1925 - 1997 INDONESIA. BOOKS, MAPS, PLANS AND VIEWS, PHOTOGRAPHS, PRINTS, DRAWINGS AND PAINTINGS
- Horizontal crease in lower part; yellowed. = Possibly a Chino-Indonesian woman.
- Laid down; sl. foxed mostly in margins; worn spots. = Perhaps the home of a Dutch official.
- Chip in right edge.
- Trifle foxed.
= The 'Panama-Pacific International Exposition' was held in 1915 on occasion of the opening of the Panama Canal. This album focuses mainly on the industry in Indonesia, no doubt for trade purposes, which would benefit greatly from the Panama canal. It shows images of (railway) bridges, plantations (coffee, rubber, cinchona, hemp), but also incl. some nice landscape views and views of the botanical garden "'s Lands Plantentuin" in Buitenzorg.
- Partly foxed; sl. (dust)soiled. = Provenance: the collection of Betty van Garrel and Jan van Geest.
- The four handcol. plates are (sl.) dampstained in lower right corner; two plates also foxed in image.
= The following titles are present: "Gezigt op de noordzijde van het kerkhof te Batavia" (tinted); "Het jaagpad, landingsplaats te Batavia"; "Het Waterloo-plein" (sl. foxed); "Goenong Sahari en de weg naar Jacarta" and "Militaire School te Meester-Cornelis" (both foxed). Rare. See Bastin/ Brommer N595; Landwehr, Dutch Books w. Col. Plates 267; Feith 109.
- Identification on mount.
- All sl. yellowed. = SEE ILLUSTRATION PLATE XLIII.
- Foxed; sl. yellowed.
- Mounts foxed; plates mostly fine. = Bastin/ Brommer p.46 and 204-207.
- Mounts foxed; plates mostly fine. = Bastin/ Brommer p.46 and 204-207.
= Two original designs for etchings from the series Deli en Sumatra's oostkust (Amst., 1928).
= With contemp. annot. in pencil on verso w. title and "(...) landraadvoorzitter. aquarel door hemzelf voor zijn zusje.19-3-'93 het huwelijksaanzoek van zijn logé, studievriend Mr. W. Boekhoudt aan Henriette Charlotte De Veer, gouvernante bij G.G. Pijnacker Hordijk's kinderen."
- A few w. marginal tear/ sl. foxed. Mostly fine.
= I.a. "Het fort Rotterdam te Makasser "De stad Koepang", "Het residentie-huis te Serang" and "De Waterhaalplaats te Goeroe-Goeroe". All in rarely seen contemp. HANDCOLOURING. Bastin/ Brommer p.22-24, 337-338 and passim, note 359 and 360; Tiele 1136; Landwehr, Dutch Books with Col. Plates 459; Loos-Haaxman p.33-34. SEE ILLUSTRATION PLATE XLIV.
- Sm. dam. spot in upper margin.
= Nicely coloured, adorned with gold. "This art form [lukisan kaca], in which paint is applied onto the back surface of a piece of glass and viewed from the front, was first imported from Europe to Asia in the eighteenth century. (...) It is not known how or when reverse painting arrived in Java, Bali, or other islands of Indonesia, though a number of theories exist. (...) Most of the earliest paintings depict wayang figures, closely resembling tlawungan in their composition, although there are also a number representing military conflicts. (...) In other parts of Java [outside of the pasar malam (market in cities)], lukisan kaca made in the last decades of colonialism often depicted contemporary scenes. A very popular subject for central Javanese lukisan kaca to date are the punakawan (clown-servants) of wayang kulit dressed up in the traditional garb of the priyayi elite and partaking in modern diversions. (...) In Cirebon, in contrast, the lukisan kaca form until relatively recently has been used almost exlusively to depict traditional subjects - wayang figures and scenes, batik motifs, Islamic symbols such as the Buran and macan Ali, verses from the Qur'an." (M.I. Cohen, "Traditional and Popular Painting in Modern Java." Archipel 69, no. 1 (2005): 5-38, pp. 31-32).
= Beautiful, vibrant colouring. "This art form [lukisan kaca], in which paint is applied onto the back surface of a piece of glass and viewed from the front, was first imported from Europe to Asia in the eighteenth century. (...) It is not known how or when reverse painting arrived in Java, Bali, or other islands of Indonesia, though a number of theories exist. (...) Most of the earliest paintings depict wayang figures, closely resembling tlawungan in their composition, although there are also a number representing military conflicts. (...) In other parts of Java [outside of the pasar malam (market in cities)], lukisan kaca made in the last decades of colonialism often depicted contemporary scenes. A very popular subject for central Javanese lukisan kaca to date are the punakawan (clown-servants) of wayang kulit dressed up in the traditional garb of the priyayi elite and partaking in modern diversions. (...) In Cirebon, in contrast, the lukisan kaca form until relatively recently has been used almost exlusively to depict traditional subjects - wayang figures and scenes, batik motifs, Islamic symbols such as the Buran and macan Ali, verses from the Qur'an." (M.I. Cohen, "Traditional and Popular Painting in Modern Java." Archipel 69, no. 1 (2005): 5-38, pp. 31-32). SEE ILLUSTRATION PLATE XLV.