Sotheby's /Oct 5, 2014
€114,833.62 - €172,250.43
Artworks in Arcadja455
Some works of Kusuma AffandiExtracted between 455 works in the catalog of Arcadja
Auction: Christie's -Nov 23, 2014 - Hong KongLot number: 328
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AFFANDI (1907-1990) SEASCAPE AND WRESTLING signed with artist's monogram; dated and inscribed '45 Kali Kering' (lower right); signed with artist's monogram and dated '45' (lower right) two ink on paper 21.5 x 30 cm. (9 5/8 x 11 3/4 in.);& 23 x 30.5 cm. (9 x 11 3/4 in.) Executed in 1945; & Executed in 1945 2 (2)
Auction: Christie's -Nov 22, 2014 - Hong KongLot number: 14
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Lot Description AFFANDI (1907-1990) EATING CRABS signed with artist's monogram and dated '1960' (lower left) oil on canvas 123.5 x 98 cm. (48 3/5 x 38 5/8 in.) Painted in 1960 AFFANDI (1907-1990) EATING CRABS signed with artist's monogram and dated '1960' (lower left) oil on canvas 123.5 x 98 cm. (48 3/5 x 38 5/8 in.) Painted in 1960 Provenance Private Collection, Indonesia View Lot Notes > AFFANDI (1907-1990) EATING CRABS signed with artist's monogram and dated '1960' (lower left) oil on canvas 123.5 x 98 cm. (48 3/5 x 38 5/8 in.) Painted in 1960 Provenance
Auction: Sotheby's -Oct 6, 2014 - Hong KongLot number: 387
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Affandi 1907 - 1990 SELF PORTRAIT WITH ECLIPSE Signed and dated 1980 Oil on canvas 98 by 127 cm.; 38 1/2 by 50 in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice The uniqueness of Affandi lay into his ability to dig and to explore the hidden complexity between human beings and their diverse emotional moods. His compassion in revealing the core of social and natural reality allows him to stand firmly on the ripple, among other influential Indonesian artists. His brushstrokes do not only create a pulchritudinous scene on the canvas, but more importantly they record Affandi’’s emotions and attitudes towards the society. His self-portraits are particularly striking in demonstrating his artistic development; they are the keynote of his maturity; they are the soul of his wisdom. Self Portrait with Eclipse marks as a turning point among all of his self-portraits, it can be seen as the calm before the storm, and more importantly, which is a self-portrait that Affandi has used in bridging a connotation with his later works. Different to his early self-portraits, this painting does not concentrate on the exploration of social reality that is built in racialized forms, but it uniquely intensifies on Affandi’’s appreciation towards his family and his life. Affandi’’s fondness in recording the relationship between human and nature has again appeared and this is presented through placing the sun as a subject. The sun is a visual metaphor that mirrors Affandi’’s attitude and affection towards his life and fate, therefore the boldness of the eclipse has unquestionably heightened the rarity and the stature of this painting. The present painting is similar to Affandi’’s later work – Unsuccessful (1987). Both paintings exploit the preciousness of the eclipse and from which present the artist’’s acceptance towards his fate. However, Affandi seems to carry a more cheerful attitude in Self Portrait with Eclipse. The use of harmonious colours together with the movement of velvet brushstrokes has allowed us to understand Affandi’’s expressive soul and energetic torso in 1980. In contrast, Affandi’’s figure is nearly transparent in Unsuccessful. Through merging himself with the eclipse has intensified his grief, thus highlights the metaphorical difference between Unsuccessful and Self Portrait with Eclipse. The positive energy that the present painting brings is diffused through his calm facial features and across his cheerful bite of the pipe, the collision of the colours, figure and metaphor has therefore created the scene in a highly delightful light. This painting also makes a forceful connotation with his later painting Solar Eclipse (1983). The significance of the eclipse is again presented under the use of melancholic paint; the vigorous and dramatic brushstrokes magnify Affandi’’s sorrow in Solar Eclipse. Through