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From the Collection of Çaka Datuk (lots # 097 to 120)

Collections are often accumulated for decades, and sometimes even centuries. Each of the art work that is added to the collection, contribute in shaping the stories and histories or the personality and/or his/her family. Then comes a time to part with the collection. As touching or sad it may be, perhaps comes with this, is the time to tell and share the stories and histories, not only of the art pieces in the collection, but throught the art, also the personal history of the individual and his/her family.

097 Hasim Potret Adam Malik 1975

097
Hasim
Potret Adam Malik
1975

098 Srihadhy Bunga 1966

098
Srihadhy
Bunga
1966

099 Trubus Soedarsono Wanita 1958

099
Trubus Soedarsono
Wanita
1958

100 Isa Hassanda Ceremony In Bali 1981

100
Isa Hassanda
Ceremony In Bali
1981

101 Çaka Datuk Penabuh Gendang Puri Saren - Ubud 1978

101
Çaka Datuk
Penabuh Gendang Puri Saren – Ubud
1978

102 Sukada, Made Acinthya 1973

102
Sukada, Made
Acinthya
1973

104 Çaka Datuk Spakenburg Haven - Hollan 1979

104
Çaka Datuk
Spakenburg Haven – Hollan
1979

108 Abas Alibasyah Topeng 1968

108
Abas Alibasyah
Topeng
1968

109 Aas Alibasyah Topeng 1968

109
Aas Alibasyah
Topeng
1968

116 Çaka Datuk Wanita Pengamen Sitter Jalanan 1999

116
Çaka Datuk
Wanita Pengamen Sitter Jalanan
1999

119 Bonnet, Johan Rudolf Studies of Figures pencil on paper

119
Bonnet, Johan Rudolf
Studies of Figures
pencil on paper

120 Bonnet, Johan Rudolf Male Figure 1970

120
Bonnet, Johan Rudolf
Male Figure
1970

Born on December 9th, 1933 in  Bima,  on the island of Sumbawa, in West Nusa Tenggara, Muhammad Zakaria Datuk,  Çaka Datuk was the fifth of eight children of Rustam Datuk Sari Maradjo and, Siti Sarah. His father was an employee of the Dutch East Indies colonial government who was stationed in Nusa Tenggara, while his mother was born on  Rote island off Timor, in East Nuasa Tenggara. He spent his childhood moving from one town to another around Nusa Tenggara, following his father’s assignments. He attended grade school in Mataloko (Flores Island)  and Soe (Timor Island). in 1948, he was sent to live with his eldest brother Abdul Madjid Datuk in Jakarta to enter the Van Lith junior high school on Jl. Gunung Sahari.

Since he was very young, Çaka Datuk had already had great interest in art. His teacher at Van Lith encouraged him to continue to make artworks. He was determined to continue his education at the Art High School  (Sekolah Seni Rupa Indonesia/SESRI) in Yogyakarta, and then to the Indonesian Academy of Fine Arts (Akademi Seni Rupa Indonesia/ASRI). At ASRI, he became acquainted with Wardoyo, Abas Alibasyah, Amri Yahya, Sapto Hoedoyo, Bagong Kussudiardjo, and many other artists who later gained recognition.  Among the most influential of his teachers were Trubus Sudarsono dan Rudolf Bonnet, who at one point became a visiting professor at the academy. According to Hilly de Roever-Bonnet, the Dutch artist’s niece and biographer, Bonnet considered Çaka Datuk as his protégé.

Along with the exodus of the Dutch residents from Indonesia, Bonnet also returned to the Netherlands in 1957. In 1966, Çaka Datuk continued his studies at the Gerrit Rietveld Academy in Amsterdam in 1966. Although his initial interest was in fine art, at the academy his interest shifted to fashion design. Upon his completion of the program, he worked as a fashion designer, with none less than Queen Juliana being one of his clients.

Since the late 1960s Bonnet was living at the Rosa Spier Huis, an elderly home especially for artists in Laren. On weekends he would visit Çaka in Amsterdam, reminiscing about Indonesia. During his visits, Bonnet would occasionally make drawings of Çaka and his nephew Wim Sulaiman “Upu” Datuk.

