Affandi

Sardjana Sumichan, Affandi: Volume I, Jakarta, 2007, p.150, illustrated in color

The work is in good condition overall, as is the canvas, which is clear and taut. There are minor indications of wear and handling around the margins but paint layers are preserved and stable. Under ultraviolet light inspection there is no evidence 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."

“[In] his erotica, the lines and colours are highly efficient and essential but the energy of the lines feels comparatively rough and wild.

'To me, drawing in black-and-white is just the same. That’s why to me, the two are the same, but people do not see it that way.' It seems that Affandi had merged drawing and painting, painting and drawing, for the synergy in working the erotic theme of these works, long before Indonesian contemporary artists launched a heated controversy about the distinction between the two.

[The] erotic works featuring sexual intercourse show that Affandi had not yet finished his journey of creativity, as alleged by certain critics and artists of the time. Affandi, who seemed to be a painter by birth, kept searching for novelties… and the dim and concealed comes to unfold!"

Sardjana Sumichan, Affandi, Jakarta, 2007