comparing Solar Eclipse with the present painting, we can understand that there is a gradual transition of emotions in his self-portraits. The change from happiness to grief has been recorded on the canvases; the change in thoughts has been recorded under his brushstrokes; the change in metaphor has finally allowed us to agree - Self-portrait with Eclipse is a turning point of Affandi’’s attitude and artistic development. The work is in good condition overall, as is the canvas, which is clear and taut. There is evidence of light wear and handling around the edges of the painting, but only visible upon close observation. Impastos are healthy and intact. Examination under ultraviolet light shows no sign of restoration. Framed "In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Auction: Sotheby's -Oct 5, 2014 - Hong KongLot number: 1028
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Affandi 1907 - 1990 WORLD EXPO, OSAKA Signed and dated 1970 Oil on canvas 97 by 130.5 cm.; 38 by 51 1/4 in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Private Asian Collection “Affandi…is a Javanese artist but with no perceptible Indonesian tradition behind him. Self-taught, wilder even than [Oskar] Kokoschka when excited, as human and as passionate as [Vincent] Van Gogh, painting recklessly from the heart and ready to paint whatever moves him… his drawings are powerful, his paintings vary from the painfully undisciplined to the restlessly volcanic. He is the perfect example of the Expressionist, capable of falling into every Expressionist trap and of scaling a good many of the Expressionist heights”. Eric Newton 1 Affandi’’s oeuvre may be read as a visual analysis of the artist’’ s psyche. The Indonesian modernists led by fellow painter and friend, S. Sudjojono, believed that “a painting [was] the visualization of the artist’’s soul… with full rein… given to the expression of intense emotions” 2 , for each impasto was witness to the artist’’s temperament, and each narrative testimony to his world vision. Though the artist was an individual who associated himself with the Realists, if only for the fact that he painted what he saw, many of Affandi’’s works are arguably seen as a study on Expressionism. Famed for his “hands on” approach of squeezing paint from the tube, as well as commitment to a specific type of aesthetic and color palette, have garnered the artist comparisons with Vincent Van Gogh. Both the painter and his Western counterpart being seen as “men who externalize[d] their feelings” 3 , and thus shared them with the world to embrace whole. The present work World Expo, Osaka was created late in the artist’’s life, when he was 63 years-old, and shows a new phase in the artist’’s career. Indonesian art critic Dan Soejarwono once said that Affandi’’s first trip to Japan in 1970 inspired the artist to “jump from the “classic” figurative expressionistic language to the visual abstract-expressionistic one” 4 . Earlier paintings such as Times Square (Ref. 1) are reflective of these aforementioned aesthetics. That painting is the artist's interpretation of the city populace rushing to and fro, the neon lights of Time Square illuminated by the dark shapes of the people on the pavements. Italian Town (Ref. 2) created in 1972 provides insight into the Abstract-Expressionist tone that his later paintings would embrace. Affandi’’s first trip overseas was in 1949 when he received a scholarship from the Indian government to travel through the country exhibiting his artworks. This two-year tour was beneficial to the artist’’s imagination and creative maturation, and upon the completion of this period continued onwards to Europe. These trips were largely periods of physical and mental exploration, for “the modern Indonesian artist [is essentially] confronted with the need to define a self-identity to make sense of the many identities that society demands of him in his role as an individual, an artist and an Indonesian” 5 . In 1957 Affandi was awarded a four-month grant from the US government to study art throughout the country, and in 1962 the artist was appointed as visiting art professor at Ohio State University. Eight years later he was invited by Raka Sumichan, an