Rabindranath Tagore (1861 - 1941)

Gifted by the artist to Mr. Anil Kumar Chanda and Mrs. Ranee Chanda

Thence by descent

One unframed drawing on paper. Thee small holes in lower right and left corners of the paper. The edges are uneven and would benefit from a mount. There are very small creases and abrasions visible across the surface upon very close inspection.
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.

The veiled woman appears in a number of Tagore's head studies. 'The pensive, ovoid face of a woman with large unwavering soulful eyes was perhaps a move obsessive theme than any other. Exhibited first in 1930, endless variations of the same mood-image continued to be emergent throughout. The earlier ones were delicately modelled and opalescent, while the later examples were excessively dramatic with intensely lit forehead, exaggerated nose-ridge, painted in strong colours, bodied forth from a primal gloom.' (P. Neogy, Drawings and Paintings of Rabindranath Tagore, New Delhi, 1961). These veiled portraits were said to be a representation of Kadambari Devi, Rabindranath's elder brother's wife with whom he had a close relationship. Kadambari Devi tragically committed suicide in 1884. Tagore is reported to have told Nandalal Bose that 'The look of the eyes of Notun Bouthan have become so deeply imprinted in my mind that I can never forget about them and when I paint portraits, not unoften her glowing eyes present themselves before my sight. Probably that is why the eyes in my portraits take after her eyes. (H. Banerjee, Rabindranath Tagore, New Delhi, 1971, p.154).

Anil Kumar Chanda and Ranee Chanda were both close associates of Rabindranath Tagore and lifelong adherents of his philosophy. Anil Kumar Chanda (1903-1976) first met Tagore whilst in London studying at the London School of Economics.  At Tagore’s request Chanda returned to India in 1930 to become his personal secretary as well as Professor at the Poet’s pioneering Visva-Bharati University in Santiniketan. He later became Principal at Visva-Bharati University, a unique cultural institution renowned for its all encompassing world view and a back to nature approach. It was whilst at Santiniketan that Anil Kumar Chanda met his future wife Ranee Dey, (1913-1997). Tagore in a rare gesture officiated their wedding and the Chandas lived in a house within Tagore’s residential complex at Santiniketan.

Ranee Dey came from an eminent family of artists and was trained in the Bengal School style under the guidance of Abanindranath Tagore and Nandalal Bose.  Rabindranath Tagore brought Ranee Chanda, her sister, brothers and widowed mother to Santiniketan from Bangladesh after hearing of their father's demise. Tagore took the family into his care and it was through his guidance that Ranee Chanda and her siblings received their education and training in art and literature. Whilst at Santiniketan, she drew several portraits and sketches of Tagore and his family. Ranee Chanda went on to become the first woman artist to hold a solo exhibition in India and was an acclaimed writer in Bengali, winning the Rabindra Puraskar, the top literary honour in Bengali. Her writings chronicled her early days in Santiniketan, Tagore's reminiscences to her and Abanindranath Tagore's recollections. During the latter part of Rabindranath Tagore’s life, she accompanied the Poet to Calcutta, recording in a moving book his last days and the outpouring of grief following his death.

In the early 1950s,  Anil Kumar Chanda left Santiniketan for Delhi at the behest of India’s first Prime Minister Jawaharlal Nehru.  He joined Nehru’s cabinet where he held several portfolios, including foreign affairs.  In 1974 when he retired, he chose to return to Santiniketan spurning an offer to become Ambassador in London. Anil Kumar Chanda was actively involved in the affairs of the University at Santiniketan up until his death in 1976.  Ranee Chanda lived a more reclusive life spent entirely in Santiniketan, a place that was dearest to her heart.

This important group of paintings comes from a collection that represents the Chanda family’s lifelong dedication to Rabindranath Tagore and his teachings at Santiniketan. All the paintings in the collection were gifted to Anil Kumar Chanda, Ranee Chanda and their son Abhijit Chanda by Rabindranath Tagore, Abanindranath Tagore and Nandalal Bose, as well as a number of works by visiting artists from China, Japan and Indonesia. The paintings within the collection often included dedicatory inscriptions that indicated the recipient and the occasion on which they were bequeathed.