1 Draft The Asian Modern I Materials (Integral) © John Clark 2016

2.2 (c. 1811-1880), now

Chronology and notes Apart from other writings, the principal understanding of Raden Saleh has been accomplished by Werner Kraus working chiefly on Indonesian, Dutch, English and German sources; and by Marie-Odette Scalliet, working on Dutch public and secret archives and on the archives of the Dutch Royal House, as well as on Indonesian, French, German, and other European sources.

Modern knowledge about Raden Saleh, rather than hearsay commentary on handed-down rumours or unsubstantiated nationalist statements, is almost entirely due to their efforts, and much of what follows would have been impossible without their work and the directions for inquiry indicated by it.

Precursor discourses domestic

1778 VOC founds the Bataviaasch Genootschap voor Kunsten en Wetenschappen

Terms related to painting in classical Javanese: Ranggâjiwa painter or decorator Citrakara maker of citra, image that is a painter Citraleka image or painting Prabangkara painter Contemporary Javanese words for painter Penyungging, juru sungging, juru gambar (Sanento Yuliman Hadiwardoyo, 1981, 13-14)

Citation from Ma Huan in Yingyai Shenglan, 1416, apparently a description of a wayang-bèbèr or wayang-karèbèt There is a sort of men who paint on paper men, birds, animals. Insects and so on: the paper is like a scroll and is fixed between two wooden rollers three feet high; at one side these rollers are level with the edge of the paper whilst they protrude on the other side. The man squats down on the ground and places the picture before him, unrolling one part after the other and turning it towards the spectators, whilst in the native language and in a very loud voice he gives an explanation of every part; the spectators sit around him and listen, laughing and crying according to what he tells them [Grooneveldt, 1960, 53 in SY, 1981, 14]’ Envoy from the Great King of [Majapahit] brought to Albuquerque on capture of Malaka in 1511, a long cloth on which were painted all his wars with horse and elephant borne palanquins with the king surrounded by four flags and his courtège. (SY, 1981, 17, citation via Dutch translation of Fernão Lopes de Castanheda, 1552, English translation by Thomas East 1580.) European painting commenced interest among high status persons in the archipelago in first decades of 17th century. (SY, 1981, 31)

VOC took Malaka in 1641. Topographical depiction began with architects and draughtsmen such as Johann Wolfgang Heydt, Johannes Rach chief of artillery and painter Carl Friedrich Reimer director of fortifications and hydraulic construction but also a draughtsman during 18th century. (SY, 1981, 32)

Art worlds: Javanese court patronage

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The Javans have made no progress in drawing or painting; nor are there any traces to be found of their having, at any former period of their history , attained any proficiency in this art’. (Raffles 1817/1978, p.472, cited Kraus 1996, p.29)

They are not, however, ignorant of proportions or perspective, nor are they insensible to the beauty and effect of the productions. Their eye is correct and their hand steady, and if required to sketch any particular object, they produce a very fair resemblance to the original. They are imitative, and though genius in this art may not have appeared among them, there is no reason to believe that, with due encouragement, they would not be found less ingenious than other nations in a similar stage of civilization. (Raffles in Kraus, 1996).

They [the Javanese] have a tradition, that the art of painting was once successfully cultivated among them, and a period is even assigned to the loss of it. (Raffles, 473 in Kraus-1996, 30).

Losses of Raffles: his second and larger collection was burnt in the vessel Fame in 1824. It included: ..a superb collection of drawings in natural history, executed under my immediate eye, and intended, with the other interesting objects of natural history, for the museum of the Honourable Court. They exceeded in number two thousand; and having been taken from life, and with scientific accuracy, were executed in a style far superior to anything I had seen or heard of in Europe. (Forge, 1994, 112, citation from Memoir of the life and Public Services of Sir Thomas , by his Widow, London 1830, II, pp.329, 330).

1 Literary references indicate presence of paintings in Java from at least the 1400s. 2 Paintings or tapestries with figuration brought to Indonesian archipelago by Portuguese in 16th century, Dutch brought paintings and many prints, several painters active in Batavia. 3. Surviving forms of Javanese illustration and manuscript decoration in the 18th century 4. Illustrations done for Marsden’s History of Sumatra, 1811 5. The illustrations done for Raffles in 1811-1816 for his History of Java and subsequent variations 6. Work by Adi Warna who illustrated 11 of 34 plates in Crawfurd, History of Indian Archipelago, 1820

Pre-European views of landscape in Java: One should imagine, therefore, not simply a process by which Indic mythological heroes were “localized” by means of Javanizing settings represented on temple reliefs and in narrative poems, but a two-way act of cultural and political appropriation. Indic myths and heroes were appropriated by Javanese kings by being placed in localized, Javanese natural settings and thus transformed into efficacious ancestors. At the same time, Indic epics and heroes themselves helped kings to appropriate the setting for the epical deeds of royal ancestors implied how living kings could view and act within the real countryside of Java. It is in a kingly, Indic, ancestralized as well as Javanized “landscape” that the court poets represented their own religious quest as having taken placed in kakawin. The ordering of the real Javanese “landscape” was itself a central aim of writing and religious questing. (Day 1994, 195)

I do not think that the visualization of the natural world in early Java involved an investigation of natural forces. Certain natural processes were probably of great interest in 3 Draft The Asian Modern I Materials (Integral) © John Clark 2016

early Java: the forging of weapons and the dyeing of natural cloth may well have stimulated close observation of the nature of decay and death as well as speculation about immortality. …Although strong arguments can be made for thinking that “nature” versus “culture” is an essential opposition in early Javanese political thought and temple art, I myself think that every representation of “nature” in early Javanese art is already a “landscape” implying the king’s implicit, ordering presence within the natural world. (Day 1994, 198)

Precursor discourses foreign Art worlds: Dutch post-Napoleonic art schools and salons Nature of the Dutch Romantiek

Training for artists in 1830s RS did not go to the Haagse Teekenakademie (Drawing Academy) for which he was not considered by his patrons, but he studied with from February 1830 and then . Thus RS did not study the nude until at Dresden and , and then lacked the figure painting formation essential for an academy painter. But his patron Baud knew Kruseman by whom his portrait was painted in 1826, that is two years after Kruseman’s return from Rome.

Cornelis Kruseman (1797-1857) was a pupil of the English painter Charles Hodges (1764-1837) who lived in , and at the age of fourteen in 1811 entered the Amsterdam Drawing Academy. He was endowed with less talent than , but he had: a greater desire for refinement and less vigour, displayed a hankering after more pronounced forms and, in the absence of a natural gift for colour, employed hard tones for his biblical and Italian subjects and, in general turned the art of painting into an uncouth classicism. (Marius,18). Kruseman had been in Italy from 1821-1824 and his works showed ‘the influence of Raphael filtered through that of Overbeck and Nazarene painting’ (Marius 17), which had been in high fashion in Rome when he was there. though his ideas were formed upon the Italian masters of the Renaissance and upon Raphael in particular, he lacked the feeling and the technical knowledge necessary to emulate the peculiar qualities of those masters’. (Marius 18) Cornelis Kruseman’s phlegmatic ideas were in the taste of the day: any passion would have disturbed the tranquility of a view of life which demanded that everything should be gentle, pious and noble. (Marius 20) Kruseman was not as talented as a portraitist as his cousin Jan Adam Kruseman (1804-1862) and Jan Willem Pieneman (1779-1853). From 1816, Pieneman was director of the Royal Collection and from 1820, first President of the Royal Academy of Fine Arts as an official painter of grand battle scenes. His student Josef Israëls said that he was a genius who grew up in an inartistic age, and it was not his fault if the times in which he lived prevented him from developing himself. In a society in a state of transformation, where, on the one hand, men, proud of their recovered nationality, asked for topical pictures representing the heroic deeds of the day, while on the other hand, a pious tendency held sway and called for religious or kindred subjects strictly confined to the limits of the middle class virtues, there was no opportunity for the exaltation of painting pure and simple and l’Art pour l’art for once became a misplaced maxim. (Marius 14-15).

His son (1809-1860) enjoyed even greater favour but, 4 Draft The Asian Modern I Materials (Integral) © John Clark 2016

with neither his father’s temperament nor vigour, and, possibly by way of a reaction against the latter’s frequent want of polish, he painted in a soapy and feeble style, especially his royal portraits which are smooth and insipid and devoid of all life. (Marius 16)

Contemporaries judged him differently, one mentioning ‘the brilliant talent of that celebrated painter Nicolaas Pieneman, who has achieved a European reputation with his many famous masterpieces’. (cited Marius 17).

Cornelis Kruseman’s elder brother Johannes Diederik Kruseman (1794-1861) left in 1810 to make his career in the Indies and returned on leave from 1818-1820. He met Raden Saleh on his return to Java. In 1830 went back to the and lived in until 1841, serving in the Ministry of Colonies from 1833. Another pupil of Cornelis, was his cousin Johan Caspar Müller Kruseman (1805-1855), who had also followed courses at the Drawing Academy in The Hague, and went to Java in 1832. Where in 1836 he married J.C.van der Wall in and moved to in 1836. By1850 he was in where he opened a public drawing school together with the local Commissioner of Education. It is not known if he had met Saleh in his cousin’s studio in 1830-1831.

Cornelis Kruseman taught Saleh drawing and painting for six months from 21 April 1830 to 21 October 1831 and Saleh had access to Kruseman’s previous drawings from 1821-1825, including from his two years in Rome. Cornelis Kruseman brought an affection for warm Raphaelesque tones from Italy, and also had his students copy Gerard Dou’s candlelit chiaroscuro scenes even though he himself did not like this manner

Andreas Schelfhout (1787-1870) ‘formed himself as a landscape painter upon Meijer’s seascapes’, (Marius, 75). Johan Hendrik Louis Meijer (1809-1866) had moved to Paris in 1842, where he met Raden Saleh, thereafter (in 1848) to The Hague ‘he used to introduce history-painting into his sea-pieces, but seldom to such an extent as to interfere with his seeking good effects of light’. [Marius-75]. Schelfhout was more conservative but produced two talented students Wijnand J.J. Nuyen (and son-in-law, 1813-1839) and Barthold Jongkind (1819-1891) ‘who for many years was unable to free himself from his master’s method’ [Marius-79], and was considered a precursor of Impressionism by Monet. Nuyen is known for his views of the Normandy coast. Schelfhout was already active as landscape painter before Louis Meijer. Scalliet notes [email, 2016] that in the Dutch first edition of Marius (1903: 140) the author writes that both painters shared similar conceptions about art and that Schelfhout’s big reputation had an influence on the training of the ‘sea-painter’ (zeeschilder) (/…/ de groote vermaardheid van Schelfhout te meer invloed op de vorming van den zeeschilder /…/).

Art Criticism Art criticism in Holland was underdeveloped and,

reduced in the majority of cases to simple summary accounts –anonymous – assorted from commentaries which were often alarmed or [about] ‘safe values’. ‘One dares not imagine how a Théophile Gautier would have reacted to these tedious elegies in their excessive redundancy, to commentaries empty of fantasy and deprived of polemic, and at the accumulation of pictures and exposed by the representatives of a ‘clean, glossy and cold school [of painting]. (Scalliet 2005, 212-213)

Saleh’s inability to render draped curtains which he could not achieve was probably due to the absence of a good, solid academic formation and more less constant inability to paint hands (Scalliet 2005, 225, 227) 5 Draft The Asian Modern I Materials (Integral) © John Clark 2016

Contemporary discourses with period of artist’s activity

Reasons for RS’ despatch to Holland: Marie-Odette Scalliet points out in email correspondence that RS was not sent to Europe. He was granted permission to accompany De Linge : this is the one and only reason of his trip according to the Dutch Colonial archives. Once in , RS asked to stay in the Netherlands and to be educated as a painter through the intermediary of Payen and Baud. RS was supposed to stay as a ‘Pupil of the State’ (i.e. ‘sponsored by the Department of Colonies) for two years and the Dutch thought that he would be useful as a draughtsman and cartographer when he went back to Java after the planned two years. It was RS who wanted to stay as long as possible in Europe. He took advantage of the slow Dutch bureaucracy – and lack of decision once Baud was Governor- General in the Indies in 1833-1836. His unique and extraordinary case became a political issue because of his prolonged stay. RS became indeed ‘too well educated’, and the Dutch were less and less inclined to let him go back to Java. [See Scalliet in Archipel 69 (2005), 254-255]. The ‘Grand tour’ the Dutch offered Saleh was meant to reward him for his successful studies, give him the opportunity to complete them outside the Netherlands, and at the same time keep him longer in Europe. 18 months were planned for Germany, Austria and Paris. Back in The Hague, Saleh would be offered a second tour in Italy. The Dutch could not foresee that Saleh would stay in Germany and Paris for such a long time, which suited them in the end perfectly.

