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Lot Essay
The present lot bears an intimate quality because of the model, the date, the frame, and its provenance. Ni Gusti Kompiang Mawar was probably one of Hofker's most favorite models. The Balinese dancer and accomplished weaver was portrayed by him several times in oil, conté drawing and, upon returning to the Netherlands after World War II, in etching and mezzotint. The etching (fig. 1) is based on the present lot.
Hofker arrived on Bali in 1938, and lived there until 1943, when he and his wife Maria were interned by the Japanese. He has portrayed Kompiang Mawar several times during his stay on Bali. The present lot, dated 1940, is probably one of the first, if not the first known portrait of her by Hofker. The portrait of Ni Gusti Kompiang Mawar, dated 1943, (sold in these rooms on 20 November 2012 as lot 27 for Euro 650,000) which shows Kompiang in a ceremonial dress, while elegantly gazing down, is comparable to the present lot. Although slightly more modest in size, the relaxed manner in which Kompiang is seated, loosely holding the basket, makes it into a most convincing painting within Hofker's oeuvre. The toned-down colours of her dress and the background further add to the intimate quality.
This portrait of Kompiang was not only one of the first portraits Hofker ever made of her, it was also the portrait of her he would hold on to the longest, until 1969. In a letter to the new owner, late 1969, he wrote: Bijzonder getroffen was ik dat Goesti Compiang Mawar's beeltenis zoo onverwachts een 'begrijpend' tehuis kreeg: herinneringen aan ons Indië.....! (I've been especially touched by the fact that Gusti Kompiang Mawar's portrait would, so unexpectedly, find a new and 'understanding' home: memories of our (Dutch East) Indies....!).
In a second letter Hofker wrote he was working on the frame, which in the end would be delivered early 1970. Hofker used to make, or at least decorate, the frames around the works of art that we assume were most precious to him. In this case, Hofker coloured the hand-made frame, and used his spattering technique, that he started using in Bali together with his close friend Rudolf Bonnet. This 'Hofker' frame, embracing Gusti Kompiang's portrait, enhances the sensation that the painting remained in a highly original state over many years.
To be included in the forthcoming publication on W.G. Hofker, currently being prepared by Seline Hofker and Gianni Orsini.
We kindly thank Gianni Orsini and Seline Hofker for their help in cataloguing the present lot.
Hofker arrived on Bali in 1938, and lived there until 1943, when he and his wife Maria were interned by the Japanese. He has portrayed Kompiang Mawar several times during his stay on Bali. The present lot, dated 1940, is probably one of the first, if not the first known portrait of her by Hofker. The portrait of Ni Gusti Kompiang Mawar, dated 1943, (sold in these rooms on 20 November 2012 as lot 27 for Euro 650,000) which shows Kompiang in a ceremonial dress, while elegantly gazing down, is comparable to the present lot. Although slightly more modest in size, the relaxed manner in which Kompiang is seated, loosely holding the basket, makes it into a most convincing painting within Hofker's oeuvre. The toned-down colours of her dress and the background further add to the intimate quality.
This portrait of Kompiang was not only one of the first portraits Hofker ever made of her, it was also the portrait of her he would hold on to the longest, until 1969. In a letter to the new owner, late 1969, he wrote: Bijzonder getroffen was ik dat Goesti Compiang Mawar's beeltenis zoo onverwachts een 'begrijpend' tehuis kreeg: herinneringen aan ons Indië.....! (I've been especially touched by the fact that Gusti Kompiang Mawar's portrait would, so unexpectedly, find a new and 'understanding' home: memories of our (Dutch East) Indies....!).
In a second letter Hofker wrote he was working on the frame, which in the end would be delivered early 1970. Hofker used to make, or at least decorate, the frames around the works of art that we assume were most precious to him. In this case, Hofker coloured the hand-made frame, and used his spattering technique, that he started using in Bali together with his close friend Rudolf Bonnet. This 'Hofker' frame, embracing Gusti Kompiang's portrait, enhances the sensation that the painting remained in a highly original state over many years.
To be included in the forthcoming publication on W.G. Hofker, currently being prepared by Seline Hofker and Gianni Orsini.
We kindly thank Gianni Orsini and Seline Hofker for their help in cataloguing the present lot.