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33 Auction

2018 Jakarta Summer Sale Modern and Contemporary Art Jakarta, Sunday 2 September 2018

Auction

Sunday, 2 September 2018, 3.30 pm Ballroom 3A, Level 4 The Ritz Carlton Hotel Jakarta, Pacific Place Jl. Jendral Sudirman SCBD Kav. 52 - 53 Jakarta Selatan 12190 Indonesia

Preview

Saturday, 1 September 2018, 10 am - 10 pm Ballroom 3A, Level 4 The Ritz Carlton Hotel Jakarta, Pacific Place Jl. Jendral Sudirman SCBD Kav. 52 - 53 Jakarta Selatan 12190 Indonesia

Sale Information In sending written bids or making enquiries, please quote this sale number ‘JK008’ The sale will be conducted in English. Bidding is carried out in Indonesian Rupiah. Please note that all US Dollar estimates are for reference only. A Buyer’s Premium will be added to the hammer price and is payable by the buyer as part of the total purchase price. The buyer’s premium is 22%. Modern and Contemporary Art

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GUIDE FOR PROSPECTIVE BUYERS (INDONESIA AUCTIONS)

Conditions of Business The Auction is governed by the Conditions of Business printed in the back of the catalogue. Prospective buyers are advised to review these carefully. Buying at Auction The following pages are designed to give you useful information on how to buy at PT Balai Lelang Linda (here-in referred to as 33 Auction). Buyer’s Premium A Buyer's Premium will be added to the hammer price and is payable by the buyer as part of the total purchase price. The buyer's premium is 22% of the hammer price of each lot. Pre-sale Estimates The pre-sale estimates are intended as a guide for prospective buyers. Any bid between the high and low pre-sale estimates would, in our opinion, offer a chance of success. However, all lots, depending on the degree of competition, can realise prices either above or below the pre-sale estimates. The estimates printed in the catalogue do not include the buyer’s premium. Reserves The Reserve is the minimum price the seller is willing to accept, below which the lot will not be sold. Condition of Lots Prospective buyers are encouraged to inspect the property at the pre-sale exhibition. Solely as a convenience, 33 Auction may provide condition reports. The absence of reference to the condition of a lot in the catalogue description does not imply that the lot is free from faults or imperfections. Bidding at Auction Bids may be executed in person by paddle during the auction, in writing prior to the sale or by telephone. The auction will be conducted in Indonesian Rupiah. Auction speeds vary, but usually average between 40 - 80 lots per hour. Bidding Increments Bidding generally opens below the low estimates and advances in the following increments: IDR 5 - 10 million by IDR 500,000 IDR 10 - 20 million by IDR 1 million IDR 20 - 50 million by IDR 2 million IDR 50 - 100 million by IDR 5 million IDR 100 - 200 million by IDR 10 million IDR 200 - 500 million by IDR 20 million IDR 500 - 1,000 million by IDR 50 million IDR 1 - 2 billion by IDR 100 million IDR 2 billion up at auctioneer’s discretion However, the auctioneer may change the increments during the course of the auction at his or her discretion. Bidding may also be reopened at the auctioneer’s discretion.

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Bidding in Person To bid in person at the auction, you will need to register for and collect a numbered paddle before the auction begins. Proof of identity will be required. The paddle is used to indicate your bids to the auctioneer during the sale. Should you be the successful buyer of any lot, please ensure that your paddle can be seen by the auctioneer and that it is your number that is called out. Should there be any doubts as to price or buyer, please draw the auctioneer’s attention to it immediately. All lots sold will be invoiced to the name and address in which the paddle has been registered and cannot be transferred to other names and addresses. Please do not mislay your paddle; in the event of loss please inform the Sales Clerk immediately. Absentee / Written Bids If you cannot attend the auction, we will be happy to execute written bids on your behalf. This service is free and confidential. Lots will always be bought as cheaply as is consistent with other bids, the reserves and 33 Auction’s commission. In the event of identical bids, the earliest bid received will take precedence. Always indicate a “top limit”- the hammer price to which you would bid if you were attending the auction yourself. “Buy” and unlimited bids will not be accepted. Telephone absentee bids form must be sent before the sale together with a copy of your photo identity card by email to bid@33auction.com, by fax to +62- 217203505 or by letter to 33 Auction offices. To ensure satisfactory service to bidders, please ensure that we receive your bids at least 24 hours before the sale. Bidding by Telephone If you cannot attend the auction, it is possible to bid on the telephone on lots with a minimum low estimate of IDR 20 million. As the number of telephone lines is limited, it is necessary to make arrangements for this service 24 hours before the sale. We also suggest that you leave a maximum bid which we can execute on your behalf in the event we are unable to reach you by telephone. Multilingual staff are available to execute bids for you. Online Bidding For your convenience, you may use 33 Auction mobile apps and bidding site to leave your bid before the sale or bid live during the sale. The service is free of charge and is undertaken at bidder’s risk. Please register at least 4 hours before the auction start to ensure your registration is approved in time. Bidding on partner’s online bidding platform may incur a service fee: Invaluable: 5% of hammer price. Currency Conversion The auction will be conducted in Indonesian Rupiah. 33 Auction may provide a currency conversion board in the saleroom for the convenience of bidders.

Please note the amounts shown in foreign currencies are approximate figures and are for guidance purposes only. Successful Bids The fall of the auctioneer’s hammer indicates the final bid. The auctioneer will call out and record the “paddle” number of the buyer. If your written bid is successful, you will be notified immediately after the sale by email. Payment Payment must be made within seven calendar days of the sale and may be made by telegraphic transfer direct to PT Balai Lelang Linda bank account. Please include your name, 33 Auction’s account number and invoice number with your instructions to your bank. Payment can also be made by Indonesian Rupiah banker’s drafts (drawn on a recognized Indonesian bank). Although personal and company cheques are accepted, you are advised that property will not be released until such cheques have cleared. We regret credit card payment is not accepted. Collection Lots will be released to you or your authorized representative when full and cleared payment has been received by 33 Auction. After thirty days or from the time of collection, whichever is the earlier, the Lot will be entirely at the Buyer’s risk. Storage and Insurance All purchases will initially be held for collection at 33 Auction’s premises at no charge. 33 Auction provides insurance coverage for a maximum of thirty days after the sale. Storage charges will be incurred one month after the date of the auction at the rate of IDR 500,000 per lot per month. Packing and Handling We shall use all reasonable effort to take care when handling and packing a purchased lot but the Buyer is reminded that after thirty days or from the time of collection, the lot is entirely at the Buyer’s risk. Shipping 33 Auction’s Shipping Department can advise buyers on exporting and shipping property. Please complete and sign the shipping instruction form sent with your invoice if this service is required. Purchases will be despatched as soon as possible upon clearance from the Accounts Department and receipt of your written despatch instructions and of any export licence or certificates that may be required. Shipping will be arranged at buyer’s expense. Your shipper will include a quote for transit insurance. All shipments should be unpacked and checked on delivery and any discrepencies notified to the transit insurer or shipper immediately.


給準買家之指引 ( 印 尼 拍 卖)

商業規則 本次拍賣是由印刷在圖錄後⾯的商業規則 來規定的,我們建議準買家應詳細查閱。 於拍賣會上購買 以下內容旨在為您提供有⽤的信息來協助 您如何在 PT Balai Lelang Linda 購買(以 下被譽為33拍賣⾏)。 買家應⽀付酬⾦ 買家應⽀付本公司酬⾦,並與成交價⼀起 計⼊買⼊價。酬⾦以成交價之22%計算。 拍賣前估價 拍賣前估價⽤意在於為準買家提供指引。 本公司認為,介乎拍賣前⾼位與低位估價 間之任何競投價均有成功機會。然⽽,所 有拍賣品之價格可能⾼於或低於拍賣前估 價。 拍賣圖錄所載之估價並不包括買家⽀ 付之酬⾦。 底價 底價是賣⽅願意接受的最低價格,低於該 價格此拍賣品不會被出售。 拍賣品之狀況 準買家應於拍賣前之展覽會上視察拍賣 品。為了⽅便買家,33拍賣⾏亦會提供拍 賣品狀況報告。如圖錄中未說明拍賣品之 狀況,不表⽰該拍賣品沒有缺陷或瑕疵。 拍賣之競投 在拍賣會中競投可以由個⼈親臨拍賣會上 舉板進⾏,亦可在拍賣前以書⾯形式參加 或通過電話或網上競投服務進⾏競投。競 投時使⽤印尼卢⽐。拍賣的速度不⼀,但 是通常是每⼩時 40 – 80 件拍賣品。 競投增幅 競投⼀般始於低於最低拍賣前估計的價 位,⽽增幅如下: IDR 5 - 10 百万 by IDR 500,000 IDR 10 - 20 百万 by IDR 1 百万 IDR 20 - 50 百万 by IDR 2 百万 IDR 50 - 100 百万 by IDR 5 百万 IDR 100 - 200 百万 by IDR 10 百万 IDR 200 - 500 百万 by IDR 20 百万 IDR 500 - 1,000 百万 by IDR 50 百万 IDR 1 - 2 ⼗亿 by IDR 100 百万 IDR 2 ⼗亿 以上由拍賣官決定 但是,拍賣官可能會改變增幅的規律。拍 賣官也可隨時決定重新出售拍賣品。

親⾝競投 親⾝競投之⼈⼠須在拍賣會開始前登記及 領取號碼板,並須出⽰⾝份證明⽂件。 在拍賣現場,閣下需要⽤號碼板來向拍賣 官叫價。如閣下成功購得拍賣品,請確定 拍賣官看到閣下之號碼板及叫出閣下之號 碼。如對叫價或買家有任何疑問,請⽴即 向拍賣官⽰意。所有售出之拍賣品發票抬 頭⼈均會為登記號碼板之⼈⼠及其地址, ⽽不得轉讓⾄他⼈及其他地址。 請勿隨意放置閣下之號碼板;如有遺失, ⽴即通知拍賣主任。拍賣完結時,請將號 碼板交回登記處。 缺席競投 如閣下未能出席拍賣會,本公司樂意代表 閣下進⾏書⾯競投。本圖錄後部分附有競 投表格。此服務乃免費⽽且保密。拍賣品 將會以相對於其他競投價、底價及 33 拍賣 ⾏委託標之最相宜價格得。倘競投價 相同,則最先競投者有優先權。請每⼀次 均列明「最⾼限價」—即閣下如親⾝出席 拍賣會將會作出之成交價。「購買」和無 限價競投將不獲接納。 電話競投者必須於拍賣前以傳真,電⼦郵 件或函件確認。缺席競投專⽤的電⼦郵箱 bid@33auction.com 及傳真號碼:(+62) 217203505。為確保獲得滿意之服務,請 確保本公司在拍賣會前最少 24 ⼩時收到閣 下確認競投之指⽰。 電話競投 如閣下未能出席拍賣會,可透過電話競投 底位估價最低為印尼卢⽐ 20 百万之拍賣 品。由於電話線路有限,因此必須於拍賣 前 24 ⼩時安排此項服務。本公司亦建議閣 下表明最⾼限價,以便當本公司不能以電 話聯絡閣下時可代表閣下競投。本公司有 多位通曉多國語⾔之職員可為閣下進⾏競 投。 網上競投服務 為了⽅便準買家,閣下也可使⽤本公司 33 AUCTION ⼿機應⽤程序或競投網站在拍 賣前或拍賣會時進⾏競投。此項服務乃免 費,⾵險由競投⼈承。請在拍賣會開始前 ⾄少 4 ⼩時註冊,以確保您的註冊及時獲 得批准。

拍賣成交 拍賣官擊槌時訂⽴買賣成交及最終價位。 拍賣官將會叫出,記錄下買家的號碼板 牌。若委託競投成功,閣下將會⽴即以電 ⼦郵件形式收到該通知。 付款 買家須於拍賣後七天內付款。付款之最佳 ⽅ 法 為 以 電 匯 ⽅ 式 直 接 轉 ⼊ PT Balai Lelang Linda 銀⾏⼾⼝。付款請將閣下之 名字與發票號碼漣同指⽰給予銀⾏。 買家也可以⽤印尼卢⽐银⾏汇票的形式來 ⽀付。雖然個⼈或是公司⽀票可以被接 受,但是我們建議在確定收到款項之後再 辦理運輸。我们深表遗憾, 不接受信⽤卡。

領取拍賣品 33 拍賣⾏收到全數結清之貨款、會將拍賣 品交付予閣下或閣下所授權之代表。買家 應注意,33 拍賣⾏對拍賣品損失或損壞之 責任期限最多⾄拍賣後三⼗(30)天或直 ⾄領取時間,以較早者為準。 儲存及保險 所有的拍賣品可在 33 拍賣⾏領取。33 拍 賣⾏會提供在成交⽇起三⼗⽇之內的保 險。 未獲領取之拍賣品將收取每件每⽉印尼卢 ⽐ 500,000 的儲存費。 包裝和處理 我們會盡⼀切全⼒來包裝和處理成交的拍 賣品。三⼗⽇后或已被領取的拍賣品的全 部責任由買家承擔。 運輸 33 拍賣⾏運輸部可以拍賣品之出⼝及付運 向買家提供意⾒。如果需要此项服务,请 填写并签署随发票⼀起寄送的送货说明 书。已購物品將會在會計部收到結清貨款 後及取得閣下之書⾯付費指⽰及任何出⼝ 許可證或可能需要之證書後 盡快付運。付 運所需費⽤概由買家⽀付。如有要求,33 拍賣⾏可提供報價及所有運送⽅式之資 料。閣下之承運⼈將對運運保險作出報 價。 應打開包裝檢查,如有任何不符之 處,請⽴即通知運送保險商或承運⼈。

競投⼈通過合作夥伴網上競投平臺成功購 得 拍 賣 品 應 ⽀ 付 服 務 費 如 下 : Invaluable:服務費以成交價之 5%。 貨幣換算 競投時使⽤印尼卢⽐。為了⽅便準買家, 33 拍賣⾏將在拍賣⼤廳提供⼀個貨幣換算 板。請注意顯⽰的外幣⾦額只是⼤約的數 ⺫,僅作指引。

Modern and Contemporary Art

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33 Auction Offices and Liaisons Jakarta Jl. Brawijaya 1C No. 4 Jakarta 12160 Indonesia T: +62 21 7190 888 F: + 62 21 720 3505 M: +62 811 88 11 33 E: jakarta@33auction.com Singapore 27A Loewen Road Singapore 248839 T: +65 67474555 F: +65 67474111 E: info@33auction.com

Managing Directors Ali Kusno Fusin Linda Ma Specialist Team David Fu Suwarno Karyadi Cheryl Ong Client Relations Sui Chen

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Download our free 33 Auction Apps to place bids from anywhere!