Cornelis Theodoor Elout (1767-1841) Commissioner General of Dutch East Indies, mentions in a letter of 1816 his desire for a landscape painter not a draughtsman [such as A. J. Bik] and indicates a landscapist who he wished could have been persuaded to come, Josephus August Knip (1777-1847) who ‘knew what “the splendours of Switzerland and Italy” were about’. (Scalliet 1999, 39)

The Dutch knew of Raffles’ as yet unpublished researches in Java, and of Alexander von Humboldt’s explorations in The Caribbean, Mexico, and South America which were published in 1807. The Indies’ colonial authorities set up a scientific expedition in for Caspar Georg Carl Reinwardt (1773-1854) in 1819, as ‘Director of Agriculture, Arts and Sciences’. The scientific expedition, with Governor General Van der Capellen’s approval, was with the painter Antoine August Payen (1792-1853) and the draughtsmen, Adrianus Johannes(1790-1872) and Theodoor (Jannes Theodorus) Bik (1796-1875). It travelled in the eastern part of archipelago from 1821-22, accompanied by Jan and Theodoor Bik and in 1824 went to the Moluccas and Celebes with Van der Capellen. in 1824, Payen and Jan Bik went to the Moluccas and Celebes with Van der Capellen while Reinwardt returned to the Netherlands in 1822. [Scalliet-email 2016]

Antoine Payen (1791-1853) was trained as architect in at the Drawing Academy of by (the architect) Bruno Renard (1781-1861) and had won an incentive medal at the salon in 1813. Payen had studied landscape with Henri van Assche (1775-1815) in Brussels and a landscape of his won a first prize at the Brussels salon, a Moonlit view of Marche-les-Dames, left bank of River Meuse. (Scalliet-1999, 47).

Payen was widely read in the landscape theories of Pierre-Henri de Valenciennes (1750-1819), Réflexions et conseils à un élève sur la peinture, et particulièrement sur le genre de paysage, 1799-1800, from whom derived the notion of the ‘landscape portrait’. The landscape had to be represented correctly, but the composition also had to be well arranged and balanced. This meant that objects like trees or shrubs could be rearranged or added, and the landscape could be “decorated” with human figures. The time was not yet ripe for straight open-air painting. (Scalliet, 1999), 48. 6 Draft The Asian Modern I Materials (Integral) © John Clark 2016

Payen left full-oil sketches done in situ but probably for his private use rather than exhibition which are now in the Ethnology Museum (Museum Volkenkunde) in Leiden.

The Reinwardt Commission was followed by others such as C. L. Blume, one of Reinwardt’s assistants from 1819 on, who succeeded Reinwardt as director of the park Botanical Garden at Buitenzorg [now ], and also by the Natuurkundige Commissie voor Nederlandsch-Indië (1820- 1850). This employed several draughtsmen and painters including Pieter van Oort & G. van Raalten on the Salomon Müller expedition to Irian, and A. van Pers on the Schwaner expedition to Kalimantan. They drew flora, fauna and folklore. (SY 1981, 36-37)]

Later, Jan Daniel Beynon (1830-1877), whose family had formerly been in VOC employ and had settled in Batavia since 1751, may have been taught by Hardouin, a local painter of French origin, who did an unsigned portrait of Jan Bik in 1842. Jan Daniel was granted permission to leave Batavia for Holland (in 1848) where he stayed until 1855. He studied at the Amsterdam Drawing Academy with Nicolaas Pieneman who was active in Amsterdam and at The Hague with Cornelis Kruseman. Beynon exhibited in Amsterdam 1852, at The Hague 1853, and again at Amsterdam 1868. There are similarities in his work with landscapes of Barend Koekkoek (1803- 1862) who wrote Herinneringen en mededeelingen van eenen landschapschilder in 1841.

Some notes on Dutch pictorial Taste, 1800s-1850s Translated by Thomas Berghuis

De Leeuw, Ronald; Reynaerts, Jenny; Tempel, Benno, eds., Meesters van de Romantiek: Nederlandse kunstenaars 1800-1850, Rotterdam, Kunsthal, 2005. Including: De Leeuw, Ronald, ‘Het romantisch sentiment’, 11-32 Reynaerts, Jenny, ‘Balanceren op het koord vann de geschiedenis’, 34-36 Tempel, Benno, ‘Nederlandse Romantiek: Een plaatsbepaling’, 73-94

De Leeuw 14 Although art theorists in our country also attached it with the necessary importance, the ‘paternalistic [patriotic] feeling’ [vaderlands gevoel] obtained little resonance in paint on canvas. This definitely related with the lack of a dominant academy, as it firmly organized the art world in France. Neither was there a noticeable state patronage that through official commissions filled that gap. The Dutchman rather put his energy and love in the expression of ‘simplicity and genius [literally: one’s own]’, like in masoning a brick wall with paint or catching the mirroring reflection of a cow in the water, which was also very well saleable. Tr TB

15 The two most famous painters of the large family Kruseman, Jan Adam and Cornelis, are rarely considered as romanticists. They are usually classified as part of the classicists, whereby their position in our painting is deficiently characterised. Looking back at the career of his friend Cornelis Kruseman, L.R. Beynen wrote in 1859: ‘He stood positioned between the ancient and the modern, between the classical and the romantic’. In the oil sketches that Kruseman made for his work, Knoef sometimes recognizes the influence of the English portrait-painter Sir Thomas Lawrence. [cit.] The sketches and the study drawings often promise a romanticist who never quite paints up to his promise [literally: ‘never quite comes out of his paint’]. If we examine Kruseman’s work both thematically and stylistically in relation to the German band of painters of the Nazarenes or the precursors of the English Pre-Raphaelites, these allow better placing of his oeuvre. Tr. TB 7 Draft The Asian Modern I Materials (Integral) © John Clark 2016

15 style of Kruseman rarely defined as among the romanticists, but often as classicism linked to the Nazarenes. Who were often seen as predecessors of the Pre-Raphaelites. 15 Knoef recognized influence of Sir Thomas Lawrence in oil painting studies of Kruseman Of romanticisms ‘expect high doses of sentiment, courage, exoticism and especially in the narrativity [vertolking] of individual emotions’.

16 ‘Dutch art between 1800 and 1850 rarely meets the criteria of emotion and spontaneity. What strikes one about the Dutch is a certain predictability based on traditional sketching’. ‘The Dutch painter was soundly trained in a particular genre and that was not a suitable recipe for an act of painting from which a lot of emotion flowed in an ordered manner’. Tr TB.

16 landscape became instinct with a feeling for nature not a spiritual feeling

20 Kruseman was a catholic outsider who could express the spirit of religion in a Protestant culture.

Reynaerts (p.35) The tendency to emphasize the Dutch [character] took shape in painting where the seventeenth-century masters became great exemplars. Resorting back to the Golden Age naturally offered the opportunity for resumed blossoming, but can also be interpreted as a convulsive clinging to an old identity, caused by a lack of self-confidence. After 1830, this ‘paternalistic [patriotic] feeling’ [vaderlands gevoel] expressed in history paintings were almost always inspired by the famous Northern Dutch, Protestant past. The Dutch landscape was made part of that identity. Both the seventeenth century as well as the contemporary became extremely popular and the undertaking of the debate on the specific characteristic of the Netherlands. Tr TB

35. ‘There was a tendency to exemplify the Dutchness gained from the art of painting in which the 17th century masters were the great exemplars. By grabbing back at the Golden Century, naturally offered the opportunity for a renewal of that flowering, but can also be interpreted as a cramped grasping at an old identity generated out of the lack of self-confidence’. After 1830 this vaderlands gevoel– emotional identity with the Fatherland – was expressed in history pieces, nearly all of which were inspired by the renowned North Dutch Protestant past. The Dutch landscape took its part in that identity. Both the 17th century as well as the contemporary art of landscape painting were extremely popular and inserted in the discussion about Holland’s individual character’. Cf incorporation of Mt Merapi in Saleh’s Arrest of Diponegara background

Tempel 77In the contemporary criticism there is only sporadic mention of [‘de Romantiek’]. Only around 1832 the term pops up. The critics were all amateurs d'art, who judged the art according to established, classical criteria. They used the term Romanticism to identify colouristic use of colour and thick impasto brushwork that, under the influence of the French school of painting around 1830, also had followers in our country; including through followers such as Wynand Nuyen, Andrew Schelfhout and the early John Bosboom, with in their wake Jean Augustin Daiwaille, Antonie Waldorp and Samuel Verveer. The art critics were not only disliking art that went against the traditional [classical] rules (such as exuberant use of colour), but like most of the Netherlands they also were rather anti-French. Partly because of this, the term [Romanticism] did not become popular. Tr TB 8 Draft The Asian Modern I Materials (Integral) © John Clark 2016

------Van Tilborgh, Louis & Jansen, Guido, eds., Op zoek naar de Gouden Eeuw: Nederlands schilderkunst 1800-1850, Zwolle, Wanders Uitgevers, 1986 Koolhass-Grosfeld, Eveline, ‚ ‘Op zeok naar de Gouden Eeuw: de herontdekking van de 17de eeuwswe Hollandse schilderkunst’ 29-49 Hoogenboom, Annemieke, ‘Kunstliefde,eer en gewin: Ideaal en werkelijkheid‘ , 50-61 Ouwerkerk, Annemiek, ‘ “Hoe kan het schoone geprezen, het middelmatige erkend en het slechte gelaakt worden?“ Nedeleranse kunst kritiek in de eerste helf van de 19de eeuw‘ 62-77

Koolhass-Grosfeld 46 Jeronimo de Vries: Critics could establish or destroy an artist with the rise of a competitive art market in the 1830s and 1840s. 46 [Dutch art of the period was] phlegmatic and not excited, conservative or soft. Technique was not too rough but it was nether too realistic

Ouwerkerk 65 before 1830’s criticism was innocent, but there was a narrowing of the position of the artists after 1830 when there was an economic recession and also one in art when the artist hardly got any subsidy and the government did not buy from public exhibitions. During 1830-40 extra initiatives were taken to give the artist a life whereby city councils and artist societies organized exhibitions, and art was raffled off to get rid of over-supply. The position of art critics was to decide whether there was good or bad art and critics were aware that negative critique could damage the position of the artist. Ouwekerk in Op zoek naar de Gouden Eeuw 1986, p. 65,Tr TB

They indeed realized that their criticisms could be crucial, but often startled from the consequences. In their articles they asked for the first time in so many words on who could accurately be able to distinguish good artworks from bad artworks. Subsequently, they resorted to extensive commentaries on organization of the exhibitions, the selection committee, the overall impression of that which was exhibited, the state of the art, and on the public taste. [...] Compared to the sometimes devastating comments that were made on the subject [of the behaviour of exhibition visitors], the discussion of individual works were actually really mild. Ouwekerk in Op zoek naar de Gouden Eeuw 1986, p. 70-71,Tr TB

Catalogus 124 on Cornelis Kruseman by Moll, 1919 Although I painted a farmer’s interior, the task was the same to me as what one calls with vulgarity a ‘historical’ painting; as if that word locates the exceptionality [note: superlative is used] of difficulties, sublimity, etc tr TB

[page unclear] Koberman’s Notes on Italy [1831] translated into Dutch. [Critics saw themselves] as simply loyal subjects to eternal beauty.

151 pamphlet on work at the Exposition of Living Masters, 1824

152 [by 1830s] a display of historical knowledge was important and landscapes included history by reference to famous paintings. This can be seen in the branding of Schelfhout’s nostalgia.

German Romanticism, Düsseldorf School Saleh, in a letter to Baud, [no day, no month, i.e. spring] 1840, writes 9 Draft The Asian Modern I Materials (Integral) © John Clark 2016

The German School [the Düsseldorf school] produces splendid compositions but their colouring is hard and they do not control their mid-tones [Zwischenlicht]. I also dare to say that the German painters are rather poets. The Dutch in contrast are less poetic but can handle colours better and [their paintings] thereby appear more beautiful. (Kraus 1996, 44)

Opposite to France and England, Orientalism and Oriental Studies remained in Germany two divided phenomena. The Orient remained before anything else the romantically defined space of a timeless Eden. It was represented as the archetype of the static, bequietened world, the biedermeierish domestic idyll of the everyday. The few Orientals who at that time strayed into Germany were greeted with a mixture of curiosity and friendliness, and not with the penetrating if also well-intentioned patronising attitude which Raden Saleh must have got to know in Holland. Raden Saleh, the cultured Javanese prince with an inclination towards the arts, representing a closed, secret world which was nonetheless enlightened and moral, appeared in the right role and at the right time on the stage of biedermeierisch sensibility, and used his chance, consciously or unconsciously, with great virtuosity. (Kraus 1996, 48-49)

1873 March 4th, in a letter to Ernest II from Buitenzorg RS states, I came to Europe as a true Javanese and I returned to Java as a real German, (Kraus-1995, 388). Ernst II himself in 1865 characterized Saleh as follows: His disposition was comparable to that of the finest men, honest and loyal, chivalrous and noble in his cast of mind, poetic and childlike oriental in his beliefs, firm and kind in his actions. (Kraus 1994, 388)

Successor discourses A Javanese political prisoner, Suryono Kesai, who was found in a political prison at end of nineteenth century had been a pupil of Raden Saleh (miscellanous note from WK. See also in chronology below for 1873).