In 1978, both Rudolf Bonnet and his colleague Tjokorda Gde Agung Sukawati, the Prince of Ubud  and founder of the Museum Puri Lukisan passed way in 1978. Bonnet was allowed to be ceremonially cremated as part of the the Tjokorda’s great royal cremation in 1979. Çaka and Hilly de Roever-Bonnet took part in the ceremonies.

Not long thereafter, in 1984, Çaka Datuk returned to Indonesia and lived in Jakarta, working as a fashion designer. His combined interest in fine art and fashion design also led him to design textile, and produced among others contemporary Timor Ikat weavings and Minangkabau gold thread Songket.

After suffering from chronic diabetes, Çaka Datuk passed away in Jakarta, on May 4th, 2014.

Over twenty artworks, mostly consisting of the works of this talented artist, along with art works by other prominent artists with whom he was quite closely acquainted, namely Rudolf Bonnet, Trubus, Abas Alibasyah, Isa Hasanda, and Made Sukada, are featured in this auction.

Link to our auction catalog:

http://www.sidhartaauctioneer.com/cat/home.php?cat=279&sort=orderby&sort_direction=0&page=3

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From the Manfred Schoeni Collection of Indonesian and Southeast Asian Art

“Long after we are gone, art can live on and let future generations decide if art should survive or become obsolete.”

— Manfred Schoeni, 1999
(from The Art of Manfred Schoeni exhibition catalogue)

 

Ten years have passed since Asian art enthusiasts were shocked by the news of the tragic death of Hong Kong based art dealer, entrepreneur and also artist Manfred Schoeni, during his vacation in Boracay, The Philippines, on May 2004.

In the art world, Manfred Schoeni was best known as one of Hong Kong’s leading dealers for Chinese contemporary art. His Schoeni Art Gallery was opened in 1992 and it became one of the most successful showcases of contemporary Chinese art in Hong Kong.

While Schoeni is most famous for his engagement with Chinese art, during his numerous visits to Bali he had also started acquiring Indonesian art and art about Indonesia, as well as Southeast Asia.

035 San Miguel, Roger Mother and Child IV oil on canvas

035
San Miguel, Roger
Mother and Child IV
oil on canvas

036 San Miguel, Roger Love

036
San Miguel, Roger
Love

037 Husner, Paul Balinese Landscape 1998 - 1999

037
Husner, Paul
Balinese Landscape
1998 – 1999

038 Husner, Paul Landscape of Bali, Iseh 2001

038
Husner, Paul
Landscape of Bali, Iseh
2001

039 Husner, Paul Balinese Landscape - Ubud 1997 - 1998

039
Husner, Paul
Balinese Landscape – Ubud
1997 – 1998

040 Dullah Portrait of a Girl with Flowers in Her Hair

040
Dullah
Portrait of a Girl with Flowers in
Her Hair

Sutawijaya, Putu Freedom I

028    Sutawijaya, Putu
Freedom I

029 Sujena, Nengah Masih Kepopong (Cocoons) 2003

029
Sujena, Nengah
Masih Kepopong (Cocoons)
2003

030 Sudiana, Putu Contradiction 2003

030
Sudiana, Putu
Contradiction
2003

031 Teja Mulya, I Komang Gede Tarian Rakyat (Folk Dancing) 2003

031
Teja Mulya, I Komang Gede
Tarian Rakyat (Folk Dancing)
2003

032 Sang Made Alit Setiawan Bermain Dadu 2003

032
Sang Made Alit Setiawan
Bermain Dadu
2003

033 Darya, I Nyoman Budi CS (Name of artist’s friend) 2003

033
Darya, I Nyoman
Budi CS (Name of artist’s friend)
2003

034 Surya Darma, I Gede Made Big Piercing 2003

034
Surya Darma, I Gede Made
Big Piercing
2003

028  Alpha Tejo Purnomo Lelakut (Scarecrow) 2003

028
Alpha Tejo Purnomo
Lelakut (Scarecrow)
2003

Featured in this auction (lots #027 to #040) are works of art coming from Manfred Schoeni’s collection of Indonesian and Southeast Asian Art. The collection shows that he was interested in paintings by Indonesian artist Dullah, and Philipino artist San Miguel, and Paul Husner, a Dutch artist who is very fond of Bali.