Lot 41 Ivan Sagita 伊萬·薩奇托 Sesapinya 牛

Modern and Contemporary Art

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SUDJONO ABDULLAH (Indonesian, 1911 - 1991) Sejuknya Udara Pagi (Morning Freshness) signed lower left oil on canvas 125 x 200 cm IDR 20,000,000 - 40,000,000 US$ 1,420 - 2,840

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蘇佐諾‧阿卜杜拉 清涼的早晨

油彩 畫布 款識: S. Abdullah (左下)


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SUDJONO ABDULLAH (Indonesian, 1911 - 1991) Perkampungan Nelayan (Fishermen Village) signed lower left oil on canvas 100 x 180 cm

蘇佐諾‧阿卜杜拉 漁民村

油彩 畫布 款識:Soedjono Abdullah (左下)

IDR 20,000,000 - 30,000,000 US$ 1,420 - 2,130 Modern and Contemporary Art

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SUDJONO ABDULLAH (Indonesian, 1911 - 1991) Gembala (Shepherd) signed lower left oil on canvas 125 x 200 cm

IDR 18,000,000 - 30,000,000 US$ 1,280 - 2,130

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蘇佐諾‧阿卜杜拉 牧羊人

油彩 畫布 款識: S. Abdullah (左下)


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SUDJONO ABDULLAH (Indonesian, 1911 - 1991) Panen Raya (Harvest) signed lower left oil on canvas 125 x 200 cm

蘇佐諾‧阿卜杜拉 豐收

油彩 畫布 款識: S. Abdullah (左下)

IDR 18,000,000 - 30,000,000 US$ 1,280 - 2,130 Modern and Contemporary Art

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SUDJONO ABDULLAH (Indonesian, 1911 - 1991)

Suasana Alam di Bali (Bali Natural Atmosphere) signed lower left oil on canvas 125 x 200 cm IDR 18,000,000 - 30,000,000 US$ 1,280 - 2,130 10

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蘇佐諾‧阿卜杜拉 阿拉姆在巴厘島

油彩 畫布 款識: S. Abdullah (左下)


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MAHJUDDIN S (Indonesian, 1924 - 1993) The Beautiful Lake signed and dated 63 lower left oil on canvas 85 x 160 cm

玛傑丁

美麗的湖 1963 年作 油彩 畫布 款識:Mahjuddin 63(左下)

IDR 18,000,000 - 25,000,000 US$ 1,280 - 1,780 Modern and Contemporary Art

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ROEDYAT MARTADIREDJA (Indonesian, 1930 - 2002) Potret Pinggir Sungai (Riverside Portrait) signed and dated 68 lower left oil on canvas 60 x 132 cm IDR30,000,000 - 60,000,000 US$ 2,130 - 4,260

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羅岱·瑪塔蒂勒加 河邊肖像

1968 年作 油彩 畫布 款識: Roedyat' 68 (左下)


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ROEDYAT MARTADIREDJA (Indonesian, 1930 - 2002) Penari (Dancer) signed and dated 1964 lower right oil on canvas 50 x 110 cm

羅岱·瑪塔蒂勒加 舞蹈家

1964 年作 油彩 畫布 款識: Roedyat Bali 1964 (右下)

IDR 35,000,000 - 60,000,000 US$ 2,490 - 4,260 Modern and Contemporary Art

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wakidi (Indonesian, 1889 - 1979)

Dusun Minang (Minang Village) signed lower left watercolour on paper 19 x 13 cm IDR 12,000,000 - 16,000,000 US$ 860 - 1,140 14

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华吉帝 街景

水彩 紙本 鏡芯 款識: wakidi(左下)


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wakidi (Indonesian, 1889 - 1979)

Rumah Panggung (Stilt House) signed lower left watercolour on paper 20 x 12 cm

华吉帝

馬來傳統高腳屋 水彩 紙本 鏡芯 款識: wakidi(左下)

IDR 12,000,000 - 16,000,000 US$ 860 - 1,140 Modern and Contemporary Art

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11 Born in 1904, Palembang, South Sumatra, Lucien Frits Ohl was a self-taught artist who painted in different media such as oil, watercolor, and pastel. The use of such diverse media brought out different aspects of his native Indonesian landscape, as he deftly captured the various light conditions of the changing seasons. He left Indonesian after 1954 and settled in the Hague, Netherlands. His later works were influenced by Gerard Pieter Adolfs, who was also born in Indonesia in 1898, and who painted market scenes with a quick brushwork and a palette knife technique. Currently, many of Frits’ works are in the collection of Volkenkundig Nusantara Museum, Delft in Netherlands. Tukang Sate is a stylized scene of roadside satay sellers, a common sight during the artist’s years in Indonesia. The dapples of shadow is accentuated by touches of strong colors that lends interest to this painting.

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1904年出生在南苏门答腊巨港的吕西安•弗里茨是一 位自学成才的艺术家,无论是油画、水彩或是粉彩。 以多样的媒介绘画出印尼本土的色彩,捕捉到了个季 节和区域的光影变幻。1954年离开印度尼西亚后, 定居荷兰海牙。他的后期作品受到了傑拉德•彼特• 賣satay的小販 阿道夫的影响,一位在1898年出生于印度尼西亚的 荷兰人,喜用快速的笔触和调色刀技术绘制市场景 水彩 紙本 鏡芯 像。目前,弗里茨的许多作品都在荷兰代尔夫特的 款識: L. Frits OHL(右下) Volkenkundig Nusantara博物馆收藏。

LUCIEN FRITS OHL (Dutch, 1904-1976) 吕西安·弗里茨 Tukang Sate (Satay Vendor) signed lower right watercolour on paper 55 x 46 cm

IDR 17,000,000 - 25,000,000 US$ 1,210 - 1,780

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《卖Satay的小贩》是在印度尼西亚艺术家的岁月中 常见的景象。这幅画更关注颜色深与浅所碰撞出来的 阴影感观。


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LUCIEN FRITS OHL (Dutch, 1904-1976) Perahu Layar (Sail Boat) signed lower right oil on board 69 x 50 cm

吕西安·弗里茨 帆船

油彩 板 款識: L. Frits OHL (右下)

IDR 30,000,000 - 50,000,000 US$ 2,130 - 3,550 Modern and Contemporary Art

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rusli (Indonesian, 1916 - 2005)

Klenteng (Temple) signed and dated 1969 lower right oil on canvas 65 x 70 cm IDR 60,000,000 - 90,000,000 US$ 4,260 - 6,390

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魯斯理 寶塔

1969 年作 油彩 畫布 款識: 款識: Rusli 1969 (右下) 鈐印: (右下)


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LEE MAN FONG (Indonesian, 1913-1988)

Woman Figure signed and stamped with artist's seal lower right watercolour on paper 53 x 34 cm

李曼峰 女子

水彩 紙本 款識: M.F.Lee(右下) 鈐印: 一方(右下)

IDR 20,000,000 - 40,000,000 US$ 1,420 - 2,840 Modern and Contemporary Art

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rustamadji (Indonesian, 1921 - 2001) Penari Bali (Balinese Dancer) signed and dated 1976 lower right oil on canvas laid on board 34 x 68 cm IDR 10,000,000 - 20,000,000 US$ 710 - 1,420

魯斯塔嗎紀 巴厘島舞者

油彩 畫布 款識: Rustamadji 1976(右下)

Rustamadji was a self-taught painter who comes from Klaten, Central Java. After initiating an artistic career in 1938, he settled in the city of Malang, East Java, and relocated to Yogyakarta in 1948. As such, Rustamadji found himself in the center of fertile grounds for Indonesian Modern art. There, he enjoyed the company of fellow veteran artists such as S. Soedjojono, Batara Lubis, Hendra Gunawan, and Soedarso. The works of Rustamadji have become part of many important collections, one of which belongs to the first President of the Republic of Indonesia, Ir. Soekarno. This painting of the Klaten Landscape is an affectionate and imaginative portrait of his hometown. Here, the viewer sees the painter’s abstract and explorative use of colors, which deviate from realist depictions. The towering mountain in the far background is likely Mount Merapi, located in the northwestern part of Klaten. Similarly, Penari Bali reflects a beloved subject matter of the artist, who often painted dancers in mid-poses. The freeform brushstrokes impart a mystical quality to the painting, centralizing the focus on the face of the Javanese dancer. 魯斯塔嗎紀是一位自学成才的画家,来自中爪哇的克拉登。在1938年开始艺术生涯后, 他定居在东爪哇的玛琅市,并于1948年搬迁到日惹。而后,魯斯塔嗎紀发现自己处于印 度尼西亚现代艺术的肥沃土地的中心。在那里,他与蘇佐佐諾,Batara Lubis巴塔拉.庐 必斯,亨德拉•古那彎和蘇達索等经验丰富的资深艺术家合作。 魯斯塔嗎紀的作品后来成为印尼艺术历史的重要藏品是因为印尼国家的第一任总理苏加 诺非常欣赏他的创作。《克拉登》是一件富有他对家乡情感至深和丰富想象力的创作。 观者看到了即抽象又丰富色彩的真实描绘。远处的高耸山景应该就是位于克拉滕西北部 默拉皮火山。 同样地,《巴厘岛舞者》反映了艺术家最喜爱的主题,绘画他经常在舞姿中画舞者。自 由形态的笔触赋予绘画神秘的品质,将焦点集中在爪哇舞者的脸上。

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mochtar apin (Indonesian, 1923 - 1994) Abstrak (Abstract) signed and dated 81 lower right acrylic on canvas 19 x 70 cm

莫達.阿賓 抽象

1981 年作 亞克力 畫布 款識: Mochtar Apin' 81 (右下)

IDR 35,000,000 - 50,000,000 US$ 2,490 - 3,550

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7 Artworks by Abdul Aziz

阿卜杜勒.阿齊茲的7件作品

Abdul Aziz is an artist with an extraordinary background. After studying in Akademi Seni Rupa Indonesia, he was awarded a government scholarship to study at the Accademia di Belle Arte in Rome, Italy, until 1964. Upon his return to Indonesia in 1966, he started depicting typical scenes within Balinese villages using the techniques of Italian old masters. He employed the technique of Chiaroscuro, which is the pictorial technique of employing light and shadows to create a sense of depth. He also exhibits a sense of artistic cleverness in the use of trompe l’oeil by creating the illusion that the painting extends beyond the limits of the ‘frame’. This is evoked by painting an inner frame on the confines of the canvas, and having the figures rest on this inner frame. This gives rise to the illusion that the figures are emerging from the painting. His choice of palette typically consists of light and warm tones that impart a sense of innocent romanticism to the village scenes and figures that he favours. Aziz was not productive during his life time. The uniqueness and rareness (even during artist lifetime) of his excellent works had been always pursuit by most art collectors and museums. 阿卜杜勒.阿齊茲的一身非凡。在印度尼西亞阿卡德米西尼 Akademi Seni Rupa學習後,獲得政府獎學金1964年前往意大 利的罗马美术学院进修直至1966年。回来后,利用意大利大师 的传统绘画技巧描绘巴厘岛上的村庄。他採用了Chiaroscuro 明暗对照法技術,這是一種利用光線和陰影制造出有深度感的 圖像技術。而对画中主图对‘画框’外的延伸产生了错识画的 独特创作方式。在画中的‘内框’包袱了画的整体,人物轻轻 倚靠在‘内框’上,以这样的巧妙技巧,像是人物和画外的观 赏者同属一个空间。且用的颜色,冷和暖色调给人无辜和清纯 的罗曼蒂克的乡村朴实感。艺术家独特的創作风格,再加上作 品的稀少罕見( 即使是艺术家在世时,也是一画难求,可遇不 可求),所以其优秀作品一直非常受欢迎,也是藏家們和美术 馆所追求的对象。

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Photo of Mary (Abdul Aziz’s wife) with the artworks. All the artworks had been authenticated with certificate by her. 此次所有7件作品已由艺木家的妻子Mary 全權親自檢定並給予保证书。以上为Mary与作品合照。.

