View full screen - View 1 of Lot 38. SUDJANA KERTON | FIVE WORKS ON PAPER AND ARCHIVAL MATERIALS (I) SIDE PROFILES (II) BOROBUDUR (III) BOROBUDUR (IV) FIGURES IN A PARK (V) "SEASON'S GREETING" CARD .
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SUDJANA KERTON | FIVE WORKS ON PAPER AND ARCHIVAL MATERIALS (I) SIDE PROFILES (II) BOROBUDUR (III) BOROBUDUR (IV) FIGURES IN A PARK (V) "SEASON'S GREETING" CARD

SUDJANA KERTON | FIVE WORKS ON PAPER AND ARCHIVAL MATERIALS (I) SIDE PROFILES (II) BOROBUDUR (III) BOROBUDUR (IV) FIGURES IN A PARK (V) "SEASON'S GREETING" CARD

SUDJANA KERTON | FIVE WORKS ON PAPER AND ARCHIVAL MATERIALS (I) SIDE PROFILES (II) BOROBUDUR (III) BOROBUDUR (IV) FIGURES IN A PARK (V) "SEASON'S GREETING" CARD

SUDJANA KERTON

FIVE WORKS ON PAPER AND ARCHIVAL MATERIALS

(I) SIDE PROFILES 

(II) BOROBUDUR  

(III) BOROBUDUR 

(IV) FIGURES IN A PARK 

(V) "SEASON'S GREETING" CARD 


(i) Print on paper 

(ii) Ink on paper

(iii) Ink and colors on paper 

(iv) Watercolor and pencil on paper

(v) Ink and colors on paper 


(i) Signed, inscribed and dated 52

(ii) Signed and inscribed 

(iii) Signed, inscribed and dated Dec 1951 

(iv) Signed 

(v) Signed, inscribed and dated 57


(i) 50 by 33 cm; 19¾ by 13 in.

(ii) 29.5 by 45 cm; 11½ by 17¾ in.

(iii) 45 by 30 cm; 17¾ by 11¾ in.

(iv) 19.5 by 24 cm; 7¾ by 9½ in.

(v) 12.5 by 18.5 cm; 5 by 7¼ in.

These works are in good overall condition as viewed.

(i) There is evidence of fox marks on the paper. There is a diagonal fold mark across the work.

(ii) There are faint fox marks on the work. There is evidence of wear along the edges of the work, including fold marks, a tear at the bottom edge and an accretion on the top edge. There is an abrasion and (media) accretion at the bottom left quadrant, which is probably due to the artist's working method.

(iii) There is evidence of wear along the edges of the work, including accretions from adhesive remnants, abrasions, and tears. There is some light discoloration to the paper, which is consistent with the age of the work.

(iv) There is evidence of light wear along the edges of the work, and some adhesive remnants on the reverse corners. 

(v) There is a fox mark visible on the work.

All works are unframed.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.

Gifted from the artist to the late Ms. Alice Barry Sears 

Thence by descent to the present owner 

In 1951-52, when taking a class taught by Yasuo Kuniyoshi at the Art Students League in New York, Sudjana Kerton came to know Alice Barry Sears (1926-2012) – a young artist who had recently received a BFA at Drake University in Des Moines, Iowa, done some graphic design, and then moved to the east coast with her husband. The Kertons and Sears developed a friendship that year that was long maintained.


Sudjana Kerton gifted Alice Barry Sears these five works on paper, hitherto unknown. All surviving letters are included in the present lot. 


In addition to letters (several of which are illustrated with Kerton’s sketches), the lot contains vintage photographs of the artist and his family, exhibition and sales brochures, and miscellaneous documents including newspaper clippings, announcements, and advertisements, all of which Kerton sent to Alice Barry Sears to keep her abreast of the progress of his career.