Widayat

This work is in good condition overall. There are minor marks of wear and handling along the edges and margins with an associated paint loss and repair on the lower left (to the left of the big tree) and a retouching on the lower right margin. Examination under ultraviolet light also reveals scattered spots of retouching in the middle of the painting (in the clearing below the tigers), which are not visible to the naked eye. All restoration are apparent only upon examination with ultraviolet light. An area of media accretion on the middle right register (near elephants) are also visible with UV light. The paint layers and impasto are well-preserved. The colour of the actual painting are richer and deeper in reality than in the catalogue illustration. 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."

"No modern Indonesian painter has given so much canvas space to the image of the tree, the forest, and the garden as Widayat; few have persisted so consistently in modern media in depicting the crowded and organically alive universe of the ancestors, with references to Islam, the Old Testament, and Buddhism, giving equal respect and presence in turn to each.Widayat has taken the traditional Indonesian principle of repetition further than most, applying it to motifs like fish, birds, vegetation, masks, and human beings, without losing the underlying feeling of an intense personalized processing of meaning and form which so much Indonesian decorative painting lacks." 
Astri Wright, Soul, Spirit, Mountain, Preoccupations of Contemporary Indonesian Painters, Oxford University Press, Kuala Lumpur, 1994, p. 94