Yet Schoeni had a wide range of interest in art. The art entrepreneur’s keen interest in contemporary art can be seen from the paintings by contemporary Balinese artists.  In the late 1990s and early 2000s he visited Bali regularly, and on one of his visits he stumbled upon an exhibition organized by the Sanggar Dewata group of artists at the Neka Museum, and decided to acquire paintings by contemporary Balinese artists Putu Sutawijaya, Nengah Sujena, Putu Sudiana, Nyoman Darya, Gede Made Surya, Made Alit Setiawan, and Komang Teja Mulya, as well a painting by Alpha Tejo Purnomo, who also resides in Bali.

What a great opportunity it would be to be able to extend Schoeni’s art collecting legacy for future generations! Ars longa, vita brevis.

Untung Suropati as interpreted by Sudjojono (lot # 108)

108

This is S. Sudjojono’s interpretation of Untung Suropati, an historical character who happened to be honored as an Indonesian national hero in 1975. It seems that the character might have caught Sudjojono’s attention when he was doing research for the large mural about Sultan Agung’s 1628-29 unsuccessful siege of Batavia (completed 1974), displayed at the Jakarta History Museum on Taman Fatahilah.

According to the epic Babad Tanah Jawi, Untung Suropati was a slave who originated from Bali. A Dutch officer by the name of Moor attributed the rise his career and the increase of his wealth to his acquisition of his new slave, and decided to call him “Untung” (which means “fortune”).

Later, when he found out that Untung and his daughter Suzanne were getting involved deeper and deeper in a love affair, he decided to imprison him.  However Untung gathered his prison mates and managed to escape from prison and became fugitives.

Untung eventually acquired the named Surapati from the Sultan of Cirebon. He went on to Kartasura, where he was kept under the aegis of Sultan Amangkurat II. Untung Surapati was best known for killing Captain Tack, a Dutch officer who was sent to Kartasura to capture him, in 1686.

Untung Surapati went on to become the ruler of Pasuruan, still under the auspices of Sultan Amangkurat II. Following the Sultan’s death in 1703, his successor Amangkurat III came in conflict with Pangeran Puger (a son of Amangkurat I) and fled to Pasuruan. When the Dutch forces launched an attack on Pasuruan in 1706, Surapati retreated to Bangil, where he was killed. Amangkurat III continued to fight the Dutch with Surapati’s sons until their surrender in 1708.

 

A piece of paper with Sudjojono’s text is affixed on to the reverse of the canvas:

SS Suropati tulisan smaller

Untung Suropati

 

Paringi padang, Gusti

Mugi gamblang ingsun garap

Cahya kangcekap

Pangetrapan kang wajar

Sapa sira, jalma hurip

Sing bisa nututi krentek ingsun

Aku pepundening Sang Resik,

 

– – – – – –

 

Nyuwun pangestu, Gusti

Niat ingsun tancap suku

Ing siti bumi, tirta ngamuk

Prahara ngebut, ngeprak-eprak prahu

lan lirik2,

Nggonjing kiwa,

Miring tengen

Sang prahu lampahnya alon

 

– – – – – –

 

Sirna kowe, polang2ku hurip

Aku mlaku

Aja ngira, aku menceng,

Lakuku ngadep, orang noleh,

Rawe2mu tak rantas

Palang2mu tak putung

Karepku bener,

Tekadku paring pangestaning Sang Nyipta

 

S. Sudjojono

Jak, 1975

 

The text seems to be a kind of evocation to The Almighty, so that he will remain on track in pursuit of truth. He uses the metaphor of a journey on a boat or ship through rough waters to portray life. In the painting, Untung Suropati is depicted as if he were on a boat together with his love Suzanne.

