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Works from the Donald Friend Collection including Bali and Southeast Asia — Deutscher and Hackett

Auction House:Deutscher and HackettNumber of lots recorded:174
Sale Title:Works from the Donald Friend Collection including Bali and Southeast AsiaLots with images:174
Auction Location:SydneyPrices available:135
Date:27-Oct-2013
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Kamasan, Bali, Parthayajna, Tabing, c1930s, pigment on European cotton cloth, 105 x 120 cm. Other Notes: This small tabing depicts scenes from the Parthayajna (Arjuna's journey to Mt Indrakila). In the bottom scene the gods Kama and Ratih are on a rock in the Company of eight celestial maidens. In the small left scene above this Arjuna, Twalen and Merdah watch them at play (their charms give rise to doubts about his ability to do penance). In the scene to the right Arjuna emerges from his hiding place and…
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Kamasan, Bali, Arjunawiwaha, Tabing, 1930s, pigment on European cotton cloth, 115 x 125 cm. Other Notes: This painting depicts Supraba seducing Niwatakawaca and the subsequent attack on the demon by Arjuna. The work is characterised by the generous application of red pigment (kincu), the most important colour to Balinese artists
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Kamasan, Bali, Arjunawiwaha, Tabing, c1950s, pigment on European cotton cloth, 115 x 112 cm
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Kamasan, Bali, Palindon, Tabing, c1930s, pigment on European cotton cloth, 147 x 153 cm. Other Notes: Palindon are 12-month calendars depicting the 12 months and the deity associated with that month. The painted scenes for each month illustrate the written predictions. The trees depicted in this painting are characteristic of the experiments undertaken by skilled Kamasan artists in the 1930s with the modern Art styles developing in Balinese villages like Ubud
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Kamasan, Bali, Palindon, Tabing, 1930s, pigment on European cotton cloth, 128 x 168 cm
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Kamasan, Bali, the Landing At Tuban, Langse, early 20th century, pigment on European cotton cloth, 217 x 88 cm. Other Notes: Langse are rectangular cloths used as curtains to screen offering platforms.This painting depicts episodes from the Malat narratives, including the landing at Tuban on the north coast of Java by the King of Malayu. The King of Malayu is a Prince of the Javanese kingdom of Daha who has gone overseas and been adopted as successor by the old King of Malayu. This story provided…
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Bali, Ramayana, Langse, early 20th century, black ink (mangsi) on European cotton cloth, 78 x 456 cm. Other Notes: This cloth depicts scenes from Ramayana showing Rawana on his mount Wilmana accompanied by a servant (parekan) on an elephant. They confront Rama, Laksmana, Hanoman and the other monkeys
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Bali, Bharata Yuddha, Langse, 1930s, pigment on European cotton cloth, 99 x 188.5 cm. Other Notes: the Bharata Yuddha is the great battle between the Pandawa and Korawa families in the Mahabharata epic. The painting depicts the members of the Pandawa side going off to war including Bima, Arjuna, Yudistira (mounted on elephant) and the subsequent battle with Korawa figures including Drusasana, Dertarasta and Bisma. The distinctive tear-shaped filler motifs (aun-aun) on this painting mark it as a work from…
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Bali, Bomakawya, Langse, 1930s, pigment on European cotton cloth, 152 x 128 cm. Other Notes: the Bomakawya (or Bomantaka) is an epic narrative relating the battle between Kresna and the Boma. The top-right scene of the painting shows Kresna enter the battlefield. The left scene is the decisive battle between Kresna in his angry thousand-headed (pamurtian) form as Wisnu on his vehicle Garuda. Wisnu (Kresna) strikes Boma on the head and his Crown falls off allowing Garuda to snatch the wijayamala flower and…
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Kamasan, Bali, Adiparwa, Ider-Ider, c1930s, pigment on European cotton cloth, 28 x 950 cm. Other Notes: the first part of the epic Mahabharata is known as the Adiparwa and contains stories about the origins of the world and the great Kings of the mythological past. This painting depicts the story of the mystical bird Garuda, who hatched from an egg laid by his mother Winata. Upon crawling from the egg the massive bird was immediately hungry and his mother sent him to ask his father, the sage Kasyapa, to…
