Sindudarsono Sudjojono (1913-1985) 'Portrait of Magdy Wawrzyniak', signed upper left and dated 1965 upper right, oil on board. H. 61 cm. W. 45 cm. Provenance: Collection Mr Andrzej Wawrzyniak, father of Magdy. Verso: a label of the Kraków Society of Friends of Fine Arts, Poland.
A view on the Kali Ancol, Jakarta, signed with initials, numbered, annotated and dated 'SS./101 / Jak./1979' (upper right); signed and annnotated 'S. Sudjojono / Kepiting 49 Ancol' (lower centre), oil on canvas, 60x90 cm, , , It is known that, as late as 1984, Sudjojono, Hendra and Affandi often visited Ancol, a beach area in North Jakarta. Ancol was established as a beach in 1966 and added an art market in December 1977. This painting, inscribed “Kepiting 49 Ancol”, and dated 1979, was probably exhibited at the Ancol art market around 1979. The title may suggest a name for a seafood restaurant: Kepiting 49. The painting itself does not show a beach but rather a large river that flows into the beach. The sandy area closer to the observer has large coconut trees. A huge sailboat is anchored at the left. Meanwhile, a little girl at the bottom right is watching a small boat pass by. Across from her is a beach and wooded area with some tall structures at the center. Is that the seafood restaurant mentioned as the title of this painting?Soemantri Widagdo
A Javanese kitchen still life with a rice steamer, signed 'S. Sudjojono' (lower rigth); signed with initials, numbered, annotated and dated 'SS/101 /.Jak/1983' (upper left), oil on canvas, 70x50 cm, , Provenance: -Collection Mrs Sachumsky, thence by descent to the present owner. The mother of the present owner, Mrs Sachumsky (born in Poso, Sulawesi) and Rose Sudjojono met for the first time in 1941, at the start of class 7 in Makassar, to continue for further education. Early 1942 Mrs. Sachumsky had to flee for the Japanese invaders, and remained in hiding in Makassar throughout the war time. Mrs Sachumsky returned to her land of birth in 1978 and for a second time in 1982. During these visits she and Mrs Sudjojono met again. It was at the occasion of 1982 that Mrs Sachumsky decided to buy some of Sudjojono’s paintings. Most presumably Mrs Sachumsky bought the paintings during an exhibition of Sudjojono in Arnhem., This painting is dated 1983 and is probably one of the last few paintings made by Sudjojono. It is a still-life painting of a crowded and prosperous Javanese kitchen. The color composition is dominated by serene purple, green and yellow.As he gets older, towards the end of his life, Sudjojono became more contemplative as shown by this painting. In Java, the kitchen is a symbol of prosperity. The smoke rising out of a kitchen signifies peace and comfort in the family.Rice is an important ingredient in Indonesian cuisines. Depicted in this painting is a conventional way of steaming rice in an “hour-glass shape” metal pot. Usually, the conical bamboo steamer is placed with its tip inside the pot. Here it is placed upside down, with the tip at the top. The rice steamer is placed over a kerosene stove.To the left of the stove is a woven bamboo device that is used to clean rice. Behind it is a large clay water container, with a big coconut shell spoon resting on top of it. Another huge clay pot at the right side is cooking meat and vegetables for the family. On the floor, lower right corner, we see a stone mortar and pestle with tomatoes and chilies before being turned into Javanese chili paste. Behind it is a tea pot. Interestingly no figures are shown there.This is a rare still-life painting by Sudjojono!Soemantri Widagdo
SINDUDARSONO SUDJOJONO (1913 - 1986) Kapok Tree, 1943 oil on hardboard 43 x 32 cm (frame: 67 x 55 x 6 cm) signed and dated indistinctly lower left; signed lower right; inscribed verso 'Moeder met kind' 20 f ('Mother with child' 20 guilders) | Provenance: Private collection of Richard "Dick" (1913-1989) and Joan Crebbin. Leonard Joel P/L Auctions, Sydney, Australia, 12 February 2017, lot 344. Acquired directly from the above by the present owner. Private collection, Australia
8000, Sindudarsono Sudjojono (1913-1985), A portrait of Magdy Wawrzyniak, oil on board, 61x45 cm, signed 'S Sudjojono' (upper left); signed with initials, numbered, annotated and dated 'SS/101/Jak /1965' (upper right), Andrzej Wawrzyniak (3 December 1931 - 8 November 2020) was a Polish ambassador who collected art objects from the Pacific and Asia during his career. This led to the establishment of the Pacific and Asia museum in 1973 after his collection was donated to the Polish state. At that time it numbered 4000 pieces of art and ethnographical objects from Indonesia amassed during his 9-year tenure as a diplomat in that country. Such a private collection was unusual in terms of its value and volume, which was rare at that time. While Andrzej Wawrzyniak was working in the diplomatic service in Vietnam, Indonesia, Laos, Nepal, and Afghanistan, he travelled to almost all countries throughout Asia, and Australia including most of Oceania, although it was Indonesia that inspired him the most. For this reason, the first name of the museum was the Museum of Nusantara Archipelago, as that region is known in the Malaya language. The donator has received a nomination for the position of director, a function he performed until 2013. On 1 January 1976, the name was changed to the Asia and Pacific Museum in Warsaw, which began to gather collections from other regions besides Indonesia. Nowadays, thanks to the activity of the founder and the generosity of donators, it houses over 23 000 objects originating from almost every country within the Asian continent and most of Oceania. Provenance: -Collection Mr Andrzej Wawrzyniak, father of the sitter Magdy -Tow. Przyjaciól Sztuk Pieknych W Kraowie (a label of the Kraków Society of Friends of Fine Arts is attached to the reverse).
