The work is in good condition overall, the paint layers and impastos are healthy. Examination under ultraviolet light shows minor restoration on the bottom right quadrant (orange paint), near center (black paint) and on the second house from the left. However, this is not visible with the naked eye. 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."

A revolutionary painter of his time, Srihadi masterfully infused Javanese spirituality and culture with Western modernistic style and Javanese spirituality and culture, fashioning his own aesthetic identity. His body of works embodies a deep, almost mystical reflection of Indonesia, instilled with highly defined philosophical endeavors. Notably, Srihadi has embarked on his artistic journey from a spiritual point of view, remarking that he has “learned the intricacies of art and artistry, from understanding and feeling what art is…”^[i]

This emotionally-led practice prompted Srihadi to favor a style reminiscent of post-impressionism, where feelings and emotions are expressed through dynamic textures and bold strokes in his painting♓s. Remarkably, the artist has never ventured into abstraction, an unusual choice for one who is so deeply immersed in spirituality and philosophy. Indeed, his subjects and elements always retain a recognizable form, an artistic quality most likely engendered by his notable background in Javanese art, which emphasizes attention to minutiae.

One cannot ignore the intimate relationship between spirituality and Javanese art, for the two are so intertwined that spirituality is seen as a integral quality in Javanese aesthetics. Srihadi was also highly accepting of Western influences and culture, a trait attributed to his family that exposed him to Western culture at a young age. Srihadi himself felt that the two cultures could effectively amalgamate and that there was no need to reject one in favour over the other. A natural prodigy, Srihadi learnt the batik technique at the fledgling age of seven, a testament of his skill. Through Batik, he familiarized himself with a diverse assortment of natural materials required to create color pigments and achieve various nuances of color. Such exposure imparted unto him a profound understanding of color, a quality succinctly reflected in his vibrant and moving use of 🅷paint in his works.

Landscape Gunung Kawi, Bali is a quintessential demonstration of Srihadi’s prowess in the manipulation of hues and their gradations. Using an effective array of green, Srihadi subtlety brings to life the hills of Bali, providing an element of depth and the pers🅰pective to the work. A collection of darker pigments fashion a👍 distinct village. Srihadi invites viewers to first notice the impressionistic qualities at their initial glance, and thereafter the solid structures and shapes, taking them on a spiritual journey. Vibrant colours and outlines demark villagers, bringing life and animation to the otherwise tranquil piece. 

^[i] Supangkat, J., 2012. Srihadi - Dan Seni Rupa Indonesia. Jakarta: Art: 1 New Museum.