avid collector, to visit the EXPO 1970 in Osaka, Japan. The present work was created during this trip . Together with his preferred method of painting, the artist was known to study a subject for a week or more, however each piece took no more than an hour to complete. “I usually feel my emotions declining [by that time]. It is better to stop then. The painting is finished”, Affandi said 6. During his lifetime Affandi was fascinated by the concept of identity, the subject matter governing much of the paintings, notably so with his self-portraits. Those works were predominantly a reconfiguration of the artist’’s likeness as seen through opposing viewpoints— the artist and his subconscious, juxtaposed with the artist and his audience, ultimately becoming “… an eloquent idiom for the representation of the self, [such as] the self’’s existential experiences” 7 . Self-Portrait and EXPO ’’70, Osaka (Ref. 3), as the title of the work implies, shows Affandi putting his smiling face into a foreign landscape. The present painting World Expo, Osaka also alludes to this desire of being a part of the narrative, for the artist has signed his name in both English and Japanese. A rarity even in his Asian-inspired works. By leaving his mark in such fashion, Affandi's physical presence is felt even more strongly. Therefore the artist’’s travel series share similar philosophy with his collection of self-portraits, for the artworks “[did not present]… the spectator with the quintessence of their subject, but their subject with a witness” 8 . The works created overseas are some of the more personal pieces from the artist’’s oeuvre. They provide an intimate look of his time away from Indonesia, the embodiment of a foreigner in an even stranger land. As an artist Affandi took on the role of cultural ambassador while overseas, however as a tourist he continued to experience changes in perspective. World Expo, Osaka is a perfect example of this dichotomy. While bringing the artist’’s dual roles together, the painting serves as a memory of Japan, and celebrates the country as alive, and electrifying, beneath the night sky. 1 . Sardjana Sumichan, Affandi Volume III, Bina Lestari Budaya Foundation Jakarta and Singapore Art Museum, 2007, p. 139. 2 . T. K. Sapathy, Modernity and Beyond: Themes in Southeast Asian Art, Singapore Art Museum, 1996, p. 18. 3 . Refer to 1 4 . Refer to 1, p. 30. 5 . Refer to 2, p. 28. 6. Refer to 1, p. 137 7 . Refer to 2, p. 28. 8 . Refer to 1 Fig. 1 AFFANDI, Times Square , New York, sold at Sotheby’’’’s Hong Kong, 4 October 2008, Lot 36 for USD 434,995 Fig. 2 AFFANDI, Italian Town , Oil on canvas, 1972 Fig. 3 AFFANDI, Self-Portrait and EXPO ’’’’70 , Osaka, Acrylic on canvas, 1970 Fig. 4 Electricity Pavilion and Furukawa pavilion © Minami Nakawada’’’’s 2005 “EXPO ‘70” photo collection Fig. 5 AFFANDI, Grand Palace , Bangkok, Acrylic on canvas, 1970 Fig. 6 AFFANDI, Ginza , sold at Sotheby’’’’s Hong Kong, 7 October 2012, Lot 360 for USD 513,396 Fig. 7 Affandi getting on a plane for an international journey, 1950s- 60s. © Courtesy of Sardjana Sumichan The work is in good condition overall, as is the canvas, which is clear and taut. There is light wear and handling on the edges of the canvas, but only evident upon close observation. Examination under ultraviolet light, there is evidence of light networks of craquelure on the yellow impasto (located on the bottom right register). No restoration was found. Framed. "In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Auction: Sotheby's -Apr 6, 2014 - Hong KongLot number: 418
Other WORKS AT AUCTION
Acquired directly from the artist Alex Papadimitriou Collection 418 Affandi 1907-1990 MEXICO Signed and dated 1962 Oil on canvas 100 by 120 cm.; 39 1/4 by 47 1/4 in. Estimate 1,200,000 - 1,800,000 HKD Print The work is in good condition overall, as is the canvas which is clear and sound. There is evidence of light wear and handling around the edges of the painting due to the basic framing process. Upon close observation, networks of faint craquelures are visible predominantly on the black impastos, along with three pin-sized holes on the margin. Examination under ultraviolet light reveals no sign of restoration. Framed.