Lot 17, 18, 20, 21, 22, 23 illustrated on book Abdul Aziz: The Artist and His Art

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ABDUL AZIZ (Indonesian, 1928-2002)

Magnetic Attraction signed and dated 1990 lower right (each painting) oil on canvas 143 x 65 cm (each painting) IDR 1,500,000,000 - 2,500,000,000 US$ 106,390 - 177,310 Literature

The Cover of Abdul Aziz: The Artist and His Art, p. 223

阿卜杜勒.阿齊茲 磁性的吸引

1990 年作 油彩 畫布 款識: Abdul Aziz Bali 1990 (兩幅畫右下)

Magnetic Attraction, and Mother and Child is an example of the artist’s mastery of the trompe l’oeil technique. During his studies in Rome, his visit to the Sistine Chapel in the Church of St Peters allowed him to witness Michelangelo’s ceiling frescoes, which paved the way for his iconic masterpieces. The threedimensional effect of his paintings was only achieved after 12 years of continuous experimentations. By combining techniques of Chiaroscuro and instilling a painted frame within the painting, the artist managed to conjure impressions of advancement in certain areas of the painting. The emerging figures impart a thrilling confusion of the demarcation between art and life. For his use of artistic techniques that belonged to the early Renaissance period, he is dubbed the ‘Mona Lisa of Bali’. 《磁性的吸引力》和《母親和孩子》是阿齊茲掌握錯視技巧画的典 型例子。在羅馬學習期間,他參觀了聖彼得教堂内的西斯廷教堂, 米開的朗基羅绘制的壁画对阿齊茲影响至深,是他之后经典画作中 非常重要的灵感来源。其实,错视主题的画是他实验12年之久才 实现的。通过明暗对照法和在画中添加‘内框’,人物对画外有了 链接,将空间延伸至画外。从画中露出的人物与现实混淆。这样文 艺复兴的绘画技巧能将阿齊茲称为“巴厘島的蒙娜麗莎”。

作品附原作證書 出版 封面。 《阿卜杜勒.阿齊茲:畫家和他的藝術》第 223 頁

Abdul Aziz Sold for US$ 405,060 148 x 63 cm Christie’s, Hong Kong 25 Nov 2012 Accompanied with a certificate of authenticity signed by the artist’s wife

Painting details 作品局部

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Abdul Aziz Sold for US$ 336,776 145 x 60 cm Larasati, Singapore 26 Jan 2013

Abdul Aziz Sold for US$ 278,267 142.5 x 59 cm Borobudur, Singapore 25 Jan 2013


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ABDUL AZIZ (Indonesian, 1928-2002)

Mother and Child signed and dated 1995 upper right oil on canvas 50,5 x 40,5 cm IDR 200,000,000 - 250,000,000 US$ 14,190 - 17,740 Literature

Abdul Aziz: The Artist and His Art, p. 118 Abdul Aziz in Rome, 1959 - 1965, P. 47

Abdul Aziz in Rome, 1959 - 1965, P. 47

Accompanied with a certificate of authenticity signed by the artist’s wife

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阿卜杜勒.阿齊茲 母與子

1995 年作 油彩 畫布 款識: Abdul Aziz 1995 (左上) 作品附原作證書 出版 《阿卜杜勒.阿齊茲:畫家和他的藝術》第 118 頁 《阿卜杜勒.阿齊茲在羅馬》第 47 頁


Modern and Contemporary Art

 

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ABDUL AZIZ (Indonesian, 1928-2002)

Sister and Brother signed and dated 1988 lower right oil on canvas 50 x 40 cm IDR 90,000,000 - 180,000,000 US$ 6,390 - 12,770

阿卜杜勒.阿齊茲 姐弟

1988 年作 油彩 畫布 款識: 款識: Abdul Aziz Bali 1988 (右下)

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Sister and Brother is an endearing portrait of a pair of siblings. In this work, we see the full effect of the artist’s expertise in the technique of chiaroscuro, where light and shadow is manipulated to reveal the subject’s dimensionality. The boy playfully extends a leg outside of the inner frame, as if he intends to escape the protective embrace of his sister. The direct gaze of the subjects also bridges the distance between the viewer to the art work. 《姐姐和弟弟》是一对可爱的姐弟肖像。在这副作品中,我们看到 了艺术家在明暗对比技术方面的才能,其中光和影被操纵以揭示主 体的维度。男孩调皮地伸出一条腿在绘畫内框架外,仿佛打算逃脱 他妹妹的怀抱。对象正面的凝视也将观看者与艺术作品之间的距离 縮短起来。


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ABDUL AZIZ (Indonesian, 1928-2002) The Artist and His Model signed lower right oil on canvas 34,5 x 30 cm

IDR 50,000,000 - 80,000,000 US$ 3,550 - 5,680 Literature

Abdul Aziz : The Artist and His Art, , p. 44 Abdul Aziz in Rome, 1959 - 1965, P. 22

阿卜杜勒.阿齊茲 藝術家和模特兒

油彩 畫布 款識: Abdul Aziz (右下) 作品附原作證書 出版 《阿卜杜勒.阿齊茲:畫家和他的藝術》第 44 頁 《阿卜杜勒.阿齊茲在羅馬》第 22 頁

The Artist and His Model was the first time Abdul Aziz faced with a nude model when he went to Italy for his studies. He was a conservative man, and he faced the model with a very nervous and uneasy state. 《艺术家和模特兒》是阿齊茲当时早期初到意大利深造 时,第一次面对裸体模特兒作㝍生时的情景。個性保守內 向的他当时懷著極其緊張偭倎的狀態去面對模特兒。

Accompanied with a certificate of authenticity signed by the artist’s wife

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ABDUL AZIZ (Indonesian, 1928-2002) Balinese Gateway signed lower left oil on canvas 40 x 30 cm

IDR 50,000,000 - 80,000,000 US$ 3,550 - 5,680 Literature

阿卜杜勒.阿齊茲 峇里島閘門

油彩 畫布 款識: Abdul Aziz (左下) 作品附原作證書 出版 《阿卜杜勒.阿齊茲:畫家和他的藝術》第 214 頁

Abdul Aziz : The Artist and His Art, , p. 214 The Balinese Gateway is the artist's fascinating and unique way to depict the morning scene of the beautiful Bali Island. 《峇里島閘門》是艺术家以熟練独特的巧妙方式來描繪 出風光明媚巴里島的早晨一景,令人嚮往。

Accompanied with a certificate of authenticity signed by the artist’s wife

Abdul Aziz Sold for US$ 9,603 50 x 40 cm Christie’s , Hong Kong 26 Nov 2017

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ABDUL AZIZ (Indonesian, 1928-2002) Dewi Pertiwi dan Ibu Kartini oil on fiberglass 125 x 54 cm

IDR 350,000,000 - 400,000,000 US$ 24,830 - 28,370 Literature

Abdul Aziz: The Artist and His Art, p. 184

阿卜杜勒.阿齊茲

Dewi Pertiwi 和 Kartini 夫人 油彩 玻璃缸 作品附原作證書 出版 《阿卜杜勒.阿齊茲:畫家和他的藝術》第 184 頁

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Accompanied with a certificate of authenticity signed by the artist

Abdul Aziz Sold for US$ 92,905 130 x 97 cm 33 Auction, Jakarta 19 Nov 2017


Modern and Contemporary Art

 

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ABDUL AZIZ (Indonesian, 1928-2002) Bali Girl arca 1970's crocodile wood 67 x 18 x 24 cm

IDR 140,000,000 - 180,000,000 US$ 9,930 - 12,770 Literature

Abdul Aziz: The Artist and His Art, p. 166

阿卜杜勒.阿齊茲 峇里島女子

1970 年作 木 出版 《阿卜杜勒.阿齊茲:畫家和他的藝術》第 166 頁 “When I carve, I use both the eyes of a painter and the eyes of a sculptor. I have to know how the light and shadow falls as well as the form and shape.” – Abdul Aziz “當我雕刻時,我會同時使用畫家的审美和雕塑家的立体意识。 我必須知道光影会如何投射在作品上,并且了解它的形状和物体 性。”—— 阿卜杜勒.阿齊茲 Other than the paintings for which he is known for, Abdul Aziz is also a sculptor. Although many paintings of the female form exist, only a few sculptures of the quintessential Balinese girl were completed by the artist. As stated in the retrospective book, The Artist and His Art, The Bali Girl ‘appears in many of Aziz’ studio photos in the early 70s and 80s’. Carved from a single block of wood, the statue is naturally joined with the base. As such, much care has to be expended in the process of carving, to prevent the sculpture from breaking due to pressure. 除了他的畫作外,阿齊茲也是一位雕塑家。儘管存在許多女性形象 的繪畫,但由藝術家完成的巴厘女孩雕塑只有少數幾件。正如在他 的回顧著作《藝術家和他的藝術》中所述,《巴厘女孩》出現在许 多70年代早期和80年代阿齊茲工作室照片中。雕像由一塊木頭雕 刻而成,自然與底座相連。因此,在雕刻過程中必須非常小心,以 防止雕塑因壓力而破裂。

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Basoeki Abdullah 巴蘇基·阿卜杜拉

Basoeki Abdullah is Indonesia’s maestro painters. Born in Surakarta, Central Java in 1915. This realist and naturalist painter was appointed as the official painter of the Merdeka Palace in 1974, where his paintings adorn the palace, in addition his works can be found in various collection in many corners of the world. Basoeki inherited his artistic talent from his father, Abdullah Suryosubro, who was also a painter and a dancer. His grandfather was a figure of the National Awakening Movement of Indonesia in early 1900s. Basoeki got a scholarship in 1933 to study at the Academy of Voor Beeldende Kunstern in The Hague, The Netherlands, and completed his studies with a Royal International Art (RIA) award. In 1948, during the coronation of Queen Yuliana in the Netherlands, Basoeki defeated 87 other world famous painters in a contest held in Amsterdam. During his career, Basoeki became known as a portrait painter, although he also depicted lanscapes, flora, fauna as well as themes of struggle and development. He held countless solo exhibitions, in Indonesia and other countries such as Thailand, Malaysia, Japan, the Netherlands and the UK. A big part of his life was spent abroad, especially in Thailand, where he was appointed as a painter of the royal court in Thailand, under King Bhumipol Aduljadej. His works also form part of the esteemed collection of President Sukarno. 巴蘇基。阿卜杜拉是印尼的天才大畫家。这位㝍实派大师在1974年被被委任为国家皇室官方画家。他的多件作品 被国家所l收藏並成設于皇宮。他的許多优秀作品也遍佈許多国际的藏家手里。他的绘画天份遗传自他的父親阿卜 杜拉。其父也是一名艺术家和舞蹈家。1933年巴蘇基取得獎學金前往荷兰的著名艺术學院深造並获得榮誉學位。 1948年他很榮幸的在荷兰皇后加冕的绘画大赛中脫颖而出,击败了87位來自世界各地的著名艺术家並取得冠軍。 在他的艺术生涯里,他不只精通画肖像,风景,人物和动物,並擅長表現掙扎,發展和鼓舞式的体裁。他一生曾多次举辦个展在印尼,同 时也在其他国家例如泰國,馬來西亞,日本,荷兰及英國等等。巴蘇基在國外度過了他的部分生活,特別是在泰國,他被任命為泰國皇家 宮廷的畫家,在國王普密蓬•阿杜爾加德傑(Bhumipol Aduljadej)的領導下。他的作品也是蘇加諾總統受尊敬的收藏品的一部分。

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4 Artworks by Basoeki Abdullah 巴蘇基·阿卜杜拉的4件作品

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BASOEKI ABDULLAH (Indonesian, 1915-1993) Tegar.. Kokoh Bagai Batu Karang (Strong.. Powerful and Determination) signed and dated 81 lower right oil on canvas 200 x 300 cm IDR 980,000,000 - 1,500,000,000 US$ 69,510 - 106,390 The painting, Tegar Kokoh Bagai Batu Karang is a monumental masterpiece, specially commissioned for an important family in 1981. As part of an esteemed private collection, it was never exhibited in public. The painting exemplifies Basuki’s technical excellence in portraying heightened tension and drama, especially in the convoluted treatment of the postures. The muscular handsome young man and the extremely artistic position to show how the horse run across the ocean. In the painting, the artist emphasize humans have the power in nature to overcome any obstacles or difficulties in life. This painting truly bring tremendous positive energy, spirit and power. This is indeed one of the biggest, rare and excellent work by Basoeki Abdullah.

