidding is carried out in Singapore Dollars, but Larasatimay 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

PaymentPayment 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, Larasatis account number and invoice number with your instructions to your bank.

Payment can also be made in Singapore Dollars cash, Singapore Dollars bankers 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.

CollectionLots will be released to you or your authorized representative when full and cleared payment has beenreceived 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 buyers risk.

Storage and InsuranceAll 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 HandlingWe 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 buyers 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.

GuIde for prospectIve Buyers


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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 (Singapore, 28 July 2012) I have read the conditions of business and notices printed in the sale catalog and agree to be bound by them. I agree to be bound by notices announced by auctioneer or posted in the sale room by the way of notice. I authorise Larasati to request bank references relating to the account(s) specified by me in the above. I authorise Larasati to fax invoices to (fax) : __________________________________Signature___________________

Signature : __________________________________________ Date : ____________________________________

Bidders are reminded that the purchase price payable by the successful bidder shall be the aggregate of the final bid and a premium of 22% of the hammer price of each lot together with any goods and service tax chargeable thereon. Please note that a late charge is specified in the Conditions of Business in each catalogue and is subject to change without separate notice.PAYMENT FOR PURCHASE CAN BE MADE IN CASH, BANK TRANSFER OR CHEQUE IN FAVOUR OF LARASATI. GOODS CAN BE COLLECTED ONLY WHEN PAYMENT HAS CLEARED. LARASATI DOES NOT ACCEPT CREDIT CARDS AS PAYMENT FOR PURCHASE. AFTER THE HAMMER IS DOWN, LARASATI WILL NOT ACCEPT CANCELLATION.

LARASATI Correspondence address : Singapore:Thong Teck Building, 15 Scotts Road #05 - 08/09, Singapore 228218 Tel. +65 6737 2130 Fax. +65 6737 1859

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

Sale Number :_______Paddle Number :_______

Sale Date :_______Client Number :_______

8CONTENTS

guide for prospecTive buyers 4

bidder regisTraTion form 5

TradiTional, modern & conTemporary arT 8 index of arTisTs 62

biography of The arTisTs 63

absenTee / wriTTen bid form 66

guide for absenTee bidders 67

condiTions of business for buyers 68

condiTions of business for seller 70

saleroom & offices 72

Front Cover: lot 24, S. Sudjojono, Pemandangan di Pinggir Jalan Cipayung (View of the Roadside Cipayung) (detail)Back Cover: lot 53, Sunaryo Behind the Stage (detail)


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Singapore, 28 JULY 2012starting at 3 pm LOT # 1 - 53


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1 KRIJONO (Jakarta, Indonesia, 1951 - 2011) Ritual at Koesamba Beach1999 oil on canvas 70 x 70 cm signed and dated (lower right), signed and inscribed on the reverse

S$ 1,500 - 2,000 US$ 1,180 - 1,570

Literature: Agus Dermawan T., The Flying Elephant, illustrated in colour, p. 154

2 ARIE SMIT (b. Zaandam, The Netherlands, 1916) Kerosene Lamp in Sanur 1984 acrylic on canvas 28 x 28 cm signed and dated (lower right)

S$ 3,000 - 4,000 US$ 2,360 - 3,140 Literature: Agus Dermawan T., ARIE SMIT, illustrated in colour, p. 86

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3 ARIE SMIT (b. Zaandam, The Netherlands, 1916) Shinres and Tree 2007 acrylic on canvas 22 x 32 cm signed and dated (lower right), signed, dated, and inscribed on the reverse

S$ 4,000 - 5,000 US$ 3,140 - 3,930

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

4 ARIE SMIT (b. Zaandam, The Netherlands, 1916) Landscape 2007 acrylic on canvas 21 x 26 cm signed and dated (lower right), signed, dated, and inscribed on the reverse

S$ 3,500 - 4,500 US$ 2,750 - 3,540

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


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5 ARIE SMIT (b. Zaandam, The Netherlands, 1916) The Red Earth of North Bali 1997 acrylic on canvas 32 x 36 cm signed and dated (lower right), inscribed, signed, and dated on the reverse

S$ 4,500 - 6,000 US$ 3,540 - 4,720 Literature: Rudolf G. Usman, ARIE SMIT - Enchanting Tropics, Rudolf Studio, Ubud, Bali, 2000. Illustrated in colour, on the front cover of the book and p. 40.

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6 WINKLER, RICHARD (b. Norrkoping, Sweden, 1969) Sunset of the Paddies 1998 oil on canvas 60 x 80 cm signed and dated (lower right)

S$ 8,000 - 11,000 US$ 6,290 - 8,660 Provenance: Private Collection, The Netherlands

7 WINKLER, RICHARD (b. Norrkoping, Sweden, 1969) The Spa 2000 oil on canvas 60 x 80 cm signed and dated (lower right)



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8 WINKLER, RICHARD (b. Norrkoping, Sweden, 1969) Passing Rice Paddies 2002 oil on canvas 70 x 95 cm signed and dated (lower right)

S$ 8,000 - 11,000 US$ 6,290 - 8,660

Provenance: Private Collection, The Netherlands

9 WINKLER, RICHARD (b. Norrkoping, Sweden, 1969) Afternoon by the Sea 2001 oil on canvas 60 x 50 cm signed and dated (lower right)

S$ 4,500 - 5,500 US 3,540 - 4,330

Provenance: Private Collection, The Netherlands

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10 NADERA, IDA BAGUS MADE (Tegallinggah, Bali, Indonesia, 1905 - 1998) Going to the Market acrylic on canvas 73 x 89 cm signed (lower left), signed on the reverse

S$ 1,500 - 2,000 US$ 1,180 - 1,570


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11 SUKADA, I MADE (Ubud, Bali, Indonesia, 1945 - 1982) Boy with Bamboo Stick tempera on canvas 90 x 70 cm signed and annotated in Balinese writing (upper right)

S$ 800 - 1,200 US$ 629 - 940

12 ROEPET, I GUSTI MADE (early 20th century)Kecak Dance ink and aquarelle on paper 44 x 35 cm

S$ 300 - 500 US$ 236 - 393

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13 IDA BAGUS MADE POLENG(Peliatan, Bali, Indonesia, 1915 - 1999) Harvesting acrylic on canvas 50 x 56.5 cm signed (upper left)

S$ 13,000 - 15,000 US$ 10,230 - 11,800

Provenance: Private Collection USA

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CONTEMPORARY ART


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14 ARIFIEN NEIF (b. Surabaya, E. Java, Indonesia, 1955) Sharing the Moments 1995 oil on canvas 70 x 60 cm signed and dated (lower left)

S$ 7,000 - 9,000 US$ 5,510 - 7,080

15 ARIFIEN NEIF (b. Surabaya, E. Java, Indonesia, 1955) Bathing Together 1998 oil on canvas 60 x 70 cm signed and dated (lower left), inscribed on the reverse.

