Yes and no Simon. Emotions of historic preservation put aside, the economies by comparing what goes on in “old Batavia” versus the Le Mayeur holdings at the Le Mayeur museum in Sanur are as different as night and day.
For at least the last ten years, the international auction record of oils painted in Bali by Le Mayeur have skyrocketed, and the record is over US $1 million for one painting.
In many ways it’s ironic that the home, and now, Le Mayeur museum on the shores of Sanur...which while once providing Le Mayeur with more incentive than an artist could hope for, (and driven by his young teenage wife, Ni Pollack), has been the same reason for their utter deterioration and neglect. That is of course the sea side environment. .
Six years ago I was asked to present to an Indonesian governmental agency an estimate of the value at then current market trends at international auctions for the Le Mayeur paintings at this “museum.” My report was presented at two levels: A) The current state of these paintings, and B) The state they should/would be in if properly cared for since his death in 1958. Without pointing fingers at blame, which is not advisable for us “guests” I came up with US $ 1.300,000 million on part A, and with B) US $65,000,000 at minimum.
Le Mayeur literally paneled the walls of his home in Sanur with “built in” paintings in much the manner one might use chamfered wood panels. These were all painted on coarse fiber “canvases” and even locally available materials. All of these “panels” represent the absolute best of his Balinese work, and after all, he kept them as an integral part of his home. They are all ruined beyond at least 60% possible restoration, which factors down to their being what they now are...crumbs and bits.
On one hand I get very emotional and angry about this utter travesty, but on the other hand, and when my “Bali hat” is on, I can also sense that it maybe that this was the best thing to happen. By that I mean it could be best that what Le Mayeur and Ni Pollack shared in Bali should well remain private and only partially imaginable.
Here is an image of the latest Le Mayeur we have acquired. This is from his latest period, circa 1950 until his death in 1958. This painting came to us from a great Balinese collection, and the family of Ni Pollack, Le Mayeur’s wife.
You may also not that I have been working on cleaning this painting, evident in the upper right, both from its over varnish accumulations of dirt and nicotine, but also the varnish itself which turns yellow over time. His wife, Ni Pollack, is unmistakably identified in the upper right segment of the composition. Cheers!