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Possibly Gianyar, Bali, Arjunawiwaha, Ider-Ider, early 20th century, pigment on European cotton cloth, 24 x 673 cm. Other Notes: This cloth depicts scenes from the Arjunawiwaha, beginning with the arrival of Supraba at the palace of the demon Niwatakawaca with instructions to seduce him. The style of this painting suggests it was produced in a village away from the centre of classical painting in Kamasan
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Kamasan, Bali, Ramayana, Ider-Ider, mid 20th century, pigment on European cotton cloth, 37 x 566 cm. Other Notes: This cloth depicts Rama, Laksmana, Hanoman and other monkey generals engaged in a vigorous battle, the final scene of the cloth features Rawana in his chariot
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Kamasan, Bali, Sri Tanjung, Ider-Ider, early 20th century, pigment on Balinese cotton cloth, 28 x 108 cm. Other Notes: Ider-ider are narrow-strip paintings hung around the eaves of pavilions (bale), and enclosed shrines (gedong), and May be up to fifteen metres in length. The narratives depicted on them are viewed by moving along the painting from right to left, sometimes in reverse order, or in complex combinations of these. This painting is a fragment of a longer cloth and depicts a row of courtly…
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Kamasan, Bali, Ramayana, Ider-Ider, 1970s, pigment on European cotton cloth, 29 x 290 cm. Other Notes: This painting depicts the capture of Sita by Rawana in the guise of an old man, witnessed by the powerful bird Jatayu who attempts to prevent the kidnap
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Kamasan, Bali, Bima Swarga, Ider-Ider, 1930s, pigment on European cotton cloth, 18 x 206 cm. Other Notes: This cloth depicts scenes from the Mahabharata relating the journey of Bima to the afterlife to rescue the souls of his father Pandu and stepmother Madri. Bima is accompanied by his two servants and witnesses the punishments meted out to human souls, including people being struck with steel blades (kris) falling from a tree
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Possibly Batuan, Bali, Arjunawiwaha, Ider-Ider, mid 20th century, pigment on European cotton cloth, 28 x 208 cm. Other Notes: the scenes depicted on this cloth begin with the (invisible) Arjuna overseeing Suprabha's seduction of Niwatakawaca, followed by Arjuna shooting Niwatakawaca and his marriage to the nymphs. This is another finely executed example of the classical style of painting from outside Kamasan
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Kamasan, Bali, star calendar (Palelintangan), Tabing, early 20th century, pigment on Balinese cotton cloth, 211 x 138 cm. Other Notes: the Balinese calendar integrates the Indian-derived lunar (saka) calendar with an indigenous system of weekly cycles (wuku) which constitute a 210-day year made up of different sequences of named days. The 210-day year consists of 30 seven-day weeks, each with its own name. Running concurrently with the seven-day weeks are a set of other 'Weeks' of varying numbers of days.…
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Kamasan, Bali, Arjunawiwaha, Tabing, 1930s, pigment on European cotton cloth, 144 x 164 cm. Other Notes: This painting depicts the story of the nymphs sent to tempt Arjuna and disrupt his meditations on the orders of Indra and the other Gods
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Bali, Ramayana, Tabing, 1930s, pigment on European cotton cloth, 139 x 147 cm. Other Notes: the top scene of the painting shows Rama and Laksmana with Jatayu shooting arrows at Rawana. On the bottom left Laksmana has been hit by Rawana's arrow and is healed by Wibisana with a herb collected by Hanoman, the white monkey. On the bottom right Rama uses Indra's arrow to shoot Rawana in his chariot. Tabing are roughly-square cloths most often hung over the wooden backboards of offering platforms
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Bali, 210-day calendar (Tika), ink and pigments on cloth, 90 x 190 cm. Other Notes: a visual representation of the Balinese 210-day calendar (pawukon). The grid in the top left consists of vertical columns to indicate the days of the week, each box is filled with symbols that indicate whether the day is auspicious or inauspicious for conducting specific activities. The keys and interpretation guide to the symbols surround the grid
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Kamasan, Bali, star calendar (Palelintangan), Tabing, mid 20th century, pigment on European cotton cloth, 118 x 158 cm
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Kamasan, Bali, star calendar (Palelintangan), Tabing, 1930s, pigment on European cotton cloth, 130 x 170 cm