15000, Sindudarsono Sudjojono (1913-1986), An Indonesian landscape with rice planters in the sawahs, oil on canvas, 40x60 cm, signed with initials, numbered, annotated and dated 'SS/101 /.Jak./1983' (upper left) and signed 'S. Sudjojono' (lower right), Provenance: -Collection Mrs Sachumsky, thence by descent to the present owner.
18000, Sindudarsono Sudjojono (1913-1986), A joglo, a traditional Javanese house, oil on canvas, 40x60 cm, signed with initials, numbered, annotated and dated 'SS/101 / Jak/1983' (lower right) and signed 'S. Sudjojono' (lower left), What distinguishes Sudjojono (1913-1986) from other artists is that the quality of his works remained consistently high throughout his life. He produced significant works until his death at age 72. His late works carry the same weight as his early works, with no signs of deterioration in quality or significance. In many ways, he gets better as he gets older. Broadly speaking, the body of works by Sudjojono can be divided into human activities and landscapes. Sudjojono paid close attention to the relationship between people and their natural habitat. His works included depictions of himself, his family, and the people around him as well as the events occurring during his life journey: while single, as a family man and as an artist. These remain his well of inspiration throughout his career. In an active objection of the “Mooi Indies” style practiced by the Indo-european artists during his youth, Sudjojono’s expressionist colours and rough brush strokes capture the essence and transcend the raw beauty of the forces of nature. As he gets older, his landscape works became more meditative. A closer examination brings the serenity and beauty of his landscapes into focus, as evident in the pair of landscape paintings, both dated 1983, offered in this auction. In the first painting (lot 68), we see a traditional Javanese house (a joglo) in a village setting. The long morning shadows attest that village life begins with sunrise. In this drawing, Sudjojono reflects on the meaning of home in Java: In Javanese society, a home is part of the three basic needs: sandhang (clothing), pangan (food) and papan (housing). For the Javanese, a home becomes the ultimate life goal and a measure of wellbeing. Home is referred to as griya or dalem in high Javanese. Griya literally means a large mountain that signifies a natural source of life, while dalem refers to self. Beyond the physical functions of a house as a protection against nature, a home is a source of happiness for the family who lives in it. The design of a traditional joglo combines two elements of nature: stone for the foundation and the floor, and wood (papan) for the walls and ceiling. The layout of a joglo is also divided into public and private spaces. [T.A. Brian, 2017] In the second painting (lot 69), we are presented with a large limestone formation in a hilly area probably somewhere in central Java. This gigantic, still, and stoic rock face is contrasted against the blue sky and the changing habitat of the villages at the foot of the mountain. At the foreground we see two ladies planting rice on a terraced field. The rice field is flooded and reflects the imposing vista. A group of villagers can be seen walking along the path on the right towards far-distant villages. At the lead, a mother with a pink dress is holding her daughter by the hand. Behind them there are two women, also in pink traditional clothes who are carrying goods behind their back and also a man pushing his bicycle. In this painting, Sudjojono conveyed the dependence of humanity on mother nature; and that maintaining its harmony is vital. It displays the reflective and meditative trademark of his late works. Sudjojono painstakingly painted this elaborate joglo with pink/ purple walls, a large door partially covered with curtains, and two large windows on the left and right of the entrance. On the veranda at the left, two people are sitting and chatting. A black bicycle rests on the wood fence of the right veranda. A man, presumably the father, is walking towards the house, carrying firewood on his shoulder. A woman carrying firewood on her back is walking on the right side of the house by the well. On the lower right corner, a lady in a traditional dress is looking at baskets with bundles of newly harvested rice. A gazebo and a little goat are shown on the left. In this painting, Sudjojono successfully details the abundance of the family who occupied the joglo, and the life philosophy imbedded in the Javanese traditional home as a reflection of the harmony of self, family and mother nature. In this pair of paintings, Sudjojono used the Javanese joglo (lot 68) and the gigantic