Saturday, March 14, 2020

Sidharta Asian Fine Art April 12, 2020 | Top Lots



Lot #331, Mochtar Sarman, Kylo Ren





Mochtar Sarman received his Industrial Design degree from Pasadena Art Center College of Design and worked in Disney for more than 21 years. His trademark industrial stokes and selection of animation and famous icons as subjects of this works are  derived from his design and professional background.  

Mochtar’s  use of bold colors, simple messages and often playful compositions in his works invite us to celebrate our childhood fantasies and happy memories. He is also known to be the first artist in Indonesia to apply the Chromadepth technique in the paintings which evokes an element of surprise once we put on the special glasses to view his works.

Mochtar also painted on 3D objects such as sculptures packaging boxes, sneakers and mobile phones. He also applied augmented reality technology on some of his paintings, again being among the few artists to apply the technology on his works..


Lot #364, Salim, Chez Armand

Lot #357, Salim, Donabella







Salim, Our Artist in Paris, Now at Our Auction in Jakarta
(lots #350 - 364)
Until he passed away in Paris over a decade ago at the age of 100, the Indonesian artist Salim has lived there since 1957, and also for a few years in the 1920s. Since he moved to Europe in 1912, he only visited Indonesia five or six times. In the Indonesian art world, he was known as our man in Paris.
In a 1946 article on Salim published by Merdeka weekly it is said that nobody knows where Salim came from. It mentions that he emerged in Holland as a young foster child of a former planter from Deli, East Sumatra. Even to his closest friends he never revealed who he really was. An article published in the Konfrontasi periodical in 1956 mentions that he was born in Medan, North Sumatra on 3 September 1908.
After completing his high school studies at Arnhem, he left his foster parents to pursue his interest in art. In particular, he was a believer of lart pour lart (art for arts sake), and therefore le was bound for Paris. When he arrived
in Paris with very little money, he was faced with the reality that becoming

an artist was not as easy as he imagined. Therefore he had to accept a job
as a doorman at the Académie de La Grande Chaumière, an art academy. Due to his handsome appearance, the owner of the academy, apparently a French aristocratic lady, eventually allowed him to study there. Not only did he not have to become the guard the entrance and do the chores of a porter anymore but he also became one of the favorite students of the owner of the academy. The following year, 1929, he attended Académie Léger an academy that Fernand Léger set up with his colleagues and friends, including Amédée Ozenfant, where art students could study art, free of charge.