S$ 7,000 - 9,000 US$ 5,510 - 7,080


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16 ARIFIEN NEIF (b. Surabaya, E. Java, Indonesia, 1955) Tragedy 1987 oil on canvas 90 x 90 cmsigned and dated (lower right)

S$ 10,000 - 12,000 US$ 7,870 - 9,440

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17 NASIRUN (b. Cilacap, C. Java, Indonesia, 1965) Untitled 1997 acrylic on canvas 90 x 145 cm signed and dated (lower right)

S$ 8,000 - 11,000 US$ 6,290 - 8,660

18 SUWAGE, AGUS (b. Purworejo, C. Java, Indonesia, 1959) Untitled mixed media on paper 30 x 20 cm signed (lower left)

S$ 1,200 - 1,500 US$ 940 - 1,180


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19 MANGU PUTRA, I GUSTI AGUNG (b. Sangeh, Bali, Indonesia, 1963) Ikan Yang Tersisa 2002 acrylic on canvas 90 x 120 cm signed and dated (lower right), inscribed and signed on the reverse

S$ 12,000 - 15,000 US$ 9,440 - 11,800


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INDONESIAN MODERN MASTERS

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Affandis unusual personality and choice of vocation combined with his energetic but undeniable charisma to create a life which took on the stature of legend even in his own time. The widespread attention he received in the media caused people of all walks of life, urban and rural, Indonesian and foreign, to recognize his name and face and to make the pilgrimage to his colourful, self-built museum in Yogyakarta.

Astri Wright

Excerpts from a text by Astri Wright in the book Soul, Spirit, and Mountain: Preoccupation of Contemporary Indonesian Painters, 1994.

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20 KERTON, SUDJANA (Bandung, W. Java, Indonesia, 1922 - 1993) Road to Danbury watercolour on paper 21 x 28 cm titled and signed (lower right)

S$ 700 - 1,200 US$ 550 - 940

Certificate of authenticity is available upon additional charge by Sanggar Luhur

21 AFFANDI (Cirebon, W. Java, Indonesia, 1907 - Yogyakarta, Indonesia, 1990)Perahu Kusamba 1973 oil on canvas 49 x 66 cm signed and dated (lower right)

S$ 25,000 - 30,000 US$ 19,680 - 23,620


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A painting of quality does not merely show off its surface beauty; what is important is that it reveals the depth of its content it must be filled with meaning. I am a great admirer of primitive art, which is always loaded with magical and meaningful elementsand if an art critic from the Philippines calls my work magic-decorative, I fully agree with such a description.

Widayat

Excerpts from a text by Astri Wright in the book Soul, Spirit, and Mountain: Preoccupations of Contemporary Indonesian Painters, Oxford University Press, Kuala Lumpur, 1994, p. 96.

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22 WIDAYAT (Kutoardjo, C. Java, Indonesia, 1919 - Jakarta, Indonesia, 2002) A Walk under the Flamboyant 2001 oil on canvas 90 x 102.5 cm signed and dated (lower left), inscribed on the reverse

S$ 27,000 - 35,000 US$ 21,250 - 27,550


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23 SRIHADI SOEDARSONO (b. Solo, C. Java, Indonesia, 1931) Krakatau 1984 oil on canvas 100 x 200 cm signed and dated (upper right), inscribed, signed, and dated on the reverse

S$ 65,000 - 80,000 US$ 51,180 - 62,990

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Sudjojonos landscape work should not be viewed merely as a lyrical representation of the nature. In the context of his leading role in expounding the Modernist movement and his vehement attack on the Mooi Indie school (Beautiful Indonesia) which he felt was hindering the progressive tendencies in the development of Indonesian Art as artists, indigenous of foreign, continued to emphasized only the beautiful landscape or women, clearly demonstrating a hierarchy of aesthetics in the choice of subject-matters. To him, the practice of painting only pretty landscape and other acceptable themes is an insincere idealization of reality.

To be truthful to oneself as an artist and to the subject is the only solution to Sudjojono as he states Every artist must take as his starting-point his own nature. An artist must be courageous in all things, especially when it comes to offering his ideas to the world, even if he does not receive any public recognition at all Each and every artist must embody these two qualities, truth and beauty. Not beauty in the sense of recognized by the public at large, but from the point of view of aesthetics as understood by the artist himself.

Excerpts from a text by Astri Wright, from the book Soul, Spirit, and Mountain: Preoccupations of Contemporary Indonesian Painters, Oxford University Press, Kuala Lumpur, 1994, p. 157.

24 S. SUDJOJONO (Kisaran, N. Sumatra, Indonesia, 1913 - Jakarta, Indonesia, 1986)Pemandangan di Pinggir Jalan Cipayung (View of the Roadside Cipayung) 1974 oil on canvas 60 x 88 cm

S$ 40,000 - 60,000 US$ 31,490 - 47,240

Provenance: Acquired directly from the artist by present owner in mid 1980s.

Literature: Ajip Rosidi, PELUKIS S. SUDJOJONO, PT. Dunia Pustaka Jaya, Bandung, 2000. Illustrated in colour, p. 30.


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LE PHO

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25 LE PHO (North Vietnam, 1907 - 2001) In the Garden oil on canvas 38 x 45.5 cm signed (lower right)

S$ 7,000 - 9,000 US$ 5,510 - 7,080

Provenance: Anonymous Sale, Sothebys Singapore, 3 October 1999, lot no.143

26 LE PHO (North Vietnam, 1907 - 2001) Les Seringas et La Femme oil on canvas 33 x 41 cm signed (lower right)

S$ 6,500 - 8,000 US$ 5,110 - 6,290 Provenance: Wally Findlay Galleries, Inc., Palm Beach, Florida, USA


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From 1950s onwards, Le Phos pallete becomes lighter. The painter adopts the manner of the sketch, or rather of the outline. His pictures are boneless. They have no linear scaffolding. Contact with Bonnards work played a decisive role in the evolution of the artist. Le Pho began to paint in oil on canvas. He achieved a harmonious synthesis between Chinese painting and Impressionism, or rather Post-Impressionism. If he retains his nostalgia for the country of a thousand flowers, if his figures are modeled from the same stuff as the air which envelopes them and blurs their outlines, if he devotes himself to translating light, that soul of all painting, he never ceases to be himself.

(Waldemar George in Le Pho: The Divine Painter, le-pho, Wally Findlay Galleries International, Inc. United States, p. 4.)

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Photo courtesy of: Wally Findlay Galleries International, Inc.

