Francis Newton Souza

Chester and Davida Herwitz Collection

Sotheby's, New York, Contemporary Indian Paintings from the Chester and Davida Herwitz Charitable Trust, Part II, April 1996, lot 105

There are brown discolorations, minor tears and surface irregularities visible around all four edges of the painting. Creasing is present throughout, most notably in the upper centre. Pinholes are present in all four corners and a frame crease is visible around the image.
"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."

Francis Newton Souza describes his birthplace as "a beautiful country full of rice fields and palm trees, whitewashed churches with lofty steeples, small houses with imbricated tiles... rich green foliage, mango trees, flowers, birds, serpents, frogs, scores of butterflies and a thousand king of insects. Morning is announced by the cock crowing, the approaching night by Angelus bells." (F.N. Souza, Words & Lines, Villiers, London, 1959, p. 9).

At this time, Souza was influenced by Picasso's experiences with Primitive and African art. Yashodhara Dalmia discussing his early works describes them 'as incorporating the 'Primitive' via the mediation of the West. In reclaiming the Primitive then Souza was virtually reinventing his own art and that is where his strength lay.' (Y. Dalmia, The Making of Modern Indian Art: The Progressives, Oxford University Press, New Delhi, 2001, p. 98)