巴蘇基·阿卜杜拉

胜者为王(排除万难,凱旋而歸) 1981 年作 油彩 畫布 款識: Basoeki Abdullah 1981(右下)

此幅作品附有艺术家家属給予的保證书。

Basoeki Abdullah Sold for US$ 301,911 150 x 300 cm 33 Auction , Singapore 1 Sep 2013

這幅名為Tegar Kokoh Bagai Batu Karang的畫作是一部不朽的 傑作,於1981年為一個重要的家庭特別委託。 由於作品是私人收藏的一部分,它從未在公開場合展出。這幅畫 體現了巴蘇基在描繪高度緊張和戲劇张力方面的卓越技術,特別 是在對姿勢進行錯綜複雜的處理方面。 图中这位身材魁武的俊男呈現骄人的威猛姿势如何在蔚藍的汪 洋大海排除万难順利成功的飞躍而成为胜利者。巴蘇基藉此作 品強調人类天生俱有本能的力量來克服人生的困難和障碍。 此幅作品帶著无限的正能量和鼓勵。意味作人生若不畏懼困 難勇往邁進,以堅定不移的意志力去面對,终必成勝利者。 这是艺术家极為罕見的精彩巨型旧作。真是令人驚艳的一幅精品 佳作。

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Basoeki Abdullah Sold for US$ 439,487 135 x 300 cm 33 Auction , Singapore 17 Jan 2014


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BASOEKI ABDULLAH (Indonesian, 1915-1993) Moonlight Sonata signed lower left oil on canvas 126 x 190 cm

IDR 650,000,000 - 1,500,000,000 US$ 46,100 - 106,390

Landscape Mountain and Moonlight Sonata are excellent examples of Basoeki’s expertise in landscape painting. In these two works, he has aptly encapsulated the vastness of the land through the manipulation of the horizon line. Through the careful application of fine and broad brushwork, Basoeki has managed to capture the luminosity of the night in the poetically titled Moonlight Sonata. This painting makes you feel that you personally look straight throughout the window to enjoy the beauty of the Moonlight Sonata . So impressive. 《山景》和《月光奏鳴曲》是巴蘇基在山水画方面专业知识的绝佳 例证。在这两部作品中,他通过操纵地平线恰当地封装了广阔的土 地。通过精细和广泛的笔触的精心应用,巴蘇基设法在诗意的月光奏 鸣曲中捕捉夜晚的光度。此幅作品会让人感同身受如同置身于窗前遙 往美麗的月光奏嗚曲。令人一见难忘及嚮往。

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巴蘇基·阿卜杜拉 月光奏鳴曲

油彩 畫布 款識: Basoeki Abdullah(左下)


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BASOEKI ABDULLAH (Indonesian, 1915-1993) The Beauty of Indonesia signed lower right oil on canvas 75 x 100 cm

IDR 48,000,000 - 70,000,000 US$ 3,410 - 4,970

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巴蘇基·阿卜杜拉 印度尼西亞的美

油彩 畫布 款識: Basoeki Abdullah(左下)


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BASOEKI ABDULLAH (Indonesian, 1915-1993) Landscape Mountain signed lower right oil on board 53 x 71 cm

巴蘇基·阿卜杜拉 山景

油彩 板 款識: Basoeki Abdullah (右下)

IDR 48,000,000 - 80,000,000 US$ 3,410 - 5,680 Modern and Contemporary Art

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3 Artworks by S. Soedjojono

Sudjojono is known as the father of modern art in Indonesia. He is an artist who was completely different in art trends at the time. His works challenge the inherent mode of Western art. He regards realism as the most visual art and brings new artistic connotations, his artistic principles stem from his resistance against the realistic depiction of the Mooi-Indië (Beautiful Indie) style of the academic Dutch painters, which implicitly validated Dutch colonial power. Instead of idealized conceptions of the landscape, Sudjojono believed that painters should reflect the truth of social reality in their works. In 1937, he founded the Persatoean Ahli-ahli Gambar Indonesia (PERSAGI, Union of Indonesian Painters), along with other artists, to raise awareness about the potential of political resistance in art. This outstanding painter eventually became a world-famous great artist.

28 蘇佐佐諾被尊稱为印尼现代艺术之父。他是一位於当时艺术潮流截然不同的艺术家。他的作品挑戰了西方艺术的固有模式,他视现实主义 为视觉艺术之最,帶來了新的艺术内涵印尼那時盛行【美哉印地】,流行理想化誇大美感的繪畫風格,但蘇佐佐諾相當反對這一類的風 格。因為他認為這就等同於用殖民者的角度看自己的國家。除了畫美麗壯觀的風景,蘇佐佐諾更喜歡紀錄社會群體的真正樣貌,偏向寫實 畫。1937年成立了印尼畫家工會,提高政治認識,提倡本國的文化意識,希望能感染今後的藝術家從自己的國家文化得到靈感。这位杰 出的画家最终成為了一個世界著名的划时代的伟大艺术家

S. Sudjojono Sold for US$ 7,522,602 100 x 199.5 cm Sotheby’s , 05 Apr 2014 Hong Kong

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蘇佐佐諾的3件作品

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Modern and Contemporary Art

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S. SuDJOJONO (Indonesian, 1914 - 1986) Masks signed lower right; signed and dated 72 upper middle oil on canvas 90 x 70 cm IDR 380,000,000 - 650,000,000 US$ 26,960 - 46,100 The painting Masks reflect the same eclipsed perspective that the viewer observes in Persembahan. In the painting, an array of traditional religious masks are displayed, all representing the different permutations of Gods and Goddesses within the Hindu religion. Conceived with quick, approximate brushstrokes, the painting reflects a scene that mirrors the true perspective of the human eye, as opposed to an idealistically composed painting. 繪畫面具反映了觀眾在Persembahan觀察到的同樣黯然失色的視 角。在這幅畫中,展示了一系列傳統的宗教面具,它們都代表了印度 教中神和女神的不同排列。通過快速,近似的筆觸構思,這幅畫反映 了一個反映人眼真實視角的場景,而不是理想化的繪畫。

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蘇佐佐諾 面具

1972 年作 油彩 畫布 款識: S.S 101(中上)


Modern and Contemporary Art

 

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S. SUDJOJONO (Indonesian, 1914 - 1986)

Persembahan di Bromo (Offerings at Bromo) signed lower right signed and dated 1977 upper left oil on canvas 87 x 60 cm IDR 600,000,000 - 800,000,000 US$ 42,560 - 56,740

蘇佐佐諾

在婆羅摩火山供奉祭品 1977 年作 油彩 畫布 款識: Persembahan di Bromo S.Sudjojono (右下) S. S 101 1977(左上) 作品附原作證書

Persembahan Di Bromo is not an idealized scene of worship so often favoured by Mooi-Indie painters. The manner of depiction is almost grotesque, with the under-light of the candles illuminating the face of the woman at an unflattering angle. This “reflexive-ugliness” of the painting appears to be a deliberate attempt of the artist to counteract the selective subject matters of the mooi-indies painters, which do not adequately express the hardship of the Indonesian people and the truth of their social reality. Persembahan Di Bromo 並不是一個經常受到Mooi-Indie畫家青睞 的理想化的崇拜場所。描繪的方式幾乎是怪誕的,蠟燭的光線照射在 女人的臉上點明了一個不討人喜歡的角度。這幅畫的“反身 - 醜陋” 性質似乎是藝術家故意試圖抵制mooi-indies畫家的選擇性主題,對 抗那些沒有充分錶達印尼人民的艱辛和他們社會現實真相的作品。

Accompanied with certificate of authenticity

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Modern and Contemporary Art

 

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蘇佐佐諾

Jendral Prajogo (General Prajogo) signed lower right signed and dated 1971 upper left oil on canvas 135 x 100 cm

1971 年作 油彩 畫布 款識: S.Sudjojono (右下) 鈐印:(左上)1971

S. SuDJOJONO (Indonesian, 1914 - 1986)

IDR 500,000,000 - 700,000,000 US$ 35,470 - 49,650

Prajogo將軍

作品附原作證書

Jendral Prajogo and Persembahan Di Bromo are both works that manifest the artistic belief and philosophy of Sudjojono. Although the background of Jeneral Prajogo depicts the beautiful landscape of Indonesia so often recorded in Mooi-Indie paintings, the artist has firmly overshadowed this landscape with the dominating portrait of General Prajogo. In this painting, the figure is depicted frankly, accompanied by a watch and a pen. The viewer gets the impression that these items are everyday items used by the sitter, and not a staged scene by the artist. Jendral Prajogo 和 Persembahan Di Bromo 都是表現Sudjojono的藝術信 仰和哲學的作品。儘管Jeneral Prajogo的背景描繪了印度尼西亞的美麗風 景,也是經常記錄在Mooi-Indie畫作中的主題,藝術家利用Prajogo將軍的 主導肖像為背後的景色蒙上陰影。在這幅畫中,藝術家坦白地描繪了這個人 物,並配有一隻手錶和一支筆。觀眾得到的印像是這些物品是Prajogo將軍 經常使用的日常物品,而不是藝術家特意擺設的。

Accompanied with certificate of authenticity

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Modern and Contemporary Art

 

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han snel (Dutch - Indonesian, 1925 - 1998) Keramaian di Depan Pura (Crowd On the Temple) signed lower left oil on canvas 50 x 50 cm

IDR 60,000,000 - 90,000,000 US$ 4,260 - 6,390

漢·斯尼奧 和平家庭

油彩 畫布 款識: Snel (左下)

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Han Snel came to the Dutch Indies in 1946, as part of the Dutch military force in the period of Dutch expansion in the east. However, the beauty of the land exerted such an enormous impact on him that Snel sought political asylum and cemented his ties with the island of Bali by becoming an Indonesian citizen in 1950. Snel’s formal art training was initiated in the area of graphic arts, which was interrupted by the Second War War. Like many artists who first arrived on the island, Snel was entranced by the elements of cultural and religious life in the Javanese surroundings. He could not help but to capitalize on the appeal of the exotic Other, by painting idealized portraits of Balinese women and presenting her as a fascinating ‘Southeastern’ Eve to the Western imagination. As his oeuvre matures, he begun to abandon the figurative mode of expression. The 1960s were characterized by the balance of impressionism along with a cubist composition. In the 70s, he went even further from mimetic representation, as he embarked on the pursuit of abstractionism in terms of line, form, and colour. Even so, Snel never stopped painting portraits of Balinese women, a subject matter which persisted to the end of his artistic journey. In this Portrait of Balinese Woman, the abstract colour palette works with the diverging brushstrokes to reveal the inner animism of the figure.


32 漢•斯尼奧於1946年作為荷蘭軍隊向東方領土擴張時來到了荷屬印地安群 島。然而,這片美麗的土地對他造成巨大的影響,以至於為了長期流在峇里 島當地,斯尼奧尋求了政治庇護,在1950年成為印度尼西亞的公民。 斯尼奧受過圖形藝術的訓練,但第二次世界大戰開打,他也中斷了他的藝術 理想。如同另幾位西方的藝術家,斯尼奧被當地爪哇的環境、文化和宗教元 素深深吸引。他情不自禁地以異國情調的氛圍,繪畫峇里島女子,展現出西 方國度里的‘東方’夏娃。隨著繪畫技巧和藝術作品的成熟,他放棄了具象 的表達方式。1960年代作品的特點是平衡印象派和立體主義的繪畫方式。70 年代, 以臨摹、擬態的方式利用線條、形體和顏色表現抽象主義的繪畫。 即便如此,斯尼奧從未停止繪畫峇里島女子的肖像畫,這一類的題材一直延 續到了最後都還未停止過。《峇里島女子》以抽象的顏色為主,繚亂的筆觸 揭示著人物萬物有靈的內心。

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han snel (Dutch - Indonesian, 1925 - 1998) Portrait of Balinese Woman signed and dated 75 lower right oil on canvas 47 x 44 cm IDR 38,000,000 - 50,000,000 US$ 2,700 - 3,550

漢·斯尼奧

巴厘島女人的畫像 1975 年作 油彩 畫布 款識: 款識: Han Snel Bali '75 (右下)

Modern and Contemporary Art

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Affandi (Indonesian, 1907 - 1990)

Sawah (Rice Field) signed and dated 1984 lower left oil on canvas 100 x 135 cm

阿凡迪 稻田

1984 年作 油彩 畫布 款識: 款識: A 1984 (左下)

IDR 580,000,000 - 800,000,000 US$ 41,140 - 56,740 Affandi is known today as one of the giants of Indonesian art. His status as an artistic luminary today belies his humble beginnings. Affandi was born in Cirebon, West Java in 1907, to Raden Kusuma, a draftsman, as the fifth child in the family. While completing his secondary school education, he became interested in painting, taking on odd jobs such as collecting movie tickets at a theatre and working as a house painter, saving the leftover paint for his own work. Affandi was an entirely self-taught painter, and despite not having learnt painting techniques the orthodox way, it could not hamper the enormous talent within. Affandi, along with other great Indonesian artists, such as Hendra Gunawan, moved to establish a society of Indonesian painters, known as the Gabungan Pelukis Indonesia (GPI, Union of Indonesian Painters). Subsequently, Affandi received a scholarship from the Indian government to study in India, and went on to Europe to hold solo exhibitions. Chiefly among them are the Sao Paulo Biennale in Brazil in 1953 and the Venice Biennale in Italy in 1964. In 1974, he was given the Peace Award from the Dag Hammarskjoeld Foundation in 1976, and earned himself the title of Grand Maestro in Florence, Italy. Sawah is an example of Affandi’s high energy artistic process. Using a combination of flowy and spiraling strokes, the artist brings to the fore the nascent vitality and presence of the land. Painted in the 1980s, the period saw Affandi making many trips to Bali – this painting is thus Affandi’s endeavor to express the qualities that lie beneath the physical beauty of the land and sharing the cheerful atmosphere of grand harvest season in a time when other Moo indie painters romanticized the Indonesian landscape. 阿凡迪是當前印尼美術世界的一個大師。他今天的成就掩飾了他卑微的出身。在1907年出生的阿凡迪來自西爪哇,井裡汶Cirebon的一 個大家庭,排行老五。在就读中學教育的時侯,他開始對繪畫感兴趣,在兼职做油漆工人時,會把剩余的油漆用在自己的繪畫作品上。 阿凡迪是一位自學成才的藝術家,雖然從沒上过正式的繪畫班,但是他自身的藝術天賦很幸運的沒被埋藏。他和其他印尼大畫家如亭德 拉.古那彎Hendra Gunawan一起建立一個属于印尼畫家的協會,称為印度尼西亞畫家聯盟Gabungan Pelukis Indonesia。后來,阿凡 迪獲得印度政府給予的獎學金,前往印度留學后,又輾轉到了歐洲舉辦了許多個人畫展。他參與過的重要畫展包括了在巴西1953年舉辦 的圣保罗双年展Sao Paulo Biennale,和在意大利1964年舉辦的威尼斯双年展Venice Biennale。在1974年獲頒達格 - 哈馬斯克菲爾德 基金會Dag Hammarskjoeld Foundation給予的和平獎更在1976年被義大利,佛羅倫薩藝術之都,獲封藝術繪畫大師的頭銜。 《稻田》是阿凡迪超高集中力創作下的一個例子。運用流暢和迴旋式的筆觸,將土地的生命力和茂盛的繁殖力展現出來。作品創作於 80年代,是阿凡迪多次前往巴厘島的一段時期 - 這幅畫是藝術家努力表達的當地地理國土自然之源的精粹,於「美麗的東印度」(Mooi Indie)藝術家不同,展現了他自己眼前所看到的大自然的精闢詮釋。