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INDO-EUROPEAN PICTURES


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The graceful, the elegance and the beautiful, these are the prevalent qualities for the works of Bonnet. It is a constant yearning for the artist to portray the people in the noblest form for eternity. Having spent some time in Florence where he is known to have been painting incessantly, the influence of the Italian masters was evident in the works of Bonnet, manifesting in his accentuation of the grandeur and elegance of people.

Apart from its beautiful people and breathtaking scenery, the rich ritualistic and ceremonial setting of Bali gives Bonnet the perfect grand stage as he depicts his performers. For his perfect delineation of the characters and the impeccable arrangement of the people and their settings, always give the finished work a dramatic and theatrical mood, befitting the lofty aspiration of the artist to ensure the records of the people is preserved on its classical state.

The profiles of his beautiful sitters be it male or female are amongst the favourites renditions of the artist. This penchant for the delineation of human forms could be dated back to Bonnets Italian period where certainly the classical Greek sculptures and Renaissance works have made a great impression on the artist.

The beauty of the sitters are certainly the most inspiring elements for the artist who depicts gentle features of the girls with a emotive hands that alludes the Balinese beauties to classical Greek sculptures.

RUDOLF BONNET

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27 BONNET, JOHAN RUDOLF (Amsterdam, The Netherlands,1895 - Laren, The Netherlands,1978) Self-portrait 1946 mixed media on paper 25.5 x 18.2 cm signed (lower left), annotated and dated (upper right)

S$ 600 800US$ 470 - 620

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2928 BONNET, JOHAN RUDOLF (Amsterdam, The Netherlands,1895 - Laren, The Netherlands,1978)Portrait of a Woman 1953 pastels on paper 56 x 40 cm signed and dated (upper right)

S$ 28,000 - 38,000 US$ 22,040 - 29,920 Provenance: Acquired by the previous owner from Mr. Suteja Neka, Bali, Indonesia.

29 BONNET, JOHAN RUDOLF (Amsterdam, The Netherlands,1895 - Laren, The Netherlands,1978) Portrait of a Young Boy 1950 pastels on paper 60.5 x 48.5 cm signed (upper right), annotated and dated (upper left)

S$ 18,000 - 28,000 US$ 14,170 - 22,040

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31IMANDT, WIHELMINUS JEAN FREDERIC (St. Jansteen, The Netherlands, 1882 - The Hague, The Netherlands, 1967) View of cliffs at Bantimurung, Sulawesi oil on canvas 64 x 85 cm signed (lower left), titled on the stretcher

S$ 600 800US$ 470 - 620

30 WICHERS, HENDRIK AREND LUDOLF (HAL) (Tarutung, W.Sumatra, Indonesia, 1893 - Nijmegen, The Netherlands, 1968) Seeking the shade on a warm day on the beach 1949oil on board 29.8 x 39.8 cm signed and dated (lower right)

S$ 1,000 - 1,500 US$ 780 - 1,180


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32 OHL, LUCIEN FRITS (Sumatra, Indonesia, 1904 - The Hague, The Netherlands, 1976) Working the Field oil on board 40 x 59.8 cm signed (lower right)

S$ 1,000 - 1,500 US$ 780 - 1,180

33 DAKE JR., CAREL LODEWIJK (Schaerbeek, Belgium, 1886 - Jakarta, Indonesia, 1946) The Paddy Fields by Dawn oil on canvas 70 x 106 cm signed (lower left)

S$ 600 - 800 US$ 470 620

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35ELAND, LEONARDUS JOSEPH (LEO) (Salatiga, C. Java, Indonesia,1884 - The Hague, The Netherlands, 1952) The Road to Sibolga with a View of the Bay of Tapanuli oil on canvas 45.5 x 60.6cm signed (lower left) S$ 700 - 900 US$ 550 - 700 Provenance: Private Collection, The Neterlands

34ELAND, LEONARDUS JOSEPH (LEO) (Salatiga, C. Java, Indonesia,1884 - The Hague, The Netherlands, 1952)The Pass to Toba heights and the Road from Medan to Brastagi oil on canvas 40.2 x 50 cm signed (lower left)

S$ 1,200 - 1,500 US$ 940 - 1,180


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36ELAND, LEONARDUS JOSEPH (LEO) (Salatiga, C. Java, Indonesia,1884 - The Hague, The Netherlands, 1952)Leaving the Villa in Carts with Buffalos oil on canvas 60 x 90 cm indistinctly signed (lower right)

S$ 1,200 - 1,500 US$ 940 - 1,180

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37VAN DER DOES, WILLEM JAN PIETER (Rotterdam, The Netherlands, 1889 - Zeist, The Netherlands, 1966)Women Carrying the Goods70 x 100 cm signed (lower left)

S$ 8,000 - 11,000US$ 6,290 - 8,660


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38 BASOEKI ABDULLAH (Solo, Indonesia, 1915 - Jakarta, Indonesia,1993) The Fruit Market 1954 oil on canvas 69.9 x 52.8 cm signed and dated (lower left)

S$ 6,000 - 8,000 US$ 4,720 - 6,290

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39 HAURE, JEAN-PHILIPPE (b. Orleans, France, 1969) Ive Got Dreams to Remember2012 gouache, mixed media, gold leaf, on paper laid on canvas. 79 x 107 cm signed and dated (lower right), signed (on the reverse)

S$ 4,000 - 6,000 US$ 3,140 - 4,720

This lot is accompanied with certificate of authenticity from the artist.

40 DOOIJEWARD, WILLEM (Amsterdam, The Netherlands, 1892 - Blaricum, The Netherlands,1980) Portrait of a Balinese Man oil on canvas laid on board 50 x 35 cm signed (lower left)

S$ 5,000 - 7,000 US$ 3,930 - 5,510


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41 SIEW HOCK MENG (b. Malaysia, 1942) Seated Balinese Man 1991 pastels on paper 63 x 47 cm signed and dated (lower left)

S$ 8,000 - 11,000 US$ 6,290 - 8,660

Provenance: Anonymous sale, Christies Singapore, 3 October 1999

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42 GOTH, CHARLOTTE (SARIKA) (Vienna, Austria, 1900 - Veere, The Netherlands, 1992) A Legong Dancer 1931 oil on canvas glued on board 67 x 50 cm signed and dated (lower right)

S$ 2,500 - 3,500 US$ 1,960 - 2,750 Literature : Haks & Maris. Lexicon of Foreign Artists who Visualized Indonesia (1600 - 1950). illustrated in colour, p. 466

43 CRISTIANO, RENATO(b. Rome, Italy, 1926) Portrait of a Balinese Girl oil on board 50 x 32 cm signed (lower left)

S$ 3,500 - 5,000 US$ 2,750 - 3,930


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44 BLANCO, ANTONIO MARIA (Manila, Philippines, 1911 - Bali, Indonesia, 1999) Balinese Fantasy water colour on paper 36 x 36 cm