After his adventures in Paris he returned to Amsterdam and became acquainted with Indonesian students who studied there, among others Mohammad Hatta and Sutan Sjahrir. They often discussed matters about art, culture, and society. This sparked his interests towards his home country. He intended to visit the Netherlands Indies, where he hoped to propagate his ideals of lart pour lart.
In the early 1930s Sjahrir's brother-in-law, Djoehana Wiradikarta, obtained his medical degree in Holland and was returning home with his family. By working as the caretaker of Djoehanas children during the month-long journey, Salim was able to join them to the Indies. In Batavia, he worked at an
advertising company called the Java Neon Company. He also assisted Sjahrir and Hatta both at their PNI-Pendidikan party and the Daulat Ra'jat magazine. The two prominent politicians were eventually exiled to Boven Digoel, and this left Salim to introspect. Throughout his stay in the Indies, he faced the grim reality that it was under colonial rule. Whereas in Europe he lived as an equal to others, in his own home country he was subject to the colonial social structure that was based on racial classification. He faced discrimination and subordination, something that he had not experienced before. Therefore he decided to return to Europe. I prefer to die hungry in the artistic center of the world, rather than to live full of abundance in a colonized land, feeling depressed, he is quoted to have said in the periodical Konfrontasi in 1956, reminiscing his experiences in the Indies in the 1930s.
He started exhibiting in Holland, initially in a joint exhibition with artist Theo Bennes in the Santee Landweer gallery, October to November 1936 and then with J. Sjollema at Helen Spooi Gallery, Oct 1939. After World War II, disappointed with the Netherlands return to claim Indonesia as its colony, the artist moved to Sète, a town in France. He held his first solo exhibition there in 1948. In October the following year, Salim held a solo exhibition at the M. L. de Boer Gallery, which was opened by noted Dutch artist Charles Roelofsz. The show was attended by the Indonesian delegation who came to Holland for the Round Table Conference held in The Hague that year, which led to the Dutch recognition of Dutch sovereignty.
In this exhibition, Salim received praise from Dutch critics. It is clear that in a part of his works exhibited, Salim underwent the influence of Raoul Dufy, the French painter, illustrator, designer of gobelins and printed fabrics and ceramist. This can be seen, for example, in a festive face on a Séte decorated with flags, where sailing competitions are held in front of a large public; in bathers on the beach; in the half figures of girls or a fisherwoman in her stall on a stock of ships populated; in his parks and houses. The strong colors radiate joy, healthy optimism, writes one critic. This artist from the belt of the emerald around the equator has the view of a European painter. There
is nothing in this work that reminds us of the land of his birth, or it must be the fierce flare of the sun, all of which glow. Salim upholstered his works, paintings, gouaches and pastels, gladly with figures, sometimes one or two women in the foreground, then another swarm of people like at the Feast
in Sète', numerous figures, quickly set up, lively and lively, as part of the celebration. The park in Montpellier reminds us of Cezanne, although this in no way means that Salim would be a slave follower of the European master. On the contrary, he has a personal perspective on what inspires him to paint, while the sun's glow from his native country appears to accompany him on his many wanderings through Europe and thereby lends his art a special charm, writes another.
Salim decided to visit his home country, now a new republic, once again.
In Indonesia, his solo exhibition was first held in 1951 with the support of the Foundation for Cultural Cooperation, featuring twenty-five paintings all done in France. The show was opened by Sjahrir, who mentioned that had known him for a long time. He said that during that time, while he himself was still unsure about his purpose in life, Salim had already known that his life would be a balance of beauty, justness, and honesty, and that is what we can see through his works in the exhibition. Critic Trisno Sumardjo was also fair in his review of the exhibition. He said that we have look at Salims art in context. It would not be appropriate to expect to see Eastern, nationalist nor proletariat values in his works. instead, if we view them using universal values, we can see that the world he reveals is beautiful, as he is an artist without prejudice nor pretense, a true modernist.

In 1956 Salim exhibited at the Balai Budaya, presenting thirty-three works he made during his four-month stay in Indonesia. In the Konfrontasi periodical, artist Baharudin Marasutan wrote that he found the painting Bunga (1950) most attractive. Through this painting Salim created beauty that cannot be translated with words. He has added an subtracted something to the forms, lines, colors of the object with a compassion, that leads us to converse with our emotions. Here he has created a decorative interpretation as a variation of batik motifs, he explained. In conclusion, Baharudin wrote that he hoped that Salims visit to Indonesia would be useful towards his further artistic development in Europe.
From 1957 until his death in 2008, Salim lived in an apartment in the city of Neuilly-sur-Seine near Paris. How much his experience in Indonesia contributed to his progress as an artist might need further study, but he did become quite a successful artist, exhibiting in Europe every few years in the 1950s to the 1970s. In the 1970s he won prizes and medals from art festivals in which he participated. He returned to Indonesia to exhibit his works in Jakarta and Bandung in 1974 and 1990. Later he exhibited in Bali in 2001 and Osaka in 2002. As Salim has lived in Europe for most of his life, he is still considered an Indonesian artist, but as he has lived for over 60 years in Paris, he will always be considered as our man in Paris.
Now, we have a good opportunity to exhibit and auction some of the remaining works available by our artist in Paris, the late Salim. Most of the paintings featured here are works done towards the end of his life, yet still very much shows his mastery of his profession as a painter. There are also some works from the 1970s and 1980s that are astounding. We hope that this brief introduction to Salim and his works will be appreciated by our art enthusiasts here in Jakarta. 




