Category Archives: Fine Art Auction 29 May 2011

Artworks in our upcoming Fine Art Auction, Jakarta, Sunday, 1 February 2015

Here are some of the paintings in our upcoming Fine Art Auction, Jakarta, Sunday, 1 February 2015

Dullah's Penjual Sate An early work by the Indonesian Realist

Dullah’s Penjual Sate
An early work by the Indonesian Realist 

Itji Tarmizi

Itji Tarmizi

SIDHartA Collectibles Auction at The Kunstkring Jakarta, May 4th, 2014

Stand Card 248

We are very proud to hold our Collectibles auction at the Tugu Kunstkring Paleis. The Bataviasche Kunstkring was opened on the 17th of April, 1914, as the center of activities for the city’s Art Circle. Many important exhibitions were held here, particularly in the 1920s and 1930s. Between 1935 and 1939, the collection of modern western art of paint manufacturer P.A. Regnault was exhibited here, inspiring Indonesian pioneers of modern art.

The Bataviasche Kunstkring apparently also became the inspiration for the name of a group of Indonesian art and culture enthusiasts when they formed the Lingkar Mitra Budaya in the late 1960s. This group held popular auctions at their relatively modest establishment on Jl. Tanjung. The group encouraged people to collect and appreciate artworks. Unfortunately by the 1990s the Lingkar Mitra was no longer active.

While we aspire to both the Lingkar Mitra Budaya and the Kunstkring in encouraging more people to appreciate art and culture through collecting art and other collectibles. In our auction this time we are offering 248 lots of a variety of items including furniture, decorative items, ceramics, textiles, cameras, books and prints, artworks and jewelry. The items have come from the estates of various collectors as well as from dealers and other enthusiasts, who intend to streamline their collections or exchange them for others.

Among the many ceramic items offered there some very nice famille rose, famille noire, Ming as well as some European ceramics. There are blue and white items ranging from planters, umbrella/cane stands, plates and bowls to elegant decorative jars. A range of stoneware martavans can also be found.

An elegantly designed buffet cabinet (lot# 248) is certainly one of the most unique furniture pieces in the sale. Many items from the sale shows what kinds of furniture were used in the first half of the twentieth century Jakarta and other cities in Indonesia, including a Van der Pol work desk  (lot# 150), a living room furniture set  (lot# 151) and Art Deco and Art Nouveau style furniture locally produced. There are also some furniture from the Chinese tradition, among others a cuiho cabinet  (lot# 176) and a pair of traditional Chinese chairs (lot# 211). Other furniture also shows local traditions, including a Javanese carved cabinet and a Madurese set of seats (lot# 172).

A collection of textiles from Sumba is another highlight of our sale. Many of the items featured include extensive descriptions provided by Judi Achjadi for the owner/vendor of the lots, so that we can also learn a little bit about the significance of the pieces. Two pieces of Batik wall hangings by Iwan Tirta (lot# 100)  (lot# 236 & 241) dating from the 1970s have returned to Indonesia to find a new home.

Various cameras including some interesting folding cameras and early single lens reflex cameras are also offered. There are also some books, maps and prints about Indonesia, the most interesting of which for this auction would be De Haan’s Oud Batavia (1923) (lot# 096) and Pieter van der AA’s Map of Batavia (1727) (lot# 100). Many of the maps/prints come with certificate of authenticity from a gallery where the pieces once originated.

Last but not least , some exquisite fashion accessories and jewelry are also offered in the sale. There are some Peranakan pieces as well as some Javanese, Palembang and European pieces. While there are many beautiful pieces, but personally I find the set of gold and silver pins in the form of butterflies (lot# 187) most delightful.

Each and every person are entitled to their own tastes, and we hope that among the 248 lots that are offered in this auction, there will be something for every collector, new, seasoned and even veteran collectors. So we hope that you will be able to join us during the previews, which start on Sunday, April 27th and continues Tuesday – Friday, April 29th – May 2nd, to view the various items that are being offered, and then ultimately during the auction on Sunday, May 4th, 2014 to bid on the items you desire. The viewing and the auction, held at the Tugu Kunstkring Paleis will certainly be a delightful experience for everyone.


We hope that you will enjoy the auctions.

Happy viewing and joyful bidding!

Amir Sidharta

Dullah in our upcoming auction

“Penjual Sate”
oil on canvas
142 x 82.5 cm

oil on canvas
47 x 69 cm

oil on board
50 x 40 cm

Inspirational Mountains and Volcanoes



Many works from dating from the 1960s to 1980s in this auction have come from the collections of avid art enthusiasts who have meticulously built their collections throughout the years. As a “ring of fire”, it is only natural that volcanoes and mountains would be one of the most favorite subjects of the artists. In this auction there are two particularly monumental paintings of volcanoes by Siauw Tik Kwie, and other painting of a volcano in the background of a seascape by Dullah. There are also smaller mountainous landscapes by Yudhi, Dullah and Kasenda.