S$ 18,000 - 23,000 US$ 14,170 - 18,100 Provenance: Previously in the collection of Henry Ringer Estate, Belgium

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45 SONNEGA, AUKE CORNELIS (Leeuwarden, The Netherlands, 1910 - The Hague, The Netherlands, 1963) Balinese Dancer oil on canvas 38.7 x 31.4 cm signed and dated (lower left)



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46 ADOLFS, GERARD PIETER (Semarang, C. Java, 1897 - Den Bosch, The Netherlands, 1968) Sculptor 1949 oil on canvas 41 x 33 cm signed with pseudonym, titled and dated on the reverse

S$ 4,000 - 5,000 US$ 3,140 - 3,930 Provenance: Private Collection, Sweden

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Adrien-Charles Louis Leopold Le Mayeur de Merpres was active as a painter and an etcher. Although he depicted some landscapes, views of rivers or surrounding villages, Charles Le Mayeur is principally known as a marine painter. The major part of his works consists of seascapes, painted at the Belgian coast in De Panne, Niewpoort and Ostend.

He was a pupil of Isodore Meyers together with Frans Courtens. It was under Meyers guidance that he painted his first marine paintings. In Adrien-Charles Le Mayeurs seascapes, it is clearly visible that he studied the waves and knew hoe to depict it accurately. The whole surface of water in his canvases is filled with a clear structure of waves. The combination with his typical large and wide skies made his art become grandiose. Adrien-Charles Le Mayeur already was famous during his lifetime as the poet of the sea. His refined impressions were born out of an accurate observation between water and sky. From 1877 onwards, Charles Le Mayeur gave more attention to the role of the light. This brought more balance in his works as his seascapes were flooded with light, air and atmosphere. Adrien-Charles Le Mayeur is considered as one of the best Belgian painters of the sea.

From his marriage with Louisa Marie Agusta de Bosch, he had two children, one of whom is Adrien Jean Le Mayeur de Merpres,who also shared the same passion on painting with his father and went on various journeys before settling in Bali and married Ni Pollok.

Source: Drs. Jop Ubbers, M.A./Drs. Cathinka Huizing, M.A., 1880 1958, Adrien Jean Le Mayeur de Merprs, Painter-Traveller/Schilder-Reiziger, Pictures Publishers Art Books, Wijk en Aalburg/The Netherlands, 1995, p. 12

Adrien Le Mayeur de Merprs (Sr.)Ships at Seaoil on canvas105 x 150 cmsigned bottom left, verso: Namur [] en trois tableaux Le Mayeur pre.

Collection Family Motte, Belgium

47 LE MAYEUR DE MERPRES, ADRIEN-CHARLES (Brussels, Belgium, 1844 - 1923) Seascape oil on canvas 148 x 105 cm S$ 8,000 - 10,000 US$ 6,290 - 7,870

This lot has been authenticated by Chatinka Huizing from Fountain Art Foundation, The Netherlands


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49 HOFKER, WILLEM GERARD (The Hague, The Netherlands, 1902 - Amsterdam, The Netherlands, 1981)Two Balinese Beauties in the Temple 1948 etching 55 x 26 cminscribed and dated (lower left)

S$ 650 - 850 US$ 510 660

48 LE MAYEUR DE MERPRES, ADRIEN JEAN (Brussels, Belgium, 1880 - 1958)Portrait of Seated Ni Pollok charcoal and crayon on paper 24.7 x 20 cm signed (lower left)

S$ 3,000 - 4,000 US$ 2,360 - 3,140 Provenance: Previously on the collection of Nico Eisenloeffel, Amsterdam


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50 SONNEGA, AUKE CORNELIS (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$ 25,000 - 35,000 US$ 19,680 - 27,550

Literature: Didier Hamel, AUKE SONNEGA - Artist Of The Enhanting Tropics, Hexart Publishing, Jakarta, 2011. Illustrated in colour, p. 175


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DANCING FOR THE GODS

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Colour is used to convey the emotional intensity of a persons feelings and temperament. Ones ability to perceive the expressive power of colour is not only innate and personal, it is also determined by ones culture. One may use colour freely or endow it with a cultural message. In my works, I blend the two approaches. I am strongly inspired by the colours from my Indonesian background, but I reinterpret them through a subliminal process that belongs to me and me alone. 1

A work of art is the expression and reflection of the visible spirit of the artist while color is used to convey emotional sensation. So I use colors to represent the es-sence of what I see. 2

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1 Srihadi Sudarsono in The Path of the Soul, A Retrospective of the Artists Career, The Lontar Foundation, Indonesia, 2003, pages 105 106

2 Srihadi Sudarsono, as told to Sonia Kolesnikov-Jessop in Art: At 73, New Horizons For An Artist, International Herald Tribune, Wednesday, February 9, 2005.

51 SRIHADI SOEDARSONO (b. Solo, C. Java, Indonesia, 1931) Dinamika Legong 1995 oil on canvas 100 x 100 cm signed (upper right), inscribed, signed, and dated (on the reverse)

S$ 50,000 - 70,000 US$ 39,370 - 55,110

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The formal structure of Srihadis work is very simple; the composition of most of his paintings is organized either by a horizontal or a vertical axis. The horizon refers to nature and the cosmos, and the vertical to man. Paintings in the Horizon series are almost perfectly linear, save for their colour detailing or the minute irregularities in layering. Similarly, the figures of most of the dancers are upright, except for the hair, arms, and clothes that subtly divert the eye from the perfect axis. Within the core of these two simple axes, however, emerges a complex micro-versus-macro dialectic of repetition and symmetry, this time formally produced as vertical and horizontal waves. This is the visual equivalent of the iconographic dialectic outlined above: at the macro level, between the lines of the sea, sky, and land, or between the dancers; at the micro level, between their components, such as arms and headdresses; and finally between the macro and micro elements, in an intersection of all these- a small flower contrasted against a large white corset, or flowers scattered on the ground. This is achieved in a manner that is neither stiff nor repetitive. A small details a rock, a tuft of grass, foam always break the regularity of the symmetry and brings a subtle modulation of form and colour to the whole. In short, Srihadis paintings are constructed with a well-coordinated, multidimensional modulation of elements within a strong framework.

Jean Couteau, Srihadi Soedarsono: The Path of the Soul, Lontar Foundation, Jakarta, 2003, p. 105.

