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paintings 6 Jun, 2022
Fishmonger by the Beach, by: Hendra Gunawan (1918 – 1983)
Note: I can not upload the Certificate of Authenticity, provenance and photos documents since this website does not support PDF file. =============== Artist : Hendra Gunawan (1918 – 1983) ========== Medium : Oil on canvas ========== Signature : Hendra & KW 1974 at the lower left ========== Height : +/- 134 cm ========== Width : +/- 88.5 cm ========== Period/Date : 1974, acquired in 1974 ========== Country : Indonesia Condition : Good ========== Re-Examined Date : 14th May 2017========== Authenticity # : P-1020/12/02/2001 ========== 1. RESEARCH & ESSAY=============== As a guerilla fighter for independence, painter, and an artistic sculptor, the name of Hendra Gunawan has echoed through Nusantara and the International world for his wondrous artworks. Hendra Gunawan was born in Bandung – West Java – Indonesia in 11th of June, 1918 from the couple Raden Prawinegara and Raden Odah Tejaningsih. During his youth, he studied and explored many facets of Indonesian painters at the time such as the expressionist Affandi (1907 - 1990) and the landscape—panoramic painter Wahidi Sunanta. Two of these painters became the masters whom Hendra always looked up to in the world of art. In 1935, together with his close friends, Sudarso (1914 — 2006) and Barli Sasmitawinata (1921 — ), Hendra joined his masters to form a community of painters dubbed “Kelompok Lima” (“Group Five”) in Bandung. The name “Kelompok Lima” was famously recognized for its members who were known to travel around Indonesia to paint together. The five painters are Affandi, Barli, Hendra Gunawan, Sudarso, and Wahdi. =============== In 1938 Hendra Gunawan was self-taught himself in sculpting. During Japanese occupation, he actively guided and taught the youths of Indonesia that were passionate in learning the arts of painting and sculpting, while also organizing art and cultural events at Pusat Tenaga Rakyat (PUTERA) under the leadership of three Indonesian national figures known as Tiga Serangkai: Soekarno, Moh. Hatta, and K.H. Mas Mansyur. Through these activities Hendra and his colleagues spent their time creating a lot of paintings in restricted places such as Pasar Ikan, Tanjung Priok, and Pelabuhan Cirebon. =============== Hendra Gunawan also participated in other artistic interests such as Sundanese dramatic arts in theatre, he advised the establishing of Poesaka Sunda group (Sunda Heritage) in Bandung in 1940, as a decor painter. His meeting with Affandi was a phase and a catalyst for him becoming a painter. Based on sheer willpower, honesty, and genuine ambition he found his courage to forge his own path. With a pencil, papers, canvas, and paint he started his career as a painter. His circle of community and friends became his pillars of support to guide him in growth. Furthermore, together with other painters in Bandung, they managed to exhibit his works in many exhibitions in around 1940s. =============== Entitled "Fishmonger by the beach", the present work was painted in 1974, four years before he was released from the jail at Kebun Waru (KW), Bandung – West Java. Not like the exotic beauties popularized by the Mooi Indies (Beautiful Indies) aesthetic of Indo-European artists, the women in the present work is composed in a soft motherly face wearing a kebaya with batik motifs which the blouse opened a little upon the chest part. The woman, fishmonger, is depicted selling fish catches, sitting on a large rock by the beach with her son. A son on his mother’s lap is shown proffering the fish to buyers, that all are depicted around the beach with some fishmongers at long distance. Hendra Gunawan emphasizes the son figure in slightly normal composition, while the female figure is composed in a more protruding chin and lips. The artist also constructs the body of the female figure with a larger, curved hips, large breast almost protruding, and long slender hands and large leg calves. Its body is composed not like humane compared to that of natural and normal human body anatomy but the artist characterizes it without leaving its feminine nature. Hendra visualizes its body shape based upon the Wayang art performance from the West Java region, where he lives there. These figures are painted metaphorically inspired by shadow puppet who are famously known for the characters of Ramayana and Mahabharata. =============== Through the present painting, Hendra Gunawan clearly wishes to tell the viewers with the utmost clarity the scenes displayed through his paintings. The narrative element is very important for him; therefore, the present work is loaded with ways of visual communication bridged by the themes he raises ‘Fishmonger by the Beach’. The life of fishermen like this is parallel to the meaning of the fishes they catch and sell. Life must be fought for if you want to get what you want. It is not permissible to give up and retreat in situations that are considered difficult. Like the life of fish swimming in the vast ocean, it is not afraid to live in a saltwater environment that taste very salty which does not have a negative impact upon the fish. Compare with Hendra’s work, entitled ‘Wanita Sabar Menanti’ (Woman waiting patiently) in size of 134 x 90 cm., signed but without date, sold at Christie’s Hong Kong, 28th May 2006, Lot. 38, for HKD 1,080,000, initially estimated between HKD550,000 – HKD700,000. The piece was then sold at Sotheby’s Hong Kong, 8th October 2013, Lot. 446, for HKD 1,840,000, initially estimated between HKD 1,400,000 – HKD 2,000,000 (See fig. 1).
