Category Archives: Fine Art Auction 11 Dec 2011

Ida Bagus Nadera “Spiritual Nature”


Ida Bagus Nadera

“Spiritual Nature”
In the world of traditional Balinese painting the name of Ida Bagus
Made Nadera is considered a monumental painter. His works are
expressive, and he depicts themes that are almost never repeated. As a
pupil of Rudolf Bonnet and Walter Spies and a member of the Balinese
Pita Maha association of artists established in 1936, he was
interested in applying the principles of modernism in his work. He was
regarded as being the most advanced and intelligent painters of the
group, and therefore he was  also tasked to become a mentor of the
other painters.

His paintings are represented in the collection of President Sukarno
as well as various important museums in Indonesia, as well as in
Europe. Life and his work is recorded in the book “Ida Bagus Made
Nadera, A Balinese Painter of Pita Maha”, written by Agus Dermawan T
(Agung Rai Museum of Art, Bali, 2008).

Josephine Linggar “Golden Lady”


“Golden Lady”, 2001
oil on canvas, 100 x 80 cm.
Publication: “The Art of Josephine – Prima Donna”, (Linggar AIA
Gallery & Art Foundation, Jakarta, 2001) p. 81

Josephine Linggar is one of the few Indonesian woman painters who have
interest in the depicting the human side of things, which is supported
by her talent and ability in depicting the human anatomy, human
character, and human expression. Born in Jember, East Java, Josephine
was known as a fashion designer, and this is perhaps why she seems to
have placed a special attention on the depiction of the  figure of the
woman. She also has the sensibility in capturing the suitable postures
and gestures, which convey the story of the painting. In the painting
“Golden Lady” a women awaits someone in front of the temple. Her face
was full of hope, while the frangipani flowers seem to comfort her.

Amrus Natalsya “Siaga Tiga”


Amrus Natalsya
“Siaga Tiga”

In his art work “Siaga Tiga (“Alert Level Three”), Amrus Natalsya
depicts a policeman with three dogs prepared to maintain security,
most likely to secure a demonstration that might threaten the
“national security”. The strength of the work is the unique theme of
the painting, which has never been repeated again by the artist. Amrus
is very familiar with of the issue of national security, especially
when he was imprisoned due to his involvement in politics. Born in
Natal, North Sumatra, Amrus is among the strongest of Indonesian
artists. He deliberately chose wood for his paintings because he is
able to best expressive himself through this medium.

Ogeng Heru Supono’s Borobudur

“Reflections Arupadhatu”
Ogeng Heru Supono is painter who explored the iconography of the
Borobudur temple thoroughly. He captured the spirit of the 9th century
reliefs, and depicted them with his own aesthetics and in a new and
modern composition. In the 1980’s this was the characteristic subject
matter of this paintings.  In 1984, he was even considered among the
top Indonesian painters (Kompas, August 12, 1984).

Art as Political Statements: Lekra artists, including Hendra Gunawan

Lekra (Lembaga Kebudayaan Rakyat) was founded in August 1950 as a
direct response to the socio-nationalist Gelanggang (Arena of
Independent Young Artists) movement established a few years earlier.
Associated with the Indonesian Communist Party, it pushed for artists
and writers to follow the doctrine of socialist realism. After the 30
September Movement (1965), along with the banning of the communist
party, the activities of Lekra ended.
Apart from their political association with the party, artists who
were involved with Lekra created art more as political statements
rather than partisan slogans. Many have depicted historical paintings
that remind us of the struggle of the people during the Indonesian
Revolutionary War (1945-1949). A painting by Tatang Ganar offered in
this auction depicts resting guerillas during the Revolutionary War in
Bandung. It shows a human side of the heroism of the militia. Another
painting depicts a field kitchen during the Revolutionary War.
Although unsigned, the manner in which the figures in the scene are
formed, the use of the medium of oils on paper laid on board, and the
brushstrokes of the artist, clearly show that the painting is a work
by the prominent artist Hendra Gunawan, dating to the period of the

“Unjuk Muka Unjuk Perkara”, by Wayan Jumu


“Unjuk Muka Unjuk Perkara”, 2011.
Chinese ink, acrylic on canvas, 30 x 25 cm. (4 panels)

Exhibition: Prada Ribbon Bali Traditional Painting Biennial 2009, Museum Neka,
Ubud, Bali.

Publication:  “Pita Prada – Golden Creativity” (Agus Dermawan T, Jean
Couteau, Wayan Kun Adnyana), page 78.

Wayan Jumu is a unique Balinese painter. In the beginning, he embraced
traditionalism. Then wanted to become a modern painter, so he attended
the Intermediate School of Fine Arts (SMSR) in Ubud. However, later he
saw that the traditionalism of Bali was actually so alluring, so he
returned to traditional painting. This choice was strengthened when he
befriended famous artist Ketut Budiana.

