Saturday, November 25, 2017

Sidharta FIne Art Auction 10 December 2017 | Property of the late Haryono Haryoguritno (lots #018-040)

Haryono Haryoguritno (Temanggung, C. Java, 26 January 1932- Jakarta, 13 March 2017) was known as a world expert in traditional keris and his contribution to this resulted in the Indonesian Keris being recognised as a Masterpiece of the Oral and Intangible Heritage of Humanity by UNESCO in 2005. In 2008, the Indonesian Keris was inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. His own book, Keris Jawa, Antara Mistik dan Nalar, was published in 2007.

Haryono had had many interesting professions during his long and colourful life. To name a few, he was once an adjutant to President Soekarno, a naval officer, a teacher, a journalist, a mechanical engineer by training, but underneath it all, he was fundamentally an artist, an interior designer and a cultural ambassador by profession and at heart. He designed among others, the grand ballroom of Nusa Dua Hotel in Bali, the lobby of Borobudur Hotel, Jakarta (before the renovation) and created the perfect miniature of Borobudur temple up to its minuscule detail, which currently is still displayed in the garden of Borobudur Hotel. For his services in the field of culture, he was awarded the Satya Lancana Kebudayaan medal for culture by President of Indonesia, the Manusia Dwija title by the Surabaya Arts Education Foundation of Surabaya, the Gold Service Medal from the Javanese Culture Institute Centre of Surakarta, and many other awards.
Throughout his adult life, Haryono had been an avid and passionate collector of arts in various forms (paintings, sculptures, statues), cultural objects and antiques). His passion for art and culture (which has started since childhood), his interaction and introduction to famous painters and artists during his tenure as President Soekarno's adjutant, added with his own perfectionist eye for detail, expert craftsmanship and sophisticated taste for beauty have resulted in an impressive, fascinating and most varied collections of arts.  

Sidharta Auctioneer is honoured to feature a selection of his painting collections here.  His other collections will be presented in our upcoming auctions next year.

Lot 028

Lot 023

Lot 037

Lot 027

Lot 024

Sidharta FIne Art Auction 10 December 2017 | Paratroopers boarding the Hercules by Trubus Soedarsono (lot #135)

Lot 135

 Paratroopers Boarding the Hercules by Trubus Soedarsono (lot #135)

In 1958, Allan Pope, an American civilian pilot suspected to be working for the CIA in support of the Permesta rebellion, was shot down, He was captured, taken into custody, but was eventually released. During President Sukarno’s visit to the United States in 1959, President John F. Kennedy offered a token of gratitude for Pope’s release. It was the Lockheed C-140 Jetstar to be used as the Presidential aircraft, replacing the Soviet Ilyushin Il-14 which was used at that time.
When Sukarno visited the Lockheed factory in 1961, he chose the Hercules C-130B to replace the Indonesian Air Force’s Canadian de Havilland DHC-4 Caribou transport airplanes. Indonesian pilots ferry flew the ten C-130B over a 13.000 mile distance to Indonesia.  The planes were assigned to the Heavy Transportation Air Squadron 31 of the Indonesian Air Force.
Leo Wattimena who in 1964 was the Commander of the Air Force Operations Command, personally commissioned Trubus to paint a number of paintings surrounding the activities of the Air Force.  Although the painting does not clearly depict the form of the airplane, it is quite clear that the paratroopers are walking onto a hinged loading ramp at the rear of the fuselage, into the body of the airplane, typical of and unique to the design of the Hercules. During the Dwikora operations in  September 1964, three Hercules planes were used to fly the Air Force’s Pasukan Gerak Tjepat paratroopers, dropping them in Kalimantan in covert operations against Malaysia.