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Kamasan, Bali, Laksmana, flag (Kober), c1920s, pigment on European cotton cloth, 67 x 65 cm. Other Notes: rectangular flags (kober) are produced in pairs with the same image on both sides, so a pair of flags consists of four pieces of painted cloth. They usually feature a pair of opposed but complementary figures, expressing duality or balanced opposition. These two works (Lots 191 and 192) feature the figures of Laksmana and a demon general from the Ramayana. Flags are displayed by inserting a bamboo pole…
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Kamasan, Bali, Demon General, flag (Kober), c1920s, pigment on European cotton cloth, 65 x 65 cm
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Kamasan, Bali, Demon General, flag (Kober), early 20th century, pigment on European cotton cloth, 82 x 36 cm
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China, porcelain dish, 15th–16th century, incised decoration under a pearly white glaze, 38 cm diameter
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Possibly Longquan, celadon bowl, 14th–15th century, large bowl with lotus flower motif in centre, 31.5 cm diameter
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Longquan, Southern song celadon bowl, 13th–14th century, shallow bowl with crackle glaze, 13.5 cm diameter
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Possibly Longquan, celadon bowl, 14th century, exterior with fluted texture, glazed interior and exterior, 17 cm diameter
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Zhangzhou, Swatow blue and white dish, late 18th–19th century, decorated in underglaze blue with a dragon in the central roundel surrounded by medallions of flower sprays, 32 cm diameter
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Zhangzhou, Swatow blue and white dish, late 18th–19th century, porcelain with underglaze blue decoration in design of cranes enclosed by a band of peony flowers, 32 cm diameter
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Zhangzhou, Swatow blue and white dish, late 18th–19th century, porcelain with underglaze blue decoration. Central medallion features deer and trees, enclosed by a band of deer figures, 28 cm diameter
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Zhangzhou, Swatow blue and white dish, late 18th–19th century, decorated with design of phoenix in garden surrounded by a band of floral motifs, 39 cm diameter
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Zhangzhou, Swatow blue and white dish, late 18th–19th century, decorated with design of phoenix in roundel, 36.5 cm diameter
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Zhangzhou, Swatow blue and white dish, late 18th–19th century, decorated with central medallion featuring animal figure and a band of geometric design and flower medallions around rim, 29 cm diameter
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Zhangzhou, Swatow blue and white bowl, 16th–17th century, decorated with calligraphic pattern around exterior, 17.5 cm diameter
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Zhangzhou, Swatow blue and white bowl, 16th–17th century, porcelain with underglaze blue decoration in design of repeating floral scrolls on interior and exterior, 16.5 cm diameter
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Zhangzhou, Swatow blue and white bowl, 16th–17th century, porcelain with underglaze blue decoration in stylised flower design, 15 cm diameter
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Zhangzhou, Swatow blue and white bowl, 16th–17th century, porcelain with underglaze blue decoration of Chinese script and depiction of people aboard a boat, 17.5 cm diameter
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Zhangzhou, Swatow blue and white bowl, 16th–17th century, porcelain with underglaze blue decoration with swan in central medallion and landscaped garden scenes on exterior, 17 cm diameter
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Zhangzhou, Swatow blue and white bowl, 16th–17th century, porcelain with underglaze blue decoration consisting of two rings and flowing spiral pattern on exterior, 14.5 cm diameter
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Possibly Vietnam, blue and white bowl, possibly early 15th century, decorated with calligraphic and stylised floral design on inner base and exterior, 13.5 cm diameter
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Zhangzhou, Swatow bowl with overglaze red and green enamels, late 16th/17th century, the central roundel containing a zoomorphic figure and surrounded by a band of fish and Chinese characters with later retouching, 19.5 cm diameter
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Zhangzhou, Swatow bowl with overglaze red and green Enamels, late 16th/17th century, the central roundel containing a zoomorphic figure and surrounded by a band of three fish, 21.5 cm diameter
