亨德拉·古拿溫

新加坡蘇富比，1998年5月16日，拍品編號200
現藏家購自上述拍賣會

The work is in good condition overall, as is the canvas, which is clear and taut. There is light wear and handling around the edges of the painting, along with minor discoloration of paint on the top right corner and faint hairline craquelures on the right woman's breast (red paint), however only visible upon close observation. Examination under ultraviolet light shows minor touch-up on the eggplant (third one from the left). 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."

"Hendra’s women are types, not clearly distinguishable individuals and there is ample material for a fascinating discussion of their many roles and meanings. Here we only touch on the most obvious. Hendra’s women are nourishing, nursing, mothering beauties, voluptuously busty, their undulating bodies wrapped in bright-coloured cloth. Their forms are echoed by the form of papayas, often competing with strutting eggplants and cucumbers. They are young and their long graceful arms. Exaggerating the elegant hand – movements that are so typically Indonesian, contrasting with their thick feet with wide-spaced toes – the feet of villagers and farmers. Whether depicting servants or slightly better-off women, Hendra celebrates female beauty, suppleness and strength, placing his women in nature, as integral parts of it.”

Astri Wright, Modern Indonesian Art: Three Generations Of Tradition And Change, 1945 – 1990, Singapore National Printers Ltd., Singapore, 1990, P. 128