Sidharta FIne Art Auction 10 December 2017 | An Homage to Arie Smit (15 April 1916 – 23 March 2016) (lots #142-145)

Lot 142

Lot 143

Lot 144

Lot 145

An Homage to Arie Smit (15 April 1916 – 23 March 2016) (lots #142-145)

Dutch-born Indonesian artist Arie Smit passed away on 23 March 2016, just less than a month shy of his 100th birthday. Born in Zandaam, The Netherlands, in 1916, in the middle of the first World War, it was his dream and life long goal to gain complete freedom by becoming an artist. Ironically, the young Arie Smit arrived in Indonesia in 1938 on military contract, and was assigned to the Topographical Service. Following the Japanese occupation in 1942, as a prisoner of war, he was taken into forced labor camps in Singapore, Thailand, and Burma. Yet, after the Dutch finally acknowledged Indonesia's sovereignty in 1949, Arie Smit chose to remain in the new republic and became an Indonesian citizen as early as 1951.
By 1955, he had already held three solo exhibitions, at the Kolff in Jakarta, the BPM in Plaju, Palembang, and in Bandung. Yet, he only decided to become a full time painter in 1956, when he came to Bali upon painter Rudolf Bonnet and art connoisseur and dealer James Pandy's invitation. Although the trip to Bali was supposed to be a relatively brief visit, the painter decided to stay on the island, apparently for good, as he has remained there for almost half a century now. Yet, Arie could not stay still in a single place in Bali. While remaining on the island of Bali, he moved from one place to another: Ubud, Campuhan, Sanur, Tanjung Bungkak near Denpasar, Singaraja, and even Lovina Beach.
Since the 1970s, Arie Smit painted using mosaics of color that are brushed onto the canvas in rapid strokes. “My colors do not clash, they blend. Lines do not divide but unite,” he further asserted. The artist’s spontaneous brush strokes, applied to outline or highlight the shapes and forms in his paintings in this period, often elicit a vibrant effect. “The brush strokes move and move. They create the life of the painting,” he affirms. The outlines of the forms of architecture, as well as the effects of the wind’s motion on the vegetation around the temple, all animate the nuance of the painting. Arie Smit’s works reflected his vibrant activities, constantly moving around the island and not being able to remain still at one place.
Arie finally decided to move back to Ubud in 1989, after living in Singaraja for four years, when Suteja Neka offered Arie Smit to stay at his Villa Sanggingan Bungalows, situated not far from the Neka Museum in Sanggingan. Arie accepted this kind offer. Starting in 1990 he settled in at his new home, after having moved at least thirty times throughout the thirty-four years of his time in Bali. He was at last somewhere for good.
While it seemed that he was going to retire, the artist continued to be productive and creative for over another decade. Until juat a few years ago, even after an eye cataract operation, he still painted in his studio, using his memories of the scenes that he has accumulated throughout almost half a century of his life on the Island of Bali. Sadly, in the last few years of his life the artist chose to stop painting, spending his days quietly lying in bed. Although his memory still remained sharp as a razor, and physically he remains quite strong,  it seems that his failing eyesight is the reason that he was no longer interested in searching for light and colors. He seemed to have desperately waited for his ultimate freedom.

Sidharta FIne Art Auction 10 December 2017:| Affandi Sabung Ayam (lot # 127)

Lot 127
In September 1961, Affandi visited the United States for the second time, with his wife Maryati, touring Columbus, Ohio, Buffalo, Ithaca, Syracuse and New York City,  New York, and Washington, D.C.  

During his stay in Washington, D.C., Affandi felt very much at home, enjoying the hospitality of the family of Doedi Soemawidjaja, the Indonesian cultural attaché at the time, with whom he stayed. As a token of gratitude, the artist presented his host with this painting.  

The painting was purchased from the family of the late cultural attache.

This painting has been authenticated by Kartika Affandi, the daughter of the artist.
A certificate of authenticity for this painting had been issued in 1995. Unfortunately, the original certificate is yet to be found.  