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Hanoi, blue and white dish, 15th–16th century, decorated with a band of chrysanthemum flowers and leaves below the rim, enclosing a central medallion of a chrysanthemum flower and leaves. The outside has a pattern of cloud designs and chocolate brown slip on base, 25.5 cm diameter
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Zhangzhou, Swatow bowl with overglaze red and green enamels, late 16th/17th century, decorated with Chinese characters and symbols, 39 cm diameter
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Possibly Jingdezhen, covered pot, decorated in green and red enamels on whitish glaze with deer in central band and floral scroll pattern on shoulder. The decorative metal base and lid were made in Bali, 24 cm height
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Thailand, Sawankalok celadon bowl, 16th century, decorated with a central medallion of a lotus flower surrounded by a band of petals. Medium green, glassy glaze, 25 cm diameter
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Possibly Thailand, Sawankalok bowl, possibly 16th century, bowl with pearl white to pale blue glaze, 19 cm diameter
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Possibly Thailand, celadon bowl, possibly 16th century, dark green glaze with white glaze dripping down sides, 13.5 cm diameter
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Thailand, Sawankalok celadon jar, 16th century, globular body and short neck with two ring handles and a band of petals decorating the shoulder. Medium green, glassy glaze, 15 cm height
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Thailand, circular box with lid, 16th century, pale blue glaze interior and exterior, 12.5 cm diameter
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Thailand, circular box with lid, 16th century, pale blue glaze interior and exterior, 11.5 cm diameter
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Lampung, south Sumatra, ceremonial textile, 'ship cloth' (tampan), cotton with supplementary weft patterning. Yellow, red and blue on natural colour cotton base. Depicting a large ship with several creatures on deck and more animals underneath the boat, 60 x 53 cm
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Lampung, South Sumatra, ceremonial textile, 'ship cloth' (tampan), cotton with supplementary weft patterning. Reddish brown on natural colour cotton base. Depicting a large ship with a single human figure and geometric forms, 82 x 68.5 cm
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Lampung, South Sumatra, ceremonial textile, 'ship cloth' (tampan), cotton with supplementary weft patterning. Reddish-brown on natural colour cotton base and a blue border. The cloth depicts two ships, human figures, animals and trees, 69 x 71 cm
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Lampung, Suth Sumatra, ceremonial textile, 'ship cloth' (tampan), cotton with supplementary weft patterning. Red geometric motif on natural cotton, blue, red, yellow in border, 39 x 40 cm. Other Notes: geometric motifs such as a hook or key pattern, swirl, spiral and other motif symbolise the rotation of the cosmos and of the sun
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Krui Districts, South Sumatra, 'ship cloth' (palepai), cotton with metallic yarn (mica) stitched on. Ship cloth featuring a large ship, characterised by a small hull, a central mast with sails and large projections from the prow and stern, 35 x 74 cm. Other Notes: cloths featuring only one ship may have been used exclusively for marriage ceremonies, representing the joining of two families or the Union of male and female elements (Holmgren and Spertus, 1989)
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Lampung, South Sumatra, ceremonial textile, 'ship cloth' (Tampan), cotton with supplementary weft patterning. Yellow, red and blue on natural colour cotton base, depicting two ships and animal figures, 49 x 49 cm
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Bali, Cepuk, cotton, natural dyes, weft ikat. Background of deep red, with a geometric weft ikat design set within a framing structure of stripes, bands and ikat sections. The flower pattern in the centre is made up of vertical rows of lozenges, 113 x 79 cm. Other Notes: These cloths have great protective and exorcistic power and are used in rites of passage. The colours white, red, yellow and green correlate with the Hindu deities Iswara, Brahma, Mahadewa, Wisnu and Siwa. The row of white arrowheads along…
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Bali, lower garment (Saput Songket), silk, gold and silver thread, supplementary weft weave. The pink body of this silk cloth has been decorated with weft ikat in a pattern of flowers, vines and scrolls. The borders are decorated with a tumpal (triangle) design, 131 x 97 cm
