Artist : Hendra Gunawan (1918 – 1983) ===== Medium : Oil on canvas ===== Signature : Hendra and KW 74 at lower left ===== Height : +/- 90 cm ===== Width : +/- 138 cm ===== Period/Date : 1974, acquired in 1974 ===== Country : Indonesia ===== Condition : Good ===== Re-Examined Date : 24th February 2018 ===== Authenticity # : P-1042/22/09/2001 ===== 1. RESEARCH & ESSAY Hendra Gunawan was born in Bandung, West Java, in 11th June 1918. He studied painting from Wahidi Sumanta (1917 – 1996) and Affandi (1907 – 1990). In 1945, the flame of war for freedom began to spark. Hendra Gunawan left his passion for artistry and began following the path of war, scaling dense forests to villages, pursuing the dream of freedom for the country. For him, there should exist a balance between self endeavors in art and fighting for freedom. After the war ended, Hendra Gunawan moved to the city of Yogyakarta. In 1946, he managed to establish his first solo exhibition, showcasing his revolution-themed artworks at the Gedung Komite Nasional Indonesia Pusat (KNIP) on Malioboro street, Yogyakarta. His first solo exhibition was sponsored and opened officially by the Indonesian government and President Soekarno. This event was the first exhibition held by an Indonesian artist after the establishment of the Indonesian government. In 1947, Hendra Gunawan was involved in forming an art studio and institution “Pelukis Rakyat” on Sentul Street No.1, Yogyakarta with Affandi. Besides painting, Hendra also created the sculpture works as his daily agenda. ========== In 1957, Hendra was a lecturer at the Indonesian Fine Art Academy (ASRI) in Yogyakarta. At the same time, the artist also involved in the establishment of LEKRA (Lembaga Kebudayaan Rakyat) or People’s Institution of Culture. LEKRA was immensely associated to ideology of PKI (Partai Komunis Indonesia) or Indonesian Communist Party. After only eight years of his activity in LEKRA, the bloody massacre of 10th September 1965 movement imploded upon his country – Indonesia inflicting he was imprisoned in 1965 in Kebun Waru – Bandung – West Java after the banned PKI party was accused to be a party on coup attempt against Soekarno’s government. Incarcerated from 1965–1978, Hendra Gunawan kept painting and creating his works by using the rough canvases with subjects reflecting the lower-class society’s struggle, social life’s activities and patience for a harmonized family, such as ‘Family Harmony’ like on the present work. =========== Entitled ‘Family Harmony’, the present work was painted by Hendra Gunawan in 1974, when he was imprisoned at Kebun Waru Jail without trial after the abortive alleged communist coup against Republic of Indonesia government in 1965. The present work is painted in vigorous portrayal of the daily live of petai seller with her husband and daughter. The woman is portrayed as a Petai seller, and the man enjoys eating rice and fish, while a daughter fed a goose with fishbone, which all are placed around the mountainous landscape. It is painted in enduring spirit in bright and intense colors that symbolize optimism. The present oeuvre represents a style of social realism that has a poetic character. Hendra idealized the ordinary folk and never questioned the validity of representation in art. ========== The artist regularly painted in the storytelling of his life experience based on the contexts of lower-class society’s struggle, celebration, and affection themes. The rhythm and composition of the present work is similar to a sketch of Hendra’s work, entitled ‘Makan Siang’ (Lunch), 7.2 x 23 cm, published and illustrated in Hendra Gunawan, A Great Modern Indonesian Painter," Agus Dermawan T dan Dr. Astri Wright, Ir. Ciputra Foundation, Jakarta, 2001, p. 197 (see fig. 1). The other work entitled ‘Big Family’ with different position but in similar subject (96 x 136 cm) to the current piece was sold at Christie’s Hong Kong, 29th November 2015, Lot. 624, for HKD 1,360,000, initially estimated between HKD 800.000 – HKD 1,200,000 (See fig. 2). =========== Citation: 1. Hendra Gunawan, A Great Modern Indonesian Painter, Agus Dermawan T dan Dr. Astri Wright, Ir. Ciputra Foundation, Jakarta, 2001, p. 197.

Height : +/- 90 cm ===== Width : +/- 138 cm

PROVENANCE OF ARTWORK: Lo Wing Tjong (1851 – 1934) to Liem Guan Kwee (22th September 1901 – 25th March 1985) to Liem Syuhada (12th June 1927 – 22nd April 2000) to Current Owners (Descendants) ========== The present painting was acquired directly from the artist on June 1974 in Bandung by Liem Guan Kwee (22th September 1901 – 25th March 1987), a son of Lo Wing Tjong (1851 – 1934), a Chinese community leader in Batavia under Guangxu reign (1875 – 1908). The acquisition of the present happened when the artist was imprisoned in Kebun Waru (KW), Bandung, West Java. As Liem Guan Kwee was an art and antique dealer, he travelled around the nation and visited the renowned artists, like Hendra Gunawan, to acquire the valuable artworks for his business and collection at that time. =========== In 2001, the present artwork was researched and authenticated by team of National Archaeology, Art and Culture Foundation in person deriving from Southeast Asia artworks, paintings and Chinese ceramics experts. The foundation itself was led by Professor Abu Ridho, a former curator of National Museum of Jakarta – Indonesia. The physical examination of this artwork and its authenticity is certified on an official letter of statement and agreement that was signed by professor and legalized by public notary ‘Royani, SH’, dated 8th April 2002. In 2004, the government of Republic of Indonesia recorded this legacy especially regarding with its authenticity, historical artwork and the ownership of property or legal rights. This artwork was appreciated and archived officially as a national cultural heritage object by Culture and Museum Agency of Government of Indonesia, Jakarta, number 863/-1-853.3, dated 14th April 2004. =========== In 2015 onwards, this artwork that was signed by Prof. Abu Ridho on Certificate of Authenticity was re-researched by team of National Archaeology, Art and Culture Foundation and Liem Guan Kwee’s great grand-son. After graduating from Master of Art (MA) Program of LASALLE College of the Arts – Singapore with subject of Asian Art Histories, his great grand-son accompanied by team of experts in the respective field, re-examined and re-analyzed this artwork by more elaborate manner. It includes technical or stylistic analysis, documentary research and comparison with similar artist or periods that are relied on archives, art libraries and reputable art and antique commercial institutions or auction houses enabling to strongly establish its eligible quality and authenticity. =========== All documents and photos of its provenance and certificate of authenticity are included at the below page. ===========