52 SRIHADI SOEDARSONO (b. Solo, C. Java, Indonesia, 1931) Melasti - Praying for Love and Peace 2011 oil on canvas 150 x 150 cm signed and dated (upper right), inscribed, and signed (on the reverse)

S$ 90,000 - 120,000 US$ 70,860 - 94,480

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The habit and rituals practiced by traditional dancers in their dressing rooms while preparing their stage performance have inspired me to think of a concept about the ideal and desired social life of contemporary society, namely the establishment of cooperation, tolerance and respect for one another, even though ongoing modernization and globalization reach every corner of the world and cause such traditional values to vanish.

I wish for spiritual unity in viewing the future; a situation that is far from violence; and, collective spirit to build peace by respecting the values of humanity.

Sunaryo, 2007

53 SUNARYO (b. Banyumas, C. Java, Indonesia, 1943) Behind the Stage 2012 mixed media on canvas 150 x 250 cm signed and dated (lower right)

S$ 130,000 - 180,000 US$ 102,360 - 141,730

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Adolfs, Gerard Pieter 46Affandi 21Arie Smit 2, 3, 4, 5Arifien Neif 14, 15, 16

Basoeki Abdullah 38Blanco, Antonio Maria 44Bonnet, Johan Rudolf 27, 28, 29

Cristiano, Renato 43

Dake Jr., Carel Lodewijk 33Dooijeward, Willem 40

Eland, Leonardus Joseph (Leo) 34, 35, 36

Goth, Charlotte (Sarika) 42

Haure, Jean-Philippe 39Hofker, Willem Gerard ` 49

Ida Bagus Made Poleng 13Imandt, Wilhelminus Jean Frederic 31

Le Mayeur de Merpres, Adrien-Charles 47Le Mayeur de Merpres, Adrien-Jean 48Le Pho 25, 26

Kerton, Sudjana 20Krijono 1

Mangu Putra, I Gusti Agung 19

Nadera, Ida Bagues Mau 10Nasirun 17

Ohl, Lucien Frits 32

Reopet, I Gusti Made 12

S. Sudjojono 24Siew Hock Meng 41

Sonnega, Auke Cornelis 45, 50 Srihadi Soedarsono 23, 51, 52Sukada 11Sunaryo 53Suwage, Agus 18

van der Does, Willem Jan Pieter 37

Wichers, Hendrik Arend Ludolf (Hal) 30Widayat 22Winkler, Richard 6, 7, 8, 9

INDEX OF THE ARTISTS


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BIOGRAPHIES OF THE ARTISTSAdolfs, 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.

Affandi (Cirebon, W. Java, Indonesia, 1907 - Yogyakarta, Indonesia, 1990)Affandi was essentially self-taught. During the Japanese Occupation he was involved in POETERA / Peoples Activity Centre. Moving to Yogyakarta during the Revolution, he participated in revolutionary activities and helped to set up Seniman Masjarakat / Peoples Painters in 1946. He co-founded Pelukis Rakyat / Peoples Painters with Hendra Gunawan in 1947. A scholarship to the art school of Santiniketan University took him and his family to India in 1949. Following this they proceeded on an extensive tour of Europe before returning to Yogyakarta in 1954 when he became a lecturer at ASRI / Indonesian Academy of Fine Arts. He participated in the Sao Paolo Biennial II in 1953 and represented Indonesia at the Venice Biennial in 1954. Affandi went to Honolulu in 1967 as part of the first East-West Centre Artist-in-Residence programme, where he painted his first fresco. He received an Indonesian Art Award from the Ministry of Education and Culture (1969), and was honoured by the University of Singapore with a Doctor Honoris Causa of Letters (1974) for his contribution to art. He also received the Dag Hammarskjoeld Prize from Italy (1977) and Indonesian Government Gold Medal (1978).

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.

Arifien Neif (b. Surabaya, E. Java, Indonesia, 1955)He moved to Jakarta in the 1970s. Interested in interior design and old colonial architecture, it was only in the mid-1980s that he began painting professionally. He was inspired by the works of artists such as Sudjojono, Matisse, Chagall and Bosch. He has participated in exhibitions in Indonesia, Singapore and USA.

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.

Blanco, Antonio Maria (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 organizations. 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.

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

Cristiano, Renato (b. Rome, Italy, 1926)He studied at the Art Academies of Rome and Paris in the 1940s. He also studied anthropology and was interested in archaeology. He lived in Bali from 1955 to 1965, and later returned to Rome with his wife, a Balinese dancer. He had solo exhibitions in Jakarta in 1997, 1998, 1999 and 2001 and in Bali in 1996.

Dake Jr., Carl Lodewijk (Schaerbeek, Belgium, 1886 - Jakarta, 1946)He studied painting from E. Piter and H. M. Krabbe in Laren, the Netherlands. He went to Indonesia in 1912 and travelled through the country. He painted scenes in Java, Bali and Sumatra. From Indonesia, he travelled to many countries, including Thailand and Cambodia. His depictions of the ancient ruins of Angkor Wat are among his impressive paintings. In 1915, he was appointed to create the Indonesian diorama displayed at the World Fair in San Francisco, USA..

Dooijewaard, Willem (Amsterdam, The Netherlands, 1892 - Blaricum, The Netherlands,1980)He was educated at the Rijksschool voor Kunstnijverheid in Amsterdam and was later taught by Roland Strasser. He first visited Indonesia in 1913 where he worked on a plantation in Sumatra. His second trip to Indonesia in 1919 brought him to Bali, where he met Roland Strasser, an Austrian artist. Together with Strasser, he spent over a year traveling through China, Mongolia, Japan and North Africa. He participated in group exhibitions in Indonesia from 1918-1932, and had solo exhibitions in Indonesia (1932 & 1992) and The Netherlands (1962).

Eland, Leonardus Joseph (Leo) (Salatiga, C. Java, Indonesia, 1884 - The Hague, The Netherlands, 1952)Self-taught artist who lived and worked in Indonesia until 1920, visiting Sumatra, Java, Sulawesi, Bali and other islands. He participated in several exhibitions organized by the Bataviasche Kunstkring. He settled in The Hague in 1920, and later returned to Indonesia for a brief period in 1929 to prepare some huge Indonesian dioramas he made for several World Fairs. His work was selected for the International Colonial Exposition in Paris in 1931.

Goth, Charlotte (Sarika) (Vienna, Austria, 1900 - Veere, The Netherlands, 1992)Of Hungarian origin, she was a pupil of arts in academy of arts in the Hague and was taught by H. Hofman in Munich (Germany) and by A. Lhote in Paris. There is no evidence that the artist ever visited Indonesia, however there are some paintings by her hand depicting Indonesia. Painter and draughtsman in a subtle realistic style

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Haure, Jean-Philippe (b. Orleans, France, 1969)Graduated from Ecole Boulle of Paris, he has been a teacher of furniture design at the Catholic School in Gianyar, Bali, since1991. He is also skilled in photography and painting. He has a close relationship with the royal family of Abian Base, Gianyar, and his work reflects his love of Bali.