Problem of succession of RS Were illustrated magazines from Europe with views of European salons available as means of transmission of academy manners to younger Indonesians interested in art? Wendingen was the Dutch illustrated magazine which may have circulated in Batavia, but unknown from when it was available. The Kunstkringen had no libraries, although there were private libraries. Bataviaasch Genootschap van Kunsten en Wetenschappen may have received Wendingen.

Illustrations of Borobodur were on sale for 50 guilders at 1891 Manufactures’ Exhibition at . See De Loos Haxmann, Verlaat Rapport…

The origin of the phrase Mooi Indië, ‘Beautiful Indies’, was in the title of eleven reproductions of F. van Rossum du Chattel's watercolor paintings which depicted the East Indies and were posthumously published in Amsterdam in 1930. It was later adopted as a term of mocking contempt by Sudjojono from 1939 for colonialist, romantic landscape and genre scenes.

Life history Age of RS RS was with Payen at the earliest from the end of 1819 or June 1820 at the latest when Payen was in Bogor.

10 Draft The Asian Modern I Materials (Integral) © John Clark 2016

RS gave his age as twenty seven when he became a Mason in 1836, i.e RS was born in 1811 and thus eight years old when he first knew Payen. He was possibly presented to the Masonic Lodge by other artists, and the Grand Master was a royal prince, so this patronage might also have been involved (Scalliet notes 4. 12. 2007)

Scalliet adds in her email of 2016, that in a letter addressed to King William III, dated 15 December 1865, Saleh writes that he was 16 years old when he left for Europe (see letter in NA, access nr. 2.10.02, MvK 1801, verbaal 7 September 1866, Lit. A n° 26/1062.). Saleh embarked in Batavia on board Raymond 23 March 1829. He would then have been born in 1813 which is not likely: the letter Saleh wrote to Reinwardt in 1820 is not a letter written by a seven-year old child but rather a letter of a nine- or ten-year old child, unless Saleh was extremely precocious. 11 Draft The Asian Modern I Materials (Integral) © John Clark 2016

Chronology 1811 May, born (1809, inference by Scalliet from declaration on Masonic admittance 1836, Kraus notes birth date by Saleh in his own hand on portrait drawing by Carl Vogel von Vogelstein in 1839, RS was born in Terboyo near Semarang to Sayid Husen bin Alwi bin Awal and Raden Ayu Sarif Husen bin Alwi bin Awal. Both parents were grandchildren of Kyai Ngabehi Kertoboso Boestam (1681-1759) a translator and interpreter for the to which he remained loyal during the 1747 Susuhunan and Chinese uprising, and his family were rewarded by the Dutch thereafter [given land by Semarang]. His foster-father and ‘uncle’, i.e. a cousin in the 2nd or 3rd degree with whom Raden Saleh was brought up, was Raden Adipati Suraadimanggala, Regent of Semarang, who had married a daughter of Prang Wedana, Mangkunegara II of Surakarta. Saleh’s mother was still alive in 1852. There is no word about Saleh’s father in official or private primary sources. Did his father die when Saleh was still an infant? Saleh mentions his mother who also lived in Terboyo, ‘brothers and sisters’, his nephew Raden Said, his ‘uncle’, a grand- father, and other relatives but never his father. 1811-1816 British ruled in Java under Stamford Raffles. Saleh’s cousin may have known drawing via his study at College Fort William (Durromtollah Academy) in Calcutta, where he was sent during time of Raffles. Denmas Saleh [Raden Mas Saleh], the young Javanese Nobleman returned to Semarang with honorary rewards for his proficiency in Geometry, Algebra, and Drawing. [See Java Government Gazette, 11 March 1815, ‘Bengal Extracts. Durrumtollah Academy, Classical, Commercial and Mathematical. In Scalliet-email 2016] 1817 April, Raden Saleh’s future teacher Antoine Payen (1792-1853), leaves for Dutch East Indies. 1819 dated sketch (portrait) of Payen in Soutji [Soetjie or Suci] [West Java] by J. Bik. 1820-1825, RS’s first visual training with Antoine Payen in Bogor [then called Buitenzorg by the Dutch; for the locals it remained Bogor] as also possibly with Adrianus Johannes Bik (1790-1872), Jannes Theodoor Bik (1796-1875). These were artists in the employ of the Department of Agriculture, Arts and Sciences under Reinwardt. The Commission for Natural History of the Netherlands Indies from 1822 was created at Reinwardt’s instigation. RS was entrusted to Payen until his departure from Java in February 1826, and travelled around with him from 1820-1822. 1822-January 1826, settles in with Payen and travelled around West Java with him, staying in Semarang in 1824 (during Payen’s journey to the Moluccas) and 1825. Scalliet notes, 2016, that there is no evidence that Saleh accompanied Payen to in 1823. He was possibly entrusted to resident Robert van der Capellen in Cianjur during Payen’s absence but there is no concrete evidence for either hypothesis. 1826-1829: Saleh might have travelled from Cianjur to Buitenzorg and Batavia but we know nothing of his whereabouts during this period. 1820-1825, RS in Buitenzorg, Bandung and temporarily in Semarang. 1822-ca 1825 RS may have received early schooling at Cianjur, but was not mentioned under list of pupils by resident Robert van der Capellen [Scalliet, 2005, 161, n.29]. 1826 February - 1829 March, RS in Cianjur. 1825 July, Payen was in when it was besieged for three months during at the outbreak of the . 1826 February, Payen left. RS employed at Residence office in Cianjur where he met the missionary Gericke in 1827. Might have visited Batavia if someone took him, but did not live there. 1826 July, arrival of Payen back in Europe (Brussels). 1827 Gericke, sent by the Dutch Bible Society, passes through Cianjur on his way to Solo, and is astonished to encounter ‘Raden Saleh, a young man who paints in a remarkable manner’ [Scalliet, 2005, p.64]. 12 Draft The Asian Modern I Materials (Integral) © John Clark 2016

1829 Baud, responsible for Colonial Affairs [for his career see Scalliet 2005, 174-175], writes a note from The Hague for the Governor J. van den Bosch returning to his post in Java, to employ Saleh, and may have taken up terms of praise used by Payen who had visited since his return. 1829 Payen became an instructor of drawing at a Koninklijk Instituut voor de Marine at Medemblik, Province of North Holland from 1829-1830. 1829 July 20, RS arrives in then Southern Netherlands’ port of Anvers. 1829 December, RS visits and Brussels where met Payen. After this meeting Baud proposed to the King to allow RS to stay in The Hague for two years as a ‘Child of the State’ and given an annual stipend of 2000 florins from Dutch Crown from January 1830, always debited from the budget allocated to the Ministry of the Colonies under the government, not the Crown budget. 1830 January 2, Van den Bosch arrives in Batavia. 1830 January 11, Royal Decree formulated by Baud makes RS ‘Child of State’, no evidence being known that RS was then received by the King. 1830-1831, RS has art training with Cornelis Kruseman (1797-1857), copied works by Dutch painters, including those in the and learnt Raphaelesque colouring and chiaroscuro in manner of Dou. 1830 Spring, De Linge returns to Batavia. 1830 March 28th Prince captured by Lieutenant-General H.M. de Kock. 1830 August 13th, Louis Philippe becomes King of the French 1830 August 24th, Belgian insurrection against Dutch begins after performance of , La Muette de Portici, (The Mute Girl of Portici), a sentimental and patriotic opera set against Masaniello's uprising against the Spanish masters of Naples in the 17th century. [See Wikipedia, ‘Belgian Revolution’] 1830 September 26th, Dutch forces unable to re-take Brussels. 1830 October 4th, Belgian independence unilaterally declared. 1831 July 21th, Leopold of Saxe-Coburg-Saalfeld takes oath as first King of the Belgians. 1831 Saxony joined German Zollverein. 1831 August, Belgians defeated by a Dutch army at Bautersem near Louvain, but the Dutch had to withdraw under threat of French military involvement. Kruseman prepared to make battle picture and went to Paris to consult Antoine Gros and Horace Vernet. Work finished in 1838 but not welcomed and later destroyed in 1950 as not restorable. 1832-1833 RS trained with Andreas Schelfhout (1787-1870). RS learnt framing and gilding in the winter 1832-33. In Schelfhout’s studio met Wijnand Nuyen (1813-1839) future son in law of Schelfhout, and Jongkind (1819-1891) 1832-33 after July, RS leaves family who had hosted him since 1830. RS rented rooms in a house occupied by a family to whom he paid the rent. 1833 October, Payen came to The Hague just as Baud, then Governor-General in the Dutch Indies, had been recommending RS, after some further study of Dutch and mathematics, for study of a few months lithography in Amsterdam, then return to Java. 1833 December 13th, by royal decree Johannes Diederik Kruseman, brother of the painter, appointed to post in Ministry of Colonies, and argues case for RS not going back to Java. 1834 January, departure of Payen who may have completed one canvas in Saleh’s studio. 1834 September 8th, RS has work exhibited at salon in Amsterdam [begun in 1808 by Louis Napoléon, alternating in principle between The Hague and Amsterdam], mentioned in Journal de la Haye, Wednesday 24th September 1834: no.377, a portrait of a man by Radeen [sic] Saleh of Java, found living presently at The Hague. It is perhaps the first time that one sees in this country, and probably in Europe, a painting by an inhabitant of this island… [see Scalliet-2005, p.208] 13 Draft The Asian Modern I Materials (Integral) © John Clark 2016

1832-1839 RS lives independently as a painter in The Hague with monthly government allowance and ‘private’ portraits, landscapes, seascapes and old master copies. He receives government commission to paint portraits of former Governor-General of Indies, Daendels; portraits of Baud and Van den Bosch were done at their request and without payment; participates in The Hague art exhibition. 1835 exhibits a Man reading by candlelight and Portrait of a Man at The Hague exhibition of Masterworks by Living Artists, called ‘Radin [sic] Saleh from Java’ in catalogue. 1836 November 15th, after admission to Masonic Lodge Endracht Maakt Macht [Union makes Force], Saleh gives age as 27 years, indicating possible birth year of 1809. 1837 September 25th-, exhibits Head of an Old Woman in Salon at The Hague. 1837 RS visits Teylers Museum in . 1838 Saleh does government-commissioned group portrait of Ashanti princes Kwasi Boachi, Kwame Poku and Major Verveer which is brought to the King of the Ashanti but later lost. 1839 this year, The Netherlands recognizes the independence of Belgium. 1839 February-March, exhibits Two lions fighting for a prey (a cow or a bull) at ‘Diligentia’ [a learned Society], The Hague 1839 September 23th, A hermit [‘Een kluizenaar’] shown at Salon in The Hague. 1839 May 18th, RS goes from The Hague to Düsseldorf where contact person was Friedrich Willhelm von Schadow-Godenhaus (1789-1862), Director of the Academy. 1839 May 23rd, RS goes from Düsseldorf to Frankfurt to see collection of Johann Friedrich Städel (1728-1816). 1839 June 16th, goes from Frankfurt to Berlin, met Dutch ambassador Count Hendrik Georg de Perponcher Sedlnitzky [until 1842, dies in Dresden in 1856], introduced to art world, worked in Museum in morning and own room in afternoons and evening. 1839 takes part in art exhibition in Berlin (Kunstblatt, 14th October). 1839 September 1st, goes from Berlin to Dresden. 1839 October 14th, activities reported in Schornschen Kunstblatt, [Kraus-1996, p.46]. 1839 October 20th, portrait drawn by Carl Vogel von Vogelstein. 1840 RS sends letters in this and subsequent years to Baud in Malay. Mentions girlfriend, named S. de Vries, in The Hague, who obtained a passport to Germany on 25 April 1839 [Scalliet- email 2016], and who had come to see him in Dresden in 1839. RS will send her back because: I feel it is no good to come to a foreign place, meet honourable and aristocratic men and lie with a woman that reminds me of former sins. I might lose my honour. Therefore I’ll send this woman after a short while back to Holland. [Kraus-1994, p.386, note 19, letter to Baud 18 January 1841] According to a witness who wrote to Baud they lived ‘like husband and wife’ in Dresden for more than one year. She went back to The Hague in June 1841 [Scalliet, 2016] Knew Dutch artists resident in Dresden, Albrecht Schreuel (1773-1853) – whose portrait of Saleh in the summer 1840 Art Exhibition in Dresden was shown at same time as Saleh’s Storm at Sea and, a Lion hunt, and Portrait of a Man- and Daniel van Oosterhoudt (1781- 1850). Mentions demand for his paintings on the subject of Lion Hunt and Fight between Bedouins and Arabs. Reports in newspapers of works. Paintings bought by Coburg Saxon court at Dresden to which Saleh introduced by the Russian Ambassador where he met hereditary Ernst II of Saxe-Coburg and Gotha (b. 1818- r. 1844-1893) who was there for military training. Became acquainted with the Danish painter (1788-1857) who influenced him towards realism. Saleh became known for Hunting, Animal, and Fight Scenes and for Sea Paintings. His paintings were in 1843 characterised by a local reviewer as ‘breathing Life, Tropical Glow and Truth’. 1840-1848 Jean Chrétien Baud (1789-1859) was Minister of Waterways, National Industry and the Marine and Colonies (1840-1842), Minister of the Colonies (1842-1848) 14 Draft The Asian Modern I Materials (Integral) © John Clark 2016

