Acquired directly from the artist by the present owner
Private Collection, Indonesia

This work is in good overall condition as viewed. There is evidence of light wear along the edges of the work due to abrasions with the frame, including some minor losses along the bottom edge. There is craquelure to the work, most noticeable on the upper right area. Examination under ultraviolet light reveals a tiny spot of inpainting at the upper edge and few tiny spots of inpainting at the left woman's face. 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.
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.

“He approaches the character of the subject-matter employing intuition, aesthetic judgment and analysis of form and color in his search for a technique that will best express the strength of the visual form. At the right moment, Srihadi unhesitatingly executes the work with spontaneity and expressiveness. It is a total process of materialization, full of emotion whether the feeling is one of tumult or meditative stillness.” -Suwarno Wisetrotomo and Farida Srihadi, Srihadi: poetry without words, pg. 18 In an effort to capture the vibrant cultures that belie the spiritual and metaphysical condition of the Indonesian nation, Srihadi often painted traditional dancers. While he paints dancers in ecstatic motion in Oleg: “The Energy of Youth” (lot 303), he chooses to paint dancers oblivious to the viewer’s gaze in the present lot (lot 305). Set against the embracing warmth of varying shades of ochre, Persiapan Menari depicts three dancers backstage: one rendered in her side profile, poised and prepared on standby, another adjusts her headgear, and a third stands upright with her hand gesture in anjali mudra, symbolizing her reverence. The composition is of balance and harmony.

Srihadi’s choice of subject-matter bears much symbolic significance. The women are a metaphor of his search for symbolic meanings and values, and the cultural embodiment of human civilization. Srihadi does not differentiate the individuals as specific portraits. Rather, they are identified by their costumes and body language, encapsulating the essence of Indonesian spirit. For Srihadi, the art of dance ties the women to their rich cultural heritage and roots. It serves a juncture to transcend the everyday, working to elevate ordinary women into elegant and poised dancers.