Lot 105
  • 105

Maqbool Fida Husain

Estimate
15,000 - 25,000 GBP
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Description

  • Maqbool Fida Husain
  • Untitled (Children of Calcutta)
  • Signed 'Husain' lower right
  • Oil on canvas
  • 57.2 x 65 cm. (22 ½ x 25 ⅝ in.)
  • Painted circa 1970-75

Provenance

Acquired from a Canadian collector who had purchased it from an exhibition of Husain’s work in Gallery Esperanza, Montreal in the 1970’s.

Condition

There is minor wear along the edges of the work. Intermittent spots of loss and scratches are visible only upon close inspection. There is a small accretion in the bottom left quadarant near the feet of the woman figure in white.
"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."

Catalogue Note

This sensitive painting is a continuation of Maqbool Fida Husain's famous 'Mother Teresa' series. Here, a faceless woman is depicted in a white sari alongside an orphaned infant. The painting is not only a representation of the Mother and her mission but also recalls classical imagery of the Madonna and Child that could be interpreted as a commentary on the artist's relationship with his own mother. Yashodhara Dalmia comments, 'Husain's women are always enshrouded in an invisible veil, the simplicity of their form countered by their inaccessibility. They could well be women from his own childhood in a Muslim household, where the feminine presence alternates between the secretive and the visible. The suppressed yearning could be for his mother, who died when he was only two years old, leaving him feeling permanently bereft.' (Y. Dalmia, The Making of Modern Indian Art: The Progressives, Oxford University Press, New Delhi, 2001, p. 111).