                                             
Lot #385, Trubus Soedarsono, Seascape



Seascape by Trubus Soedarsono (lot #385) .
Although his collection of landscape paintings mostly shows the beauty of nature, in his speech welcoming the commemoration of Indonesian Independence in 1964, President Sukarno claimed:
everyone knows that I am a fan of fine arts, sculpture, painting, and others.  I prefer ocean paintings with waves lapping with passion, rather than painting the fields are cool and calm,
kadyo siniram banyu wayu sewindu lawasé.

Indeed, several paintings that show the great impact of waves on the beach are found in the Sukarno Collection. It is clear that the dynamism of the roar of the sea waves that caught his attention. For him, the wave paintings sparked a surge of enthusiasm.
For the President, paintings are not merely decoration, but can also reflect the dynamics of the nation and state. Sukarno saw the clash of sea waves on the coast or rocks as a metaphor of the movement and turmoil of discussion or even social, political, and economic debate that needed to be done for unity, not for the sake of division. Besides that, the paintings of waves always remind him that Indonesia is an archipelago surrounded by the sea. As a maritime country, we will always need  t0 face  the roar of the waves.
 In 1963 , while Air Marshall Omar Dhani was in office as Commander of the Indonesian Air Forces, he acquired this painting of waves, done by Trubus Soedarsono. It became a symbol of how President Sukarno looked at the Indonesian archipelago, full of debate and turmoil. Omar Dhani  has kept the painting until his death in 2009. Now, over a decade after his death, the painting is placed by his descendants for auction.








Lot #386, Affandi, The Sun over Lake Anak Laut



Matahari di Atas Danau Anak Laut or The Sun over Lake Anak Laut by Affandi (1977) (lots #386)
Collection of Ibrahim Abdullah's family

Ibrahim Abdullah (1932-2015) was an Acehnese born in Sigli (in The Greater Aceh District). He studied industrial engineering — earning a bachelor's degree from New York University and a master's degree from the University of the Philippines. Since 1960 he joined the State Electricity Company and later the Ministry of Industry. He later became a member of a government's team called the Komando Pembangunan Proyek Pelabuhan Bebas Sabang (Sabang Free Port Development Project Command) formed in 1964. When Sabang (on Weh Island, in the province of Aceh) began to be realized as a free port and free trade zone, Ibrahim Abdullah became Head of the Sabang Free Port Development Authority during 1967-1980. In his later years he became a lecturer in political science and political economy at the National University (Jakarta) until his death.

During his role in developing the Sabang free port, Ibrahim Abdullah intended to place an art and cultural dimension into the economic and infrastructure development of Sabang and Pulau Weh. With a variety of efforts, he invited various national artists to take part in activities in the western tip of Indonesia, including playwright W.S Rendra (with his group Bengkel Theater, Yogyakarta) and painter Affandi. In March 1977 Affandi came to Sabang at the invitation of Ibrahim Abdullah; the painter was accompanied by his wife, Maryati, and painter Lian Sahar (Ibrahim's friend, also an Acehnese who had lived in Yogyakarta). For about a week, Affandi toured Pulau Weh. The painting of The Sun over Lake Anak Laut is a result of the event. He painted directly on location, precisely at Cot Ba ‘U (literally: Hill of Coconut Trees) in the afternoon before sundown; as is usual, Affandi painted using paints from their tubes directly on to the canvas, sometimes also using his fingers. In the painting, the visible bright sun lights up; in the foreground below, with an elongated oblong shape, is Lake Anak Laut; and on the right side to the center, is Sabang Bay. (Lake Anak Laut is, of course, a freshwater lake; when viewed from Cot Ba 'U, the lake is indeed like a fraction of the Sabang Bay sea.) The painter then gave final touch to the painting in the place where he stayed, Sabang Hill Guesthouse (also owned by the Sabang Free Port Development Authority).

The painting of The Sun over Lake Anak Laut was bought by Ibrahim Abdullah. When he and his family moved to Jakarta in 1980, the painting was brought along and is well preserved to this day — until the painting left the house for the first time, to appear at Sidharta Auctioneer’s Fine Art Auction.









