Lot 45
  • 45

GOPAL S. ADIVREKAR | Horse Rider

Estimate
3,000 - 5,000 USD
bidding is closed

Description

  • Horse Rider
  • Signed and dated 'ADIVREKAR 72' lower right and further signed, titled and dated '"HORSE RIDER" / G.S. ADIVREKAR / 72' on reverse 
  • Mixed media on canvas 
  • 29 ⅝ x 29 ⅝ in. (75.2 x 75.2 cm.)
  • Painted in 1972

Provenance

Acquired in Bombay circa 1970s

Condition

There is wear and frame abrasions along the edges. This work is in overall very good condition as viewed. The artist has been known to use marble dust, zinc powder, rope and other mixed media to add texture and layers.
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.

Catalogue Note

Gopal Adivrekar was born in the region of Konkan, a district of the western Indian state of Maharashtra. He moved to Mumbai to pursue an artistic career and attended the Sir J. J. School of Art in Mumbai in 1963. He held a number of national and international solo and group exhibitions and was elected Honorary Secretary, Chairman and Vice President of The Bombay Art Society from 1987 – 2002. Since his death in September 2008, his work has featured posthumously in 'Masters of Maharashtra', collection from Lalit Kala Akademi, New Delhi at Piramal Gallery and the National Centre for the Performing Arts (NCPA), Mumbai in 2010. Adivrekar was known for first working in thin oils, but some of his works also progressed to added layers of a mix of marble dust and zinc powder, which he used to build up ridges of extended surfaces in relief, to create textural variations by controlled hatching. (K. Chaitanya, A History of Indian Painting: The Modern Period, Abhinav Publications, New Delhi, 1994, p. 247). His striking rendering of a horse-rider has a specific textural quality which evokes traditional temple reliefs, laden with intricate patterns and symbolism.