Affandi Sold for US$ 1,263,218 149.5 x 195 cm Sotheby’s , 02 Oct 2016 Hong Kong

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Modern and Contemporary Art

 

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Romualdo locatelli (Italian, 1905 - 1943) Little Boy Riding Horse signed lower right oil on canvas 100 x 70 cm

IDR 180,000,000 - 250,000,000 US$ 12,770 - 17,740

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羅莫爾多·羅格泰利 騎著車的男孩

綜合媒材 畫布 款識: R. Locatelli (右下)


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trubus soedarsono (Indonesian, b. 1942) Beautiful Dancer signed lower right oil on canvas 96 x 65 cm

吐魯布斯·蘇達索諾 美麗的舞者

油彩 畫布 款識: 藝術家簽名(右下)

IDR 80,000,000 - 150,000,000 US$ 5,680 - 10,640 Modern and Contemporary Art

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5 Artworks by Jeihan Sukmantoro 皆罕·素可曼多羅的5件作品 Lot 36, 37, 51, 52, 86 Jeihan Sukmantoro is an Indonesian artist who is renowned for painting the feminine form with black hollowed out eyes. Notwithstanding the multi-varied identities of women in his work, the hollowed out eyes express an enduring quality of women – their mystique and unfathomable nature. In these painting, clean and simple lines are used to depict the figure against a background of dappled light and shadows. This manner of depiction features the figure within a suspension of space and emptiness. The elongated limbs and body of the figure indicate a stylized form that adds to the painting’s transcendental appeal. 皆罕•素可曼多羅是一位以繪畫空靈眼神女子而著稱的印尼畫家。在他的作品中 女性是婀娜多姿的,又多樣的,但那空靈的眼睛永遠表達了女性神秘和難以捉 摸的本性。在這些繪畫中,乾淨簡單的線條描繪了畫中以斑駁在背景的光線和 陰影。這樣的表現,像是人物環繞著空間,體現出空間和人物之間的空虛感。 而畫中的伸長的肢體更強調繪畫的超然吸引力。

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皆罕·素可曼多羅

Dian signed and dated 80/81 upper left oil on canvas 135 x 90 cm

1980/1981 年作 油彩 畫布 款識: z 80/81 (左上)

JEIHAN SUKMANTORO (Indonesian, b. 1938)

IDR 58,000,000 - 120,000,000 US$ 4,120 - 8.520

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dian夫人


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JEIHAN SUKMANTORO (Indonesian, b. 1938) Rani signed and dated 04 lower right oil on canvas 100 x 90 cm

皆罕·素可曼多羅 拉尼

2004 年作 油彩 畫布 款識: Jeihan 2004 (右下)

IDR 40,000,000 - 60,000,000 US$ 2,840 - 4,260 Modern and Contemporary Art

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Sunaryo (Indonesian, b. 1945)

Kebersamaan (Togetherness) signed and dated 16 lower right acrylic, marble powder on canvas 200 x 200 cm IDR 950,000,000 - 1,400,000,000 US$ 67,380 - 99,300

蘇納里奧 相伴

2016 年作 綜合媒材 畫布 款識: SUNARYO '16 (右下) 作品附藝術家原作簽名證畫

One of Indonesia‘s premier painter and sculptor, Sunaryo studied in ITB (Bandung Institute of Technology) before furthering his studies in 1975, in Carrara, Italy, in marble sculpture. He is a versatile artist, well known for using all kinds of medium for his pieces, which include paintings, sculptures, architecture projects, printmaking, and installations. Sunaryo’s painting style is built on the rich and vivid use of colours, exuding qualities that would stand up to a formal analysis. He is also an environmentally and socially conscious artist, addressing these issues in his works while not sacrificing aesthetics. Kebersamaan is a heart-warming portrait of a group of traditional Indonesian dancers, caught in a moment when they were helping each other prepare for a performance. The golden yellow tones of this scene celebrates their closeness as well as their sisterhood. 蘇納里奧是印尼一位优秀的畫家和雕塑家。他在印尼Bandung 省,技术研究所上 大學,然后到意大利學习大理石雕塑。他是一個善長利用各種艺术媒介,又多樣化 的艺术家。畫家用强烈的顏色來表达他對自然環景和社會的關心,用它的作品來討 論事和物的問題。 Kebersamaan是一群熱情洋溢的肖像畫,由一群傳統印尼舞者組成,描繪他們互 相幫助為表演做準備的情景。這個場景的金黃色調表達了他們的親密關係以及他們 的姐妹情誼。

Accompanied with certificate of authenticity signed by the artist

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Sunaryo Sold for US$ 129,257 150 x 250 cm Larasati Auctioneers , 12 Jan 2012 Singapore


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SUNARYO (Indonesian, b.1943)

Barong signed and dated 93 lower right mixed media on canvas 205,5 x 70 cm IDR 140,000,000 - 180,000,000 US$ 9,930 - 12,770

蘇納里奧 巴龍

1993 年作 綜合媒材 畫布 款識: Sunaryo 93 (右下) In this particular art work, the artist uses bright colours and the traditional “barong” (masked face) to express the modernization of Indonesia during this period, bringing about a fusion of old and new. Barong is an auspicious figure in Balinese culture, and traditionally it is believed that having a painting or sculpture in one home will not only bring good fortune but also ward off evil spirits. In this exciting time, collectors find themselves at the standpoint of a cultural flux; the economy of Indonesia is booming, while traditional practices still reign at rural areas. With modernisation usually comes accompanied by an erosion of certain traditional cultures; thus by combining this traditional symbol with bold and modern brush strokes, the work balances the entry into prosperity with a reminder of the cultural and heritage treasures of Indonesia. The strokes of his brushes and the uses of different colours emphasizes the vibrancy of this era. The contrast of black and white with splashes of red colours against a yellow background brings the painting alive and invites the viewer to join the artist on a tropical, cultural journey. 在這個藝術作品中,畫家用鮮艷的色彩和傳統的“巴龍” (蒙面)來表達印尼在此期間的現代化,表現了作品新舊融 合的性質。‘巴龍’是巴厘島文化中的吉祥物,印尼傳統文 化認為在家中擁巴龍主題的繪畫或雕塑不僅能帶來好運,還 能抵禦邪惡的靈魂。 在這激動人心的時刻,收藏家們發現自己處於文化潮流的一 個十字口;印度尼西亞的經濟正在蓬勃發展,而傳統做法仍在 農村地區統治。隨著國家的現代化,傳統文化通常被淡化; 因 此,通過這傳統符號與大膽和現代的筆觸的結合,這項作品 平衡了繁榮的進展,提搞印尼人對自己國家文化和遺產寶藏 的知識。 他的畫筆筆觸和不同顏色的使用強調了這個時代的活力。黑 色和白色的對比與黃色背景下的紅色飛濺帶來了繪畫的活 力,並邀請觀眾加入藝術家的熱帶文化之旅。

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Painting details 作品局部 Modern and Contemporary Art

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ivan sagita (Indonesian, b. 1957) Ku Mengandung (I'm Pregnant) signed and dated 08 lower right oil on canvas 140 x 200 cm IDR 380,000,000 - 550,000,000 US$ 26,960 - 39,010

伊萬·薩奇托 孕育

2008 年作 油彩 畫布 款識:ivan sagita 08(右下) 出版 《友誼的法典》第 50 至 51 頁

Literature Friendship Code p. 50 - 51 The painting titled Ku Mengandung was completed while he was residing in the Netherlands. This particular work is manifested within the context of the paradox and the relativism of time and distance. The work does not concern itself with merely the numerical measure of distance, it is also about the internal judgement and sensation of distance. When it comes to human judgement of distance, this entity often becomes a relative matter. Memory or intimacy of mind tends to narrow or expand that space. The subjective nature of our measurement cannot be calculated by epistemological means. The human body, which occupies an objective space and volume is also a form of containment for thoughts, imaginations, and mental and emotional sensations that can be projected far beyond, or far within the physical vessel of containment that is our body. Likewise, the growth of the body – which is a record of measured time – also evokes the relativity of time. In this sense, the ‘objective’ quality of the Body and Time may easily be inverted as an express relative. Ivan Sagita is one of the most prominent artists associated with the particular genre of Yogyakarta surrealism, a style that emerged in the 1980s. This type of expression is often seen as a reaction to the realism that pervades Indonesian art under the Soeharto era, precipitating a shift towards a form of stylization that is more encompassing. His works are often symbolically satirical, exploring themes of humanity and social issues, especially within the Javanese and Indonesian community. The supernatural element, as well as the otherworldly quality of his art works may be encapsulated in this quote by the artist, "For me, life always goes different than we expected. This is why I tend to express uncertainty. Seeing life in my neighborhood, I get the impression that everyone is controlled by invisible forces." The often-depicted subject of his art work is the traditional Javanese people whose lives he observes in Yogyakarta. Of them, he has this to say, "They are fighting for survival, but they accept whatever happens to them." In preparation for a painting, he may take photos of the subject in an attempt to capture their inner reality. Ivan Sagita almost always paint multiple human figures within one painting, portraying them in shifting poses, in different situations, or even in various stages of their lives. The paintings of Ivan Sagita were nominated for the Best Work award in the 7th and 8th Jakarta Biennale of Painting in 1987 and 1989, and he was awarded a silver medal at the Triennale Osaka in 1996 for the richly evocative language of his oeuvre.

這幅名為《Ku Mengandung》的作品是他居住在荷蘭時完成的。這特殊的作品表現了時間與距離的悖論,和它們相對主義的背景下。 這項工作不僅僅涉及距離的數值測量,而是關於各人對距離的內部判斷和感覺。當談到人類對距離的判斷時,這個實體經常成為一個相對 的事物。記憶或心靈的親密感使空間縮小或擴大。我們的主觀性測量不能通過認識論手段來計算。佔據客觀空間和體積的人體也是一種思 想,想像力,精神和情感的容器,可以遠遠超出或遠離我們身體的遏制物理容器。同樣,身體的增長也是時間的記錄 - 也喚起了時間的相 對性。從這個意義上說,身體和時間的“客觀”質量可以很容易地被倒置。 伊万•薩吉塔(Ivan Sagita)是日惹印尼超現實主義最傑出的藝術家之一,這種風格從80年代開始出現。這種表達方式通常被視為對在 蘇哈托時代流行於印尼藝術界的現實主義的反應,促使一種更具包容性的程式化形式。他的作品通常具有像徵性的諷刺感,探索人和社會 問題的主題,特別是在爪哇和印度尼西亞社區。 他的藝術作品中的超自然元素以及超凡脫俗的品質可被藝術家的這句話表達: “對我而言,生活總是與我們的預期不同。這就是為什麼我傾向於表達這種不確定性的意義。在我的鄰居看著生活,我得到的印像是每 個人都受到無形力量的控制。” 他藝術作品中經常描繪的主題是傳統的爪哇人,也通常在日惹觀察他們的生活。關於他們,他覺得:“他們為生存而戰,但他們接受發生 在他們身上的任何事情。”為了準備一幅畫,畫家會拍攝主題的照片,試圖捕捉他們的內心現實。 伊万•薩吉塔幾乎總是在一幅畫中描繪多個人物形象,表現他們不同的姿勢,在不同的情境下,甚至在他們生活的不同階段。伊万•薩吉 塔的畫作在1987年和1989年的第七屆和第八屆雅加達繪畫雙年展中被提名為最佳作品獎,並於1996年在大阪日本三年展獲得銀獎,以表 達其作品豐富和令人回味的語言。

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Friendship Code p.50 - 51

Photo of artist with the present lot. 藝術家與作品合照

Modern and Contemporary Art

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ivan sagita (Indonesian, b. 1957)

Sesapinya (Cow) signed and dated 1-6'17 at the base bronze 78 x 82 x 55 cm IDR 220,000,000 - 400,000,000 US$ 15,610 - 28,370

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伊萬·薩奇托 牛

2017 年作 銅 款識: ivan sagita 1-6’17(底部)


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umi dachlan (Indonesian, b. 1924)

Komposisi Abstrak (Abstract Composition) signed and dated 89 lower right mixed media on canvas 102 x 76 cm

umi dachlan 抽象

1989 年作 綜合媒材 畫布 款識: umi dahlan 89 (右下)

IDR 60,000,000 - 90,000,000 US$ 4,260 - 6,390

Modern and Contemporary Art

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ABDUL DJALIL PIROUS (Indonesian, b. 1933) Pendjaja (Vendor) signed and dated 68 lower right mixed media on canvas 41 x 65 cm IDR 65,000,000 - 80,000,000 US$ 4,610 - 5,680

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阿都.雅裡.比勞斯 商人

1985 年作 綜合媒材 畫布 款識: Pirous 68 (右下)


44 Abdul Djalil Pirous is one of the foremost contemporary artist to come from Bandung, Indonesia. He completed his studies at the Department of Fine Arts at the Institute of Technology in Bandung (ITB) in 1964, and then continued his studies in printmaking and graphic design at the Rochester Institute of Technology in New York. in 1969. Upon returning to Indonesia, he was appointed several academic positions at the Bandung Institute of Technology. In the 60s, he increasingly gained traction and prominence as an artist. A visit to an exhibition of Islamic Art at the Metropolitan Museum of Art in New York in 1971 made him realize that his personal style at that time did not uniquely identify him as an Indonesian or a Muslim. As such, on his return to Indonesia, he begun to incorporate motifs of the Muslim faith into his art works. Impresi Kuffi, for example, is reminiscent of Islamic philosophy. 阿都。雅裡。比勞斯是出生印尼萬隆最具代表性的當代藝術家。1964年就讀於萬隆技術學院(ITB)美術系,之後到了紐約的羅切斯特理 工學院進修版畫和平面設計。1969年,回到印度尼西亞後,他被任命為萬隆技術學院的學術職位。 在60年代,他越來越像藝術家一樣獲得主導和突出的地位。1971年年參觀紐約大都會美術館舉辦的伊斯蘭教展覽,啟發了他回歸到自己 身為印度尼西亞伊斯蘭教的種族根源,反省自己當時的作畫風格不能凸顯他的背景優勢。因此,他回到印尼後,開始將穆斯林的信仰和主 題融入在他的作品中。《Kuffi印象》就讓人聯想起伊斯蘭教的哲學。

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ABDUL DJALIL PIROUS (Indonesian, b. 1933) Impresi Kuffi (Kuffi Impression) signed and dated 85 lower right mixed media on canvas 35 x 35 cm

阿都.雅裡.比勞斯 庫菲印象

1985 年作 綜合媒材 畫布

IDR 25,000,000 - 40,000,000 US$ 1,780 - 2,840 Modern and Contemporary Art

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45 A socially conscious veteran artist who is a resident of Bali, Indonesia, I Made Wianta belongs to the hallowed ranks of Modern artists in Indonesia. The artist’s foundation is a mosaic of influences. In 1975, he begun a sojourn of a few years in Brussels, Belgium, where he learned about European art. Upon his return to Indonesia, he undertook a course of study under masters of classical Balinese paintings in the village of Kamasan, Klungkung. Also known as the ‘wayang style’, this art genre dates back to the 13th to 16th century under the East Javanese Majapahit Empire. Made Wianta’s artistic oeuvre is informed by his extensive studies in philosophy, especially through the writings of Nietzsche. In addition to this philosophical background, Made Wianta’s art is also reflective of the agrarian tradition which springs from his homeland, Bali. In this auction, we are proud to present two distinctive works from diverse series. Abstraksi alludes to the perfection that may be found in geometric proportions. Black and White Birds on Rainbows, as well as Calligraphy and Greenery reveal an artistic preoccupation with form and its aesthetic potential. As an artist, Made Wianta possesses a versatility that is rarely found in this contemporary time.