Estimate: $180,000 - $250,000
paintings 6 Jun, 2022
Balinese Maidens Spinning in the Garden, by Adrien Jean Le Mayeur (1880 – 1958)
Note: I can not upload the Certificate of Authenticity, provenance and photos documents since this website does not support PDF file =========== Artist : Adrien Jean Le Mayeur (1880 – 1958) ========== Medium : Oil on canvas with handcrafted frame ========== Signature : “J. Le Mayeur” at the lower right ========== Height : +/- 127 cm ========== Width : +/- 128 cm ========== Period/Date : 1949, acquired in 1949 ========== Country : Bali - Indonesia ========== Condition : Good ========== Re-Examined Date : 26th September 2017 ========== Authentication # : P-1205/25/12/2001 =========== Adrien- Jean Le Mayeur de Merprẻs (1880-1958) was recognized as a member of the Belgian royal family, who was born in Brussels – Belgia. After searching the quiet and peaceful place around the world for several years, he sailed to Bali found Kelandis village in 1932 as the paradise island to enjoy his life and painting. When he arrived at tropical paradise, Sanur, he resided in Kelandis village and made it a spending lure for him as his dwelling to produce his tremendous artworks. Sanur became a hieratic sigh residence narrating how Le Mayeur expressed his esoteric love to a graceful Balinese Legong dancer, Ni Wayan Pollok Tjoeglik (1917 – 1985), a virgin from Kelandis village. Since then, Le Mayeur together with Ni Wayan Pollok concurrently made an ultimate synergy to produce tremendous artworks. Le Mayeur was known as an illustrious impressionist painter who was recognized as the French painter Gauguin of Indonesia. He portrayed the Balinese women portrayal posing in beautiful panoramic sceneries in the garden near the beach. =============== Entitled ‘Balinese Maidens Spinning in the Garden’ that is signed ‘J. Le Mayeur’ at the lower right with an original hand carved Balinese frame, the present work is appreciated for employing a daring vision showing the graceful Balinese maidens at their day-to-day basis routine. Le Mayeur astutely depicted scene of three bare-breasted Balinese women sitting in different pose at spinning. This focal point is placed around the natural landscape of lush garden surrounded by four standing women in different pose with statues of Hindu gods and goddesses. Meanwhile, another four women are portrayed at playing and having fun at the beach and sailboats that all are set as the background. The subject is painted in free-flowing and bold, strong and short brushstroke throughout the painting in predominantly vibrant style and earthly palette of red, green, yellow, blue, orange and beige upon thick canvas. The present work consists of complex brush strokes that vary in the amount of paint used. The artist used colors in order to push emotion onto the audience through contrasting colors and it reflects the artist own mood and surroundings at that time. =============== The subject is exquisitely painted and layered in dense and strong brushstrokes in predominantly vibrant dense red. orange, green pigments capturing two-dimensional effects. Exhibiting the extravagant red and 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. Its supremely setting of the present work disposes for an impressionist palette by using colors, textures and strokes in playing light and shadow. Therefore, as an impressionist, Le Mayeur characterized this work by the rendition of its light and colors, leading to the epithet of luminist to describe this painting’s style. =============== Inspired by Gauguin’s works in composition, this work was expected to be a mirror that heightens the value of Balinese candidness. The present work delivers a plausibly visual imagery of Balinese women that is strongly and perfectly composed. The artist went beyond visual imagery to deliver the peak of Balinese women beauty to his devotees on the current gorgeous work. He executed how the brushstrokes were placed without doubts, and spontaneously dense brushstrokes were displayed in lively dynamic characters to a two-dimensional medium. As his daring vision, so are his colors. The vibrant and dense colors are applied from center to edges as if colors are the guidelines for the lines of sketch, not the other way around. The usage of colors truly complemented the lush floral beauty, and the femininity of muscular womanhood on the subject. =============== This artwork is a great example in representing other similarly dashing artworks that was created by the artist in the post-World War II era, in 1949. Compared to his earlier works painted in a highly impressionist style with unrestrained interpretation of anatomy exhibiting large hands, elongated arms and bent bodies, the present work shows more detailed execution and complexity in moderate impressionism style. We can appreciate the more details execution on this Le Mayeur’s work, where the subject is painted in multiple layers and dense brushwork with great attention to details from their sharp jaws, sweet visage, strong muscular postures, and healthy figures gaining in complexity with superlative elegance and grace. =============== By depicting the strapping and muscular maidens on this artwork, the artist has successfully conveyed the message describing the hardworking, resilient, strong, and tenacious Balinese women without putting aside their femininity. This phenomenon was commonly found as part of Balinese culture that Balinese women were responsible on supporting their families on their living. The figural portrayal depicted with maiden in weaving around his house's garden on the present painting is one of Le Mayeur’s favorites. Le Mayeur's works are highly sought after in the market and they have been exhibited in major auction houses and the world-renowned museums. Compare with the smaller size (55 x 65 cm) of the artist’s work in similar subject and colors hue entitled to “Three Balinese in the Garden” (55 x 65 cm.) painted in less vibrant tone than that of the present piece, sold at Christie’s Hong Kong, 25th November 2007, lot. 89, for HK$2,287,500; or equivalent to US$294,172, initially estimated between HK$650,000 to HK$800,000 (see fig. 1). Also, compare with his work in “Women in the Garden Preparing Offerings” (75.5 x 90.5 cm), sold at Sotheby’s Hong Kong, 6th April 2013, lot. 339, for HK$ 5,440,000, or equivalent to US$ 700,672, initially estimated between HK$ 3,200,000 – HK$ 4,500,000 (see fig. 2). =============== After reaching his idyllic life in Bali throughout his whole career of the world-wide artwork, Le Mayeur was diagnosed with serious ear cancer in 1958. Accompanied by his wife, the artist then returned to his homebirth, Belgium, to be provided with the necessary care. After a two-month struggle for his life, the maestro passed away on 31st May, 1958. The funeral took place at Ixelles, Brussels, and then his wife Ni Pollok returned to her hometown, Sanur village in Bali-Indonesia, to foster the museum inherited by its maestro until she passed away on the 27th of July, 1985 when she was 68 years old. ===============
Estimate: $500,000 - $800,000