It seems clear that Sudjojono identified himself with Untung Suropati, who like him, fell in love with a European woman. Be that as it may, Untung Suropati continued to fight against the colonialists in pursuit of freedom, and it is apparent that Sudjojono intended to follow this example.

 

 

For the e-catalog, click here: http://www.sidharta.co/fa2013/

Djakarta pagi2 by S. Sudjojono

Djakarta pagi2 low res

Entitled “Jakarta in the Morning” shows a scene of what Jakarta’s main boulevard, currently known as Jl. M. H. Thamrin looked like in 1967, as seen from the raised platform of the Sarinah Building, looking south. From north to south, the buildings on the west side of the boulevard: the East Jerman Embassy, the Japanese Embassy, Hotel Ashoka and Hotel Indonesia can be seen quite distinctly depicted. On the east side of the boulevard, the buildings are less visible, but clearly the steel framed Wisma Nusantara which had been under construction since 1964, towers the landscape.

In the background, the mountain range of Mount Gede and Pangrango is also visible on clear days during that time, when Jakarta’s traffic was still at its infant beginnings, so to say. The painting also shows how the traffic was during that time: north-bound traffic on Jl. Thamrin was quite heavy, as the old town was still very much the center of business in those days. Traffic soufh bound on the boulevard is significantly much more quite. We can see a becak and a bemo on Jl. Sunda off the main boulevard.

While this painting is a tremendously intriguing testimony of what Jakarta was like in the 1960s, it is also a kind of self portrait. A figure of a man that is seated on the left side of the canvas, watching over a small child, is most certainly the painter himself in a cameo appearance. Indeed, Sudjojono often brought his family to enjoy Sarinah, which was at the time the most prominent department store in the city, particularly to be able to enjoy the views of their developing hometown from the building’s open air raised platform.

 

For the e-catalog, click here: http://www.sidharta.co/fa2013/

Collection of an Indonesian collector residing in Europe

Freitag Collection

Early works by Affandi: Portraits of Tjokorde Gede Raka Soekawati and his wife Gilberte Vincent

affandivincent1

cokordesoekawati1


These two paintings have historical significance to Indonesia as they are portraits of Tjokorde Gede Raka Soekawati, the President of the State of East Indonesia from 1946 to 1950 and his wife Gilberte Vincent Soekawati who was a French national and later became an Indonesian citizen.

Affandi’s later style is known for its expressionist work using vibrant networks of lines to communicate his emotion. However, these two works, created in the 1940s, are part of his collection of realistic paintings from his early career before his style evolved into the more expressionistic works he is more widely known for. For this reason, coupled with their historical significance, these paintings by Affandi would be a rare addition to any important art collection.

fotokeluargadrpurifotoklrgsoekawatiAt the time these paintings were completed Affandi was known to paint in a realist style. While in the painting of Tjokorda he closely adhered to realism, the painting of Gilberte Vincent Soekawati shows evidence of the painter’s use of loose rhythmic brush strokes as well as an early stage of his signature technique of directly squeezing the paints directly from their tubes to the canvas instead of his palette. The contrasting, though still complimentary use of colours in the two paintings further demonstrate his different approach to the two subjects. In Tjokorda’s more formal portrait the colours used evoke power and stature in accordance to the position the sitter held, strong reds and blacks, while in his wife’s portrait the cool colours of pale blue, green and white evoke delicacy and femininity. However even then his loose brushwork was already evident in some of his more informal pieces.


