Hendra Gunawan

Acquired directly from the artist
Property from the Alex Papadimitriou Collection 
Private Collection, Indonesia 

 Jakarta, Chase Manhattan Bank, Chase Manhattan's Art Program, 1980

This work is in good overall condition as viewed. There is some very minor wear along the edges of the work due to abrasions with the frame, but this does not affect the overall image. There is some very minor craquelure at some areas, mostly at areas of thicker impastos and in the background, but this is stable and consistent with the age of the work. Examination under ultraviolet light reveals a few very minor spots of restoration along the edges of the work, on the sky/mountain backdrop, on the forehead of the woman on the left, and a small area on the leaves of the tree. 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.
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The present lot was one of around twenty paintings displayed at Hendra Gunawan’s solo exhibition at Chase Manhattan Bank in 1980, which was spearheaded by the late Mr. Alexander Papadimitriou. Mr. Papadimitriou, colloquially known as Alex, is ubiquitously known as one of the first serious art collectors in Indonesia. From the early sixties until the summits of artistic development in the eighties, his home was always open to all the players of the Indonesian art world.

A sincere patron of modern art, Alex fostered profound friendships with artists that lasted decades, celebrating with them through their moments of achievement but also supporting them during their periods of hardship. In fact, the story behind Hendra Gunawan’s masterwork, Two Women Overlooking a River, is so telling of his patron’s heartfelt compassion and unfailing encouragement.

Hendra Gunawan, a fervent visionary who happened to be one of Alex’s dearest artist-friends, had been incarcerated for thirteen stifling years in Kebon Waru prison due to his association with the Institute of Popular Culture (Lekra), a social organization accused of having affiliations with the Indonesian Communist Party (PKI). Upon his release, Gunawan desired to carve out a new chapter in his life’s journey and rehabilitate to normality. Seeking advice, he naturally turned to Alex, someone who had already known the artist’s disposition for many years.

Alex immediately suggested that Gunawan, as someone who enjoyed absorbing the beauty of life, drinking beer, and playing kecapi (Sundanese zither), would find true contentment in migrating to the unadulterated island of Bali. The concerned patriarch financially supported and arranged Gunawan’s move to Bali in exchange for a solo show as part of Chase Manhattan Bank’s Art Program, an exhibition that would simultaneously enhance the artist’s career and expose his works to more collectors.

The present lot was painted at one of the most pivotal periods of the artist’s vocation: when he returned to the free world with a reformed lens, shortly after his release from an era of debilitating captivity. Having always been a nationalistic individual who felt a deep sense of camaraderie with the Indonesian people and affinity with his land, Gunawan rejoiced in painting figurative works, set against local vistas. These paintings are rooted in modern Indonesian history as some of the most exquisite depictions of daily life in Indonesia. Two Women Overlooking a River is one such masterpiece.

Here, a voluptuous woman leans her back against the legs of her friend, seated behind her, who in turn fondles with her long locks of black hair. Perched on a cliff, their intertwined bodies suggest the mutual rapport and comfort between the companions. Garbed in flamboyant, batik sarongs, these stylized women are representations of their nation’s rich indigenous beauty, a testament to the artist’s adoration for his country. As they gaze beyond the precipice, towards the cavernous landscape before them, they are oblivious to the viewer’s scrutiny. Content in their secluded alcove and in the company of one another, they are truly in unity with their milieu.

Gunawan skillfully suggests their oneness with their native environment by mirroring the natural formations of the vast landscape with their physical forms. The voluptuous contours of their bodies echo the sinuous lines of the misty mountains directly behind them, while their elongated limbs, akin to those of Javanese wayang puppets, emulate the many whimsical branches of the grand tree on the right of the composition. A calm, winding stream below them serves as a metaphor for their serene deportment. Together, the women exude a sense of dignity and strength akin to that of the peaks behind them.

The maestro’s rhythmic, bold brushstrokes applied from a bright color palette deliver the painting with a sense of dynamism and spirit so telling of the artist’s newfound freedom. Evident in this painting, Gunawan delighted in immortalizing the splendor of Indonesian women, who are depicted as everlastingly mesmerizing. A work with exceptional provenance hailing from one of the most significant moments of Gunawan’s life, Two Women Overlooking a River truly stands as a significant witness to Indonesia’s modern history.