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North Bali, ceremonial lower garment / wrap (Saput Songket or Kampuh Songket), silk, silver thread, cotton, supplementary weft weave. Checked pattern with star motifs in silver and pink weft patterns. Balinese aristocrats of the early twentieth century are often shown in photographs wearing a lower garment with these distinctive checked patterns. The large garment is two separately woven pieces joined to produce a single panel, 138 x 155 cm
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Bali, ceremonial Textile, supplementary weft weave. Pink body decorated with cockerel, serpent and tree motif in purple, orange, white and green weft patterns, 282 x 82.5 cm
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Bali, ceremonial Textile, silk, cotton and metal thread. This long violet-coloured panel features a repeated pattern arranged in a grid with an eight-pointed star and tendril motif interspersed with rosettes in dark purple, orange, green and silver threads, 76 x 307 cm
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Sumbawa, Indonesia, Sarong, supplementary weft weave. Cotton plaid with silver yarns forming supplementary weft patterns in the form of an eight-pointed star motif and tumpal (triangle) design. The central band has a body of red with repeating anthromorphic figures in a weft pattern, 133 x 166.5 cm
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Probably Sumbawa or possibly Padang, Indonesia, lower garment, supplementary weft weave. Cloth plainly woven in solid pink with geometric star and diamond motifs and decorative borders. The centre field is more elaborate with a decorated floral and tumpal motif, 114 x 172 cm. Other Notes: Songket is the term used to describe a technique in which additional patterns are woven into a material with supplementary weft threads, either running across the entire width or covering individual parts of the cloth
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Sumbawa, Indonesia, shoulder cloth (Salampe), supplementary weft weave. Plain black centre field edged with decorative border. The elongated centre field is edged with small tumpal (triangle) patterns, and small repetitive geometric motifs in the central area. The darker border areas are patterned with a series of parallel red and maroon bands containing S-shaped hooks and framed by vertical tumpal borders, 154 x 65 cm
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Sumbawa, Indonesia, shoulder cloth (Salampe), supplementary weft weave. Red centre field edged with bands of black and maroon. The whole textile is covered with an alternating grid pattern of star and scroll rosettes, 156 x 56 cm
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Sumbawa, Indonesia, tube sarong in cotton plaid (tembe), supplementary weft weave. Constructed of two woven panels, joined and seamed to form a tube. The large central field is decorated with weft ikat in gold thread with a design of birds and ships. This is in the Bugis or Makassar style of south Sulawesi, which became the dominant Royal style in Sumbawa, 125 x 84 cm. Other Notes: This, and the other Sumbawa cloths collected by Friend, originate from one of the two main court centres on the island of…
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Sumbawa, Indonesia, Tube Sarong, supplementary weft weave. Red body decorated with repeating animal figure motif, the central panel is maroon with deer and tumpal (triangle) design in metallic thread, 183 x 123 cm
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Savu, Sarong, cotton, warp ikat. Motif in white on red (morinda root) bands, alternated with narrow bands in indigo blue. The ikat design band in white is counterbalanced by a plain area and subsidiary bands carrying smaller ikat designs, 147 x 113 cm. Other Notes: the cloth is a flat rectangle made from two pieces of cloth; when used it would be folded and sewn into a tube
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Sumba, tube sarong, cotton, ikat pattern in central band featuring deer motif flanked by red and blue stripes, 120 x 63 cm
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Sumba, man's mantle (Hinggi), cotton, warp ikat, 250 x 115 cm. Other Notes: Sumbanese textiles are amongst the most well known of the East Indonesian ikats with their large figurative designs. Morinda root bark is used to produce the deep red colour. The deer motif is associated with the Sumbanese royalty. This cloth was a favourite of Donald Friend
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Sumba, man's mantle (hinggi), cotton, warp ikat, 264 x 117 cm
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