1841 no RS work in exhibition catalogue for Dresden 1841; no RS works in reviews of the exhibition in German published sources] 1841 Louis Gallait (1810-1887) completes The Abdication of Charles V. It was to tour Germany from July 1842 to April 1844 with another painting, Edouard de Bièfve (1808-1888), The Compromise of the Nobles in 1566. [Kraus-2005, p.290] 1842 RS takes part in exhibition in Dresden with patronage of Tiedge Foundation. 1843 February 13, RS letter to Baud mentions friendship with family of Major Friedrich Anton Serre (1789-1863) both in Dresden and at their property in Maxen [since 1819], and being ‘treated like their own son, especially when I am unwell’. The Serre family was a major meeting point of the cultured elite in Saxony, and the visitors included , Robert and , and the Danish sculptor Bertel Thorvaldsen (1770-March 24 1844), whose portrait by Saleh is lost. 1843 February, Gallait and de Bièfve paintings exhibited in Dresden. February, record of RS dressed in Javanese cloths when he was introduced in early February 1842 to the court of King Friedrich August II by the Russian ambassador, in Dutch and German newspapers. 1843 June 26, letter Saleh to Baud, from which it is interesting to learn how Saleh envisaged his future: RS suggests that the government supports him (i.e. pays his allowance) during four more years and that after that he will be able to live from his own resources. 1843 July- RS takes part in exhibition in Dresden. (Reitergefecht zwischen Kozaken und Tscherkessen, Oelgemälde von Raden Saleh, Prinz v. Java) 1843 Sternau in his Kaleidoscop von Dresden (1843) records: A man of the highest interest is the Javanese Prince Saleh, who rails should stay in Germany as the hostage of the King of Holland’. [Kraus-1996, p.41] Scalliet-2016 give the exact quotation as Ein höchst interessanter, oft dort [i.e. in Serre’s house] zu treffender Gast ist der javanische Prinz Saleh, der als Geisel des Königs von Holland in Deutschland sich aufhalten soll. /…/» [Sternau, C.O., (pseudo. Otto Inkermann), Kaleidoscop von Dresden: Skizzen, Berichte und Phantasieen, Magdeburg: Verlag Inkermann, 1843 (2d ed.), p. 44]. 1844 February, said to have left Maxen on orders of Dutch authorities to go to Paris [nothing mentioned in colonial records]. 1844 March 26, reaches Coburg from Dresden as guest of Duke Ernst II of Sachsen-Coburg and Gotha (1818-1893) [cousin and brother-in-law of Queen Victoria, nephew of Leopold I of Belgium, son-in-law of Grand-Duke of Baden]. 1844 April 4-8, met Prince Albert, consort of Queen Victoria. 1844 December 6th goes to The Hague (where received by King Willem II and awarded Order of the Oaken Crown of the Grand-Duchy of Luxembourg), and offers two paintings to the king [Two lions fighting for a bull, possibly exhibited by RS in 1839, and Fight between Cosassaks and Tcherkess mentioned in two letters to Baud of 13 February and 26 June 1943, Scalliet- email, 2016] 1845 beginning this year January 1st, RS left The Hague for Paris via Antwerp, Brussels, Tournai where met former teacher, Payen, [Kraus-1996, Guillot & Labrousse 1997, p.134], also met Jan Bik in Paris on his return from Java at the beginning of 1847. 1845 January 12th, arrives in Paris where RS is welcomed by the Dutch ambassador and an old Dutch acquaintance from Java who helps him to find a hotel. Tries to establish himself, and would be based there off and on until late 1850. 1845 rented lodgings at 3 Rue de Tivoli and a studio 11 Rue du Nord until 15 December 1845 [see letter RS to Baud, 26 December 1845]. This year was visited by young linguist of Malay, Louis Auguste Dozon, and his friend the as yet not well-known poet, Charles 15 Draft The Asian Modern I Materials (Integral) © John Clark 2016

Baudelaire, where they saw a Hunting of a Tiger painting that RS intended to show in the Salon of 1846, but either the painting was refused, or was not finished in time. 1845 March 15th Salon at Louvre opens 1845 March, Horace Vernet departs for a 3-month study tour in North Africa after exposing his La Prise de Samalah d’Abdel el-Kader (21m x 5m) at the spring Salon. 1845 May 1st, Saleh received at court of Louis-Philippe. [Guillot & Labrousse, 1997, p.137] 1845 August to September, second stay in Coburg and Gotha on the occasion of the visit of Queen Victoria. Lady Charlotte Canning, wife of the later first Viceroy of India was taken aback at his presence, In the Gd. Duke of Baden’s room I saw one of the works of Java Prince Ali who lives at Coburg like a tame monkey about the house. Ld Aberdeen was so taken aback the first day to see this black in his Turkish dress instead of handing us coffee, quietly take some to drink himself….. When others are not in uniform he sheds his turban & gold & silver & becomes a regular German Dandy with most Prussian manners He has studied painting with great care & his picture of the Duke and Dss of Coburg with their real black servant & heaps of dead game is a good imitation of Landseer. [Surtees, 1976, p.158 discussed Kraus-1996, p.59-60] 1845 September, visits Count von Leiningen in Amorbach and Grand Duke of Baden in Karlsruhe. 1845 October, returns to Paris. 1845 November, visits studio of Horace Vernet (1789-1863) [Vernet invites Saleh to work in his studio, see letter RS to Baud, 29 Nov. 1845] 1845 December found house and studio (with garden), at no.31 Allée des Veuves [later called Avenue Montaigne] the rent for which RS paid from his allowance and own earnings from his paintings. [Scalliet, 2008] 1846 May 16 The Salon was reviewed by Baudelaire in a booklet of 13 May in which he castigated Horace Vernet [‘The Salon of 1846, XI’ tr. Mayne 93-96]. [RS did not exhibit a painting in 1846. See visit Baudelaire/Dozon supra] This year RS was able finally to enter studio of Vernet at Versailles (where Vernet’s Battle of Isly was to end up after the Salon) who had returned from his North African tour. Also said to have met three artists, possibly H. Scheffer (1798-1862, Dutch), L. Meijer (Dutch, 1809-1866), a famous painter of sea pictures who was in 1847 awarded with the Légion d’Honneur, and a completely unknown artist ‘Ramaix’, probably the sculptor Etienne Jules Ramey (1796-1852) [Scalliet-email 2016. See Guillot & Labrousse, 1997, p.150, corrected] Horace Vernet shown to have been in France this year so Saleh could not have gone with him to Algeria as earlier speculations incorrectly suggested [Guillot & Labrousse, 1997, p.144] Vernet visited The Hague in the summer [July], where he may have met or communicated with Baud [Scalliet-2005, p.255] since Baud quotes sayings by Vernet about RS in his reports. 1847 March- takes part in Salon in Paris, Chasse au cerf dans l’île de Java, 239 x 346 cms, bought by Louis-Philippe, thought to have been seen in the studio before exhibition by Horace Vernet, Paul Delaroche, Claudius Jacquand and other painters. Noticed in review by Théophile Gautier [see Guillot & Labrousse, 1997, p. 138-139], image printed in L’Illustration. 1847 May 25th .-. Takes part in Exhibition of Living Masters in The Hague: De hertenjagt in Indië [Deer Hunt in the Indies, i.e. in the Priangan], (183 x 291 cm), finished in 1846 in Paris and sent to The 16 Draft The Asian Modern I Materials (Integral) © John Clark 2016

Hague as a gift to king William II (who gave it to his son Prince Frederik). The painting showed up in Vienna and was sold at Christie’s Singapore March 1996. [Scalliet, 2016]. 1847 May 12th dated portrait (drawing) by Siegwald Dahl (‘Paris d. 12 Mai / 1847 / S. Dahl’), also signed by Raden Saleh 1847 June 19th, indicates in a letter that involved with new composition on theme of a forest fire and frightened animals which he hopes to take to Willem II the following year. [Scalliet- 2007, p.212] The painting was finished in 1849, and offered to Willem II’s successor in 1850. [Scalliet, 2016] 1847 Very probably after June 19th and before the journey to Britain, RS travels to Tournai where he was invited by an old acquaintance from Bandung, who lived in Tournai, and was a friend of Payen. RS paints Payen’s portrait and at least another painting dated 1847 with inscription on reverse which gives evidence of RS’s stay in Tournai in 1847 [Scalliet, 2016]. 1847 July, visits London with Serre [from Dresden] who invited RS, and where he drew a tiger, a dated drawing in the Amsterdam, and also a tiger dated 19 July 1847 [ now in Kupferstich Kabinett, Kunstsammlungen, Dresden]. Visits Osborne House, Isle of Wight, and Scotland. 1847 September, return to Paris. 1847 Christmas to New Year 1848 [in Maxen], returns from Paris to visit Dresden/Maxen because of severe illness of Friedrich Serre. 1848 January 3rd Saleh mentioned in journal of Carl Gustav Carus (1789-1869), in the company of the Ashanti Prince Boachi who had studied mining in Freiburg, at a concert of Mendelssohn’s Walpurgisnacht . Saleh was supposed to report anti-Dutch expressions by Boachi since the Dutch would not allow Boachi to return to his native country and exiled him for life to the Dutch East Indies, as later noted by Baud on 13th February [Scalliet- 2005, p.154 n.8] 1848 January 3rd, Saleh mentions in a letter to Ernst II ‘the visible proof of his gratefulness’, certainly indicating a painting as a farewell gift. 1848 February 5th at latest, arrives back in Paris but no extant letter and apparently did not observe the February Revolution 1848 February 12th, Saleh admitted as a member of the Royal Academy of Fine Arts in Amsterdam [Scalliet 2016] 1848 February 24th Louis-Philippe abdicates as King of the French and flees to England. Replaced by Napoleon III, first as President of the 2nd Republic and from 1852 as Emperor of Third Empire, until defeat by Prussia in 1870. 1848 March Revolution in Prussia, March 5th German National Assembly meets in Frankfurt. 1848 April universal equal & secret suffrage declared in Prussia, to be rescinded in May 1849. 1848 March 15th takes part in Salon in Paris, Buffle d’Afrique attaqué par des lions, 181 x 293cms. [burnt in Paris in 1931 in Dutch pavilion at Colonial Exposition, Scalliet-2007, p.217]. It was offered to Willem III in 1850 who gave it to the State. 1848 early August, journeys to The Hague for a short meeting with Baud which may have been to arrange matters for upcoming discuss return journey to Java [also to discuss two paintings RS wanted to give to the king. Presence RS with Baud attested by Baud’s note about payment allowance d. 08-08-1848, signed by RS]. 1848 July/August, went to Dresden for farewell visit. Around now, erection at Maxen of a kiosk called Blaue Moschee or Blaues Häusel a ‘garden house in Oriental style’ with Serre’ family motto ‘[For] the Glory of God and Love of Men’ over the door, also written in Old Javanese by Saleh. [Restored 1970, cupbola added 1997]. 1848 August 27th, at Maxen, dated portrait in oil of composer and musicologist Karl Philipp Heinrich Krägen by Raden Saleh. 17 Draft The Asian Modern I Materials (Integral) © John Clark 2016

1848 October 29th, at Maxen, a dated portrait drawing by Siegwald Dahl, also signed Raden Saleh, Maxen, in Latin, Arabic and Javanese script 1848. 1848 November 13th, new constitution introduced in Holland creating a constitutional monarchy based on parliamentary rule. 1848-49 Paris, and longer stay in Dresden and Maxen. Painted Javanese landscape, with Tigers listening to the sound of a travelling group (Javanesische Gegend, wo Tiger eine Gruppe Reisende belauschen) (Lying in Wait (Version A) intended as a gift for Ernst II, 1849 January, Saleh finished dictation of Autobiographical Memoirs with help of his patroness Friederike Serre in Maxen, 300 pages, richly illustrated [lost for the first time after the sale of the seigneurial property in 1881, and after careful reconstitution by the local scholar Trebbin in the 1930s and 1940s, but before it could be printed lost for the second time in the wartime chaos of Maxen in 1945.] Memoirs record, via citations from Trebbin’s notes, How lucky I felt in this lovable Germany family circle. How much decency and [good] manners and also what informality in their dealings and what cheerful comfortable life I found among them!…With what gracefulness and also with what elegance did they know how to encounter the great world! There I learnt to know the distinction between the high European civilizedness [Bildung] and the ancient simple customs of my Fatherland. [Kraus-2004] Another saved extract reads: Two sides, opposite to each other and yet both light and friendly, put their magic spell over my soul. There the paradise of my childhood in the bright sunshine, washed by the Indian Ocean, where my beloved one lives and where the ashes of my ancestors rest. Here Europe’s luckiest countries, where the arts, sciences and educational values shine like diamond jewelry jewellery, to where the yearning of my youth finally brought me; where I was lucky enough to find friends within the noblest circles, friends who replaced father, mother, brothers and sisters. Between these two worlds my heart is split. And I feel urged to offer both sides my loving thanks. I believe that I can do that best by portraying my for my friends in Europe, the simple, innocent life and happiness of my people at home, and by outlining for my countrymen a picture of the wonders of Europe and the nobility of the human spirit. [Kraus- 1996, p.24]. 1849 February 13th, date of drawing in Dresden signed and dated by S. Dahl, ‘19 Oct. 1848’; RS added his signature and date ‘Dresden, 13 Feb. 49’. February late-March early, RS goes to Gotha, therefore not in Maxen for May events. 1849 March 28th, German Constitution passed in Frankfurt, but not recognized by Austria, Prussia, Bavaria, Hannover and Saxony. 1849 Ernst II may have visited Dresden and awarded Raden Saleh the Silver Service Cross of the Household Order of Duke Ernest of Saxony, gift recorded in official letter of April 1st. 1849 April 2nd, German National Assembly offers the German crown under a constitutional monarchy to Friedrich Wilhelm IV of Prussia, who declines. 1849 April 3rd, Ernst II as commander in chief of German forces in border war with accepts the surrender of Danish forces. 1849 late April, RS left Dresden by this time. 1849 May 3rd to May 9th Uprising in Dresden involves Court Conductor , Architect Gottfried Semper declares support. Uprising easily defeated and those leaders not arrested go into exile. RS not in Dresden but Serre circles support constitutional monarchy with strong parliament. [email from Werner Kraus, 7 December 2017] 1849 July 15th, Exhibition of Living Masters in Dresden, RS exhibits Javanese landscape, where Tigers observe a group of travellers [or Lying in Wait (Version A) Kraus-2008, 112 x 156cms], and A Javanese buffalo handler attacked by a Tiger [Scalliet, 2007 p.213, from the 1849 catalogue] 1849 in Luzern for a period [RS writes from Luzern 29 August 1849]. 18 Draft The Asian Modern I Materials (Integral) © John Clark 2016

