Adrien Jean Le Mayeur de Merprès

Acquired directly from the artist in 1948
Private Collection of Mr. N. Metselaar, owner of the 'Koninklijke Drukkerij de Unie en Java Bode'
Private Collection, Singapore

This work is in good overall condition as viewed. There is evidence of light wear and losses along the edges of the work due to abrasions with the frame, but this does not affect the overall image. Upon very close inspection, there are signs of extremely light cracking to pigments at areas of thicker impasto. Examination under ultraviolet light reveals extremely tiny areas of restoration in the centre foreground, at the top of the offering piece and along the edges of the work. However, these are only visible under ultraviolet light. Framed.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The history of modern art in Indonesia is bookended between localized depictions of the archipelago and Western interpretations of the tropical landscape and people. It was the latter that coloured the artworks at the turn of the century. The paintings were a romanticized version of a foreign culture, as well as a travel diary inspired by memories of the landscape. The unadulterated island of Bali, in particular, inspired legions of artists. The legacy of Western artists who resided there helped establish a certain allure about the island that enveloped it within a warm, otherworldly glow. Adrien Jean Le Mayeur de Merprés was one of the foreign artists who captured the island’s beauty. His collection of works provides a visual narrative of the island as experienced and idealized through his eyes.

Le Mayeur’s paintings are celebrated for their impressionistic styles, favoured motif of local women, and a distinct colour palette that is reminiscent of the tropical sunlight upon the foliage, sand, and sea. The present painting, Balinese Beauties Preparing an Offering, is a unique piece from his career, for it is a gentle breakaway from the weavers and dancers motifs that frequently inhabit his works. The women shown in the current piece are involved in an island ritual where they present offerings of fruit and flowers to Hindu deities to grant them protection and happiness. More of an insightful observation from a foreign bystander, than a fictional depiction of an exotic locale, the present work emphasizes the artist’s appreciation of Balinese culture and traditions.

He actively pursued beauty throughout his career, and sought to convey his personal vision in the narratives of his paintings. The Bali that existed in the works was perpetually shown during the day when the sun was at its highest in the sky, casting an orange and pink hue upon the villagers and environment. When looking upon Le Mayeur’s narratives, the audience is able to share with him the physical sensation of the tropical heat and the scent of the flowers that compliment the women who enliven the scenery in his paintings. Balinese Beauties Preparing an Offering perfectly exemplifies these aesthetics. The three women in the narrative are attentive to finishing the details of their offering, each one concentrating on her task at hand.

Le Mayeur’s decision to travel to Bali was destined, for the artist was a great admirer of the French painter Paul Gauguin, whose own body of works inspired many Western artists to become artist-adventurers. The French artist’s collection of paintings dedicated to French Polynesia and Tahiti were the images that initially influenced Le Mayeur to travel abroad and find his own paradise that would nurture his creative soul. He did follow in Gauguin’s footsteps, however realized that those places no longer had the same spirit that resonated in the artworks. Therefore Le Mayeur chose to pave his own way and this initiative lead him to Southeast Asia. He arrived in Bali at the age of 53 and remained there till his passing.

The artist’s women are often depicted in a series of repeated poses throughout the paintings. The present work remains faithful to his favoured compositional layout. Hibiscus, bougainvillea, and frangipani flowers beautifully frame the women, deliberately leading the audience’s gaze to their faces and attire. This compositional layout is akin to scenes found in impressionist paintings that used the natural landscape to accentuate the figures that inhabited the visual narratives. Le Mayeur’s pairing of the Balinese surroundings with the local village women alludes to this school of thought. The lush landscape and richly hued foliage were ideal settings that complimented the village women.

The interaction of these women is reminiscent of the Three Graces who can be found in Greek mythology, their beauty subsequently establishing the precedence for how women are portrayed in the Western art canon. This trinity of womanhood can be found within Le Mayeur’s other paintings as well: one woman is the focal point while her peers are nearby to elevate her presence with their grace and form. It has been well versed that the main woman throughout the paintings was Ni Pollock, the artist’s muse and wife who graced every one of the Bali-inspired works. In the present painting she is embodied by the woman who is standing above the offering with her face visible, and pink turban and gold earrings clearly defined.

Balinese Beauties Preparing an Offering is a classic piece from the artist’s oeuvre. The work is homage to the Balinese landscape that provided Le Mayeur with solace to dream and create. The painting possesses all of the hallmarks that have cemented his reputation as one of the leading Western artists in Indonesia during the turn of the century. By finding sanctuary within Gauguin’s paintings and conversely merging the island motif with impressionistic aesthetics, his collection of works can be seen to have come to define an era in the archipelago’s existence. The present piece is a vibrant chapter from the Le Mayeur’s personal story, and an essential part of the island’s history.