Sidharta FIne Art Auction 10 December 2017 | Lee Man Fong’s Portrait of HOK Tanzil (lot # 108)

Haris Otto Kamil Tanzil  or Tan Thiam Hok (Surabaya, 16 July 1923 -  19 October 2017) studied at the Faculty of Medicine of the University of Indonesia starting in 1946. After he received his drs. Med degree, he started to work at the Microbiology Laboratories of the University, researching bacteria that cause Tuberculosis. Working too intensely with the bacteria, he himself contracted the disease and had to undergo treatment at the Batu Sanatorium near Malang, E. Java in 1953-1955.
Upon his return from Batu, he continued his work at the University of Indonesia Microbiology Laboratories. In 1957, he finally obtained his Doctor of Medicine degree. He is known as the inventor of the Tan Thiam Hok Coloration technique in the testing of Tuberculosis bacteria in humans and mammals.
He continued to work for the University of Indonesia until 1975. Prof. DR. Dr. H.O.K Tanzil passed away on 19 October 2017. He was also known as an avid traveller.

Lot 108

Sidharta FIne Art Auction 10 December 2017 | After Raden Saleh, Albert Henry Payne (London, 1812 - Leipzig, 1902) engraver. “Last Resort“

Lot 148 

Raden Saleh’s painting „Last Resort“ made a deep impression on the art world in Dresden and Leipzig when it was presented by its owner, the collector Schletter (Leipzig). Immediately it was reproduced by H.F. Grünewald and it added to the so called “Tiedge Album” which appeared in Dresden 1842. Three years later it was engraved again, this time by Albert Henry Payne, a British engraver who had moved his business to Leipzig. The steel engraving was meant as a gift for those who subscribed to Payne’s journal Payne’s Universum (German edition) and Payne’s Pictural World (English edition).  Payne’s Universum was also sold in America and it must have been the first time that Raden Saleh’s name was mentioned in an American journal. The engraving was announced as „A splendid Premium Plate, engraved in the line manner, of the “Attack of the Lion” after the picture of his H.R.H. Prince Raden Saleh, measuring 17 inches by 13 inches, printed on sheet imperial paper, and equal in execution to the plates of the art union.”  In 1864 Payne reprinted his steel engraving as an illustration for the article „Ein javanischer Prinz als Maler“ in: Illustriertes Familien-Journal, A.H.Payne, Leipzig und Dresden, Volume 21, 1864, p. 281.

Dr. Werner Kraus

Thursday, November 23, 2017

Sidharta Artfordable Auction Sunday December 03, 2017(Lot # 001-165)

Dear Art Lovers & Enthusiasts,

Welcome to the third ArtFordable Auction that falls in December to wrap up our series of auctions this year. To some, December is the best month of the year to celebrate many festivities and time decorate the home. Our collections may become your consideration. Browse through the 165 lots and you may fall into one or more of the artwork.

Few Indonesian artists known to create decorative paintings that we have in this auction are Erica Hestu Wahyuni, Iwan Sulistyo, J.B, Nyoman Budiarta, Ahmad Su’udhi, Toto Sunu and I Nyoman Sujana “Kenyem”. The work of these artists can be your selections. The subject matters mostly are light and easy to understand. The colors pleasantly bright and lively. It awakes our senses and brighten up the days.

Lot # 106, Erica Hestu Wahyuni, Selebritis Potret
Lot # 106, Erica Hestu Wahyuni, Selebritis Potret

If you are into abstract that might wish other to guess what the artwork says, these artists are for you to refer to. Many of Hanafi’s paintings have become the choice of Indonesian interior designers because of its natural color schemes. The rest are Tulus Warsito, Suwaji and Basuki Sumartono. On the contemporary collections, we have Jumaldi Alfi, Didi Kasih, Sugantika “Lekung”, Ketut, Ridi Winarno, Audie and Muji Harjo. These are interesting to check out as well. Lekung with his endless inspirations of pig subject matter never fails to entertain the viewers.

We always bring the paintings of senior artists. We have Adam Lay, Amrus Natalsya, Jeihan Sukmantoro, Nyoman Gunarsa, the late Krijono and the daughter of maestro Affandi, Kartika Affandi. Their lots are spread out in our catalog. 