1849 permission granted by Dutch government for Raden Saleh to return to Java, probably for only three years after which RS intended to return to Europe. [Scalliet, 2008, Scalliet-email 2016] 1850 Paris. 1850 February 25th, Therese von Lützow writes from Batavia to her friend Captain Zöllner about their common friend Raden Saleh in Dresden: Raden Saleh has left behind no good memories here. The Governor has taken umbrage that he has called himself “Prince” on his European visiting card. For the rest people let him have his talent and ability. All Malays who make themselves European (sich europäisieren) are unsuitable for Java and their free-spirited ideas will be held at arm’s length. Accordingly Raden Saleh will also be lost without trace from the Empire because the thinking man is the subject of fear for the Dutch, who demand obedience. [Kraus-2004] 1851 Beginning of. RS back in The Hague where he stays until departure to Java 1851 July 27, RS given title of ‘Royal Painter’ in The Hague by Royal Decree no.262. 1851 October 30th, RS began return journey to Java. 1852 February 15th, arrival in Java, short stay in Batavia and Buitenzorg, then further journey to relatives in Majalengka, Priangan, Semarang, Magelang, Salatiga (until early 1855). 1852 March 18th, Therese von Lützow writes from Batavia to her friend Captain Zöllner in reply to his letter brought by Saleh: Raden Saleh is established in Buitenzorg. The Governor has treated him as a human being in his house; for men of this type, those torn away from their families and who have adopted European habits, they are so unfortunate when they go back into their country and its primitive conditions. The family regards them with mistrust, and European society makes them so much smaller than themselves, than our white regard which alone is worth something, and brown or black here always remain brown or black. In Europe where Saleh was a curiosity he must have more properly thought of his importance. In the Indies he will be as dejected as our African Prince, who studied in Freiburg and now curses his fate in Borneo, that he will be torn away from his family. [Kraus-2004] The African Prince was sent to Borneo against his will whereas RS was never cut off from identity, religion, or family [Scalliet, 2008] 1852 July 7th (-August 23th ), RS guest of relative, regent of Magelang. Visits and Mendut. 1852 August 26 to 1853 April 28, in Semarang. 1853 January, RS stayed for a few days in Salatiga / Central Java, with a relative [letter Saleh to Baud, 19 January 1853] on his way to Semarang. Then until April 1853, RS in Terboyo/Semarang. 1853 July, return journey for short stay in Buitenzorg and Batavia, appointed as Regional Conservator of paintings [see 1856]. May have met Constancia Winckelhaagen in Semarang where RS had spent eight months in 1852/1853. 1853 October 10th -December 11th, Batavia, Portrait of the Regent of Magelang was exhibited at ‘Tentoonstelling van producten der natuur en der industrie van den Indische Archipel’ which had 25,000 visitors. This was the first painting exhibited by RS in Batavia and the talent of the ‘famous painter’ was praised in Dutch newspapers. [Scalliet-email, 2016. The painting was not exhibited by RS but lent by the sitter (the regent)]. 1855 January, return to settle in Batavia and start to restore portraits of Governors General. [De Loos-Haxman, 1941, p.141-143, also Bachtiar-1976, p.62-64] 19 Draft The Asian Modern I Materials (Integral) © John Clark 2016

1855 February 3rd, Javaasche Courant reports death of Prince Diponegoro on 8th January in Makasar. RS refused permission to go and do battle sketches of Java war sites, and the courts of Yogya and Solo were not keen on receiving him [Scalliet-email, 2016]. 1856 early (January), finished restoration contract having never stopped doing portraits on request and for money. Possible beginning, for which no evidence to date, of relationship with his Indo-European ‘first wife’ the widow, Constancia Winckelhaagen [of German origin née von Mansfeldt in Semarang, five children with Nicolaas Winckelhaagen (1802- 1850)]. They had no children, Kraus-2004, suggests Saleh may have been infertile because of possible syphilis contracted in Holland or Dresden, and Scalliet 2016 suggests that Constancia [b.1826] may have not wanted more children. March 11th. RS is informally invited without salary to keep an eye on the collection ‘Landsverzameling’, the national gallery of paintings. RS will be appointed its curator in 1869. RS Started sketches for The Arrest of Pangeran Diponegoro 1857 completion of master work The Arrest of Pangeran Diponegoro [, Istana Presiden] painted for the King of the Netherlands [Bachtiar-1976, p.45, citing letter from RS to Ernst II of March 12th, 1857]. Together with Flood in Java this work was presented to King Willem III. Flood in Java was later shipped to Netherlands in 1863. [Kraus-2005, Archipel, p.287; Scalliet, 2016; permission granted by Governor General (decree 25 November 1862 nr. 18) for shipping Flood in Java to Netherlands]. 1857 August. RS trip to the Priangan, stays in Sumedang and Karangsembung [until end 1857/beginning 1858]. 1858-1865 in Batavia. And sometimes at Buitenzorg. 1858 May members of Austrian Novara expedition visit his studio. 1858 June 11th. RS appointed to make the missing reduced copies of the portraits of governor generals (from the Landsverzameling in Batavia) for the gallery of portraits in palace at Buitenzorg. 1858 chronicler of Batavia writes, ‘Those who completely live for and through art are not to be found here’ [cited Kraus-1996, p. 34, after Weitzel, 1860, 145; Scalliet, 2008] 1859 June 27th J.C. Baud dies in The Hague. 1860 may have visited Ceribon. 1861/2 distancing and severing of relations with Constancia Winckelhaagen whose businesses may have suffered because of racial hostility to their relationship, the subject of extensive speculation for which there are no contemporary testimonies. [Scalliet, 2008], But later testimony of the regent of Bandung (Raden Adipati Aria Martanagara [1845-1926, regent of Bandung 1893-1918]) is in his biography [published in 1923]. He related that as a child he met RS in 1857 in Sumedang and was entrusted to him as a child, in Batavia: according to his memories Constancia lived with RS in 1857, in kampung Gunungsari and not in Cikini. [Scalliet 2016]. 1862 February, members of Prussian expedition visit his studio. 1862 April, construction still being carried out of RS’ large mansion in Cikini/Batavia, perhaps with funds from Constancia who had businesses. She was the legal owner of the house, and put it up for sale in February 1867 and again in 1869. [Scalliet-email, 2016]. Mansion photographed in circa 1863 by Woodbury & Page, and described by American visitor Albert S. Bickmore who visited the house in 1865 [Travels in the East Indian Archipelago, London, 1868, pp. 24-25; on the mansion Cikini, see Bataviaasch Handelsblad, 19-04-1862 Kunstkronijk 1863, p. 62]. 1862 May, exhibits: two landscapes and Flood in Java. Sale was for the benefit of an orphanage. Exhibition not in RS’ house but in Palace Weltevreden. 1862 October, exhibits a landscape in Palace Weltevreden, for a lottery for the benefit of victims of big fire which had destroyed the historical center of Enschede. 20 Draft The Asian Modern I Materials (Integral) © John Clark 2016

1862 this year, D’Almeida visited RS in his studio: After inspecting the paintings [in his studio] he took us into his grounds, which are tastefully laid out, and showed us a new house he was having being built after a peculiar style of his own [D’Almeida, William Barrington, Life in Java: with sketches of the Javanese, London: Hurst and Blackett, 1864, 2 vol.; vol. 2, pp. 292] 1863 March 3rd, patron and friend in Dresden, Major Serre dies. 1864 D’Almeida’s Life in Java appears in London and mentions Saleh’s fluency in French and ability in German and English, latter not as good as German; commission of late Prince Consort, Albert, to paint two subjects; studio was a short distance from the house and was filled with models, busts, frameless and unfinished pictures, together with their appurtenances connected with the fine arts. Two nearly finished paintings, both of which are described in detail: a landscape taken in the province of Kadoe, including the view of Murbaboo and Marapi’ and ‘The other, called the Inundation, represented a touching scene in the melancholy catastrophe in Banjoemas’. ‘I asked him whether there were any other Javanese artists who had obtained proficiency in the art, and he replied, not that he was aware of, adding humorously:- “Café et sucre, sucre et café, sont tout-ce qu’on parle ici. C’est vraiment un air triste pour un artiste”/…/ 1864-65 Saleh publishes 15 coloured and 11 monochrome lithographs of Drawing Models for Javanese Schools, Teekenvorbeelden, drawn by Raden Saleh and lithographed by W.D.Wiemans, as well as 12 lithographs of landscape and tree studies in Batavia: Rahden Saleh, Oost-Indische Boom- & Landscaap-studen, teeken-vorbeelden Batavia: W.D.Wiemans, 1864. 1865 May. RS journeys to Central Java on a permitted ‘artistic’(kunstreis) [i.e. as a painter, not only for the sake of the Batavian Society] and collection tour of art objects and manuscripts for the Batavian Society. 38 manuscripts sent to Board of Batavian Society of Arts and Sciences . Sent a privately acquired manuscript to Ernst II now in Gotha. Carried out palaeontological excavations [which he had learnt from academics in Serre’s circle, also see Bachtiar-1976 69-72], and painted the active volcano Mt Merapi from a safe distance [may have seen Dahl’s painting of Vesuvius with the Bay of Naples in the background when in Dresden]; RS became engaged to Raden Ayu Danoediredjo (Danudirejea) cousin of Sultan of Yogyakarta, Hamengkubuwana VI (1821-1877), who was reported to own eight paintings by RS [Bachtiar, 1976, p.46]. 1865 July 7th, RS accepted as (ordinary) member of the Batavian Society 1865 July, before 15th An officer recently arrived from Europe pays a visit to RS in Tjikini; writes that the house is not yet completely finished. [L.E. Gerdessen, Vijf jaar gedetacheerd: Indische schetsen, Amsterdam: P.N. van Kampen, 1873, pp. 30-33, from Scalliet-email, 2016]. 1866 Austro-Prussian War results in temporary abandonment of Zollverein. 1866 RS back in Batavia. 26 June: RS invited to join meeting of the board of the Batavian Society, and accepted as an Honorary Member of the Society 1867 April RS leaves for second stay in Yogyakarta. marriage to Raden Ayu Danudireja, return to Buitenzorg. Lives for some period until 1869 December. 1868 in Yogyakarta and does some court portraits including those of Sultan Hamengkubuwana VI and his family. Mid-1860s From about now, Saleh may have known photographer Simon Willem Camerik in Yogyakarta. The later painter Abdullah Subrioto, and subsequent father of Basuki Abdullah, was the adopted son of a Doctor, who had been a good friend of the photographer active in Yogyakarta from the early 1860s and Camerik’s pupil, (1845-1912). 1868 end December, RS and wife move from Yogyakarta to Bogor. 21 Draft The Asian Modern I Materials (Integral) © John Clark 2016