Hofker, Willem Gerard (The Hague, The Netherlands, 1902 - Amsterdam, The Netherlands, 1981)He studied at the Academy of Arts in The Hague and the Academy of Fine Arts in Amsterdam. Hofker arrived in Indonesia in 1938, visited Batavia, Bandung, Bogor and Bali. He lived in Bali 1938-1944 with his wife Maria Hofker-Reuter who was also a painter. During World War II he was interned by the Japanese and put in a camp. Some of the works he made there were shown in the exhibition Nederlanders in Japanse Kampen held in several cities in The Netherlands in 1975 and 1976. Hofker returned to the Netherlands in 1946. In 1978, he published part of his Balinese series: Bali Gezien door Willem Hofker, which is dedicated to his best friend Rudolf Bonnet.

Ida Bagus Made Poleng (Peliatan, Bali, Indonesia, 1915 - 1999)He was born into a family of artists. His father, Ida Bagus Kembeng, was a well-known Balinese painter. Ida Bagus Made studied painting with Rudolf Bonnet, and was a member of the Pita Maha artists society. He received the Dharma Kusuma Award from the Balinese government in 1980. His works can be found at Taman Budaya (Denpasar, Bali), Tropenmuseum (Amsterdam, Holland), Rijksmuseum voor Volkenkunde (Leiden, Holland).

Imandt, Wihelminus Jean Frederic (St. Jansteen, The Netherlands, 1882 - The Hague, The Netherlands, 1967)Imandt went to Indonesia in 1908, where he lived and worked as a painter and drawing teacher at secondary schools. He traveled all over the archipelago, and participated in several exhibitions organized by the Bataviasche Kunstkring in Jakarta from 1920 to 1925. After a stay in The Netherlands from 1928 to 1935 he returned to Indonesia. During World War II he was interned and put in a camp by the Japanese. Around 1946 he returned to The Netherlands, where he settled in The Hague.

Kerton, Sudjana (Bandung, W. Java, Indonesia, 1922 - 1993)Between 1945 and 1949, he worked as a journalist-artist for the newspaper Patriot, Yogyakarta, under Usmar Ismail. In this period, he made documentary paintings, sketches and sculptures depicting scenes of the struggle for independence, which were exhibited at Sono Budoyo Museum, Yogyakarta. Together with Affandi, Hendra Gunawan, Sudarso, Trubus and others in 1947, he co-founded Pelukis Rakyat / Peoples Painters. He was one of the first Indonesian artists to win fellowships to Amsterdam and Paris and later he also received a scholarship to study at the Art Students League in New York. In the late 1970s he returned to Indonesia and built a studio-gallery Sanggar Luhur, on Dago Hill overlooking Bandung.

Krijono (Jakarta, 1951 - 2011)Born into an artist family, his father was a painting collector who owned the Harris Art Gallery and his mother owns a batik factory. In 1970, he studied at the Indonesian Fine Art Academy (Akademi Seni Rupa Indonesia/ASRI) Yogyakarta. His art works are often brightly colored and expressive with his own flamboyant personality

Le Mayeur de Merprs, Adrien Jean (Brussels, Belgium, 1880 - 1958) Le Mayeur studied painting from his father and was also a pupil of Blanc-Garin in Brussels, Belgium. His first visit to Bali was in 1929 and he returned again in 1932, living in Sanur until 1958. In 1935 Le Mayeur married Ni Pollok, a Balinese dancer who was the model for many of his paintings. He had exhibitions in Singapore in 1931 and

1941. Le Mayeur donated his house and studio in Sanur with all his remaining paintings to the Indonesian Government, and it is now the Le Mayeur Museum.

Le Pho (North Vietnam, 1907 - 2001)He studied at the Academy of Fine Arts, Hanoi in 1952, and furthered his study at the Academy of Fine Arts in Paris in 1931. He returned to Vietnam from 1932 to 1937, after which he chose to settle in France. He had exhibited in Paris and throughout France, New York, Chicago, San Fransisco and Buenos Aires.

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

Nadera, Ida Bagus Made (Tegallinggah, Bali, Indonesia, 1905 - 1998)Balinese artist who painted in the Ubud style, he was a member of the Pita Maha artists association. He participated in group exhibitions in Bali, Bandung, Jakarta, Medan, Madiun and overseas at the Fukuoka Art Museum, Japan in 1985. In 1984 he received the Dharma Kusuma Art Award from the government of Bali.

Nasirun (b. Cilacap, C. Java, Indonesia, 1965)Graduated from ISI / Indonesian Institute of the Arts, Yogyakarta in 1994. He has had solo exhibitions in Yogyakarta, Solo and Jakarta, and has participated in group exhibitions in Indonesia, Singapore and The Netherlands. Awards received include Best Painting, ISI Yogyakarta, 1991; McDonald Award, Lustrum X, ISI Yogyakarta, 1994; and he was one of the Top Ten prize winners of the Indonesian Art Awards in 1997.

Ohl, Lucien Frits (Sumatra, Indonesia, 1904 - The Hague, The Netherlands, 1976)Self taught artist, who lived and worked in Palembang, Jakarta and Yogyakarta until 1954. He then left Indonesia and settled in The Hague. Painter, watercolourist and draughtsman in a style reminiscent of the late period of G. P. Adolfs. He made the Indonesian illustrations in J.C. hamels Soldatendominee, The Hague, 1948.

S. Sudjojono (Kisaran, N. Sumatra, Indonesia, 1913 - Jakarta, Indonesia, 1986)From 1925 he studied painting with Yudhokusumo (the artist Kartonos 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 / Peoples 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 communist-sponsored cultural organisation LEKRA / Peoples 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, Sudjojonos work has been exhibited in Jakarta, Bandung, Yogyakarta and Denpasar.

Siew Hock Meng (b. Malaysia, 1942)He studied at the Nanyang Academy of Fine Arts in Singapore. Awards


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received include the National Day Medal for Fine Arts, Singapore in 1977 and a Special Award for Visual Arts from the Nanyang Academy of Fine Arts Alumni Association, Singapore in 1984. He has had solo exhibitions and participated in group exhibitions in Taiwan, Indonesia, Singapore and the USA.

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).