Lot #387, Sudjojono, Sindudarsono, Srietje Membaca





Sudjojono, Sindudarsono
(Kisaran, N. Sumatra 1914 - Jakarta, 1986)


Srietje Membaca
1966
oil on canvas
101.5 x 85.5 cm


In this painting, Sudjojono depicts the eldest daughter of his wife Rose Pandanwangi, Sri “Srietje” Sara reading a book while seated on a wrought iron chair that he designed himself. Although she is fully and quite formally dressed in a baju kurung dress with a batik bottom, Srietje seems to be absorbed in her reading, oblivious to the fact that her stepfather is creating a portrait of her.

The 1960s was a difficult time for Indonesia, as well as for Sudjojono personally. However, it was during this time that he produced many of his best paintings, including this particular piece. In his paintings, he makes use of models, usually family members, neighbors or other acquaintances. In this painting, he paints his step daughter, taking attention to the details, especially of her dress, a peach colored baju kurung with a green bottom. She is seated in an elaborate white wrought iron chair, which reminds us of the rattan peacock chair popular in the 1960s, which is still with the Sudjojono family today. The painting is not done using his realist technique which he used in the 1950s, so we cannot see what book she is reading. The forms of the objects in the painting are instead painted with the artist’s comprehension of structures of the objects in the painting, the book, the dress, the table and the chair, in a much stronger painterly manner. With just a few swift brushstrokes, Sudjojono captures the nuances of the scene. Quietly, it is a very strong painting.




#Indonesia #art #Sudjojono #portraiture #painting #bajukurung #batik #RosePandanwangi




         Lot #330, Adi Suanjaya "kencut", I Putu,  My Choice



Educated at the  Faculty of Fine Arts, Indonesian Arts Institute, in Yogyakarta,
I Putu Adi Suanjaya "Kencut" is a young artist from Bali famous for his buttonhole puppet figures. Through bold colors and lines, he presents a world of parody through his figures as a form of human reflection today.
Kencut presents the subject of doll-shaped creatures with buttons that are presented in the form of paintings, sculptures and installations. It has a characteristic emphasis on contrasting colors and line strength.
The characters in Kencut's works are presented like dolls but are actually representations of humans and their lives. These inanimate puppets show a fragment scene of human life that contains a reflection on the current human situation.
































































Sidharta Asian Modern Fine Art April 12, 2020 | Message from Sidharta Auctioneer

Message from Sidharta Auctioneer

Throughout our lives we will find ourselves constantly dealing with changes. Last year, we have had to deal with various changes in politics, following a tough election. This year, we have had to deal with changes in the way things are done within our own company, affecting the look of our auction.
                  Yet are blessed to be able to offer our first Fine Art auction for the year by April. While the artworks we offer come from various collections, a good number are from the property of a gentleman who spent many years collecting of works by the late Salim, who is known as “our artist in Paris. They include 15 paintings by the master, most of which come from his late period, but also including his works from the 1970s and1980s.
                  Although limited in number, this auction offers a good selection of contemporary art including works by Lucia Hartini, Sebelah Mata  (lot #327), Wara Anindyah’s Make Over (lot #326), Daniel Timbul’s Delicatessen Diner (lot #316), Eddie Hara's Rock and Roll (lot #315), I Wayan Sudarna Putra’s Survival (lot #332), Suanjaya Kencut’s My Choice (lot #330), and Mochtar Sarman’s  Kylo Ren (lot # 331).
             Of course, among the Indonesian modern art pieces, there are also two of Arie Smit's paintings, Village Square (lot #377) and Landscape in Bali (lot #384),  which should not be missed. Also, there are works such as  Fadjar Sidik’s Kelompok Hijau (lot #376), Gunarsa’s Tari Legong (lot #380)and Tari Penyambutan (lot #342) Jeihan’s Kasih Sayang(lot #379)  and Juwita (lot #383), which should obtained the attention of many collectors.
From the collection of Omar Dhani, who was the Indonesian Air Force Commander from 1962-1965, is Trubus Soedarsono’s Seascape (lot #385). Although the subject matter might seem a difficult one for most novice collectors, it might be interesting to know that it is in fact Sukarno’s favorite theme, as it reminds us of how he saw the archipelago, full of debate and turmoil. The Air Marshall has kept the painting until his death in 2009. Now, over a decade after his death, the painting is placed by his descendants for auction.
Affandi’s The Sun over Lake Anak Laut (lot #386), is a painting coming from the collection of Ibrahim Abdullah, who invited the master to paint in Aceh in 1977. The wonderful painting shows the sun over the freshwater lake, which from the vantage point of the artist does appear like it is part of the nearby Sabang Bay. 
The most important lot is undoubtedly S. Sudjojono’s  painting Srietje Membaca (lot #387), which adorns the cover of our Fine Art catalog and concludes the auction. Purchased not long after it was made in 1966, the painting truly shows the exquisite taste of the late collector. Firstly you might not think much of it, but the painting will grow on you, and before long you will become intrigued with how the artist has painted the subject’s clothes, how he has depicted the nonchalant expression of her face. Finally, you will be interested to know the title of the book she is reading so intensely.
We hope that you will be able to view them in person starting Thursday, 9 April 2020 at the Aria Ballroom of The Tribrata, Jl. Darmawangsa Raya, Jakarta.  Our auction will take place on Sunday, 12 April 2020, immediately after our Future Vintage auction which will be starting at 1:30 pm. Enjoy the artworks and the auction! 