May what we have found for this auction are suitable to our taste and preference. And may they bring you joy and happiness to your space and get ready to embrace the new year.

Have a great time browsing and bidding the collections.

Syanda Kunto
ArtFordable Auction

Sidharta FIne Art Auction 10 December 2017 | A Tribute to Bagong Kussudiardja (lots # 093-096)

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Lot 094

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A Tribute to Bagong Kussudiardja (lots # 093-096)

Bagong Kussudiardja (Yogyakarta, 9 October 1928 – 15 June 2004), trained under the renowned dance choreographer Martha Graham in New York as early as 1957. Upon his return to Indonesia he founded the Pusat Latihan Tari Bagong Kussudiardja (Bagong Kussudiardja Center for Dance) in 1958, followed by Padepokan Seni Bagong Kussudiardja (Bagong Kussudiardja Center for the Arts) in 1978, where he choreographed more than 200 dances. Although he was better known as a contemporary dance choreographer, Bagong Kussudiardja was also an established painter. He painted the arts, culture and natural landscapes of Indonesia. Yet, Balinese and Javanese dances seemed to be the source of his inspiration of most of his paintings.

Next year will mark the 90th anniversary of Bagong Kussudiardjo’s birth. There are plans to celebrate it with various events, including the launching of a book on his artworks.

Saturday, November 18, 2017

Sidharta FIne Art Auction 10 December 2017: Henk Ngantung’s Laskar KRIS Karawang (lot #161)

Sidharta FIne Art Auction 10 December 2017: 

Lot 161

Henk Ngantung’s Laskar KRIS Karawang (lot #161)

Following the Indonesian Independence, 17 August 1945, Dutch Forces along with the Allied Forces returned to the region to claim their rights to their former colonies, sparking what is known as the Indonesian Revolutionary War (1945-1949). Many civilian citizens of the new republic from various provinces around the country formed their own militia groups. Citizens from Sulawesi formed the Kebaktian Rakyat Indonesia Sulawesi (literal translation: The Awakening of the People of Indonesia from Sulawesi) militia (Laskar KRIS).
Hendrik “Henk” Hermanus Joel Ngantung, born in Manado, N. Sulawesi on 1 March, 1921, was a Manadonese, apparently with Chinese ancestry. He started painting at a tender age of 13, and had his first solo exhibition in Manado in 1936. The following year he went to Java and eventually resided in Batavia. He participated in a group exhibition held at the Kunstkring in Batavia in 1938.  

During the Revolutionary War, he seemed to sympathise with the Laskar KRIS, fighting the Dutch and Allied Forces in Karawang. The Dutch eventually recognized Indonesia’s sovereignty at the end of 1949.

Henk Ngantung continued to paint, and due to his artistic activities he became close to President Sukarno. In 1960 Sukarno appointed Ngantung as Vice Governor to Jakarta Governor Soemarno. In 1964 Ngantung was appointed Governor, a position he maintain for less than a year.

Sunday, November 12, 2017

Sidharta FIne Art Auction 10 December 2017: Megha, a young woman from Bangalore (lot #036)

Sidharta FIne Art Auction 10 December 2017

Lot 036

Megha, a young woman from Bangalore (lot #036)

Lot #036 in this auction features Edhi Sunarso’s painting of Megha, a young woman from Bangalore. It was painted while he continued his studies at the Kelabhawa Visva Bharati University Santiniketan pada from 1956 to 1957, after graduating from Yogyakarta’s Indonesian Fine Art Academy (ASRI, now ISI).

During that time, he signed his works “Eddy Sunarso”, instead of “Edhi Sunarso”, which started to use later.

Some photographs from the artist’s archives show that Edhi Sunarso seemed to have also worked on a sculpture of a woman when he was in India, and it is very likely that it also depicts Megha, young woman from Bangalore.

This portrait of Megha seems to be part of a significant point in the sculptor's artistic development.   