1869 Raden Saleh arrested for suspected participation in a farmer’s revolt against the colonial authorities. Innocence quickly proved but this experience burdened him until the end of his life resulting in a deterioration of his art, as he wrote to Ernst II from Naples on 2 June 1877. [Kraus-1996, p.37 note 8; RS described events himself in Tijdschrift voor Nederlandsch Indië II, 1873, p.305-313, described in detail in Bachtiar-1976, p. 47-53] 1870 Exhibition of ‘Old and New Art’ (Oude & Nieuwe kunst) in Batavia. Beynon and Van Kinsbergen members of the organising Committee (absence of RS mentioned in newspaper). 253 oil paintings, 43 drawings, 51 prints & photographs, 13 statues lent by individuals. [Scalliet-email, 2016] 1870 RS did paintings for the Dutch King, Austrian Emperor and King of Prussia/Emperor of Germany 1871 from this year, Raden Saleh planned an ultimate return journey to Europe, making contact with Ernst II, Duke of Sachsen-Coburg and Gotha and sent paintings to the Kings of Germany and Austria. 1871 January German Empire proclaimed at Versailles after Franco-Prussian war. 1871 May 22-23, burning of Tuileries in Paris during the La Commune destroys works by Saleh including two paintings (1869) which had been offered to Napoleon III, and shipped in 1870. 1872 1873 May 22nd, RS asked by Board of Batavian Society of Arts and Sciences for advice about taking a student, the Sundanese, Raden Koesoema di Brata, which RS did on condition that he paid for lodgings and painting materials. RS taught him for a year from January 1st 1874 before RS went to Europe in June 1875, Raden Koesoema di Brata being appointed on 9th November 1878 to teach drawing at school for native teachers in Bandung. RS may also have taught Raden Mangkoe Mihardjo (Koesoema's cousin, both successfully took the drawing teacher examination in 1878) who took part in the Amsterdam exposition in 1883. [SY, 1981, 53] 1874 September 23th. RS asks permission from Dutch authorities to travel to Europe. Authorisation granted by decree Governor General 26 September, and 3 February 1875. 1875 June 4th Raden Saleh departed from Java by French passenger liner with his wife Raden Ayu and their niece Sarinah [and two servants]. 1875 July 10th, arrived in Marseilles and travelled on to The Hague via Lyon [3 days, where he bought silk] and Paris [3 weeks; reported in French and Dutch newspapers]. August 12th arrived in The Hague August 16th Dinner with the Queen at the royal residence Huis ten Bosch [the king was not yet back from Switzerland] September 10. Audience scheduled with Willem III but this did not take place owing to King’s business after his return on 13th and then his further absence. October, guest of Duke Herman of Saxe Weimer Eisenach at Prince Frederik’s summer residence palace Soestdijk 1875 October circa 20th, arrival in Coburg. RS painted Lying in Wait (Version B) [according to WK]. (Version B) is not by Saleh according to technical reports, whilst at Coburg. [Scalliet- email, 2016, see Nicholas Eastaugh & Simon Howell, ‘‘The examination of two versions of Lying in Wait, thought to be by Raden Saleh”, 18th December 2007/Ref.: 071320.02; Nicholas Eastaugh, “The scientific examination of three late paintings by Raden Saleh, in relation to Lying in Wait Version B”, 29th January 2009/Ref.: 1320.4 (unpublished confidential [at that time!] reports)] 1876 November 15th , Raden Saleh departed Rosenau [summer place of Ernst II] near Coburg with wife and Sarinah and all journeyed to Florence [letters from Florence dated 25 26 December 1876, and 27 March, and 8 May 1877] 1877 June July, in Naples (letter from Naples dated 2 June) 22 Draft The Asian Modern I Materials (Integral) © John Clark 2016

1877 October, before now visited Florence, Rome, Naples, and Capri. [Unclear in which month RS travelled from Italy to Paris. He was there in any case in November, and stayed in Paris for more than a year, until his departure for Marseilles to catch a passenger liner from the Compagnie des Messageries Maritimes] 1877 November 14th, Paris (letter from RS to Ernest II) 1878 September, from this month Raden Saleh stayed in Paris with his wife who was ill and needed an operation. 1878 December 25th, left from Paris for Marseilles, from where by mail-boat of Messageries Maritimes to Singapore. 1880 April 23rd, Raden Saleh died in Buitenzorg, buried at Kampung Empang outside the town. Gravestone plaque inscribed to read, with the inscription in Malay and enumeration of descriptions in Dutch. Raden Saleh, Painter of His Royal Highness the King of Holland, Knight of the Order of Oaken Crown, Commander with Star of Franz Josef Order, Knight of the Crown Order of Prussia, Knight of the White Falcon. Deceased in Bogor, April 23, 1880. 1880 July 31, his wife Raden Ayu Danudiredja died.

1883 Ernst II sends four paintings, and the Dutch King Willem III, three paintings by Raden Saleh to the International Colonial and Export Trade Exhibition in Amsterdam, May 1st to late October. In total 19 paintings by RS were exhibited [This exhibition also showed works by Beynon and Payen)].

[The above is mostly after Kraus-2004; Scalliet-2005; Scalliet-conversation 2007; Scalliet-2008, personal communication of 9th July 2008; Scalliet, addenda 2012, 2016 a personal email 28 August 2016 and further corrections of October 2016 both given here as ‘Scalliet-email, 2016’]; Craig-1978, 1981; Wikipedia for standard German political dates, accessed May 2008]. 23 Draft The Asian Modern I Materials (Integral) © John Clark 2016

Raden Saleh Bibliography NB. Dutch names alphabetically listed in bibliography with particle(s) prefixes after initials (or Christian name), e.g. Graaf, H.J., de ; Brakel, Koos, van ; Kuile, O. ter, etc. In a text, always capitalise the particle unless it is preceded by the first name. e.g.: Koos van Brakel, Van Brakel.

Raden Saleh, life and works: ‘Salon de 1847’, ‘A.J.D.’, L’Illustration, vol. IX, no.217, Samedi 24 Avril, 1847, p.418 D’Almeida, William Barrington, Life in Java with sketches of the Javanese, London: Hurst & Blackett, 1864, [vol. II, pp.287-292 describes meeting Saleh]. Bachtiar, Harsja, W., ‘Raden Saleh: Aristocrat, Painter and Scientist’, Majalah Ilmu-Ilmu Sastra Indonesia / Indonesian Journal of Cultural Studies, Jilid IV, no.3, Augustus 1976, p.31-79. Bustaman, Soekondo, Raden Saleh pangeran di antara para pelukis romantik: suatu tinjauan hidup dan karya seorang pelukis romantik / Raden Saleh prince of romantic painters: an introduction to the study of the life and work of a Romantic painters, Bandung: Abardin, 1990. Carey, P.B.R., ‘Raden Saleh, Dipanagara and the painting of the capture of Dipanagara in Magelang’, Journal of the Malaysian Branch of the Royal Asiatic Society, 55, no.1, 1982. Carey, P.B.R., Asal usul perang Java: pembertakan Depoy dan lukisan Raden Saleh [ed. Rhamat Widaya, pengatar, Ong Hok Ham], LKIS, Yogyakarta, 2004 Carey, P.B.R, Daendels and the Sacred Space of Java, 1808-11, political relations, uniforms and the postweg, Nijmegen: Uitgeverij Vantilt & Stichting Daendels, 2013 Glerum, Jan Pieter, ‘Raden Saleh: Javaanse romanticus geliefder dan ooit’, Moesson: Indisch tijdschrift 47, no.12, Juin 2003. Graaf, H.J., de, ‘De leeuwen van Raden Saleh’, Stichting Cultuurgeschiedenis van de Nederlanders overzee (CNO) Verslagen en aanwinsten 1978-1979, Amsterdam, Stichting CNO, 1980 Guillot, Claude & Labrousse, Pierre, ‘Raden Saleh: un artiste-prince à Paris’, in the special issue ‘Destins croisés entre l’Insulinde et la France’, Archipel, 54, 1997 [includes a list of works painted or remaining in France, p.152] Hadiwardoyo, Sanento Yuliman, Genèse de la Peinture Indonésienne Contemporaine: Le rôle de S. Sudjojono, Doctorat de 3e cycle, Paris: École des Hautes Études en Sciences Sociales, 1981. [given above in notes as SY, 1981] Jajak, M.D. ed., Biografi Pelukis Indonesia dari Raden Saleh sampai Dede Eri Supriah, Progress, Jakarta, 2004. Kévonian, Kéram, ‘Raden Saleh, peintre de Mariam Haroutunian’, Archipel, 62, 2001. Kévonian, Kéram, ‘Raden Saleh, témoin de la société arménienne de Java’, Archipel, no.76, 2008. Kraus, Werner, ‘Considering the paintings Lying in Wait (Version A) and Lying in Wait (Version B) by Raden Saleh’, unpublished paper, 2008 Kraus, Werner, Catalogue Raisonnée of Drawings and Paintings by Raden Saleh, unpublished drafts, 2007. Kraus, Werner, ‘Raden Saleh’s interpretation of The arrest of Diponegoro: an example of Indonesian “proto-nationalist” Modernism’, in Archipel 69, 2005, and in Clark, John, Maurizio Pelleggi and T.K. Sabapathy, eds, Eye of the Beholder, Sydney, Wild Peony, 2006. Kraus, Werner, Raden Saleh: Ein Malerleben zwischen zwei Welten, Maxen, Niggermann & Simon, 2004 Kraus, Werner, ‘Der javanische Maler Raden Saleh in Maxen’, unpublished draft, n.d. Kraus, Werner, ‘Raden Saleh (1811-1880). Ein Indonesischer Maler in Deutschland’, Orientierungen, 1, 1996, 29-62. Kraus, Werner, ‘Raden Saleh (1811-1880), A Javanese painter in Germany’, ‘Temporary list of paintings by Raden Saleh’ (May 1996) in Sternagel & Buchari 1996 below. 24 Draft The Asian Modern I Materials (Integral) © John Clark 2016

Kraus, Werner, ‘Raden Saleh: One Javanese – Two Personalities; an exemplary case of the disastrous effects of Dutch language policy in Java’, Ethnologica Bernesia, 4- 1994. Labrousse, Pierre, ‘L’entrée des artistes’, Archipel, 71, 2006. Loos-Haaxman, J. de, ‘Raden Saleh in ’, Vereniging Die Haghe, eds., Jaarboek 1965, 1965, 62-75. Marasutan, Baharudin, Raden Saleh 1807-1880: perintis seni lukis di Indonesia / the precursor of painting in Indonesia, Jakarta, Dewan Kesenian, 1973 Pulle, P.G., ‘Raden Saleh de eerste Javaanse vrijmetselaar’, Thoth: tijdschrift voor vrijmetselaren, 39, no.1, 1988. Scalliet, Marie-Odette [Scalliet-2008b], ‘Le retour du fils prodige: Raden Saleh à Java (1851-1858)’, Archipel, no. 76, 2008 [includes list of his works from 1851-58] Scalliet, Marie-Odette [Scalliet-2008], unpublished corrections and notes to ‘Raden Saleh: notes and chronology’, private communication to John Clark, July 2008 [updated 2012 and 2016!]. Scalliet, Marie-Odette [Scalliet conversation-2007] unpublished conversation notes of John Clark, December 2007. Scalliet, Marie-Odette, ‘Chronique de l’année des tigres: Raden Saleh entre Paris et Dresde’, Archipel, no.74, 2007. Scalliet, Marie-Odette, “Twee brieven en een portret: sporen van Raden Saleh in Leiden”, Bronnen van kennis: wetenschap, kunst en cultuur in de Leidse Universiteitsbibliotheek, Leiden: Primavera, 2006, pp.166-176. Scalliet, Marie-Odette, [Scalliet-2005] ‘Raden Saleh et les Hollandais: artiste protégé ou otage politique ?’, in Archipel, 69, 2005 [includes list of paintings done in Holland 1831-1839] Soedjojono, S., ‘Djaman Raden Saleh dibandingkan dengan djaman peloekis-peloekis angakatan moeda’, and ‘Taman Raden Saleh’ in his Seni Loekis, Kesenian, dan Seniman, Jogjakarta: Penerbit ‘Indonesia Sekarang’, 1946. Soekanto, Dua Raden Saleh, Dua Nasionalis dalam abad ke.19, Suatu halam dan sedjarah Nasional Indonesia, Djakarta, N.V. Poesaka Aseli, 1951 Sternagel, Peter; Buchari, Mahmud, editors, Raden Saleh Bulletin no. 1, Bandung-Berlin, 1996. Supangkat, Jim, ‘Raden Saleh and Romanticism’ in Sternagel & Buchari, 1996. Susanto, Mikke, et al, Pameran Seni Visual: 200 Tahun Raden Saleh : Ilusi-ilusi nasionalisme, Yogyakarta: Jogja Gallery, 2007. Weitzel, A.W.P., Batavia in 1858: schetsen en beelden uit de hoofdstad van Neêrlandsch Indië, Gorinchem: J. Noorduijn & Zoon, 1860 [Scalliet 2008] Winaya, I Ketut, Lukisan lukisan Raden Saleh ekspresi antikolonial, Jakarta: Galeri Nasional Indonesia, 2007.