Srihadi Soedarsono (b. Solo, C. Java, Indonesia, 1931)During the Revolution, he fought in the Students Army and was a member of SIM / Young Indonesian Artists. In 1953, Srihadi enrolled in ITB / Bandung Institute of Technology. There, he was influenced by the Cubist-inspired style of his Dutch teacher, Ries Mulder. In 1959 he graduated from ITB. He obtained his masters degree at Ohio State University in the United States where he studied from 1960-1962. His sojourn overseas influenced him to experiment with pure abstraction in the 1960s but he was soon to return to figuration. By the early 1970s he had developed a meditative semi-abstract style with broad sweeps of pure colours. In 1980 he returned to Ohio State University under a Fulbright-Hays Fellowship for a research program. Srihadi has taught at and chaired the art departments in ITB and IKJ / Jakarta Institute of the Arts. He has received many art and achievement awards in Indonesia and overseas. Since 1962, Srihadi has held numerous solo exhibitions in the USA, Indonesia, Australia, The Netherlands, Poland, Germany and Japan. Since 1945, he has participated in group exhibitions in Indonesia, Singapore, Thailand, Philippines, Malaysia, China, Japan, India, Taipei, Korea, Australia, Bahrain, USA, Brazil, The Netherlands, Germany and Switzerland.

Sukada, I Made (Ubud, Bali, Indonesia, 1945 - 1982)He learned to paint from his father, I Gandung who was a traditional Balinese painter. He was also greatly influenced by Dutch painter Rudolf Bonnet in style and subject matter. In 1975 he had a solo exhibition at Museum Puri Lukisan, Ubud and he participated in group exhibitions in Indonesia and The Netherlands

Sunaryo (b. Banyumas, C. Java, Indonesia, 1943)Painter and sculptor who graduated from the Department of Art, ITB / Bandung Institute of Technology in 1969, and became a lecturer there in 1970. He was Head of the Sculpture Department at ITB from 1976 to 1980, and Chairman of the Department of Art at ITB from 1988. Sunaryo studied sculpture, in particular the techniques of carving and sculpting marble, in Carrara, Italy in 1975. He has participated in solo and group exhibitions world-wide. UNESCO and the International Association of Art in Paris, France awarded him a Silver Medal for graphic design in 1978. In 1998 he founded the Selasar Sunaryo Museum in Bandung.

Suwage, Agus (b. Purworejo, C. Java, Indonesia, 1959)Studied graphic design at ITB / Bandung Institute of Technology from 1979 to 1986. Upon graduation, he worked as a freelance illustrator in Jakarta. In 1996, his work was selected as one of the Top Ten winners of the Indonesian Art Awards, and was included in the ASEAN Art Awards in Bangkok, Thailand. He has had solo exhibitions in Jakarta, Bandung, Yogyakarta, Koshigaya City, Saitama (Japan) and Brisbane (Australia), and has participated in group exhibitions in Indonesia, Japan, Korea,

Thailand, Cuba, Malaysia, India, Singapore, The Netherlands, Germany, Mexico and Australia.

van der Does, Willem Jan Pieter (Rotterdam, The Netherlands, 1889 - Zeist, The Netherlands, 1966)He came to Indonesia ca 1918 as a civil servant to survey the country. He participated in several group exhibitions in Jakarta, Medan, Surabaya between 1918 and 1938. He returned to The Netherlands in 1946. He was a painter, illustrator, and draughtsman of harbour scenes, city views and landscapes.

Wichers, Hendrik Arend Ludolf (Hal) (Tarutung, W. Sumatra, Indonesia, 1893-Nijmegen, The Netherland, 1968)He was a pupil of the Rijksacademie in Amsterdam and returned to his native country in 1919, where he lived and worked in Bandung, Semarang and Jakarta. He was a member of Bataviasche Kunstkring and participated in several of their exhibition between 1923 and 1936.

Widayat (Kutoarjo, C. Java, Indonesia, 1919 - Jakarta, Indonesia, 2002) Widayat began his artistic career by painting picturesque landscapes in the Mooi Indie tradition for the tourist market in Bandung. During the Revolution he was an officer in the Indonesian armed forces involved in intelligence work in South Sumatra. His war-time activities included making anti-Dutch propaganda posters and organising dramatic performances to drum up nationalist fervour. Widayat was among the first batch of students at ASRI / Indonesian Academy of Fine Arts, Yogyakarta. He graduated from ASRI in 1954, and then became a teacher in the school and remained a staff member until he retired in 1988. He co-founded the artists group PIM / Young Indonesian Painters in 1952. In 1960 he went to Japan for two years where he studied traditional gardens and ceramics. The Indonesian government presented him with the Anugerah Seni Art Award in 1972. Other awards received include First Prize at the First Indonesian Biennial in 1974; award at the Yogyakarta Biennial in 1986; Lempad Prize awarded by Sanggar Dewata Indonesia in 1987; ASEAN Art Award in 1993; and the Budaya Upa Pradana from the Government of Central Java in 1994.

Winkler, Richard (b. Norrkoping, Sweden, 1969)As a child he was inspired by his grandfather, a painter, who later gave him his first lessons. After high school, he attended the Nyckelviken School of Art where he studied visual arts, and the Beckmans School of Design where he studied fine arts. From 1992 to 1997 he worked as an illustrator for magazines, advertising and television. In 1997 he moved to Bali and became a full-time painter. He has had solo exhibitions in Indonesia and Sweden and has participated in group exhibitions in Sweden, Denmark and Indonesia.

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Lot No. Catalog / Description Top limit of Bid in S$, not including the buyers premium

S$

S$

S$

S$

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Absentee BidsIf you are unable to attend the auction in per-son, 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 of-fers this service as a convenience to clients who are unable to attend the sale, and al-though 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 call-ers risk and must be confirmed by letter, or fax at least 24 hours in advance of the sale.

Fax number for bids only : +65 6737 1859

Using the Absentee Bid FormPlease use the absentee bid form provided and be sure to record accurately the lot numbers and descriptions and the top ham-mer 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 num-bers appear in the catalog.

Please place your bids as early as possible. In the event of identical bids, the earliest received will take precedence. Where ap-propriate your bids will be rounded down to the nearest amount consistent with the Auctioneers bidding increments.

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

shIppInG InstructIon

Please complete this section, and delete where aplicable*

Shipping InformationPlease complete this form and we shall ar-range for the despatch of all your purchase through one of our nominated shipping agents, at your expense.

ChargesI do/do not require* a quotation before the shipment is processed.

Insurance in TransitPlease arrange/do not arrange* transit insur-ance. All lots will be insured at the aggregate price unless otherwise specified.

Postal Consignments OnlyPlease do not remove frames. (Glass will be discarded). Please remove frames and glass.*

Sale DetailsPaddle No. Lot No. Invoice No.

Methods of Despatch Registered post / Airfreight / Commercial Courier*

_______________________________________________________________________Delivery Address

_______________________________________________________________________

_______________________________________________________________________Telephone Fax

_______________________________________________________________________Invoice Address (if different from above)

_______________________________________________________________________Telephone Fax

_______________________________________________________________________Special Instructions:

_______________________________________________________________________

_______________________________________________________________________Signed Date

GuIde for aBsentee BIdders

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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 con-ditions as applicable.