Archive source:
• Mikke Susanto (ed.), Edhi Sunarso, Seniman Pejuang (Yogyakarta: PT. Hasta Kreatifa Manungga, 2010)

• Indonesian Visual Art Archives, Yogyakarta.
Foto Dokumentasi Kekaryaan Edhi Sunarso 1956 - 1962,

Thursday, July 6, 2017

Featured Paintings in Our Auction

(Lot #106)

Sigit Santosa, F. Bumi Yang Tersisa Bagi Anakku, 1997. oil on canvas (70cm x 70cm). Signed and dated on lower left: "Sigit Santosa 1997". 
A prime example of Indonesian contemporary art, this piece by Sigit Santosa addresses environmental issues and the social impact of global warming. Bumi Yang Tersisa Bagi Anakku (The Earth that is Left For My Child), discusses the inevitable infertility and pollution that our present generation will leave behind for future generations. 

Sigit Santosa is critical of contemporary issues concerning socio-politics in particular, using art as a medium to address these issues through conceptualisation. He does so through installations and sculptures as well as paintings. 

The woman in the centre overlooks the gates to a factory, dressed in an smooth green dress, clasping an evergreen in her hands. Her face is unknown to the audience, elusive and a stranger. She is with child as seen through her form, which suggests natural processes juxtaposed against an unnatural setting. The sky is blue but grim, with toxic waste coming out from the factory tower. The soil is barren and is devoid of plants littered with tree stumps.

With symbolic and careful composition, Sigit Santosa creates an atmosphere so grim in which he uses to foreshadow the inevitability of a toxic barren Earth if global warming were to continue. Using painting and art as his medium, this piece serves as a warning to humankind, a stellar example of critical postmodern painting. 

(Lot #108)
Nasirun. Mythological Scene, 2016. oil on canvas (90cm x 70cm). Signed and dated on lower right: "nsrun 2016".

Nasirun's work is, without a doubt, unworldly and always filled with colour and odd shapes. He is playful and experimental, especially seen through his bold use of colour and distorted figures. Nasirun, unshakeably Javanese, he gets inspiration from wayang, the art of traditional Indonesian shadow puppetry, an art so popular amongst the Javanese that it transcends into the creations of Indonesian contemporary artists. 

This influence is seen through the distorting of Nasirun's figures: disproportionate with wide eyes, large heads, small waists, fluid arms, and so forth as seen in this Mythological Scene. By doing so, he hopes to recontextualise and revive the traditional art form, by means of socio-political commentary and a hint of irony and humour as a means to criticise contemporary issues. 

His brushwork dances on the surface, expressive and impulsive, creating an unworldly atmosphere, as if looking into an entranced ritual. 

(Lot #110)

Heri Dono. Apapun Makannya Yang Penting Minumnya Teh Botol, 2006. acrylics on canvas (2006). Signed and dated on lower right: "heri dono 2006"

The artist who represented Indonesia and the Indonesian Pavilion at the 2015 Venice Biennale, Heri Dono shines through socio-political commentary with humour and parody. His comical style, his bright use of colours, his symbolism and his humour are all staples of the artist, as one can see within this painting. Born and raised in Yogyakarta, he was no stranger to the art of wayang as a child. He studied this art with a dalang, a master puppeteer, before pursuing a career in painting, and carried with him the philosophy, attributes and symbolism into his art. Needless to say, this deep influence of wayang mixed together with his comical and pop culture references, Heri Dono's works are never one devoid of meaning and concept. 

With Apapun Makannya Yang Penting Minumnya Teh Botol (Whatever You Eat What's Important is to Drink Teh Botol), a shining politician is seen grinning in the middle, identified with the peci, or hat, suit and tie. He has emblems on his forehead, hat and suit, alluding to prestige and accomplishment; however, these emblems include symbols such as a bottle and  that Heri puts forward as a subliminal meaning, playing around with the signifier and the signified.