Trubus and the Woman in a Green Kebaya (1954)

Completed in 1954 by the rather enigmatic Trubus Soedarsono (Yogyakarta, 1926-1966), the Woman in Green Kebaya is a unique painting.

Trubus is usually known for his amazing realist technique. He is also known for his painterly strokes, which he —either using a brush or a palette knife— applies swiftly to express his artistic sensitivity. The combination of his realism and his swift painterly strokes is what made him famous.

The Woman in Green Kebaya also shows his swift painterly strokes, the floral motifs on the woman’s green kebaya seem to even jump out onto the background of the painting. The painting is expressive, not of  the movement of the Legong dancer whom he often paints, but rather it seems to be expressive of his own excitement in painting this piece.

Who is the subject of the painting?

Let us compare the painting with two other works by Trubus, depicting women in kebaya, from the collection of the President Soekarno.

Trubus S – Woman of Djogja – 1952 – oil on canvas – 108 x 88 cm
President Sukarno Collection Volume I  p. 31

Painted two years earlier , the Woman of Djogja shows a striking similarity to to the Woman in a Green Kebaya. While the subject of the painting might not be the same person, the kebaya that is worn seems very much alike. The painting is also done in the same loose, informal, painterly style.

Trubus Soedarsono – Portrait of Mrs T – 1955 – oil on canvas – 86 x 65 cm –
President Sukarno Collection Volume IV  p. 16

The Portrait of Mrs T,  on the other hand, is painted a year later, and is done in a markedly realist manner. It seems that it was the style of the times to wear bluish-green kebaya ornamented with floral motifs.



The images from the President Sukarno Collection have been taken from the website of the Indonesian Visual Art Archive:

Bali lots in the 29 May auction

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Other Special Lots in this Auction

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Here is a selection of some of the other special lots in our upcoming Fine Art Auction on May 29th, 2011. If you would like to know more about any of the works, please do let me know, by writing a comment below. I will respond as soon as possible.

All the best,


Affandi and Family

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.
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.
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.
The following lots (lots #061 to 091) include the works of Affandi, Maryati Kartika, Kartika Affandi, Sapto Hoedoyo, and some other artworks related to Bali from the collection of an Affandi family member.

While visiting his grand-daughter Helfi and her husband Urbain Dirix, who lived in Belgium in the mid-1970s, Affandi became interested in the art of printmaking.

In 1977, he joined a printmaking workshop at the Frans Masereel Center for Graphix in the small village of Kasterlee in Belgium. While working on various printmaking techniques, including etching and lithography, Affandi also worked on lithography.

Affandi and Grand-daughter, is one of the pieces created at the Masereel Center. The lot below is the final product, enhanced with pastels.

The Indonesian maestro Affandi passed away in 1990. Despite his old age, and weakening physical condition, he was eager to always create art. He attempted to produce a self portrait as late as 1989.
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 members.

Dede Eri Supria’s “Tukang Daging”

Dede Eri Supria Tukang Daging 1981

Dede Eri Supria’s “Tukang Daging” (also known as “Menunggu Pembeli/Waiting for Customers”) dates from 1981 and is amongst the earliest of the artist’s mature work.
Although painted in the ‘super-realist’ style of this period, it is not a  mere photographic record of reality.

Rather it appears as a telling documentation about the atmosphere of the times. The table, the awning, indeed the meat, depict elements of a roadside market which could be found anywhere in urban Indonesia, whereas the the dried cracked earth of the background is entirely unplaceable.

It is unemotional or even cold. The seller sits impassively; there is no interaction with his environment. The painting may appear ‘difficult’ in that it takes an easily recognizable element of the urban landscape so often portrayed by Dede and transposes it to a bleak setting as if to emphasize the anonymity, loneliness and alienation of the city.

The subject matter was certainly carefully chosen. The flesh of the meat that is being sold becomes a interesting metaphor for ephemerality or might even suggest sacrifice.

The painting is distinguished by fine brushwork and intense colors with the background rendered in a series of vertical bars each not quite aligned with the next. With the flat empty space leading to the far horizon it is compositionally similar to the well known “Isteriku/Portrait of my Wife” also dating from 1981.

It was painted during the formative period of Dede Eri Supria’s career as an artist. It is a very significant period in his artistic development, as the subject matters he painted were all deeply rooted in his thoughts and the cultural zeitgeist of the times.