Larasati as agentAs 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 re-sult in contracts made between the seller, through our agency, with the buyer.

Definitions of terms used in these condi-tionsIn the conditions set out below, some terms are used regularly that need expla-nation.

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 rela-tion to a lot; the Buyers Premium means the charge payable by the buyer as a percent-age 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 de-ceive as to authorship, origin, age, period, culture or source where the correct descrip-tion as to such matters is not reflected by the description in the catalog nd which at the date of the auction had a value mate-rially less than it would have had if it had been in accordance with the description in the catalog. Accordingly, no lot shall be ca-pable of being a forgery by reason of any damage and/or restoration work of any kind (including repainting); the Insured Value means the amount that Larasati in its absolute discretion from time to time shall consider to be the value for which a lot should be covered by insurance (whether or not insurance is arranged by us).

BEFORE THE SALE

Examination of goodsProspective 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 representa-tion or warranty regarding the authorship, origin, date, age, size, medium, attribution, genuiness, description, provenance, condi-tion or estimate selling price of any lot.

Catalog descriptionsStatements by us in the catalog or condi-tion report, or made orally or in writing elsewhere, regarding the authorship, ori-gin, 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 giv-en by way of condition report make refer-ence to damage and/or restoration. We pro-vide this information for guidance only and the absence of such reference does not im-ply that an item is free from defects or res-toration nor does the reference to particular defects imply the absence of any others.Buyers Responsibility

Buyers are responsible for satisfying them-selves concerning the condition of the goods and the matters referred to in the catalog description.

AT THE SALE

Refusal of admissionOur 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 admis-sion to the premises or attendance at the auction.

Registration before biddingEvery prospective buyer must complete and sign a registration form and provide identification before making a bid at auc-tion. Prospective buyers should be aware that we usually require buyers to undergo a credit check.

Bidding as PrincipalWhen making a bid, prospective buyer will be accepting personal liability, unless it has been agreed in writing, at the time of regis-tration, that a bidder is acting as agent on behalf of a third party acceptable to us.

Commission BidsIf a prospective buyer gives us instructions to bid on his behalf, by using the form print-ed 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 Buyers invoice will be in Sin-gapore 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

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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. Pro-spective buyers should therefore always attend personally if they wish to be certain of bidding.

Telephone BidsIf prospective buyers make arrangements with us not less than 24 hours before the sale, we shall use reasonable efforts to con-tact the bidders to enable them to partici-pate 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 ConverterAt 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 Singa-pore Dollars. The currency converter is not always reliable, and errors may occur be-yond our control either in the accuracy of the lot number displayed on the converter, or the foreign currency equivalent of Singa-pore Dollars bids.

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

Video imagesAt this auction there will be a video screen. Mistakes may occur in its operation, and we cannot be liable to the buyer regarding ei-ther the correspondence of the image to the lot being sold or the quality of the image as a reproduction of the original.

The auctioneers 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 er-ror or dispute, to put an item up for bidding again.

Successful bidSubject to the auctioneers discretion, the striking of his hammer marks the accept-ance of the highest bid and the conclusion of a contract for sale between the seller and the buyer.

AFTER THE SALE

Buyers PremiumIn addition to the hammer price, the buyer must pay us the buyers premium at a rate of 22% of the hammer price of the lot.

Good and Service Tax (GST) Unless oth-erwise stated in the catalog, GST is payable by the Buyer on the Hammer Price and pre-mium 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.

PaymentFollowing the sale, the buyer must provide us with his or her name and permanent ad-dress 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 buyers premium) within seven days after the date of the sale.

The buyer will not acquire title to the lot un-til all amounts due to us have been paid to us, even in circumstances where we have released the lot to the buyer.

Collection of PurchasesUnless 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 collec-tion, whichever is the earlier, the lot will be entirely at the buyers risk.

Packing and handling We shall use all reasonable efforts to take care when handling and packing a pur-chased lot but remind the buyer that after seven days or from the time of collection, the lot is entirely at the buyers 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 un-paid for more than seven days after the date of the sale; to exercise a lien on any of the buyers property which may be in our possession for any purpose and, following 14 days no-tice to the buyer of the amount outstand-ing 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 Cor-poration) 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 buyers failure to make payment.

Failure to collectWhere purchases are not collected within seven days after the sale, whether or not payment has been made, we shall arrange storage at the buyers expense, and only re-lease the items purchased after payment has been made in full of storage, removal, insur-ance and any other costs incurred, together with payment of all other amounts due to us.

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

LARASATI as agentAs 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 conditionsIn the conditions set out below, some terms are used regularly that need explanation.They are as follows: the Buyer means the person with high-est 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 Buyers Premium means the charge payable by the buyer as a percent-age 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 de-ceive as to authorship, origin, age, period, culture or source where the correct descrip-tion as to such matters is not reflected by the description in the catalog and which at the date of the auction had a value mate-rially less than it would have had if it had been in accordance with the description in the catalog. Accordingly, no Lot shall be ca-pable 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 insur-ance (whether or not insurance is arranged by us).

CommissionWe shall charge the seller commission calculated by reference to the amounts, percentages, terms and conditions of the Consignment Agreement.

BEFORE THE SALE

ExpensesThe seller will bear all costs relating to:a. Packing and shipping the lot to us for sale;b. Any applicable transit insurance and cus-tom duties;c. Packing and shipping the lot if it is re-turned to the seller;d. Any restoration of the lot agreed in ad-vance with the seller;e. Framing;f. Storage of the lot after the sale, where ap-plicable;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 Larasatis policy (ex-plained 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 pol-icy for the amount that we from time to time consider to be its appropriate value. This insured value is not a representation or war-ranty 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 accord-ing 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 ex-piry of seven days after the sale. If the lot has not been sold, it will be at the sellers risk after that time.(iv) We do not accept responsibility and shall not be liable for damage caused by woodworm or changes in atmospheric con-ditions.

Owners InsuranceIf the seller specifically instructs us not to

insure the lot, it shall remain at the sellers risk at all times until buyer had made pay-ment 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 sellers insurers of the terms of this clause.

Sellers representations and warranties regarding the LotThe seller warrants and represents to Lara-sati 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 require-ments, 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 ex-pressed 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 ac-cepted; 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 assur-ance in relation to the price that the lot will eventually fetch.(iii) Upon signing the Consignment Agree-ment, 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 indem-nity basis in respect of all costs and expens-es incurred in putting up the lot for aucti

traditional, modern & contemporary art, saturday, 28 july 2012

Documents

larasati staff

larasati muse investments

larasati fine art auction

insights connections

buyers premiuma buyers

buyers attention

singapore dollars

unqualified attributions