The holistic colour scheme falls down to red and white, perhaps an allusion to the Indonesian flag, with black as an accessory of perhaps even an addition to his concept. Nevertheless, this pokes at our national integrity, 

(Lot #121)

Bunga Jeruk Permata Pekerti. Super Curators, 2002. oil on canvas (70cm x 70cm). Signed and dated on lower left: "Bunga 2002". 
Bunga Jeruk works in a youthful and colourful world of pop and humour. Her work bright and hopeful, especially seen through her subject matter, yet occasionally underpinned by socio-political commentary. 

With Super Curators, she pokes at the personality and individuality using signifiers: the rabbit on the shoulder and the halo that surround the two figures. The rabbit may allude to the magician's rabbit, or, paired with the adjacent halo, the idea of a devil and angel accompanying our person at all times. The silhouettes of these figures are devoid of identity and could be a personal reference to Bunga Jeruk herself. 

A simple yet ambiguous piece of work, this painting leaves the audience wondering and definitely a steal from this emerging contemporary artist.

(Lot #208)
SudarsoPerempuan Berpayung, 1969. oil on canvas (140cm x 80cm). Signed and dated on lower left: "Sudarso '69"

As a close comrade and Bung Karno's favorite painter back in the hay days, Sudarso is a painter of unparalleled qualities. His contemporaries were often swayed by Western artists such as Matisse and Van Gogh, yet Sudarso kept to his quaint and authentic Javanese style. He was commonly known amongst his peers and the art world as The Last Javanese Artist.

A man of deep Javanese roots, the principle subject matter of his works is mostly local women, sitting down and in traditional dress known as a kebaya. He appreciated beauty and harmony, and did so by engendering the humble beauty of his female models. Within his works, the majority of his models carry no expression; hands and legs are crossed, carrying with them a sense of a reserved and obedient disposition. 

However, with one of our featured lots, his Perempuan Berpayung (Girl Under an Umbrella), is an unusual piece: a typical Sudarso-esque female is present in the painting, dressed in traditional kebaya with a lush landscape behind her. However, unlike his other models, she is depicted standing in profile, keeping a sense of mystery to her identity and her intentions. Her face and expression are kept from the audience as she looks into the distance, as if about to embark on a journey outside of the frame. 

This piece is an extraordinary addition to our auction this year, as not only is this piece created by one of Indonesia's painterly masters and by the Last Javanese Artist, it invites the audience to wonder and contemplate about the subject matter as well as keeping the canonised stylistic integrity of the humble Sudarso.

(Lot #209)

Arifien Nief. Perayaan (Celebration), 1982. oil on canvas (50cm x 50cm). Signed and dated on lower right: "Nief '82 Perayaan"

"My imagination has great power. I rely on that power. I invent scenes from hazy memories in a manner that I would like to see them unfold."

Arifien Neif is an artist of an interesting integrity. A master of agility on the canvas and romanticized scenes and narratives, the world that Neif creates with a paintbrush is one of a kind. He explores the grey area between the empirical and the imagined, brought to life with detailed ornamentation of interiors, bodies shaped by human drama and mysticism. 

Made in the early 1980s, Perayaan (Celebration) is one of Neif's early works, wherein his style was still chromatically sombre and subjects inherently symbolic. He began to explore a more populous frame, his figures taking up a more heart-shaped anatomy. Here, they are allegorical in nature: some entirely human and some hybrids. These hybrid figures propose a philosophy or symbol that Neif himself used to explore, and here he suggests the complex inner lives of his subjects. Although strange, mysterious and puzzling, Neif's imagination towards the composition and creation of this bustling scene is [of high value]. 

Having moved to Jakarta alone and in poverty, he looked to the streets and nightlife to observe and paint. With this piece, a busy festive scene is seen, with banners to the left, the crowed over the bridge in the centre and a river to the right. The crowdedness and restlessness of the scene portrays the city's full-thronged dynamic, one Neif knows all too well. Nonetheless, he combines his documentation of such dynamic with an impartiality, one he mixes well with his imagination. 

Rich in symbolism, mysticism, vibrancy and the sombreness of his early works, Perayaan (Celebration), could be the quintessential Neif before he found his staple style as one of Indonesia's well-loved artists.