limestone mountain (lot 69) as icons and metaphors for the Javanese ideals of village life, harmony with nature, and personal happiness. Reference: Theodorus Aries Brian, “Arsitektur Tradisional Jawa: Kosmologi, Estetika dan Simbolisme Budaya Jawa,” Majalah Arkeologi Indonesia, 11 Agustus 2017, -Provenance: -Collection Mrs Sachumsky, thence by descent to the present owner. The mother of the present owner, Mrs Sachumsky (born in Poso, Sulawesi) and Rose Sudjojono met for the first time in 1941, at the start of class 7 in Makassar, to continue for further education. Early 1942 Mrs. Sachumsky had to flee for the Japanese invaders, and remained in hiding in Makassar throughout the war time. Mrs Sachumsky returned to her land of birth in 1978 and for a second time in 1982. During these visits she and Mrs Sudjojono met again. It was at the occasion of 1982 that Mrs Sachumsky decided to buy some of Sudjojono’s paintings. Most presumably Mrs Sachumsky bought the paintings during an exhibition of Sudjojono in Arnhem.
Sindudarsono Sudjojono (1913-1985), A portrait of 'Tante Sun, Our Aunt Sun', signed 'S Sudjojono', and signed with initials, numbered, annotated and dated 'SS/101/Jak /1982' (centre right); signed with initials, numbered, annotated and dated 'SS/101/Jak /1984' (upper left), oil on canvas, mounted on board, 68x48 cm, Provenance: -Private collection the Netherlands. Sudjojono (Kisaran 1913 – Jakarta 1986) Heralded as the father of Indonesian modernism, Sudjojono can be seen as both a painter and a socio-political observer. His career spanned four tumultuous periods: Dutch colonialism, the Japanese occupation, Indonesian independence and the so-called New Order Regime under Suharto (1966-1998). Sudjojono was born in Kisaran, North Sumatra in 1913. His Javanese father had emigrated there and met his mother at the plantation where he worked as a laborer. At the age of four, he was adopted by a primary school teacher, Yudhokusumo, who brought him back to Java in 1925 where he went to school in Jakarta, Bandung and Jogyakarta. Although he was educated to become a teacher, his interest and talent in art made him decide to pursue a life as a painter. Sudjojono first learned to paint from the painter Raden Mas Pirngadie (1875 – 1936). During the Japanese occupation (1942-1945), he met the Japanese painter Chioji Yazaki (1872 – 1947). Already prominent by the 1930s, Sudjojono was urged by Sukarno, the first president of Indonesia, to help develop the Indonesian artistic identity. Sudjojono took this challenge to heart and his opinion and point of view developed over the years. It culminated in 1946 with the publication of “Seni Lukis, Kesenian dan Seniman (Painting, Art and Artist),” which was a collection of his thoughts and writings since 1939. Over the course of seven years, he tried to formulate, describe, and persuasively communicate his ideas about the Indonesian national artistic identity. He insisted that Indonesian artists develop their own flavour. It was self-innovation in art that he emphasized. He was not against mooi indies, or western art, but rather stressed that by understanding the history and the development of the western artistic journey, Indonesian artists could learn and develop their own artistic identity. His main idea was to inject the elements of contemporality into art, and offered the socio-political lens as a source of artistic discovery and innovation. In 1939, he wrote: “… They (Indonesian artists) shall create a new, enthusiastic and impetuous visual arts in the service of truth; leaving behind the past and they shall live today to create a better world of tomorrow. They shall not just depict idyllic huts, bluish mountains and romantic corners … they shall also paint sugar factories and the emaciated farmers, the automobiles of the wealthy and the long trousers, the shoes, gabardine trousers and shirts of tourists on the paved road. Because those are our circumstances, thus is our reality. And a visual art that brings this reality to life – that does not derive its beauty from ancient traditions, Majapahit or Mataram or from the ideas of the tourist, such an art will live as long as the world shall exist. Because high quality art comes forth from daily life. It is produced through the artist’s inner life, which is inseparably bound with his daily surroundings. Art that is created without taking morals and tradition into account, without a definite goal, motivated only by an inner force.” [1] During the New Order Regime under Suharto (1966-1998) social and political freedom and dissent were suppressed. The focus on accelerating the modernization and industrialization of Indonesia inevitably brought the introduction