As January 2026 begins, Jakarta and Singapore once again emerge as key hubs of the regional art scene with the launch of Global Auction’s Southeast Asian, Chinese, Modern & Contemporary Art Auction, taking place from 14–31 January 2026.

The auction presents 195 thoughtfully selected lots, featuring a wide-ranging collection of significant paintings and sculptures. Among the highlights are works by Affandi, Hendra Gunawan, Lee Man Fong, Chu Teh-Chun, Gong Lilong, as well as other artists from Indonesia, China, Vietnam, Singapore, Malaysia, and other regions.

The auction will conclude with a live online auction on Saturday, 31 January 2026, at 3:00 PM (UTC+7).

Auction Highlights

Affandi, Raka and I, 1971

This rare and deeply personal self-portrait shows Affandi together with his closest patron and lifelong friend, Raka Sumichan. Rendered in vigorous, swirling lines and radiant yellow tones, the painting exemplifies Affandi’s expressive style. The handwritten dedication, “Untuk Sd. Raka yang saya sayangi” (For my beloved brother Raka), reveals an intimacy seldom seen in his oeuvre. More than a double portrait, the work stands as a visual testament to a decades-long friendship that shaped Affandi’s life and career, including Raka’s pivotal role in the establishment of the Affandi Museum. Notably, it is the only known painting by Affandi bearing three signatures, underscoring its exceptional rarity and emotional significance.

Hendra Gunawan, Affandi’s Portrait, 1946

Painted early in his career, Affandi’s Portrait captures a powerful exchange between two Indonesian maestros. Through thick, forceful brushstrokes and an earthy, dramatic palette, Hendra Gunawan portrays Affandi not merely in likeness, but in spirit. The face emerges from dense layers of paint, marked by deep lines and tactile surfaces that convey intensity and resilience. Rather than idealization, the work offers a raw and empathetic homage, revealing the emotional depth of its subject and the mutual respect between two artists who would shape Indonesian modern art.

Abdul Aziz, Dewi Pertiwi and Ibu Kartini

In this symbolic and contemplative work, Abdul Aziz brings together two powerful female figures: Ibu Kartini, a pioneer of Indonesian women’s emancipation, and Dewi Pertiwi, the goddess of the earth. Kartini is shown kneeling and leaning gently against Dewi Pertiwi, suggesting a moment of seeking strength, protection, or spiritual grounding. Executed in oil on fiberglass, the painting reflects Aziz’s experimental approach to materials and his classical training infused with local cultural narratives. The absence of a signature, characteristic of works he considered deeply personal, further emphasizes the intimate and unfinished quality of the composition.

Chu Teh-Chun, Le Cœur du Silence, No. 3, 1984

In Le Cœur du Silence, No. 3, Chu Teh-Chun explores the concept of emptiness central to traditional Chinese aesthetics through a refined abstract language. Expansive areas of near-blank space evoke mist, silence, and infinite depth, while subtle gestures and drifting lines in jade green, pale yellow, and earthy tones suggest restrained movement. Rather than depicting a literal landscape, the painting invites contemplation, balancing stillness and energy in a meditative visual field that reflects Chu’s masterful synthesis of Eastern philosophy and Western abstraction.

Gong Lilong, Intimacy, 2006

Intimacy presents a tender encounter between two figures whose rounded, voluminous forms recall Tang Dynasty figurines, a hallmark of Gong Lilong’s visual language. Set within a simplified outdoor landscape, the figures’ gentle gestures and close posture emphasize emotional connection over physical realism. Bright colours and smooth brushwork create a warm, optimistic atmosphere, while the monumental scale amplifies the presence and quiet strength of the scene. The work embodies Gong’s characteristic blend of humor, affection, and humanist sensibility.

Sunaryo, Balinese Dancer, 2025

In Balinese Dancer, Sunaryo captures a moment of stillness rather than spectacle, focusing on the quiet discipline behind traditional performance. The female figures are shown in deliberate poses, with bent knees, lowered gazes, and controlled hand gestures that reflect the precision of classical Balinese dance. By depicting a moment of preparation and transition, Sunaryo shifts attention to ritual, concentration, and inner awareness, reinforcing his long-standing interest in cultural forms as spaces of reflection rather than mere display.

Lee Man Fong, Two Gold Fishes

Two Gold Fishes offers a serene and poetic composition, rendered with fluid brushstrokes and subtle gradations of red and orange. Against a muted, atmospheric background, the fish appear to glide effortlessly through water, their flowing fins suggesting harmony and gentle movement. The painting reflects Lee Man Fong’s refined synthesis of Chinese brush tradition and Western painterly sensibility, transforming a simple subject into a meditation on balance, calm, and quiet beauty.

Willem Gerard Hofker, Portrait of Maria Hofker, 1933

This intimate portrait depicts Maria Hofker, the artist’s wife, standing calmly in an open landscape, holding a straw hat and meeting the viewer’s gaze with quiet assurance. Painted with delicate brushwork and luminous, natural tones, the composition conveys both personal affection and classical restraint. The light-filled setting enhances her composed posture and gentle expression, offering a glimpse into Hofker’s private world while reflecting the refined draughtsmanship for which he was widely admired.

I Dewa Putu Mokoh, Frog Family

In Frog Family, I Dewa Putu Mokoh presents an endearing scene of anthropomorphic frogs arranged in a close familial grouping. With patterned bodies, striped garments, and simplified forms, the figures radiate warmth, humor, and emotional closeness. Beneath its playful surface, the painting reflects Mokoh’s signature approach: gentle colours, clean outlines, and an openness to personal feeling that challenged convention and redefined the Pengosekan tradition.

Arifien Neif, The Family, 1991

The Family depicts an intimate domestic interior where a father, mother, and child gather closely together, accompanied by a small black cat in the corner of the composition. Rendered in elongated forms, soft gestures, and patterned surfaces, the scene transforms everyday life into a tender, slightly dreamlike vision of togetherness. The work reflects Arifien Neif’s distinctive naïve style, blending romantic imagination with a deep sensitivity to warmth and human connection.

Bui Huu Hung, Landscape in Red

Dominated by rich crimson tones, Landscape in Red unfolds as a stylized natural scene layered through masterful lacquer technique. Horizontal bands of deep red contrast with dark mountains and cooler blacks and greys, while delicate foliage in the foreground is rendered with intricate detail. The composition balances intensity and restraint, showcasing Bui Huu Hung’s dedication to preserving traditional Vietnamese lacquer methods while pushing the medium toward contemporary expression.

Auction Details

Bidding Period: 14– 31 January 2026 | https://bid.global.auction
Preview Exhibition: 14– 31 January 2026 | 9 AM–5 PM daily

Jakarta Office: Jl. Tanah Abang IV No. 23–35

Singapore Office: 1 Kaki Bukit Rd 1, #02–16

Online Live Auction: Saturday, 31 January 2026 | 3 PM (UTC+7)
Access the full catalogue at www.global.auction or contact [email protected] for more information.