Note: I can not upload the PDF file regarding with documents and photos of Certificate of Authenticity and Provenance. ============= 1. RESEARCH & ESSAY ========== As the most renowned artist born in Cirebon – West Java in Indonesia, Affandi Koesoema (Cirebon, Jawa Barat, 1907 - 23 Mei 1990) was accustomed to painting by using his own decorative composition and technique. Like on the current piece, Affandi used oil paint to execute images of rustic lakeside village subjects in vividly colored expressionist impasto. The artist employed thick pigment by directly squeezing the pigments out of its tube on the canvas. The present work exemplifies the abstract expressionism style painted in Affandi’s newfound style that is known as “squeezing the tube." As Affandi never painted by using a palette and disliked brushes, the present painting was executed by squeezing with pigments, and then the pigments on the canvas surface was smeared directly by his powerful and dexterously fingers rendering its ribbon-like brushtrokes shape to form the rustic lakeside village scenery in dramatically energy and movement. The present piece also exhibits delicious dense pigments and rich with vibrations representing the enthusiasm and encouragement of Affandi’s works trademark. The artist truly executed it by using his energic involvement to attain a splendid abstract painting style with exotic composition, and he applied the colors in strong hue exploring more dynamic mood on the vibrant rustic lakeside identity in his country. ========== Entitled to “The Rustic Lakeside Village," the present work shows a pleasantly cool nuance, where the village is depicted as a unique abstract composition. The artist’s talented hands and fingers imbued the row of houses while the horse’s chart (Andong) is shown crossing over the street. The village was placed on the edge of the lake adorned with the lush trees, including palm trees and weeds. Whatever our interpretation on the abstract painting, the present work requires us to have an open mind and enter this painting then see where this subject takes us. Thus, the subject on the current work gives us the freedom to explore it and assign our own meaning to this valuable abstract expressionism artwork style. ========== Like the technique applied on the present work, Affandi strongly believed in the moving and bursting energy that flowed during the process of painting. Therefore, applying paint directly from the tube using strokes of fingers and hands directly on the canvas became his preference in order that he could express that burst of energy on canvas.1) Affandi is one of the small group of painters who from 1950 to 1980s succeeded in exhibition his works on regular basis and in gaining critical recognition from connoisseurs and artists around the world. The artist often painted the rural and landscape subjects like the present work, and the subjects have been sought-after in the market. For example, compare with Affandi’s work entitled to “Landscape with Rice Field” (120 x 146 cm) painted in 1982, sold at Borobudur Fine Art Auction, Singapore, 22nd May 2016, lot. 60, with a hammer price US$50,680 (SGD70,000), excluding the buyer’s premium (see fig. 1). Compare with the artist’s work entitled to “Kebun Cengkeh” (size 95 x 140 cm) painted in 1987 was sold at Masterpiece Auction House, the Royale Chulan Hotel Kuala Lumpur – Malaysia, 8th March 2015, lot. 82 with a hammer price US$ 73,332 (MYR 270,000), excluding buyer’s premium (see fig. 2). The village subject of Affandi’s work was more sought-after and gaining the more price record. For example, compare with his oeuvre entitled to “Pagi di Kampung (Morning Day in Village)” (size 100 x 130 cm) painted in 1986 was sold at 33 Auction Singapore, 11th October 2014, lot. 3011 fetching a hammer price US$141,462 (SGD 180,000), excluding buyer’s premium (see fig. 3). However, the present work is different nuance and hue colors from the pieces sold in auction houses. The current piece entitled to “The Rustic Lakeside Village” was painted in 1971 and it artfully plays on elemental joys with a pleasantly villager and dynamic activity that is as original rustic lakeside village in his country, Indonesia. ========== Citation: 1. The Journey of Indonesian Painting: The Bentara Budaya Collection, Efix Mulyadi (Editor), Bentara Budaya, Jakarta (Organization), 2008, p. 277.

Height : +/- 95 cm ========= Width : +/- 142 cm

2. PROVENANCE: PROVENANCE OF ARTWORK Lo Wing Tjong (1851 – 1934) to Liem Guan Kwee (22th September 1901 – 25th March 1985) to Liem Syuhada (12th June 1927 – 22nd April 2000) to Current Owners (Descendants) ========== The present painting was acquired directly from the artist in 8th June 1971 in Yogjakarta, Cental Java, by Liem Guan Kwee (22th September 1901 – 25th March 1987) when he visited Yogjakarta in 1971. He was a son of Lo Wing Tjong (1851 – 1934), a Diplomat and Chinese community leader in Batavia under Guangxu reign (1875 – 1908) of China. The acquisition of the present artwork when Affandi was assigned as Chief of IAPA (International Art Plastic Association), an international agency under UNESCO, in 1969 for three years. ========== In 2001, the present artwork was researched and authenticated by team of National Archaeology, Art and Culture Foundation in person deriving from Southeast Asia artworks, paintings and Chinese ceramics experts. The foundation itself was led by Professor Abu Ridho, an Asian art scholar and consultant, former curator of National Museum of Jakarta – Indonesia, and author of Chinese art books. The physical examination of this artwork and its authenticity is certified on an official letter of statement and agreement that was signed by professor and legalized by public notary ‘Royani, SH’, dated 8th April 2002. In 2004, the government of Republic of Indonesia recorded this legacy especially regarding with its authenticity, historical artwork and the ownership of property or legal rights. This artwork was appreciated and archived officially as a national cultural heritage object by Culture and Museum Agency of Government of Indonesia, Jakarta, number 863/-1-853.3, dated 14th April 2004. ========== In 2017, this artwork that had been signed by Prof. Abu Ridho on Certificate of Authenticity, the present work was also re-researched by one of great grandsons, Faisal Hasan, who was graduated from Master of Art (MA) Program of LASALLE College of the Arts – Singapore with subject of Asian Art Histories. The great grandson re-examined and re-analyzed this artwork by more elaborate manner. This re-examination includes its technical or stylistic analysis, documentary research and comparison with similar artist or periods. All of them are relied on archives, art libraries and reputable art and antique commercial institutions or auction houses enabling to strongly establish its eligible quality and authenticity. ========== All documents and photos of its provenance and certificate of authenticity are included in separated page.