and adoption of Western capitalism. The boom of the national development programs and the rapid progress in the building of the modern Indonesian economy produced widening socio economic gaps with outsized benefits for the privileged few. During this era, to avoid censures, most Indonesian artists refrained from criticizing the powerful regime through art. In fact, many artists developed total abstraction as a way to express their artistic freedom, creating contemplative abstract paintings devoid of recognizable figurative elements that might be interpreted as political statements. However, unlike many of his contemporaries, Sudjojono remained faithful to his practice of painting; using the socio-political lens in producing his works of art. Current issues and national interests remained his sources for inspiration. Throughout his career, Sudjojono made numerous portraits, some of which were commissioned. The current portrait was painted near the end of Sudjojono’s life during the New Order regime. This was a time when unchallenged, exclusive (elitist) collusion flourished and was one of the pressing issues in Indonesia. Here he portrays an upper-class woman with glamorous jewelry, sitting on a wooden rocking chair and enjoying a cigarette. She conspicuously displays her wealth and power: a large gold necklace adorned with a large ruby, diamond earrings and large gold wristwatch. The depiction of this fabulously rich and powerful woman was a symbolic representation of what was going on at the time and in keeping with Sudjojono’s commitment to producing art viewed through his socio-political lens. Interestingly, this is the only known painting in which Sudjojono signed with his usual monogram twice: first at the right center margin (dated 1982) and second at the top left margin (dated 1984). This is very unusual, as artists commonly sign their works only at completion. It is unknown what changes were made, and the reasons that Sudjojono reworked the painting and finally finished two years later. The current lot, produced near the end of Sudjojono’s life, is of historical importance and shows that despite turbulent political times, Sudjojono always stayed true to his artistic identity. Reference: [1] S. Sudjojono, “Kesenian meloekis di Indonesia: sekarang and jang akan datang,” Keboedajaan dan Masjarakat, 6 October 1939. Adapted from a translation by Helena Spanjaard.
Sindudarsono Sudjojono (1913-1985), Arcade and courtyard of the artist's house in Jakarta, signed with initials, numbered, annotated and dated 'SS /101 /Djak / 1971' (centre right), ink on paper, 27x35 cm, Provenance: -A gift from the artist to Roland van den Berg, Head of Cultural and Press affaires at the Netherlands Embassy Jakarta (1969-1973), on July 28th 1973, thence by descent. Annotation and signature of the artist and his wife: 'Secarik kenang2an Indonesia kepada keluarga Roland v. de Berg dari Rose dan Sudjono', (with memories of Indonesia, for the van den Berg family) signed by the painter and by Rose Pandanwangi , 'Jakarta, Pasar Minggu, 28 Juli 1973'. (written on the reverse),
Sindudarsono Sudjojono was born in North Sumatra, Indonesia, in 1913 and was a legendary painter. He was also an Indonesian nationalist, writer, teacher, art critic, and considered by some to be a political activist. He was dubbed “The Father of Modern Indonesian Art” and much of his art was an indirect political commentary on the struggles of the Indonesian people against colonialism. However, in this particular piece, Sindudarsono Sudjojono paints ‘Still Life Flowers’, with bursts of yellow and white petals attached to its stem that sits ever so comfortably in a tall white vase as they remain still in an eerie yet soothing room.
Sudjojono, Sindudarsono (Kisaran, N. Sumatra, 1913 - Jakarta,1986) The Pura Desa (Village Temple) of Peliatan 1979 ink on china 27 x 36,5 cm signed (lower right): “S.Sudjojono”
Sindudarsono Sudjojono (1913-1986), 'Pagi di Bawah Beringin Tua' ('Morning Beneath The Old Banyan Tree'), signed, dated Bali 1980, canvas, 90 x 70 cm. Provenance: Mr. J.F Drijfhout van Hooff (1912-1993), head of the 'Loodswezen' (Dutch maritime pilot organisation). In the early 70's he lived with his wife in Jakarta and was advisor for the buoyage in the Indonesian waters. After 1973 they returned to Indonesia many times, for work and as a tourist. In these later years they bought this painting and kept contact with the artist and his familiy. See also the next lot.
Landscape, Sudjojono, Sindudarsono, Kisaran, N. Sumatera, Indonesia, 1913 - Jakarta, Indonesia 1966, oil on canvas , 1973, signed and dated with the artist's monogram (upper left):"ss 1973" and "S.Sudjojono"(lower left), 40 x 55 cm