“Tukang Daging” has been in the collection of the owner /vendor since 1984 when it was purchased from the artist. Regarding the painting, he mentioned that he “was attracted to its ‘uncompromising’ quality and how the main elements of the paining are so effectively juxtaposed.” He hopes that other collector would be able to also appreciate the work of art as he did, and provide a new home for the painting.

The piece will be featured in our Fine Art auction 29 May 2011.

Exhibition History, “Into the Labyrinth”, One-man show, 1997 (Jakarta Stock Exchange 5th anniversary)


• Nirwan Dewanto, ed. “Into the Labyrinth”, Exhibition Catalogue, Jakarta Stock Exchange, 1997, (Titled “Menunggu Pembeli/Waiting for Customers”. Generally known as “Tukang Daging”), p. 38-39

• Agus Dermawan “Elegi Kota Besar” (Jakarta: Yayasan AiA), p. 42.

The Collection of the Late Mamannoor: A Chronicler of Indonesian Art

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In our Fine Art Auction, 29 May 2011, we will be auctioning the collection of the late  Mamannoor, Indonesian art critic and chronicler of Indonesian art. Here is what art critic Suwarno Wisetrotomo has to say about Mamannoor and his collection:

The Collection of the Late Mamannoor: A Chronicler of  Indonesian Art

A genuine friend who was always ready to listen, always ready to document and record, a spirited explorer, who was assiduous in maintaining his friendships, are the words that perhaps best defines Mamannoor (born in Losari, West Java, August 21, 1958, died in Bandung, October 7, 2007), a writer, critic, curator, and diligent art documentor. He often refers to himself as an “inquisitor” of art. Indeed, it is a true confession: he diligently observed, listened, and recorded the visual arts in the entire country of Indonesia. It was his ambition to document and publish. The result is the increase in awareness about and the heightening of the esteem and dignity of the artists who would have otherwise remained unnoticed by art enthusiasts, collectors, and the media, up to the point that they have established a sense of self-confidence of being an artist.

Mamannoor explored small towns in Java, Sumatra, Kalimantan, Sulawesi, and so forth, and gathered data about the artists in the cities. He was close friends with the late art critic Sanento Yuliman, and who seemed to have motivated him to publish art books. Therefore, he relentlessly took and compiled notes. As a result, a number of books published monographs and critical studies, among others, about AD Pirous, Popo Iskandar, Amang Rahman, Jeihan, Huang Fong, Umi Dahlan, Taat Joeda, and Pupuk DP, and a number of writings scattered in various catalogs. Mamannoor also published Wacana Kritik Seni Rupa Indonesia, Sebuah Telaah Kritik Jurnalistik dan Pendekatan Kosmologis (The Discourse Surrounding Indonesia Art Criticism, An Interpretation Using Critical Journalism and a Cosmological Approach)  published by Yayasan Nuansa Cendekia, Bandung, 2002, which was based on his master’s thesis during his graduate studies at  The Art and Design Faculty of the Bandung Institute of Technology (1998). The Nusantara Art Exhibition which became permanent program of the National Gallery of Indonesia (GNI) was Mamannoor’s idea, when he became one of the curators of the National Gallery in 1998-2003.

The brief explanation about Mamannoor’s all-encompassing efforts above, can be used as the basis to comprehend the existence of works which forms his art collection. He was not an art collector, in the sense that he did not actively collect art works. If he had a collection, it was certainly because there was a correlation between his profession as an art observer, chronicler, critic, and curator. That is to say that the works in his collection can be called a “monument to friendships” with the artists. The friendships were really dear, special, and priceless, just like the works of the collection. The value of friendships with the artists were to be permanently commemorated through the art works displayed on the wall of his residence.

Mamannoor’s collection was very diverse: it included works of artists from Barli Sasmitawinata, Amrus Natalsya, Heyi Ma’mun, Asri Nugroho Nuspakurimba, Cadio Tarompo, Makhfoed, Awiki, Redha Sorana, S. Yadi, Xue Jiye (China), Antonius Kho, Acep Zamzam Noor, Toto Sunu, Putut Wahyu Widodo, to the generation of young artists like Rosid, Zirwen Hasri, or Hojatul Islam. The names were familiar in the Indonesian art stage; from established artists until those who are still growing. More than just a personal expression of the artists (with all their tendencies and messages), collectively or even one by one, the works in Mamannoor’s collection are really “monuments to friendships”, the witness of the numerous trips that the late art critic made, as well as all the attention, sincerity, love, and perseverance he dedicated to the art world.

–Suwarno Wisetrotomo (Art curator, critic, and a good friend of Mamannoor)