- 43
Narayan Shridhar Bendre (1910 - 1992)
Estimate
50,000 - 70,000 USD
bidding is closed
Description
- Narayan Shridhar Bendre
- Mother and Child
- Signed in Devanagari lower right
- Oil on canvas
- 36 by 20 in. (91.5 by 50.6 cm.)
Condition
Overall very good condition. Colours richer than the catalogue illustration.
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.
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
'An indigenous form of modern art was realized in the works of painters like Bendre, Hebbar and Shiavax Chavda, whose images were symbolic of the nation as a whole... In the works of Narayan Shridhar Bendre, idyllic vignettes of village women, a mother and her child, or peasant life were painted with a lilting lyricism. Drawing from his travels and consequent exposure to European art, his stint at Santiniketan in 1945, and finally his interaction with the Progressive Artists in Bombay, Bendre was to assimilate all of this into an idiom that adapted the modernist vocabulary to Indian themes and subjects. His pastoral scenes spoke of a pan-Indian vision located in an idyllic village life, and celebrated pre-industrial society.' (Y. Dalmia, The Making of Modern Indian Art: The Progressives, New Delhi, 2001, p. 66).