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I MADE WIANTA (Indonesian, b. 1949) Black and White Birds on Rainbow signed and dated 2013 lower left oil, acrylic on fragrance canvas 120 x 244 cm IDR 22,000,000 - 35,000,000 US$ 1,570 - 2,490

伊·嗎德·維安達

在彩虹上的黑與白鳥 2013 年作 款識: Wianta 2013 (左下) 作品附藝術家原作簽名證畫

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Accompanied with a certificate of authenticity signed by the artist

Photo of artist with the present lot.

藝術家與作品合照


46 居住在巴厘島的伊•嗎德•維安達是一名具有社會意識的資深藝術家。他的藝術受多方影響。 1975年留遊比利時布魯塞爾,學習歐洲的 藝術。回到印度尼西亞後,在 克隆貢(Klungkung) 卡瑪桑 (Kamasan) 村和大師學習古典的巴厘島式的畫作。稱之為“哇揚戲(木偶 戲)”,其歷史來源可以追溯13至16世紀的東爪哇滿者伯夷國(Majapahit)帝國。 他的作品深受哲學影響特別是尼采的著作的喜愛。除了這種哲學背景,伊•嗎德•維安達的藝術也反映了他對祖國巴厘島的農業傳統。 《抽象》是幾何比例的完美結合。作為一名藝術家,伊•嗎德•維安達擁有在當代很少見到的多功能性才能。

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I MADE WIANTA (Indonesian, b. 1949) Calligraphy and Greenery signed and dated 11 lower right oil and acrylic on canvas 120 x 240 cm IDR 22,000,000 - 35,000,000 US$ 1,570 - 2,490

伊·嗎德·維安達 晴草

Accompanied with a certificate of authenticity signed by the artist

Photo of artist with the present lot.

藝術家與作品合照

2011 年作 綜合媒材 畫布 款識: Wianta 2011 (右下) 作品附藝術家原作簽名證畫 Modern and Contemporary Art

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4 Artworks by Djoko Pekik 卓可·佩奇克的4件作品

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Affectionately known as the ‘One Billion’ artist, Djoko Pekik is a living Old Master of Indonesia art, whose life and work is intricately woven into the political fabric of Indonesia.

被称之为“10亿”的卓可•佩奇克,现今印尼艺术界 还很活跃的画家,他一身的创作和他与印尼政治有着 错综复杂的关系。

Born in Central Java, the artist held about 4 exhibitions in Jakarta before the year 1965. In 1990, Djoko Pekik again held an exhibition at Edwin's Gallery Jakarta. In 1998, he held a strange and unusual exhibition at Bentara Budaya Yogyakarta (BBY), of which only one painting was exhibited during the one day exhibition. Djoko Pekik's painting style is realist-expressive and peppered with popular values. During his active life at Sanggar Bumi Tarung, the paintings produced by him were inspired by his visits to poor and exploited areas. He was arrested by the police on November 8, 1965 because he was considered to be related to LEKRA.

該藝術家出生於中爪哇,在1965年之前在雅加達舉辦 了4次展覽。1990年,Djoko Pekik再次在雅加達的 Edwin畫廊舉辦了一次展覽。 1998年,他在Bentara Budaya Yogyakarta(BBY)舉辦了一場奇怪而不 尋常的展覽,其中只有一幅畫展出了一天的展覽。 Djoko Pekik的繪畫風格是現實主義的表現形式,充 滿了流行的價值觀。在Sanggar Bumi Tarung的積極 生活中,他所創作的畫作受到了他對窮人和被剝削地 區的訪問的啟發。他於1965年11月8日被警察逮捕, 因為他被認為與LEKRA有關。

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DJOKO PEKIK (Indonesian, b. 1938) Indonesia 1998 Berburu Celeng (Indonesia 1998 Boar Hunting) signed and dated 1998 at the base of the sculpture bronze 98 x 142 x 58 cm

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IDR 160,000,000 - 220,000,000 US$ 11,350 - 15,610

卓可·佩奇克

印度尼西亞1998年狩獵野豬 1998 年作 銅 款識: djoko pekik 1998(底部) 作品附藝術家原作簽名證畫

Accompanied with a certificate of authenticity signed by the artist

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The moniker of the ‘One Billion’ artist came from the sale of his famous painting, Indonesia 1998 Berburu Celeng at an exhibition in Yogyakarta, which is part of a trilogy. Milk of the Boar (1996) and No Flower and Telegram of Grief (2000) are two other works within the trilogy that reinforces the symbolism of the boar. The painting depicts the capture of a wild boar, strung across a stick and surrounded by joyousness that is expressed by the exuberance of the dancers. The sea of faces in the background represents the untold strength of the people. Inherent in the depiction of the boar is a political parable, as well as the cultural practice of parading any captured boar around the village before cutting it up to be distributed. The boar, which to the artist is a symbol of greed, references Soeharto’s 1998 resignation due to disgrace. Like the boar, Soeharto’s exit was conducted in humiliation. As a student of Hendra Gunawan, the artist was closely affiliated to LEKRA (Lembaga Kebudayaan Rakyat), and studied art in Sanggar Bumi Tarung, a studio handled by LEKRA. Along with other figures of LEKRA like Hendra Gunawan, Pekik was imprisoned for 7 years for his involvement with LEKRA during Soeharto’s dictatorship. He arrived at the symbolism of the bull during his time in prison, since the year 1966. The sculpture is thus physical manifestation of the painting Indonesia 1998 Berburu Celeng, serving as a reminder that the power of kings should not reach undue proportions, as the might of the people would serve as an instrument to topple greed and injustice.


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而“十亿”这个称号取自他在日惹艺术展中售出的一件名为《印度尼西亚1998是野猪》的 作品。这是作品三部曲中的一件,另两件分别名为《野猪的奶(1996)》和《无花和悲伤 的电报(2000)》加深了野猪的代表性和象征性意义•。画中一只野猪被捕获,四肢被捆 绑在一根棍子上,周围欢乐的氛围能从背景中的舞者的肢体上感受到。人山人海中的表情 是安慰的,象征了人民的力量。描绘野猪是 描绘公猪的内在是一个政治比喻,以及在切割它之前将任何被捕获的公猪游遍村庄的文化 实践。对艺术家来说,公猪是贪婪的象征,引用了Soeharto 1998年因耻辱而辞职的事。 像公猪一样,苏哈托的出口是在羞辱中进行的。 作为Hendra Gunawan的学生,该艺术家与LEKRA(Lembaga Kebudayaan Rakyat) 密切合作,并在LEKRA处理的工作室Sanggar Bumi Tarung学习艺术。与Hendra Gunawan等其他LEKRA人物一样,Pekik因在Soeharto独裁统治期间与LEKRA的关系而被 监禁7年。自1966年以来,他在监狱期间就达到了公牛的象征意义。因此,雕塑是印度尼 西亚1998年Berbubu Celeng画作的物质表现,提醒人们国王的力量不应该达到不正当的 程度,因为人民的力量可以作为推翻贪婪和不公正的手段。

Accompanied with a certificate of authenticity signed by the artist

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DJOKO PEKIK (Indonesian, b. 1938) Indonesia 1998 Berburu Celeng (Indonesia 1998 Boar Hunting) bronze 24 x 28 x 14 cm IDR 26,000,000 - 40,000,000 US$ 1,850 - 2,840

卓可·佩奇克

印度尼西亞1998年狩獵野豬 銅 作品附藝術家原作簽名證畫

Photo of artist with the present lot. 藝術家與作品合照

Modern and Contemporary Art

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DJOKO PEKIK (Indonesian, b. 1938)

Di Tengah Keramaian (On The Crowd) oil on canvas 65 x 75 cm IDR 40,000,000 - 80,000,000 US$ 2,840 - 5,680

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卓可·佩奇克 在人群中間 油彩 畫布


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DJOKO PEKIK (Indonesian, b. 1938)

Pasangan Serasi (Perfect Couple) signed and dated 3 Juli 1999 lower left oil on canvas 75 x 65 cm

卓可·佩奇克 夫妻之兼容

1999 年作 油彩 畫布 款識: Djoko Pekik 3 Juli 1999 (左下)

IDR 30,000,000 - 60,000,000 US$ 2,130 - 4,260 Modern and Contemporary Art

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JEIHAN SUKMANTORO (Indonesian, b. 1938) Maryati signed and dated 97 lower middle oil on canvas 90 x 110 cm IDR 25,000,000 - 40,000,000 US$ 1,780 - 2,840

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皆罕·素可曼多羅 maryati 夫人

油菜 畫布 款識: jeihan’ 97(中下)


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JEIHAN SUKMANTORO (Indonesian, b. 1938) Inne signed and dated 2k upper right oil on canvas 140 x 140 cm IDR 100,000,000 - 200,000,000 US$ 7,100 - 14,190 Literature

Jeihan Jeihan Jeihan p. 112

皆罕·素可曼多羅 Inne

2000 年作 油彩 畫布 款識: Jeihan 2k (右上) 出版 《皆罕 皆罕 皆罕》第 112 頁 Jeihan Jeihan Jeihan p. 112 Modern and Contemporary Art

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DEDY SUFRIADI (Indonesian, b. 1976) Red and White Signed and dated 2012 lower right; signed Verso oil on canvas 100 x 150 cm IDR 15,000,000 - 25,000,000 US$ 1,070 - 1,780

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DEDY SUFRIADI 紅色和白色

2012 年作 油彩 畫布 款識: dedy sufriadi 2012(右下)


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farhan siki (Indonesian, b. 1976)

Good Business signed and dated 2010 lower right oil on canvas 180 x 200 cm

法翰·斯基 好生意

油彩 畫布 款識: farhansiki 2010(右下)

IDR 22,000,000 - 50,000,000 US$ 1,570 - 3,550

Modern and Contemporary Art

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angki purbandono (Indonesian, b. 1971)

Fenomenal Mustafa (The Phenomenal Mustafa) c - print on positive film, neon box installation 125 x 100 cm IDR 10,000,000 - 20,000,000 US$ 710 - 1,420

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安其·普班度諾 驚人的穆斯塔法

c-print 霓虹燈盒裝置


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Pande ketut taman (Indonesian, b. 1970) Pande ketut taman Bumi Lingkaran Senyum (Earth Circle of Smile) signed and dated 08 lower right oil on canvas 210 x 210 cm

IDR 125,000,000 - 180,000,000 US$ 8,870 - 12,770 Literature Taman ( The Garden ), illustrated p. 31

地球的微笑

2008 年作 油彩 畫布 款識: PANDE KETUT TAMAN 08(右下) 作品附藝術家原作簽名證畫 出版 Taman《花園》第 31 頁 Taman (The Garden) illustrated p. 31

Accompanied with a certificate of authenticity signed by the artist Modern and Contemporary Art

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Astari rasjid (Indonesian, b. 1953) Fake Bags bronze 90 x 61 x 24 cm

Astari rasjid A貨 銅

IDR 38,000,000 - 60,000,000 US$ 2,700 - 4,260 photo of the artist

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pintor sirait (Indonesian, b. 1962) F1 Car signed and dated 25 Oktober 2009 bronze 17 x 63 x 29 cm

pintor sirait 一级方程式 賽車

2009 年作 銅 款識: PINTOR SIRAIT 25 Oktober 2009(底部)

IDR 15,000,000 - 30,000,000 US$ 1,070 - 2,130

Modern and Contemporary Art

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agan harahap (Indonesian, b. 1980) Supper et Emaus c - print 100 x 145 cm

IDR 20,000,000 - 40,000,000 US$ 1,420 - 2,840

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阿甘·哈拉哈坡 晚餐 彩印


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isur soeroso (Indonesian, b. 1982) Beautiful Creature signed and dated 2016 lower left oil on canvas 119 x 158 cm

isur soeroso 美麗的生物

油彩 畫布 款識: isur soeroso 2016(左下)

IDR 40,000,000 - 70,000,000 US$ 2.840 - 4,970 Modern and Contemporary Art

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galam zulkifli (Indonesian, b. 1971) Joker signed and dated 09 lower right acrylic on canvas 200 x 200 cm IDR 48,000,000 - 70,000,000 US$ 3,410 - 4,970

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galam zulkifli 滑稽角色

亞克力 畫布 款識: 藝術家簽名09(右下)


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budi ubrux (Indonesian, b. 1968)

Pemain Bola (Soccer Player) signed and dated 2017 lower right oil on canvas 125 x 225 cm IDR 60,000,000 - 80,000,000 US$ 4,260 - 5,680

布狄·烏魯佈斯

Photo of artist with the present lot. 藝術家與作品合照

球員

2017 年作 油彩 畫布 款識: 藝術家簽名2017(右下) Modern and Contemporary Art

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HENING PURNAMAWATI (Indonesian,1960 - 2017) Lumpur Gonjang Ganjing signed lower left oil on canvas 130 x 130 cm

IDR 45,000,000 - 90,000,000 US$ 3,200 - 6,390

HENING PURNAMAWATI

Photo of artist with the present lot.