Amir Sidharta

Wednesday, March 11, 2020

Sidharta Artfordable and Emerging Artist's April 04, 2020

Dear Art Enthusiasts and Lovers,


This year, Sidharta Auctioneer is pleased to be celebrating its 15th anniversary and presence in the art industry of Indonesia. The Indonesian art space has evolved dynamically with a growing number of young Indonesian artists coming into prominence and gaining popularity. Indeed, this year’s first ArtFordable Auction provides you all with the scent and splash of the work of Indonesian young artists, as well as emerging artists.

It is always our commitment, through ArtFordable Auctions, to facilitate the appreciation of visual art amongst art enthusiasts and lovers by bringing a diverse range of art work and to encourage a better understanding of Indonesian artists in particular. This year’s ArtFordable catalog highlights three different but seamless sections, each featuring its own uniqueness. The paintings of the late artists might be completely disassociated from the aspirations and trends of the younger artists who appeal to more diverse art preferences. We also have a few limited edition photographs which are both thought provoking and intellectually intriguing. As you browse through our selections for this auction, we hope you will get a sense of the vibrancy of the work of our emerging and young artists. creations.

It is our wish that these young artists can inspire more young people in Indonesia to
continue to pursue their talents and interests. In that spirit, 1% of the hammer price of each art work auctioned at this ArtFordable Auction will be donated to Sekolah Bisa, a free school for children of underprivileged families managed by Yayasan Tangan Bagi Sesama. You may wish to take a look at their activities at Instagram @sekolahbisa.

Enjoy the selection at this year’s ArtFordable Auction and share the joy. Happy bidding!


Syanda Kunto-Prabowo

CEO & Co-Founder







From the start, Erica Hestu Wahyuni, an Indonesian artist, expressed her interest in art. In pursuing higher education, he was registered and graduated from the Indonesian Fine Arts Institute in Yogyakarta and the Surikov Art Institute in Russia. As one of the most promising female artists from Indonesia, its beginnings were difficult to overcome because many colleagues and instructors often looked down on colorful creations. However, he won through criticism and continued to climb the chain to become a sought-after artist in Southeast Asia. His work is often defined as childish visually and naively but mature in conception and definition. This artwork depicts a self-portrait




After receiving his basic arts education from the College of Fine Arts (SMSR) in Batubulan, Bali, Wiradana continued his art education at the Indonesian Art Institute (ISI) in Yogyakarta. There, he received an award for his sketches and paintings. He is a member of the Bali Dewata Studio in Bali and has an interest in ancient cave paintings from Sulawesi. Until now actively participating in exhibitions in and outside the country



Dewi Sri is casting a magic spell but her world is changing. A new era is about to dawn in Java, and although it will take centuries, her power will eventually fade. 
 “I had been so frustrated with this piece that I bored holes in it and hauled it up the highest tree in my garden. Some months later, I heard a loud crash. The wood around the hooks had rotted through and it had fallen to the ground like a ripe fruit. 
Wabi-Sabi. 
The text is from Babad Tanah Jawi and Clifford Geertz's Religion of Java. 
Wabi-Sabi is a world view centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of beauty that is "imperfect, impermanent, and incomplete".