Painting and other arts in Indonesia in the 19th century: Archer, Mildred & Bastin, John, The Raffles drawings in the India Office Library, London, Kuala Lumpur, Oxford University Press, 1978 Barley, Nigel, ed., The Golden Sword: Stamford Raffles and the East, London, British Museum Press, 1999. Bastin John; Brommer, Bea, Nineteenth century prints and illustrated books of Indonesia, Utrecht & Antwerpen, Het Spectrum, 1979 [annotated bibliography of prints at Tropenmuseum, Amsterdam]. Brakel, Koos, van; Scalliet, Marie-Odette; van Duuren, David; ten Kate, Jeannette, Indië omlijsjt: vier eeuwen schilderkunst in Nederlands-Indië, Amsterdam, Tropen museum, 1999. [English version: Pictures from the Tropics: Paintings by Western Artists during the Dutch colonial Period in Indonesia, 1999] Brommer, Bea, samengesteld, Reizend door Oost Indië, prenten en verhatlen uit de 19e eeuw, Utrecht/Antwerpen, Het Spectrum, 1979 25 Draft The Asian Modern I Materials (Integral) © John Clark 2016

Carey, Peter, A. Payen. Voyage à Djocja Karta en 1825, Paris, Cahier d’ Archipel, 1988. Day, Tony, ‘ “Landscape” in Early Java’, in Gerstle, Andrew, and Milner, Anthony, eds., Recovering the Orient: artists, scholars, appropriations, Chur, Harwood Academic Publishers,1994 Forge, Anthony, ‘Raffles and Daniell: making the image fit’, in Gerstle Andrew, and Milner, Anthony, eds., Recovering the Orient: artists, scholars, appropriations, Chur, Harwood Academic Publishers,1994 Gallop, Annabel Teh, Early views of Indonesia : drawings from the British Library, Honolulu : University of Hawaii Press, 1995 Haaks, Leo & Maris, Guus, Lexicon of foreign artists who visualized Indonesia (1600-1950), surveying painters, watercolourists, draughtsmen, sculptors, illustrators, graphic and industrial artists, Utrecht, Gert Jan Bestebreurtje, 1995 Loos-Haaxman, J. de, Verlaat rapport Indië: drie eeuwen Westerese schilders, tekenaars, grafici, zilversmeden en kunstnijveren in Nederlands-Indië, ‘s-Gravenhage, Mouton, 1968. Loos-Haaxman, J. de, De Landsverzameling schilderijen in Batavia: Landvoogdsportretten en Compagnieschilders, Leiden, A.W. Sijthoff’s Uitgevers, 1941 Nieuwenhuys, Rob; Jacquet, Frits, Java’s onuitputtelijke Natuur, Reisverhalen, tekeningen, fotografieën van Franz Wilhelm Junghuhn (1809-1864), Alphen aan den Rijjn, A.W. Sithoff, 1980. Nieuwenhuys, Rob, Met vreemde ogen: Tempo doeloe, een verzonken wereld: Fotografische documenten uit het oude Indië 1870-1920, 3 vols, Amsterdam, Querido, 1998. Raffles, Thomas Stamford, The History of Java, vols I & II, London 1817/1830, reprint Kuala Lumpur, Oxford University Press, 1978. Ryck, H.W.B., van, De beginfase en Europese periode van de Javaanse schilder Raden Saleh Syarif Bustaman, Master’s thesis, Rijksuniversiteit Leiden, 1986. Scalliet, Marie-Odette, Antoine Payen, peintre des Indes orientales: vie et écrits d’un artiste du XIXe siècle (1792-1853), Leiden, Research School CNWS, 1995. Scalliet, Marie-Odette, ‘Beelden van Oost-Indië: de collectie Bik in het Rijksprentenkabinet’, Bulletin van het Rijksmuseum, 49, 2001. Theuns-de Boer, Gerda; Asser, Saskia, Isidore van Kinsbergen (1821-1905) Fotopionier en theatermaker in Nederlands-Indië / Photo Pioneer and Theatre Maker in the Dutch East Indies, [English & Dutch]Zaltbommel, Uitwegerij Aprilis & Leiden, KITLV Press, 2005. Wall, V.I., van de, Indische landhuizen en hun geschiedenis, Batavia, 1932. Zandvliet, Kees, ed., The Dutch encounter with Asia, 1600-1950, Amsterdam, Rijksmuseum & Zwolle, Waanders Publishers, 2002

Painting in the Netherlands 1800-1880s Blom, Ad, van der; Kurpershoek, Ernest; Thunissen, Claudia, Nederlandse schilderkunst: tussen detail en grandeur, Alphen aan den Rijn, Artrum, 1997 Hogenboom, Annemieke, De stand der kunstenaars: de positie van kunstschilders in Nederland in de eerste helft van de negentiende eeuw, Leiden, Primavera, 1991 [good bibliography]. Immerzeel, J. jr., De levens en werken der Hollandsche en Vlaamsche kunstshilders, beeldhouwers, graveurs en bouwmeesters: van begin der vijftiende eeuw not heden, Amsterdam, Van Kesteren, 1843. Koot, Roman, samenstelling; Dumas, Charles; de Bodt, Saskia, Bibliographie van Nederlands onderzoek naar beeldende kunst en kunstnijverheid, 1700-1990, Utrecht, Vereniging van Nederlandse Kunsthistorici, 2001. Kuile, O., ter, 500 jaar Nederlandse schilderkunst, Amsterdam, Amsterdam Boek, 1975 Laanstra, Willem, Andreas Schelfhout 1787-1870, Amsterdam, Rokin Art Press, 1995 Leeman, Fred; Sillevis, John; De Haagse School en de jonge Van Gogh, Zwolle, Waanders Uitgevers & Gemeente Museum, 2005. Leeuw, Ronald, de, Reynaerts, Jenny; Tempel, Benno, eds., Meesters van de Romantiek: Nederlandse kunstenaars 1800-1850, Rotterdam, Kunsthal, 2005. 26 Draft The Asian Modern I Materials (Integral) © John Clark 2016

Loos, Wiepke, ‘Cornelis Kruseman, predikend in de woestjin’, Bulletin van het Rijksmuseum, 39, 1991. Loos, Wiepke, et al, Langs velden en wegen: de verbeelding van het landschap in de 18de en 19de eeuw, Amsterdam, Rijksmuseum/Blaricum, V&K Publishing, 1997. Marius, C.C.P., Dutch Painters of the 19th Century [1908], London, Antique Collectors’ Club, 1973. Muller, Sheila D., ed., Dutch Art: an encyclopedia, New York, Garland, 1997 [includes short references to major Dutch artists] De Loos-Haaxman, J. (introductory essay] and J Terwen-De Loos [catalogue], Nederlandse Schilders en Tekenaars in de Oost, 17de-20ste eeuw, Amsterdam, Rijksmuseum 1972. Netherlands Yearbook for History of Art, vol. 53, Picturing the exotic 1550-1890; Peasants and Outlandish People in Netherlandish Art, Zwolle, Waanders Uitgevers, 2002. Ouwerkerk, Annemiek, Tussen kunst en publiek: een beeld van der kunstkritiek in Nederland in de eerste helft van de negentiende eeuw, Leiden, Primavera Press, 2003. [good bibliography] Tilborgh, Louis, van, & Janzen, Guido, eds., Op zoek naar de Gouden Eeuw: Nederlandse schilderkunst 1800-1850, Zwolle, Waanders Uitgevers, 1986

French Academy Painting in the 19th century Baudelaire, Charles, Art in Paris 1845-1862, Salons and Other Exhibitions, tr Jonathan Mayne, London: Phaidon Press, 1965. Boime, Albert, The Academy and French Painting in the Nineteenth Century, London: Phaidon, 1971. Des Cars, Laurence, De Font-Réaulx; Papet, Édouard, et al, The Spectacular Art of Jean-Léon Gérôme (1824-1904), Paris: ESFP & Musée d’Orsay, 2010. Duro, Paul, The Academy and the limits of painting in Seventeenth Century France, Cambridge, Cambridge University Press, 1997 Kagesato Tetsurô et al, Nihon kindai yôga no kyôshô to furansu / L’Académie du Japon et les peintres français, Tokyo etc, Bridgestone Art Museum, 1983. Lafont-Couturier, Hélène et al, Gérôme & Goupil: Art and Enterprise, Paris: RMN; Pittsburgh Frick Art and Historical Center; New York: Dahesh Museum of Art, 2001. Miki Tamon, cur., Kindai Nihon Bijutsushi ni okeru Paris to Nihon, Tokyo & Kyoto, Kokuritsu Kindai Bijutsukan, 1973;. Wright, Beth S., Painting and history during the French Restoration: abandoned by the past, Cambridge, Cambridge University Press, 1997

General History, Java & Indonesia Bayly, C.A., ‘Two colonial revolts: the Java War, 1825-30, and the Indian ‘Mutiny’ of 1857-59’, in Bayly, C.A. & Kolff, D.H.A., eds., Two Colonial Empires, Dordrecht, Martinus Nijhoff Publishers, 1986. Carey, P.B.R., The power of prophecy: Prince Dipanagara and the end of an old order in Java, 1785-1855, Leiden, KITLV Press, 2007. Carey, P.B.R., Daendels and the sacred space of Java, 1808-1811, Political relations, Uniforms and the Postweg, Nijmegen: Uitgeverij Vantilt, 2013 Furnivall, J. S., Netherlands India, a study of plural economy, Cambridge, Cambridge University Press, 1939. Gouda, F, Dutch culture overseas : colonial practice in the Netherlands Indies, 1900-1942, Amsterdam, Amsterdam University Press, 1995. Multatuli [Eduard Douwes Dekker], Max Havelaar, (intr. Meijer, R.P.; tr. Edwards, Roy, 1967), Harmondsworth, Penguin, 1987. [important 1860 radical novel with contemporary political effect, for information see http://www.multatuli-museum.nl] Ricklefs, M.C., A History of Modern Indonesia since c.1300, London: Macmillan, 1981, 2nd ed. 1993. Vickers, Adrian, A History of Modern Indonesia, Cambridge: Cambridge University Press, 2005. 27 Draft The Asian Modern I Materials (Integral) © John Clark 2016

Wessing, Robert, ‘A tiger in the heart: the Javanese Rampok Macan!’, Bijdragen tot de Taal- Land- en Volkenkunde, vol, 148, no.2, 1992, 287-308. http://en.wikipedia.org/wiki/Battle_of_Java_%281942%29

General History -Netherlands Kossman, E. H., The Low Countries, 1780-1940, Oxford, Clarendon Press, 1978. Wintle, Michael, An economic and social history of the Netherlands, 1800-1920, demographic, economic and social transition, Cambridge, Cambridge University Press, 2000.

General History, Europe Craig, Gordon, R., Germany 1866-1945, Oxford, Oxford University Press, 1978, 1981. Wikipedia, at en.wikipedia.org entry on ‘Revolutions of 1848 in the German States’.

Asian Contacts with European art before the 20th century [selected] Arnold, Lauren, Princely gifts and papal treasures: the Franciscan mission to China and its influence on the art of the West, San Francisco, Desiderata Press, 1999. Aubin, Françoise, ‘Christian Art and Architecture’ in Tiedemann, R.G., ed., Handbook of Christianity in China, Vol II: 1800 - Present, Leiden:Brill, 2010. Barmé, Geremie, ‘The Garden of Perfect Brightness: A Manchu Vision of China’, in Paroissien, Leon, ed., Visual Arts and Culture, Volume 1, Part 1 (1998), see also http://www.chinaheritagequarterly.org/ No. 8, December 2006: Yuanming Yuan, the Garden of Perfect Brightness Beurdeley, M. &. C, Giuseppe Castiglione, Rutland, Tuttle, 1971. Braat, J., Filedt Kok, J.P., Hofenk de Graaff, J.H., Poldervaart,P., ‘Restauratie, conservatie en onderzoek van de op Nova Zembla gevonded zestiende-eeuwse prenten’, Bullet van het Rijksmuseum, vol. 28, 1980. Cahill, James, ‘Late Ming landscape albums and European printed books’, in Rosenwald, L.J., The Early Illustrated Book, 1982. Cahill, James, The Compelling Image: Nature and Style in Seventeenth Century Chinese Painting, Cambridge, Harvard University Press, 1982 Chen Yuhuan, zhubian, Zhongshandaxue Lishixi, Guangdong bowuguan, bian, Xifangrenyanli de zhongguo qingdiao Views from the West, Beijing, Zhonghua shuju, 2001 Cheng Cunjie, zhubian, Haiyi yizhen, 1820, Gems left by overseas trade: Cantonese export arts and crafts from the 18th to early 20th century, Shanghai, Shanghai guji chubanshe, 2005 Conner, Patrick, George Chinnery 1774-1852: Artist of India and the China Coast, Woodbridge, Antique Collectors’ Bookclub, 1993 Delahaye, Hubert, ‘Du peu d’effet de la peinture occidentale en Chine’ in Jami, Catherine; Delahaye, Hubert, eds., L’Europe en Chine, interactions scientifiques, religieuses et culturelles aux XVIIe et XVIIIe siècles, Paris, Collège de France, 1993. Dongen, van, Paul, ‘Sensitive Plates’: Nineteen Chinese Paintings on Glass, Sassenheim, Sikkens Paint Museum & Leiden, National Museum of Ethnology, n.d. ca.1990s. Edgerton, S.Y., The Heritage of Giotto’s Geometry, [Chapter 8, Geometry and the Jesuits in the Far East], Ithaca, Cornell University Press, 1991. Exploring Marine Art, Hong Kong, Maritime Museum, 2007 Franke, Wolfgang, China and the West, Oxford, Basil Blackwell, 1967 Gilman, S.I. ‚ Lam Qua and the development of westernized medical iconography in China’, Medical History, 30 (1) January 1986. Heinrich, Larissa, ‘Curing Chinese Culture: Lam Qua’s medical portraiture’, in Liu, Lydia, ed., Translating Modernity, Durham, Duke University Press, 2007. Ho Kam-chuen et al, Historical Pictures, Hong Kong Museum of Art, 1999 [3rd ed], 28 Draft The Asian Modern I Materials (Integral) © John Clark 2016