樂園

油彩 畫布 款識: 藝術家簽名(左下) 102

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藝術家與作品合照

Accompanied with a certificate of authenticity signed by the artist


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HENING PURNAMAWATI (Indonesian,1960 - 2017) Opera Boneka (Puppet Opera) signed lower right oil on canvas 150 x 200 cm IDR 75,000,000 - 140,000,000 US$ 5,320 - 9,930

HENING PURNAMAWATI 木偶歌劇

Accompanied with a certificate of authenticity signed by the artist

油彩 畫布 Modern and Contemporary Art

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yoon jongseok (Korean, b. 1970) Age of Desire 2 signed and dated 2010 upper right acrylic on canvas 182 x 182 cm IDR 120,000,000 - 200,000,000 US$ 8,520 - 14,190 104

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尹鍾錫

慾望時代 2010 年作 綜合媒材 畫布 款識: Yoon (中上)


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lee seung hee (Korean, b. 1958)

Tao signed and dated 2010 lower middle porcelain 63 x 54 cm

李承熙 陶

瓷器

IDR 50,000,000 - 80,000,000 US$ 3,550 - 5,680 Modern and Contemporary Art

105


67

67

ERICA HESTU WAHYUNI (Indonesian, b. 1971) Happy Play Ground signed and dated 2016 lower right acrylic on canvas 118 x 148 cm (with wooden frame) IDR 18,000,000 - 30,000,000 US$ 1,280 - 2,130 106

33 Auction

艾麗嘉

歡樂的遊樂場 2016 年作 亞克力 畫布 款識: Erica 2016 (右中下) 作品附藝術家原作簽名證畫

Accompanied with a certificate of authenticity signed by the artist


68

68

ERICA HESTU WAHYUNI (Indonesian, b. 1971) Uniquely Traditional Wedding signed lower right acrylic on canvas 128 x 156 cm (with wooden frame) IDR 20,000,000 - 50,000,000 US$ 1,420 - 3,550

艾麗嘉 婚禮

亞克力 畫布 款識: Erica 2015 (中下) 作品附藝術家原作簽名證畫

Accompanied with a certificate of authenticity signed by the artist Modern and Contemporary Art

107


69

69

DEDE ERI SUPRIA (Indonesian, b. 1956) Laskar Mandiri signed and dated 2017 lower left oil on canvas 140 x 150 cm IDR 70,000,000 - 90,000,000 US$ 4,970 - 6,390

迪德‧埃裡‧蘇普里亞 拉斯卡爾曼迪里

2017 年作 油彩 畫布 款識: Dede Eri Supria 2017 (左下) 作品附藝術家原作簽名證畫 108

33 Auction

Accompanied with a certificate of authenticity signed by the artist

Photo of artist with the present lot. 藝術家與作品合照


70

70

DEDE ERI SUPRIA (Indonesian, b. 1956)

Mask Dance signed and dated 2017 lower middle right oil on canvas 140 x 120 cm IDR 55,000,000 - 70,000,000 US$ 3,910 - 4,970

迪德‧埃裡‧蘇普里亞 面具舞

2017 年作 油彩 畫布 款識: 藝術家簽名2017(右下) 作品附藝術家原作簽名證畫

Accompanied with a certificate of authenticity signed by the artist

Photo of artist with the present lot. 藝術家與作品合照

Modern and Contemporary Art

109


71

71

AWIKI (Indonesian, b. 1961)

Yellow Lillies signed and dated 08 lower left oil on canvas 80 x 95 cm IDR 80,000,000 - 120,000,000 US$ 4,260 - 7,100 110

33 Auction

羅維奇

黃色百合花 2008 年作 綜合媒材 畫布 款識: Awiki '08 (左下)


72

72

AWIKI (Indonesian, b. 1961)

Beautiful Sun Flower signed and dated 02 upper right oil on canvas 40 x 50 cm

羅維奇

美麗的太陽花 2002 年作 油彩 畫布 款識: Awiki '02 (右上)

IDR 35,000,000 - 50,000,000 US$ 2,490 - 3,550 Modern and Contemporary Art

111


73

73

ABAS ALIBASYAH (Indonesian, 1928 - 2016) Pohon Persembahan (Offerings Tree) signed lower right oil on canvas 100 x 119 cm IDR 12,000,000 - 18,000,000 US$ 860 - 1,280 112

33 Auction

阿巴斯·阿里巴斯亞 樹下祭祀

油彩 畫布 款識: ABAS (右下)


74

74

ABAS ALIBASYAH (Indonesian, 1928 - 2016) Figure of Dancer signed and dated 91 lower right oil on canvas 70 x 80 cm

阿巴斯·阿里巴斯亞 舞者

1991 年作 油彩 畫布 款識: Abas '91 (右下)

IDR 11,000,000 - 18,000,000 US$ 790 - 1,280 Modern and Contemporary Art

113


75

75

omar yahya (Indonesian, 20

th

Century)

Dua Wanita (Two Women) signed and dated 1953 lower right oil on canvas 88 x 67 cm IDR 28,000,000 - 40,000,000 US$ 1,990 - 2,840 114

33 Auction

歐瑪亞亞 兩女

1953 年作 油彩 畫布 款識: OMAR 1953 (左下)


76

76

lim tjoe ing (Indonesian, 1922 - 1999) Nelayan (Fisherman) signed and dated 84 lower right oil on canvas 72 x 74 cm

lim tjoe ing 漁夫

1984 年作 油彩 畫布 款識: Lim Tjoeing'84 (右下)

IDR 20,000,000 - 30,000,000 US$ 1,420 - 2,130 Modern and Contemporary Art

115


77

77

willem jan pieter van der does (Dutch, 1889 - 1966) Sunset In The Sea signed lower left oil on canvas 70 x 100 cm

IDR 25,000,000 - 40,000,000 US$ 1,780 - 2,840

威廉.簡.皮特.范德 海上的日落

油彩 畫布 款識: 藝術家簽名(左下)

116

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78 What gives Arifien Neif’s painting their inimitable quality is the artist’s intelligent synthesis of the style of many great artists. The bohemian quality of his composition is reminiscent of Vincent Van Gogh’s capture of night scenes. In other paintings, the form of the human body recalls the exaggerated voluptuous figures of Fernando Botero. In the deliberate naivety of simplified forms, Neif has expressed a playfulness and innocence that is at once complicated by the sophistication of details. Perayaan is a fantastical imagination of a celebration. The humanlike creatures appear to have flippers for legs and snouts for noses. The painting harbours strong references to Javanese ceremonies, in the form of streamers and traditional shades. Richly imagined, the artist’s thoughtfulness of details serves to construct a convincing alternate reality.

78

ARIFIEN NEIF (Indonesian, b. 1955) Perayaan (Celebration) signed and dated 82 lower right oil on canvas laid on board 50 x 50 cm

阿里凡•涅夫的才能造就了他許多無與倫比的作品。他作品中的波 斯米亞式的風格讓人聯想到梵高的夜景畫作。而在其他的作品中, 又能讓人聯想到費爾南多•博特羅婀娜多姿妖嬈的人物。在有意地 簡化和天真式的形體,在這俏皮和無辜的童真景象中,細節中又有 複雜的優雅。 《慶典》是一個夢幻般,幻想中的慶典。畫中的人物有著鰭狀的腿 部和長直的鼻子,畫中的主體有著濃郁的爪哇儀式,飄帶著傳統形 式。在藝術家的豐富的想像中,對細節的講究構建了一個令人信服 的現實。

阿里凡·涅夫 慶典

1982 年作 油彩 畫布 木板 款識: 藝術家簽名82(右下)

IDR 28,000,000 - 40,000,000 US$ 1,990 - 2,840 Modern and Contemporary Art

117


79

79

I DEWA NYOMAN RAI (Indonesian, b. 1945) Upacara Adat di Bali (Balinese Ritual) signed lower right acrylic on canvas 140 x 110 cm IDR 10,000,000 - 20,000,000 US$ 710 - 1,420 118

33 Auction

I DEWA NYOMAN RAI 巴厘島的傳統儀式

亞克力 畫布 款識: 藝術家簽名(右下)


80

80

I MADE DJIRNA (Indonesian, b. 1957) Tari Rejang (Rejang Dance) signed and dated 2000 lower right mixed media on canvas 130 x 140 cm

伊·嗎德·繼而拿 舞蹈

2000 年作 綜合媒材 畫布 款識: Djirna 2000 (右下)

IDR 40,000,000 - 60,000,000 US$ 2,840 - 4,260 Modern and Contemporary Art

119


81

西奧·邁爾

Balinese Girl Signed and dated 1950 upper left oil on canvas 57 x 67 cm

1950 年作 油彩 畫布 款識: Theo Meier 1950 (左上)

theo meier (Swiss, 1908 - 1982)

峇里島女子

IDR 140,000,000 - 180,000,000 US$ 9,930 - 12,770 Theo Meier’s artistic virtuosity may be tracked by his residencies in various locations within Europe. In those years, the community of artists was close-knit, and Meier was introduced to various artists who helped to shape his creative vision and who cultivated a sense of technical excellency in the budding artist. After his studies at the School of Art in Basle, Switzerland, Meier travelled to the Berlin Academy, where he became acquainted with Liebermann and Hofer, both leading proponents of German impressionism and expressionism respectively. He went on to visit the Dresden Academy, where he met Otto Dix, a lecturer, of whom Meier has this to say:

西奧•邁爾的精湛藝術技藝可以通過他在歐洲各地駐留的經歷 來。在那些年裡,邁爾和周圍的藝術家群體緊密結合,這群朋友 培育了他的藝術野心並教導了他各種不同的創作技巧。在瑞士巴 塞爾藝術學院學習之後,邁爾輾轉到了柏林學院,在那裡他結識 了利伯曼和Hofer,他們分別是德國印象派和表現主義的藝術大 師。後來,邁爾到了德國的德累斯頓學院,在那裡他遇到了講師 奥托•迪克斯,對這位老師邁爾是這麼說的:

“I learned more of the mechanics of painting during my brief stay in Dresden than ever before. Dix taught me to draw and the simple things that I have at my finger-tips like grounding and the mixing and application of colours so as to bring out the luminosity.” – Theo Meier

邁爾巴塞俄參觀畫展時看到了保罗•高更的作品,給他極大的動 力前往大溪地,希望能在那文化天堂,像前人一樣感受到前所未 有的靈感啟發,提升自己的藝術水平。

Having attended an exhibition of Paul Gaugin’s works in Basle, Meier set out to Tahiti where he imagined that he would encounter a cultural paradise that would inspire his art and elevate it to new levels through the infusion of novel themes. However, he found none of that ‘primitivism’ that he later realized was attributed in large part to Gaugin’s orientalist fantasy. Returning to Switzerland disappointed, Meier set out again for Bali a year later, a place as yet virtually untouched by cultural appropriation, culturally fertile enough to satisfy the exotic longings of any young Western artist. As the artist maintained, it was there that he “was shaped”, testifying to the degree of impact the island exerted the artist and his oeuvre.

Theo Meier Sold for US$ 76,800 33 Auction, Jakarta 19 Mar 2017

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“在德累斯頓短暫停留的期間,我學到了一生中最受益不淺的繪 畫知識更多關於技巧的知識。迪克斯教如何混合顏色,讓畫更顯 廣度。“ - 西奧•邁爾

然而,在那他並沒有發現任何他所在高更作品中看到的“原始注 意”,反而覺得更到程度上是高更自己的東方主義幻想。失望的 回到瑞士後,邁爾在一年後再次出發探險到了峇里島,一個幾乎 沒有受到文化文明影響的地方,這肥沃的東方文化足以滿足任何 年輕西方藝術家的異國情調。正如藝術家所堅持的那樣,他在那 裡“被塑造”,證明了峇里島對藝術家的影響和他的創作作品。


Modern and Contemporary Art

 

121


82

ADRIEN JEAN LE MAYEUR DE MERPRES (Belgian, 1880 - 1958) Village of Veurne signed lower left oil on board 44,2 x 55 cm

IDR 140,000,000 - 180,000,000 US$ 9,930 - 12,770

Today, the oeuvre of Jean Le Mayeur is mostly associated with his time in Bali, Indonesia. His work is characterized by the rendition of light and colour, and the luminosity of sunlight. Indeed, having reached Bali at the age of 52, the paintings completed in the exotic land of strong traditions and culture appear to represent the peak of his maturity as an artist. However, it is the early works of his cannon – those executed in Belgium up till World War I, and his subsequent travels to the South of France, to Italy, North Africa etc, that reveal the genesis of the budding master of light. In 1932, Le Mayeur landed in Southeast Asia where the exotic culture made Bali his final stop.