Muchlis Fachri or Muklay is illustrator who graduated from Universitas Negeri Jakarta (UNJ) as Fine Arts student. He uses media that are available in our everyday life. His illustrations come in the forms of mural, painting and merchandise. Together with his peers, he has done a merchandise project “Junknotdead” in 2013-2014. Until today, he actively participates in art exhibitions in any major cities of Indonesia and abroad.



Ningyo in Japanese word means “doll”. This doll depicts a woman being restrained by a golden chain, surrounded by lavish decoration around her. It portrays human intuitive behaviors toward our beloved and precious possessions. We tend to secure our treasure in a joyful environment (symbolized by the colorful decoration), protecting them from any threats in this world, without realizing that the good intentions may restrict them or go against their own will. Parents usually project this intuitive behavior to loved ones



We were born and we will leave this world. The world is not a place to rest but rather a place where we must find a way to return to our origin -- heaven, the place we were supposed to live in, since Adam and Eve were created there. This life is like a game that we must play and finish it safely


Atreyu Moniaga is a multi-talented artist; illustrator, photographer, lecturer and also an actor in the short film The Fox Exploits The Tiger’s Might. He graduated from Institut Kesenian Jakarta in 1988.  First debut began with his watercolor illustration nuanced like a dreamland and influenced by fantasy stories that he favors since he was small. His imaginations have transformed into photography and presented like surrealism that has become his trademark. In design and art industry, he has been involved in many interesting exhibitions and projects, one of which is embroidery design as part of the collection of "Melange De Sens" by fashion designer Sebastian Gunawan.



Children are naturally naïve and honest. Their world is all about playing, a colorful world, wonderful and joyful.




Nyoman Gunarsa, a native of Bali, is a Maestro and icon famous in the Asian art world. In his professional career Gunarso was an impressionist painter and museum curator who became a master of Indonesian art in his lifetime. He graduated from the Indonesian Fine Arts Institute in Yogyakarta in 1976, and is very close and comfortable in Realist art. As a recent graduate, he became an art teacher and gradually came to the realization to fulfill his desire for impressionist-based art. Soon after, he concentrated on creating abstract contemporary art and getting success from his new aesthetics. In this painting, Gunarsa paints a female dancer in traditional Balinese attire entitled "Tari Oleg Tamulilingan". Fluidity in lines and colors is a different sign from Gunarsa's natural talent in creating visually dynamic works that trigger enthusiasm and activeness..



Coming from a family background that is closely related to the local Indonesian art world, Krijono is naturally endowed with artistic abilities because his childhood around him gave a positive outlook on a creative career. Born in 1951, his father was a curator and owner of the Harris Art Gallery in Indonesia and his mother ran a local Batik factory. Krijono often spends his time traveling the world to show off his creations and is able to explore various media and techniques while traveling globally. Krijono's distinctive voices include colorful expressions that are very expressive and eccentric. In a painting titled "Di Pantai Koesamba", Krijono depicts the beauty of the sea view in Bali in dynamic colors.


The nationally recognized Indonesian painter, Jeihan Sukmantoro, has experienced great difficulties in his life that has increasingly enriched his artwork. At the age of 15, he experienced a near-death experience that produced a deep coma that would affect his cognitive abilities. Although Sukmantoro never completed tertiary education, his expressionist style and mystical philosophy developed. He prefers to paint portraits with limited colors and simple shapes. The subject will always be painted with full black eyes that are believed to represent the darkness of humanity. This oil painting is a portrait of a girl in a reclining position with the title name, "Oca". He was immersed in Sukmantoro's vision, saturated in a two-color palette with black eyes staring directly at the audience.



