阿凡迪

Christie's Singapore, May 27, 2007, Lot 90

The painting is in good condition overall, as is the canvas, which is clean and sound. There is evidence of light wear and handling on the edges but the painting layers and impastos are well-preserved. There is also indication of a pin-sized hole on the top right register (located in between the blue and white paint), which of course can only be identified upon close observation. Upon examination under ultraviolet light, there was indication of restoration, which is mainly found along the corners and margins of the painting. 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."

“Affandi never thought much about painting styles. His attention was focused on more basic principles, such as his love for what is natural. Painting an object of nature, according to Affandi, “is like making a garden. Everything grows. Leaves, animals, human, moving, showing what life is.” Natural objects, to him, are a manifestation of life. That conclusion, he also said, started from the feelings of being minuscule vis-a-vis the cosmos and fear mixed with awe when facing nature.”

SARDJANA SUMICHAN, AFFANDI VOLUME II, BINA LESTARI BUDAYA FOUNDATION AND SINGAPORE ART MUSEUM, 2007, P. 345