Lot 78
  • 78

A. R. NAGORI | Untitled (Silver body in the Moonlight)

Estimate
3,000 - 5,000 USD
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Description

  • A. R. Nagori
  • Untitled (Silver body in the Moonlight)
  • Signed 'Nagori' lower right and further signed, dated and inscribed ' Punjab Varsity's students visiting E. Pakistan's / Coxes Bazar's Silver Sands & silver body on / moonlight high post mid summer.  / We went after 12 midnight for swimming / A girl from English  [...] hills / [...]'  Nagori / 1964' indistinctly on reverse  
  • Oil on canvas
  • 18 x 30 in. (46.3 x 76.8 cm.)
  • Painted in 1964

Provenance

Acquired directly from the artist in early 2000s

Condition

There is craquelere and paint shrinkage in the work notably in the left figure and lower left corner. Minor undulation is visible in the center. This work could benefit from a light clean.
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

This is an early work of Nagori from his student days at the Fine Arts Department of Punjab University in the early 1960’s. The head of the Fine Arts Department at the time was Anna Molka Ahmed. This painting was done in Cox’s Bazaar near Chittagong during Nagori’s visit to East Pakistan (now Bangladesh) as part of the student tour conducted in 1964. Renowned art critic Ali Imam of Indus Gallery once remarked 'It is rather strange that a painter of such committed sensibilities should remain isolated simply because of his non-conformism or self-imposed censors. His contribution to art in the sub-continent stands out, as no other painter has made such consistent attempt to focus attention on socio-political ills in the country.' (A. Ramosa, Nagori: Voice of Conscience, Foundation for Museum of Modern Art (FOMMA), Oxford University Press, 2006, back cover)