This painting is one of Jumu’s great achievement, because it is
presented in a form that is reminiscent of a four panel comic strip.
He was praised for this work. “The works by Jumu shows subtlety and
thoroughness. Therefore, although the themes that he rendered tend to
appear creepy, the visualization is beautiful. (“Bali Bravo, Lexicon
of 200 years of traditional Balinese Painters “, Bali Bangkit
Foundation, Jakarta 2007). Jumu traditional painting is also
recognized in the forum of contemporary art, so it appears as a
finalist Jakarta Art Awards, UOB Art Awards, and others. Jumu born in
Ubud, Bali, 1959.

Srihadi Soedarsono’s Enthuasiastic Pendet Dancer

Dancers is one of senior Indonesian painter Srihadi Soedarsono’s
favorite subject matter. He has been painting dancers as early as the
1950s, and painted them in various poses. In some of his paintings, he
depicted the dancers in action, capturing their movement. Sometimes he
also paints scenes during the preparation of the dance, when the
dancers are putting on their costumes or even their make up. On
certain ocsasions the painter seems to have also noticed the attitude
of the dancers waiting patiently for their turn to perform, such as
the dancer in this painting. The Pendet dancer in this work, maintains
the upright posture of her body and the enthusiastic expression of her
face as she walks towards the stage. The orange colors in the
painting’s background, softly complementing the pink, red and white of
the flowers and the figure’s attire, has certainly been purposely
chosen to enhance the positive mood of the painting.

Affandi Family

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Indonesia’s most famous artist, Affandi, was not alone in his world of
art. He is a grand patriarch of a family of artists. Affandi
encouraged his wife Maryati and daughter Kartika to paint, and other
family members have also become artists.

Having lived with Affandi for decades, painting seems to come
naturally for Maryati. During their stay in Europe in the 1970s,
Maryati accompanied Affandi going around to find interesting subjects
to paint. Sometimes, when she considered the subject that Affandi
painted was also of interest to her, she would paint it as well, in
her own unique naive style. While Affandi’s depiction of the Eiffel
Tower is well-known, Maryati’s lesser known version is actually no
less interesting.

Since she was a teenager, Kartika went along with her father, whenever
he allowed her to come along when he was going to paint. She quickly
absorbed her father’s technique, and adopted it as her own. Although
until this day, Kartika Affandi seeems to continue to be under the
shadow of her infamous father, she is actually a painter in her own
right. To Kartika, painting is part of her daily life, and to her,
there is not a day that goes by without painting.
Kartika’s first husband, Sapto Hoedoyo, was also an accomplished
painter who belonged to another prominent family of artists.

The following lots (# 026 to  047) include the works of Affandi,
Maryati Kartika, Kartika Affandi, and Sapto Hoedoyo.
A certificate from Affandi Art Gallery signed by Helfi Dirix,
grand-daughter of Affandi and Maryati, daughter of Kartika and Sapto
Hoedoyo, accompanies the artworks created by the Affandi family

A Tribute to Krijono

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Krijono (Jakarta 1951-2011)

Krijono’s use of bold lines and bright colors are characteristic of his paintings. He applied various colors on his canvases without indicating any attempt of mixing the colors to create new colors. He preferred to use the colors purely, often contrasting them against one another. “I am a painter, not a paint mixer,” he proudly claimed.

Although he studied at the Indonesian Academy of Art (ASRI), Yogyakarta, he has always been close to arts and crafts. His father owned and operated the Harris Art Gallery in South Jakarta. Meanwhile his mother owned a Batik factory. Perhaps his style has been influenced by the techniques of batik. Although batik usually uses earthen tones and subdued colors, there are some batik artists such as Norma Makarim who likes using bright, almost psychedelic colors, and perhaps this has also had some influence on Kriyono’s paintings.

Kriyono has just passed away at the end of November 2011. The four paintings in our auction seems to appear as a tribute to the artist.

Collection of a Pioneering Gallery Owner

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Collection of a Pioneering Gallery Owner

Lots 051 to 066 in our Fine Art Auction on 11 December  are from the collection of pioneering gallery owner. Indonesian collector Joseph Solaiman (Ong Pok Koey) started collecting art since the 1960s and was among the very first collectors of art in Indonesia. After living in the United States, he returned to Indonesia in the late 1980s and decided to continue his passion for fine art by providing an outlet for artists to be able to showcase their works. He established Galeri Santi, named after his dear wife.

Since its establishment and all through the decade of the 1990s, Galeri Santi became an important institution in the development of art in Indonesia and more importantly, in the appreciation of Indonesian art. Joseph Solaiman was able to share his passion for art in such a way that he managed to convince many young collectors to also become passionate about the artistic value of art. To him, collecting art was meant as long term artistic investment, and certainly not about making financial gains from short term buying and selling.

Following Joseph Solaiman’s death in 1999, Galeri Santi continued to operate for a few years. However, without the presence of Oom Jo, as most of the young collectors intimately called him, the gallery was never the same again.

Many of the pieces presented here in this auction are works that Oom Jo had kept dearly as part of his personal collection and have only now been offered for sale. This is a wonderful opportunity to be able to acquire works of true artistic value.