Accompanied with a certificate of authenticity signed by Chatinka Huizing (author of The Art Book of Le Mayeur

122

33 Auction

勒邁耶

弗爾訥鄉村 油彩 板 款識: 藝術家簽名(左下) 作品附藝術家原作簽名證畫

今天,Jean Le Mayeur知名的作品主要與他在印尼巴厘島的時候 完成的。他的作品的特點是光線和色彩的呈現,以及陽光的光明。 藝術家在52歲時到達巴厘島,在那充滿傳統和文化的異國情調的土 地上完成的畫作似乎代表了他作為藝術家成熟的高峰。然而,是他 的早期作品 - 直到第一次世界大戰期間在比利時執行的那些,以及 他隨後前往法國南部,意大利,北非等地的旅行,揭示了年輕新生 的‘光明大師’的起源。 1932年,Le Mayeur登陸東南亞;巴厘 島的異國文化使他把那個地方作爲他的最後一站。


Modern and Contemporary Art

 

123


3 Artworks by Popo Iskandar 波波·依斯甘達的3件作品 Born in Indonesia, Popo Iskandar is one of the country’s early pioneer artist. Best known for his sinuous forms of felines, he has exhibited internationally and was awarded the prestigious Anugerah Seni art award in 1980. An examination of his oeuvre will reveal that his style is influenced by the minimalistic aesthetics of various art movements, with Chinese calligraphy forming part of his inspiration. Popo Iskandar began a fascination with felines in the early 1960s. The subject matter of his paintings started with cats, which later evolved into sinuous leopards in the 1980s. The menagerie of animals subsequently included chickens, as they become part of Popo’s expressionist journey to uncover the innermost essence of his subjects through artistic forms. In his paintings, the beauty of the line is given its maximum expression – a distillation of artistic elements that is achieved after his long years of aesthetic exploration. Veering away from his signature subject matter, Popo applies the same technical confidence in capturing the spirit of animals in the painting Ayam Jago. Depicted with bright, exuberant colours, the lively and robust profile of the rooster is brought out through a uneven and deliberately broken brushwork, that attest to the dimensionality of the work.

84

124

33 Auction


波波•依斯甘達是印尼早期藝術家之一。他以多姿 勢彎曲的貓繪畫著名,也因此於1980年獲得著名的 Anugerah Seni Art大獎。仔細觀察其他的藝術風 格,會看出極簡主義,立體主義和東方書法的影子。 波波•依斯甘達對貓類動物的迷戀在60年代初期開 始,先是貓,直到80年代以蜿蜒逶迤形態為表現的豹 子。動物的題材後來包括了公雞,成為波波表現主義 中的經典。題材精髓的本質在他的繪畫作品中線條在 一幅畫中的美感被賦予最大的表現力 - 在經歷多年的 美學探索之後所實現的藝術昇華。 在《公鸡》这幅画中,波波远离了他的标志性主题, 运用同样的技巧自信地捕捉动物的精神。以明亮,鲜 明的色彩为特色,雄鸡的生动而强劲的轮廓通过不均 匀的笔触呈现,增加了作品的维度。

83

85 Modern and Contemporary Art

125


83

83

Popo Iskandar (Indonesian, 1927 - 2000) Dua Kucing (Two Cats) signed and dated 90 lower right oil on canvas 70 x 60 cm IDR 40,000,000 - 60,000,000 US$ 2,840 - 4,260

波波·依斯甘達 兩只貓

1990 年作 油彩 畫布 款識: Popo' 90 (右下)

126

33 Auction

Popo began a fascination with felines in the early 1960s.The subject matter of his paintings started with cats, which later evolved into sinuous leopards in the 1980s. The menagerie of animals subsequently included chickens, as they become part of Popo’s expressionist journey to uncover the innermost essence of his subjects through artistic forms. In his paintings, the beauty of the line is given its maximum expression – a distillation of artistic elements that is achieved after his long years of aesthetic exploration. 波波•依斯甘達對貓類動物的迷戀在60年代初期開始,先是貓,直 到80年代以蜿蜒逶迤形態為表現的豹子。動物的題材後來包括了公 雞,成為波波表現主義中的經典。題材精髓的本質在他的繪畫作品 中線條在一幅畫中的美感被賦予最大的表現力 - 在經歷多年的美學 探索之後所實現的藝術昇華。


84

84

Popo Iskandar (Indonesian, 1927 - 2000) Leopard and The Moon signed and dated 93 lower left oil on canvas 90 x 100 cm

IDR 110,000,000 - 200,000,000 US$ 7,810 - 14,190

波波·依斯甘達 豹與月亮

1993 年作 油彩 畫布 款識: Popo' 93 (左下) 作品附藝術家原作簽名證畫

Accompanied with a certificate of authenticity signed by the artist Modern and Contemporary Art

127


85

Veering away from his signature subject matter, Popo applies the same technical confidence in capturing the spirit of animals in the painting Ayam Jago. Depicted with bright, exuberant colours, the lively and robust profile of the rooster is brought out through a uneven and deliberately broken brushwork, that attest to the dimensionality of the work.

85

Popo Iskandar (Indonesian, 1927 - 2000) Ayam Jago (Rooster) signed and dated 90 lower left oil on canvas laid on board 50 x 62 cm IDR 75,000,000 - 90,000,000 US$ 5,320 - 6,390

128

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在《公鸡》这幅画中,波波远离了他的标志性主题,运用同样的 技巧自信地捕捉动物的精神。以明亮,鲜明的色彩为特色,雄鸡 的生动而强劲的轮廓通过不均匀的笔触呈现,增加了作品的维 度。

波波·依斯甘達 公雞

1990 年作 油彩 畫布 款識: Popo' 90 (右下)


86

86

JEIHAN SUKMANTORO (Indonesian, b. 1938) Tarian Jawa (Javanese Dance) signed and dated 14 lower right acrylic on canvas 140 x 140 cm IDR 60,000,000 - 90,000,000 US$ 4,260 - 6,390

皆罕·素可曼多羅 爪哇舞

2014 年作 亞克力 畫布 款識: Jeihan '14 (右下) 作品附藝術家原作簽名證畫

Accompanied with a certificate of authenticity signed by the artist Modern and Contemporary Art

129


87

87

arie smit (Dutch - Indonesian, 1916 - 2016) Full Moon in Bali signed and dated 07 lower left acrylic on canvas 32,5 x 50 cm

IDR 90,000,000 - 140,000,000 US$ 6,390 - 9,930

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艾利·斯密特

在巴厘島的滿月 2007 年作 亞克力 畫布 款識: arie smit 02 (左下) 作品附藝術家原作簽名證畫

Accompanied with a certificate of authenticity signed by the artist


88

88

arie smit (Dutch - Indonesian, 1916 - 2016) Hill on The Beach signed and dated 84 lower right acrylic on canvas 25 x 33 cm IDR 18,000,000 - 45,000,000 US$ 1,280 - 3,200

艾利·斯密特 海灘邊的山丘

1984 年作 亞克力 畫布 款識: arie smit 84 ( (中下) 作品附藝術家原作簽名證畫

Accompanied with a certificate of authenticity signed by the artist Modern and Contemporary Art

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Index of Artists 藝術家索引

ABAS ALIBASYAH

73, 74

阿巴斯·阿里巴斯亞

ABDUL AZIZ

17, 18, 19, 20, 21, 22, 23

阿卜杜勒.阿齊茲

ABDUL DJALIL PIROUS

43, 44

阿都.雅裡.比勞斯

ADRIEN JEAN LE MAYEUR DE MERPRES

82

勒邁耶

AFFANDI

33

阿凡迪

AGAN HARAHAP

59

阿甘·哈拉哈坡

ANGKI PURBANDONO

55

安其·普班度諾

ARIE SMIT

87, 88

艾利·斯密特

ARIFIEN NEIF

78

阿里凡·涅夫

ASTARI RASJID AWIKI

57 71, 72

羅維奇

BASOEKI ABDULLAH

24, 25, 26, 27

巴蘇基·阿卜杜拉

BUDI UBRUX

62

布狄·烏魯佈斯

DEDE ERI SUPRIA

69, 70

迪德‧埃裡‧蘇普里亞

DEDY SUFRIADI

53

迪德‧埃裡‧蘇普里亞

DJOKO PEKIK

47, 48, 49, 50

卓可·佩奇克

ERICA HESTU WAHYUNI

67, 68

艾麗嘉

FARHAN SIKI

54

法翰·斯基

GALAM ZULKIFLI HAN SNEL

61 31, 32

漢·斯尼奧

HENING PURNAMAWATI

63, 64

I DEWA NYOMAN RAI

79

I MADE DJIRNA

80

伊·嗎德·繼而拿

I MADE WIANTA

45, 46

伊·嗎德·維安達

ISUR SOEROSO

60

IVAN SAGITA

40, 41

伊萬·薩奇托

JEIHAN SUKMANTORO

36, 37, 51, 52, 86

皆罕·素可曼多羅

LEE MAN FONG

14

李曼峰

LEE SEUNG HEE

66

李承熙

LIM TJOE ING

76

LUCIEN FRITS OHL

11, 12

吕西安·弗里茨

MAHJUDDIN S

6

玛傑丁

MOCHTAR APIN

16

莫達.阿賓

OMAR YAHYA

75

歐瑪亞亞

PANDE KETUT TAMAN

56

PINTOR SIRAIT

58

POPO ISKANDAR

83, 84, 85

波波·依斯甘達

ROEDYAT MARTADIREDJA

7, 8

羅岱·瑪塔蒂勒加

ROMUALDO LOCATELLI

34

羅莫爾多·羅格泰利

RUSLI

13

魯斯理

RUSTAMADJI

15

魯斯塔嗎紀

S. SUDJOJONO

28, 29, 30

蘇佐佐諾

SUDJONO ABDULLAH

1, 2, 3, 4, 5

蘇佐諾‧阿卜杜拉

SUNARYO

38, 39

蘇納里奧

THEO MEIER

81

西奧·邁爾

TRUBUS SOEDARSONO

35

吐魯布斯·蘇達索諾

UMI DACHLAN

42

WAKIDI

9, 10

WILLEM JAN PIETER VAN DER DOES

77

威廉.簡.皮特.范德

YOON JONGSEOK

65

尹鍾錫

Modern and Contemporary Art

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Modern and Contemporary Art

 

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Modern and Contemporary Art

 

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LOT NUMBER

LOT DESCRIPTION

MAXIMUM IN INDONESIA RUPIAH (TICK FOR PHONE BIDS)

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CLIENT ACCOUNT NO. (IF KNOWN)

ADDRESS

Please note that we may contact new clients to request a bank reference. 33 Auction will require sight of government issued ID / Passport and proof of address prior to collection of purchases. All payments are due within 7 days after successful sale. FOR WRITTEN/FIXED BIDS Bids will be executed for the lowest price as is permitted by other bids or reserves. “Buy” or unlimited bids will not be permitted and neither do we accept “plus one” bids. Please place bids in the given order as per catalogue. Alternative bids can be placed by using the word “or” between lot numbers. Where appropriate your written bids will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments. FOR TELEPHONE BIDS Please clearly specify the telephone number on which you may be reached at the time of the sale, including the country code. We will call you from the saleroom shortly before your lot is offered. In the event of identical bids, the earliest bid received will get priority. Bids must be submitted in Indonesian Rupiah at least 24 hours before the auction.

138

33 Auction

(POSTAL CODE) TELEPHONE (HOME/MOBILE)

(BUSINESS/FAX)

EMAIL

TICK IF THIS IS AN UPDATED ADDRESS TELEPHONE NUMBER DURING THE SALE:

1.

(FIRST PRIORITY)

(FOR TELEPHONE BIDS ONLY)

2.

(ALTERNATIVE)

PLEASE SEND OR FAX THIS FORM TOGETHER WITH COPY OF IDENTITY CARD / PASSPORT TO:

33 AUCTION – BID DEPARTMENT Jl. Brawijaya 1C No. 4 Jakarta 12630 Indonesia TEL: +62 21 7190888 FAX: +62 21 7203505 EMAIL: bid@33auction.com

I agree that I am bound by 33 Auction Conditions of Business which are published in the catalogue for the sale that govern all purchases at auction that I make. If any bid is successful, I agree to pay the published buyer’s premium and the relevant taxes on the hammer price.

Signed

Dated

ARRANGING PAYMENT

It is 33 Auction’s policy that all cheque / payments must be cleared before purchases will be released. Payments may also be made by direct debit or telegraphic transfer to 33 Auction account indicated in the invoice. Please include your name, 33 Auction client’s account number and invoice number with your instructions to your bank. Credit card payment is not accepted. It is 33 Auction’s policy to request any buyer preferring to make cash payments to provide: proof of identity with attached photograph (example: passport, driving license, identity card) and confirmation of permanent address. Thank you for your kind cooperation. SHIPPING: IF YOU ARE SUCCESSFUL AND WANT US TO CONTACT YOU REGARDING SHIPPING, KINDLY TICK HERE


33 Auction 2018 Jakarta Summer Sale - Modern and Contemporary Art (JK008)  

The auction will take place on 2 September 2018 at The Ritz Carlton Jakarta Pacific Place starting 3:30 pm Indonesian Western Time (UTC+7)....

33 Auction 2018 Jakarta Summer Sale - Modern and Contemporary Art (JK008)  

The auction will take place on 2 September 2018 at The Ritz Carlton Jakarta Pacific Place starting 3:30 pm Indonesian Western Time (UTC+7)....