Browse Fine Art, Antique and Collectible Items with Online Appraisals

paintings 8 Jun, 2022
Balinese Dancer, by: Lee Man Fong (1913 – 1988)
Artist : Lee Man Fong (1913 – 1988) ===== Medium : Oil on Masonite board ===== Signature : Chinese poem & date at the upper right ===== Height : +/- 104 cm ===== Width : +/- 51 cm ===== Period/Date : 1978, acquired in 1978 ===== Country : China - Indonesia ===== Condition : Good ===== Re-Examined Date : 20th November 2018 ===== Authenticity# : P-1032/10/07/2001 ===== 1. RESEARCH & ESSAY =============== The present work exhibits a Balinese dancer that is exquisitely depicted as a woman wearing dance clothing, starting from “gelungan uleg” fully with complexities on top of her head, badong and pink necklace on her chest and neck, long “jarik” with batik design along with brownish “udet” on the lower part, as well as pink shawl unraveled lengthwise scattered to the floor. The dancer is adorned showing the Balinese “Kebyar” dance performed singly (solo). Two black lines of vertically Chinese poems and a red round seal mark are written on the upper left, and a red square seal mark on the lower right. All the scenes of this object are painted in greenish with bluish hue background showing a blank decoration space of the background. =============== With meticulous brush craftsmanship, Lee Man Fong produced this work by adopting Chinese art techniques “Gongbi”, worked carefully, in detail, beautifully and neatly, although parts of the tree are painted by freely expressive xieyi style. As a Chinese-born painter, Man Fong is very passionate at adopting themes by using Western techniques with a sense of Chinese art formats. Man Fong provides the scenes related to the art of beauty and Balinese life on the theme of the present work. The theme on the present work adopted a Balinese Kebyar Dancer. Balinese dance art has various types, including the types of such Kebyar dance. What differentiates between Kebyar dance and other Balinese dances, the suppressions of Kebyar Dance are the dancers itself interpreting the music feels with their facial expressions and supple moves. As a well-known painter who ever lived and stayed in Bali, Man Fong with his skillfully brushworks is able to record the dance show stage of a Balinese dancer with her clothes and full of ornament accessories as well as facial expressions and supple body moves as if following the music of Kebyar dance. =============== Born in Guangzhou, China, Lee Man Fong (1913 – 1988) is the pioneer artist of Indonesia-Singapore, who started learning painting since his childhood. Before relocating to Batavia (Jakarta) in 1932, Lee Man Fong studied art at the Anglo-Chinese School until 1929. Under Mei Yutian’s direction, the artist studied the Lingnan (岭南) style of Chinese brush painting, while he also studied oil painting under Huang Qingquan. When he arrived in Jakarta, his first career was a Dutch advertising firm Kolff, and then was a Chinese pianist in Batavia, now Jakarta. In 1941, Lee Man Fong was fully dedicated to be a professional painter. =============== In 1949, Man Fong received Malino scholarships from the Governor General of Netherlands Van Mook to deepen fine arts in the Country of the Windmills. Three of his works were well accepted. During his stay in Europe, he visited United Kingdom, France, Switzerland, Italia, Luxemburg and Belgium. This work cannot be separated from the inspiring results of his experience and adventure when he visited Bali Island and working briefly there in 1941. The works with the ‘Balinese Dance’ subject such as this become his masterpiece object, and the artist displayed them at various European countries till achieving success and fame as an international painter. Compare with Lee’s work entitled ‘Balinese Dance’ (103 x 49 cm), oil on board, sold at Sotheby’s Hong Kong, 8th June 2021, Lot. 2009, for HKD226,800, initially estimated between HKD180,000 – 260,000 (See fig. 1). Another entitled ‘Balinese Dancer’ (89.5 x 54 cm), was sold at Phillips Hong Kong, 27th May 2018, lot. 30, for HK$562,500, initially estimated between HK$220,000 – HK$350,000 (see fig. 2). ===============
Estimate: $30,000 - $60,000
paintings 8 Jun, 2022
Ni Pollok Lying Under a Parasol in The Afternoon, by: Le Mayeur de Merpres (1880 – 1958)