Hsiang Ta (Xiang Da), ‘European influences on Chinese Art of the Later Ming and Early Ch’ing Period’ [original in Dongfang Zazhi , vol.27, no.1, January 10th, 1930, translated by Wang Teh-chao], Renditions no.6, Spring 1976. IJzerman, J.W., ‘Hollandsche prenten als handelsartikel te Patani in 1602’, Gedenkschrift uitegegeven ter gelegenheid van het 75-jarig bestaan op 4 juni 1926 van het Koninklijk Instituut voor Taal-, Land- en Volkenkunde van Nederlandsch-Indië, ’s Gravenhage, 1926 Ishida Mikinosuke, ‘A Biographical Study of Giuseppe Castiglione (Lang Shih-ning), a Jesuit Painter in the Court of Peking under the Ch’ing Dynasty’, Memoirs of the Tôyô Bunko, 1960, p.79-121. Jeyns, Soame, ‘George Chinnery (1774-1852) with emphasis on the Chinese period (1825-1852) and the so-called Chinnery School of Chinese trade painting’, in Watson, W., The Westward Influence of the Chinese Arts, from the 14th to the 18th century , London, Percival David Foundation of Chinese Art, 1973. Kôno Minoru, ed., Chûgoku Yôfûga Hyôgen no Dôny,û Meimatsu kara Shin jidai no kaiga, hanga, sashie- hon, Machida, Machida Shirtisu Kokusai Hanga Bijutsukan, 1995. Kraus, Werner, ‘Chinese influence on early modern / Hou Qua: a Chinese painter in 19th century Java’, Archipel 69, 2005 Kraus, Werner, ‘Einige Bermerkungen zur chinesischen “Trade Art” ’, unpublished ‘finger exercises’, n.d. [source of some German bibliography here]. Lach, Donald F., Asia in the making of Europe, Chicago, Chicago University Press, 1965. Le Comte, L., Das heutige Sina, Nürnberg 1699 Lee, Sai Chong Jack, China trade painting: 1750s to 1880s unpublished PhD thesis, University of Hong Kong, 2005. Loehr, George, ‘Missionary artists at the Manchu Court’, Journal of the Oriental Ceramic Society, 34, 1962-63; Loehr, George, ‘The Sinicization of Missionary artists and their work at the Manchu court during the Eighteeenth Century’, Cahiers d’Histoire Mondiale, vol. VII, no.3, p. 795-815, 1963; Lu, Wenxue, Yuedu he lijie: 17 shiji-19shiji zhongqi ouzhoude zhongguotuxiang [Reading and understanding: The image of China in Europe from the 17th century to the mid-19th century] unpublished PhD thesis, Chinese University of Hong Kong, 2003. Pelliot, Paul, ‘La Peinture et la Gravure Européennes en Chine au temps de Mathieu Ricci’, T’oung Pao, 1922, 1-18; Pirazzoli-T’Serstevens, M., Gravures des Conquêtes de l’Empereur de Chine K’ien-Long au Musée Guimet, Paris, Musée Guimet, 1969. Poel, van der, Rosalien, Twintig export olieverfschilderijen uit China in de collectie van Museum Volkenkunde. Een nadere beschouwing, unpublished BA Thesis, Kunstgeshiednis, Universiteit Leiden, 2007. Qing Imperial Court Painting, 25th Anniversary Special Issue of Orientations, vol.26, no.7, July/August 1995 Ricci, Matteo [Nicola Trigault ed. Latin, 1615, tr. Louis J. Gallagher] China in the 16th Century: The Journals of Matteo Ricci, New York, New York, 1953 Sandrart, Joachim von , Teutsche Academie der Bau- Bild- und Mahlerey Künste, Amsterdam 1679, reprint, München, Saur, 1992. Standaert, Nicolas, ed. Handbook on Christianity in China, vol. I, [see Arts in the Seventeenth Century, Arts in the Eighteenth Century], Leiden: Brill, 2001. Sullivan, Michael, ‘Some possible sources of European influence on late Ming and early Ch’ing painting’, in Proceedings of the International Symposium on Chinese Painting, Taipei, National Palace Museum, 1972, Swiderski, Richard M., ‘The dragon and the straightedge, part 1: a semiotics of the Chinese response to European pictorial Space’, Semiotica 81-1/2, (1990); ‘part 2: The ideological 29 Draft The Asian Modern I Materials (Integral) © John Clark 2016

impetus of linear perspective in late Ming early Qing China’, ibid, 82-1/2 (1990); ‘part 3: Porcelains, horses, and ink stones - the ends of acceptance’, ibid, 82 -3/4, (1990). Ting, Joseph S.P. et al, East Meets West, Cultural relics from the Pearl River Delta Region, bilingual catalogue, Hong Kong, Museum of History, 2005 Topsfield Andrew, ‘Ketelaar’s Embassy and the Farangi theme in the art of Udaipur’, Oriental Art, new series, vol. XXX, no.4, Winter 1984/5. Vinograd, Richard, Boundaries of the Self, Chinese Portraits, 1600-1900, Cambridge, Cambridge University Press, 1992; Yangcheng Fengwu / Souvenir from Canton, Chinese Export Painting from the Victoria & Albert Museum, Guangzhou Meishuguan, 2003

Werner Kraus’ Bibliography from his Werkverzeichnis of Raden Saleh, unpublished draft, 2007 [where not included above] Anon. (1863), ‘Kunst of Java’, Kunstkronijk, N.S. 4. Blumberger, J. Th. Petrus (1922-23), ‘Raden Saleh as portretschilder’, Nederlandsch-Indië Oud & Nieuw, vol VII, pp. 321-323. [concerns portrait (1858) of the Armenian Eleazar Gregory Gasper] Bickmore, Albert S. (1868), Travels in the East Indian Archipelago, London: John Murray. Bintang Djaoeh, J. 1909, ‘Raden Saleh, vermaard schilder’, Oedayana para prajitna, nr. 2, pp. 38-43. Bronbeek Museum (n.d.), Catalogus van het museum. Buddingh, S.A. (1859) Neêrlands-Oost-Indië Reizen 1852-1857, Rotterdam, part 1. Catalogue Singapore (2006), Kwok Kian Chow (Edt.) Encounters. Southeast Asian Art in Singapore Art Museum Collection, Singapore: SAM 2006. Chijs, J.van der (1874), Mijne Reis naar Java in 1869, Utrecht. D’Almeida, William Barrington (1864), Life in Java with sketches of the Javanese, London: Hurst and Blackett, 2 Vol. Escher, B.G. (1931a), ‘De Merapi bij nacht 1865’, Tropisch Nederland, 4. Jaargang, No. 1, 4..Mai 1931. Escher, B.G. (1931b), ‘De Merapi in 1865 over dag’, Tropisch Nederland, 4. Jaargang, No. 2, 21. September 1931. Gedenkboek Billiton (1927), 1852-1927, Billiton Maatschappij, s´Gravenhage. Geller, Hans (1955), Curiosa, Merkwürdige Zeichnungen aus dem 19. Jahrhundert. Leipzig: VEB E.A. Seemann Verlag. Glerum, Jan Pieter (2003), ‘Raden Saleh: Javaanse romanticus geliefder dan ooit’, Moesson: Indisch tijdschrift 47, no.12. Graaf, H.J. de (1978), ‘Busken Huet en Raden Saleh aan het toneel te Buitenzorg’, Moesson, 23. jaargang, No. 1, 15. Juli 1978. Graaf, H.J., de (1968), ‘De overgave van Dipa-Negara’, Tong-Tong, vol.12, no.17. Graaf, H.J., de (1975), ‘Raden Saleh - Prins Djalma’. Tong-Tong, vol. 19.,no. 22. Graaf, H.J., de (1977), De geschiedenis van Ambon en de Zuid-Molukken. Wever. Graaf, H.J., de (1979a), ‘Raden Saleh’s leertijd in Holland’, Moesson, vol.22, no. 19. Graaf, H.J., de (1979b), ‘Raden Saleh terug in Indië’, Moesson, vol. 22, no. 20. Graaf, H.J., de (1979c), ‘Het Semarangse geslacht Bustam in de 18e en 19e eeuw; afkomst en jeugd van Raden Saleh’, BKI 135, 2e en 3e aflevering.. Graaf, H.J., de (1979d), ‘De leeuwen van Raden Saleh’, Stichting Cultuurgeschiedenis van de Nederlanders overzee (CNO), Verslagen en aanwinsten 1978-1979, Amsterdam: Stichting CNO 1980, pp. 52-59. Guillot, Claude & Pierre Labrousse (1997), ‘Raden Saleh, un artiste-prince à Paris’, Archipel 54. Hofmann, Friedrich (1865), ‘Ein Prinz und Maler Indiens’, Die Gartenlaube, No. 25, S.394-97. Holle, K.F. (1864), Tekenvoorbeelden voor het onderwijs in NederIandsch-Indië. Map met zes delen waarvan deel 4 en deel 5 met litho's naar werken en tekeningen van Raden Saleh. 30 Draft The Asian Modern I Materials (Integral) © John Clark 2016

Kalff, S. (1909), ‘Een Javaansch schilder’, Eigen Haard, No.51, 18.12.1909. Kalff, S. (1923), ‘Het huis van Raden Saleh’, Indie, Vol. 7. No. 35, 28.11.1923. Kalff, S. (1931), ‘Eene Schilderij van Raden Saleh’, De Indische Verlofganger, 17.7.1931, p. 985-6. Kant, Renate, (n.d.), Go East-Go West: Zur wechselvollen Schadensgeschichte und Restaurierung des Javanischen Doppelportraits. Unpublished paper. Lijst der schilder- en kunstwerken van nog in leven zijnde Nederlandsche Meesters welke zijn toegelaten tot de Tentoonstelling te Amsterdam van den Jare 1834, Amsterdam 1834. Lijst der schilder- en kunstwerken van nog in leven zijnde Nederlandsche Meesters welke zijn toegelaten tot de Tentoonstelling te `s-Gravenhage van den Jare 1835, `s-Gravenhage: H.J.J. de Groot, 1835. Lijst der schilder- en kunstwerken van nog in leven zijnde Nederlandsche Meesters welke zijn toegelaten tot de Tentoonstelling te `s-Gravenhage van den Jare 1837, `s-Gravenhage: H.J.J. de Groot, 1837. Loos-Haaxman, J. (1927/26), ‘Een portret door Chinnery’, Nederlandsch Indië Oud & Niew, 12.Jg., 315-320. Loos-Haaxman, J. de (1941), De landsverzameling schilderijen in Batavia. Landvoogdsportetten en Companieschilders. Leiden: Sijthoff’s Uitgeversmaatschappij. Loos-Haaxman, J. de (1965), „Raden Saleh in “, Die Haghe Jaarboek, s’Gravenhage: Geschiedkundige Vereniging Die Haghe. Loos-Haaxman, J. de (1968), Verlaat Rapport Indie. Drie eeuwen westerse schilders, tekenaars, grafici, ziversmeden en kunstnijveren in Nederlands-Indie. s´Gravenhaage, Mouton. Loos-Haaxman, J. de (1972), Dagwerk in Indië. Franeker, Wever. Marasutan, Baharudin (1973), ‘Raden Saleh 1807-1880’, Perintis Seni Lukis di Indonesia. Jakarta: Dewan Keseninan. Millar, Delia (1995), The Victorian Watercolours and Drawings in the Collection of her Majesty the Queen, Cambridge: Cambridge University Press. Millar, Oliver (1992), The Victorian Pictures in the Collection of her Majesty the Queen, Cambridge: Cambridge University Press. Praamstra, Olf (1986), ‘Een indisch toneelstuk’, Maatstaf, No. 45. Scalliet, Marie-Odette (1998), ‘Natuurtonelen en taferelen van Oost-Indie. Europese schilders in Oost-Indië in de negentiende eeuw’, in: Indie omlijst. Vier eeuwen schilderkunst in Nederlands- Indie, Amsterdam, Koninklik Institut voor de Tropen. Surtees, Virginia (1975), Charlotte Canning. Lady-in-Waiting to Queen Victoria and Wife of the first Viceroy of India 1817-1861. London: John Murray, 1999. Veth, P.J. (1883), Catalogus der afdeeling Nederlandsche Kolonien van de Internationale Koloniale en Uitvoerhandel Tentoonstelling van 1 Mei tot ulto October 1883, te Amsterdam, 1883, Groep II, IIe Klasse (Kunsten en Wetenschappen). Wall, V.I., van de (1942a), ‘Beschrijving van eenige werken van Raden Saleh’, Cultureel Indië, vol. 4.