Wednesday, November 6, 2019

Sidharta Fine Art Auction November 17, 2019 | Message from Sidharta Auctioneer



Message from Sidharta Auctioneer 

After months of political tension, Indonesia finally witnesses the inauguration of the President’s second term in office. It opens a new chapter in the life of the Republic, and will hopefully bring stability that is much needed for development. 
We are blessed to be able to offer our second Fine Art auction for the year. While the artworks we offer come from various collections, a good number are from the property of a gentleman who spent many years collecting of works by artists who were quite popular at the time he was active, primarily around the 1990s. They include works by Abdul Aziz, Emilio Ambron, Anton Huang, Arifien ("Neif"), Mersad Berber, Antonio Blanco,  Francois Brochet, Renato Cristiano, Nyoman Gunarsa, Huang Fong, Kriyono, Lim Kwie Bing, Jason Monet, Popo Iskandar, Siauw Tik Kwie, and Han Snel. In addition to the groups of art works he collected there are also single pieces that very interesting pieces.  
Barli’s  Portrait of a Young Woman  (lot #372*) depicts the charm of a young woman using simple but bold lines. Zaini’s Tini (lot #374*) dating from 1949, done in watercolors, is a significant early portrait, showing the sitter’s strong character. It is also comparable with the artist’s other portraits from the same period. While there is a mystical nuance in Hendrik Paulides's Membatik (lot #421*), Mies Callenfels Carsten's A Pasar Scene (lot #332*) is painted in a modern style influenced by modern graphic design and advertising, making the painting look very modern and beyond it's time. The myopic painter Awiki paints what he is able to see through his thick glasses and then uses very thick oil paints to create his paintings. Interestingly, his painting Garden (lot #412*) turns out as an impressionistic painting that everyone can enjoy while appreciating the artist;s limited vision. 
The late gentleman, who collected the various artworks, appreciated the individual style of each artist. Especially Bagong Kussudiardjo’s expression of movement as can be seen in Balinese Dancer (lot #370*), Djirna’s simple forms in Three Women (lot #385*), Jeihan Sukmantoro’s passage into the soul of the figure he paints through the blackened eyes in  Nunik Bali  (lot #427*) or Sudarso’s interest in preserving tradition through paintings such as Seated Woman with Basket (lot #419*). 
There many works to choose from in this collection, but perhaps the most important paintings are Berber Mersad’s Four Figures (lot #394*), By the Patio (lot #401*) by Arifien (‘Neif’),  Antonio Blanco’s The Winning Cock (lot #405*), Popo Iskandar’s Cat  (lot #406*), and Abdul Aziz’s Surprised  (lot #423*). Lots from the property of a gentleman are scattered throughout the auction. An asterisk (*) following the lot number indicates that the lot is part of the property of a gentleman.
Although limited in number, this auction offers a good selection of contemporary art including works by Lucia Hartini, Pusaran (lot #359), Entang Wiharso's Wajah-wajah Pentas (lot #360), Oceu Apristawijaya’s Caring while Explore (lot #358), 
and Eddie Hara's Real Angel Does Not Fly (lot #361). 
  Of course, among the Indonesian modern art pieces, there is also Arie Smit's Passing The Temple (lot #413), which should not be missed. While there are many interesting lots to chose from in this auction, the most important lot is perhaps the Mahabrata painting (lot #435) by Anak Agung Gede Meregeg. This painting was acquired in the 1950s by a distinguished officer who later became the victim of the 1965 attempted Coup. Only recently has this painting been uncovered, after being kept for more than 50 years in storage. 
We hope that you will be able to view them in person starting Thursday 14 November 2019 at the Aria Ballroom of The Tribrata, Jl. Darmawangsa Raya, Jakarta.  Our auction will take place on Sunday, 17 November 2019, immediately after the auction of the second session of our Collectibles auction (only 30 lots) which will be starting at 1:30 pm. Enjoy the artworks and the auction!  

Amir Sidharta