This highly accomplished and internationally recognized Indonesian master was essentially self-taught. During the Japanese occupation he was involved in Poetera (People Activity Center). Moving to Yogyakarta during the Revolution, he participated in revolutionary activities and helped to set up Seniman Masjarakat in 1946. He co-founded Pelukis Rakyat (People’s Painters) with Hendra Gunawan in 1947. A scholarship to the School of Art of Santiniketan University took him and his family to India in 1949. Following this, they proceeded on an extensive tour of Europe before returning to Yogyakarta in 1954, when he became a lecturer at the Indonesian Fine Art Academy (Akademi Seni Rupa Indonesia/ASRI). He participated in the San Paolo Biennial II in 1953, and represented Indonesia at the Venice Biennial in 1954. Affandi went to Honolulu in 1967, as part of the first East-West Center Artist-in-Residence program, where he painted his first fresco. He received an Indonesian Art Award from the Ministry of Education and Culture in 1969 and was presented a Doctor Honoris Causa by the University of Singapore (1974) for his contribution to art. He also received the Dag Hammarskjoeld, an International Peace Prize from Italy in 1977, and the Indonesian Government’s Gold Medal in 1978.

written by Emily Graham, Sidharta Auctioneer Summer Intern 2013

 

For the e-catalog, click here: http://www.sidharta.co/fa2013/

New Auction: The Property of the Estate of Indonesian Fashion Pioneer Peter Sie (1929-2011)

Peter Sie Cover for web

Peter Sie sdt sang de boeuf web   Peter Sie ruang salin web

Auction date: 19 & 20 January 2013, by appointment

Auction venue: Private residence

 

Peter Sie Ruang Tamu web

We begin 2013 with a very special auction of the estate of pioneering Indonesian fashion designer Peter Sie (Bogor 1929 – Jakarta 2011). At a young age of 17, he went to The Netherlands and studied at the Vakschool Voor Kleermaker & Coupeuse in The Hague from 1947 to 1953. Upon his return to Indonesia, he immediately started his fashion business, making dresses for Chinese-Indonesian ladies who lived around the Mangga Besar area of Jakarta, where he lived at the time.

In 1959,  he held a fashion show at Hotel Des Indes in Jakarta. Meant to be part of fund raising event for a charitable cause, the show was a huge success and was attended by important personalities, including Indonesia’s First Lady, Fatmawati Soekarno. Following this first show, Sie’s career blossomed.

Although at one point in the mid-1970s a minor crisis forced him to make ready-to-wear clothes for a brief period of time, Sie was best known for his haute couture designs, which he individually created for his select special clients. He is considered the “father of Indonesian haute couture” by eminent fashion designers, and together with prominent batik designer Iwan Tirta was honored as “Fashion Icon” at the Jakarta Fashion & Food Festival 2006.

 

Alongside his passion for style and fashion, he also surround himself with elegance and beauty. He decorated his house with the beautiful things that he patiently acquired, developing specific collections. His ceramics collections were developed based on themes of color: Ming Dynasty blue and whites, sang de boeufs, Qingbai ware,blue glazed ceramics, and celadons. He also collected fine pieces of Peranakan Chinese furniture in his house, as well as various other collectibles from various parts of the globe.

A number of paintings by prominent Indonesian painters can also be found in his collection, including the works of Ernest Dezentje, Chris Suharso (Siauw Swie Tjing), Liem Tjoe Ing, I Fan Tje, Alimin Tamin, Djupriany, Tatang Ganar, Amri Yahya, S. Yadi K, Tanto and even Kartini Basuki.

Peter Sie’s interest was not only in fashion, but also in ceramics, antique furniture, and fine art. His book collection also reflected this wide interest.

Following his passing away in 2011, he has left behind an estate of over a thousand items. The entires estate will will be auctioned in two sessions, on Saturday and Sunday, 19 and 20 January 2013, at the residence of the late fashion pioneer.

The previews, which will be held by appointment starting Saturday, January 13th, 2013, will be an insightful cultural journey into the life of a notable Indonesian cultural Icon. We invite anyone who might be interested in taking part of previews to contact us to make an appointment as soon as possible.

The auction will also be a unique opportunity for those of you who might be interested not only to take a glimpse of the collections, but also to be able to acquire part of or even the entire collection of a remarkable Indonesian personality, who has always been associated with the finest in taste and style.

 

We hope that you will take part in and enjoy this amazing cultural event.

Happy viewing and joyful bidding!

Dullah’s Realism

Fisherman at Work by the Seashore by Itji Tarmizi