Artist : Le Mayeur de Merpres (1880 – 1958) ===== Medium : Oil on canvas ===== Signature : “J. Le Mayeur” at lower right ===== Height : +/- 97 cm ===== Width : +/- 124.5 cm ===== Period/Date : 1951, acquired in 1951 ===== Country : Bali - Indonesia ===== Condition : Good ===== Re-Examined Date : 29th November 2018 ===== Authenticity # : P-1039/29/07/2001 ===== 1. RESEARCH & ESSAY ============== As a Belgian-born painter and traveler, Adrien-Jean Le Mayeur de Merprès (1880 - 1958) traveled to the corners of the world, including France, Italy, Morocco, Tunisia, Aljazair, India, Thailand, Cambodia, and even Tahiti. He then sailed to Bali Island when he was 52, and was enthralled by its rich culture, cordiality of people, religious pace, and the appealing local maiden’s beauty. Le Mayeur was fascinated by the stroke of moonlight in the night, the rising sun at dawn, and the colors of rich cultural life surrounding him that subdued his notion to the quiet, yet exotic Island. More than that, Le Mayeur met a 15-year-old beautiful Legong dancer, Ni Wayan Pollok Tjoeglik (1917-1985) who frequently was called as his beloved name “Ni Pollok”. After marrying her in 1935, Le Mayeur adjured her to become his muse, painting model, and wife respectively. =============== Entitled to “Ni Pollok Lying Under a Parasol in the Afternoon”, the present work was executed with distinctively vigorous brushstrokes vibrantly rendering thirteen Balinese women wondrously posing in sensuality of bare-breasted tradition with dramatic compositions. Ni Pollok is highlighted as the main subject reclining on floor mat covered with scarf under an opened umbrella in front of terrace surrounded by eight large statues of Hindu gods and several figures, including the beach and seascape in the background. The inclusion of luxuriant arch of boughs of frangipani trees and foliage of the tropics with fallen flowers around the figures imbued the relaxed lifestyle in the stunning landscape of tropical paradise in the late afternoon. =============== The subject is exquisitely painted and layered in dense and strong brushstrokes in predominantly vibrant red, orange, green, beige, black and white pigments capturing two-dimensional effects. Exhibiting the extravagant green foliage and delicately red dotted flowers, the painter attested the lush garden in his villa. The orange and yellowish hue colors on the present subject were created in casting a warm glow upon the figures’ naked skins to allow that the subject comes alive what the artist wished to attain. With the mottled sunlight shining through gaps in the figures and ground on the present painting, we can see that the current painting renders the illusion of depth, and supremely setting that disposes for an impressionist palette using colors, textures and strokes in playing light and shadow. Measuring 124.5 x 97 cm, the present work was painted during the immediate post-war years, in early 1952. Compared to his pre-war paintings, the present painting features the specific characteristics. His post-ware works, like the present painting, are depicted with more than three figures, including more figures in the background of the main subject. The post-ware ones are usually executed in vibrant and vivid pigments, a balanced composition, detailed anatomy, and strong lighting details that make the painting subject come alive, and the artist avoided to paint and draw in a loose manner. However, in his oeuvre, Le Mayeur constantly rendered impressions of Ni Pollok in various attitudes throughout his career. =============== During his career, the repetition of the same subjects, decorative elements and poses of figures on the present painting return again in his works many times. For example, the similar subject with decorative elements and composition but it different flowers arrangement to the present painting is a larger painting (150.5 x 200.5 cm) from Christie’s Hong Kong, entitled to “Terrace affording a View of the Sea with Pollok under an Umbrella”. The painting was sold in 28th May 2006, lot. 61 for HK$13,560,000 or equivalent to US$ 1,675,000 USD (see fig. 1). Another in slightly different composition is a smaller painting (76 x 90 cm) entitled to “Balinese Women in the Garden”, sold at Christie’s Singapore, 1st October 2000, lot. 34 (see fig. 2). Again, a smaller painting (55 x 65 cm) entitled to “Balinese Ladies in a Garden” painted in slightly different composition, was sold at Christie’s Hong Kong, 26th November 2006, lot. 88 for HKD 2,136,000, initially estimated between HKD 600,000 - HKD 700,000 (see fig. 3). =============== In 22 – 26 November 1951 and 1952, the first President of Republic of Indonesia, Soekarno, visited Le Mayeur’s studio and met Le Mayeur and his wife, Ni Pollok. In their intimate meeting and relationship, Le Mayeur presented four paintings as the gifts to the President. Two of Le Mayeur’s works in similar composition to the present piece is in the collection entitled “Kenikmatan Hidup I” (seize: 151 cm x 200 cm) and “Kenikmatan Hidup II” (size: 150 cm x 200 cm, oil on canvas). His work entitled “Kenikmatan Hidup II” is depicted with similar Ni Pollok lying under parasol with several figures and sea view in the background to the present painting but in different position (see fig. 4), illustrated in Lukisan Dan Patung Koleksi Presiden Sukarno, edited by Lee Man Fong, Vol. 4, Tokyo, 1964. =============== Citation: 1. Lukisan Dan Patung Koleksi Presiden Sukarno, edited by Lee Man Fong, Vol. 4, Tokyo, 1964.
Estimate: $500,000 - $750,000
paintings 8 Jun, 2022
Family Harmony, by: Hendra Gunawan (1918 – 1983)
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.
Estimate: $180,000 - $250,000