86
86

PROPERTY FROM THE COLLECTION OF ALI ADIL KHAN

Anwar Jelal Shemza
FIVE CHAIRS; INTERIOR
Estimate
8,00012,000
LOT SOLD. 10,625 USD
JUMP TO LOT
86

PROPERTY FROM THE COLLECTION OF ALI ADIL KHAN

Anwar Jelal Shemza
FIVE CHAIRS; INTERIOR
Estimate
8,00012,000
LOT SOLD. 10,625 USD
JUMP TO LOT

Details & Cataloguing

Modern & Contemporary South Asian Art

|
New York

Anwar Jelal Shemza
1928-1985
FIVE CHAIRS; INTERIOR
Quantity: 2
Signed, dated and editioned in Urdu lower left and right respectively 
Edition 2/10 each 
Acquaint on paper; Aquatint and Intaglio on paper  
10 x 15 ⅛ in. (25.4 x 38.4 cm.); 13 ⅛ x 10 ½ in. (33.3 x 26.6 cm.)
Executed in 1962; Executed in 1960
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Provenance

Acquired from the artist's family in 2007

Ali Adil Khan is a Toronto based collector of South Asian art. He has contributed notable reviews on South Asian art and artists for leading art journals, newspapers and websites. He has also served as an adviser to the Royal Ontario Museum, Aga Khan Museum and the Art Gallery of Mississauga in Toronto and invited to speak at the 14th Asian Art Biennale in Dhaka. Khan’s collection includes modern and contemporary art, contemporary miniature paintings, calligraphy and art of Indian Cinema.

Exhibited

London, Jhaveri Contemporary, Anwar Jalal Shemza: Paper | Print | Collage, 9-13 June 2015 (another from the edition) 

Literature

Five Chairs - The Asal Collection Catalogue, Asal Partners Ltd., 2009, illustration p. 93
Interior - I. Dadi, Anwar Jalal Shemza, Ridinghouse, London, 2015, illustration p. 159 (another from the edition)

Catalogue Note

An important modernist in his own right, Anwar Jalal Shemza is representative of a generation of artists who emerged in the wake of the decolonization of Asia and Africa. He arrived in Britain in 1956 to study at the Slade School of Fine Arts. He continued to live in the UK until his death in 1985. While at the Slade School, Shemza received a British Council scholarship for an intensive course in etching and lithography under renowned British printmaker, Antony Gross. He distilled his experiences into a disciplined formalist practice, much of it based on geometry. These geometric forms would provide him with a set of finite, yet flexible building blocks – much of his work is seen with reference to the shapes of the Roman letters B and D, comparing the final effect to the marble screens of the Sheesh Mahal at the Lahore Fort.

Modern & Contemporary South Asian Art

|
New York