Acquired directly from the artist
Formerly in the private collection of the late Dr.K.G. Koo , Bandung, Indonesia
Acquired by the present owner from the above
Private Asian Collection

This work is in good overall condition as viewed. There is some very faint paint shrinkage at the darker pigments on the man's headgear and face. Upon very close inspection, there is some cracking to the paint visible at the thick impasto along the upper edge (on the brown pigment), but this is stable and consistent with the age of the work. This work has been re-lined professionally by a restorer in London. Examination under ultraviolet light reveals areas of restoration at the primarily at the background and figures. This work is accompanied by a gold-leaf frame made in London.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Deeply entrenched in modern Indonesian history, Hendra Gunawan’s precious renderings of circadian life have long cemented the artist as one of the leading first-generation pioneers of Indonesian modern art. A zealous visionary and patriotic individual, Hendra was part of an impressive group of artistic leaders including Affandi and S. Sudjojono, who insisted on portraying the honest lives of Indonesian people in utterly distinct styles. Profoundly inspired by the vibrancy of the landscape and the strong character of his countrymen, Hendra’s artistic language continually developed and sharpened over time, eventually becoming visually synonymous with the Southeast Asian region. Executed in 1962, Penjual Unggas (The Poultry Vendor) was acquired directly from the artist by the well-respected Dr. K. G. Koo , a medical doctor from Bandung, who was fond of collecting works by graduates of the Institut Teknologi Bandung  (Bandung Institute of Technology) . This lovely work, demonstrating Hendra’s skill and humor remained in the personal collection of a highly distinguished collector. An evocative and vividly realized painting, the present lot is fresh to market and focuses on chronicling the everyday rhythms of indigenous life – one of Hendra’s most celebrated themes An early and iconic piece, Penjual Unggas (The Poultry Vendor) stands as far more than a mere description of a scene, as it represents the daring femininity and candid allure the artist so admired in women. Here, a female poultry vendor walks to the market, holding a chicken in each hand and bearing a larger basket full of chickens upon her head. The bracelets around her ankles indicate that the woman is Madurese, an ethnic group originally from the island of Madura off the northeastern coast of Java. The bird in her left hand is a black blur of movement – its feathers are splayed out as it struggles to escape her firm hold – giving the scene a fervent sense of movement. Behind her, a man balances a cigarette in his mouth as he carries a hen in his arms. He appears to follow the poultry vendor closely, almost chasing her and the chickens she carries to the market. Revealing the jovial spirit and Hendra’s fun loving nature, this interaction is at once spontaneous yet subtly suggestive.

The two figures are depicted against a pink wash background, yet it is the woman’s figure that dominates the canvas as she strides with full assurance and poise despite her rather overwhelming load. Her delicate eye lids, sharp nose and crimson lips are rendered in swift, confident strokes that capture the sensual yet bold charisma of the Gunawan’s heroine. Strikingly, the man’s features are hardly performative, retaining an unassuming yet captivating air as the artist represents them in their entirety. Upon this simple backdrop, the artist brings the unassuming and dynamic natures of the titular figures to the fore, elevating ordinary characters to numinous creatures. Indeed Hendra was deeply moved by the humble yet innately dignified existence of his fellow people and readily celebrated this authentic spirit in his art, which paid homage to these essential, overlooked themes of Indonesian society.

In this 1962 work, Hendra showcases his trademark inventiveness of colour at an early point in his career. In order to create highly stylized visions of reality, the artist employed an unconventionally eclectic palette which is often compared to the chromatic experimentations of the Fauvist movement. The poultry vendor’s skin is painted in shades of turquoise, a stark contrast to the man’s naturalistic complexion and duller black garb – further establishing her as the thematic focus of the piece. Indeed, women were often the central subjects in Gunawan’s painting. The only child of a single mother, the artist devoted himself to capturing a well-rounded view of their femininity. Rather than strictly limiting himself to posing models and portraiture, he instead chose to portray them in diverse states of action – directly interacting with the environment around them - whether at work, rest or in conversation. As a result, his work showcases a range of personalities, dignified and vibrant just as the woman in this painting represents. Hendra renders her with a wonderful attention to detail and ornamentation, with the jade bangles at her feet and especially in the design of her sarong kebaya. The fabric of her blue kebaya is made delicately translucent, while the skirt around her waist is painted with subtle yet brilliantly coloured flowers in red, pink and green, bright accents of colour providing a sense of depth and realism. It is in these small, yet highly expressive details that we see the undeniable genius of Hendra’s brushwork and finesse.

In comparison to his later paintings, distinguished by bold, multicoloured and dense backgrounds, the present work features a considerably muted, monochromatic peach hue. This particular pink is itself a rare colour in his palette and is unabashedly feminine in tone. As such, the painting presents Gunawan’s early experimentations that favored whimsical pastels alongside the sinuous lines and decisive brushwork that are signature to his unique vernacular. The characters in Penjual Unggas (The Poultry Vendor) are portrayed in a distinctly figurative, exaggerated style, with elongated limbs, angular faces and articulated fingers and toes – a homage to Indonesia’s classical shadow puppet plays.

A magnificent work of exceptional provenance, Hendra Gunawan’s Penjual Unggas (The Poultry Vendor) stands as a testament to his ability to identify and illustrate beauty around him, from the everyday customs of local villagers down to the humblest farm animal. Evident in this painting, the artist delivers an enduringly enchanting portrayal of a Madurese woman fully intertwined in the vigor of life with striking verisimilitude. Penjual Unggas (The Poultry Vendor)’s depiction of a simple but captivating moment in time is enhanced by its visual lushness, as the artist monumentalizes the spirit of his homeland in all its subtle brilliance.