SATISH GUJRAL | Untitled (Vendor Boy)

Osian's Mumbai, 31 January 2007, lot 18
Private Collection, Mumbai

There is craquelure across the surface especially in areas of thicker paint application, and minor losses to the paint at various places. The work has previously been restored by a professional conservator. The work is in good overall condition as viewed.
"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."

Where as most of his contemporaries left for Europe, Gujral made his way to the "New World"at a time of great social and political upheaval. In 1952, Gujral won a scholarship to apprentice at the Palacio Nationale de Belles Artesin, Mexico under Diego Rivera, David Alfaro Siqueiros and José Clemente Orozco. Siqueiros along with Rivera and Orozco had established Mexican Muralism, a tradition of painting large-scale images of protest and nationalistic messages on public buildings. Gujral's political leanings at the time were to the left so he felt an instant affinity with Mexico's Communist art establishment. He stayed until 1954 and it was during this time that both India and Mexico were experiencing significant social and political change. 'As a parallel set of circumstances, India was emerging from the long shadow of imperial rule, just as Mexico sought to assert its cultural identity against a social fabric wrecked by revolution.' (G. Sinha, 'Satish Gujral, A Singular Journey', Satish Gujral An Artography, New Delhi, 2006, p. 11). Gujral’s discontent with the social situation in India during the partition fuelled his artistic output and cemented his interest in the subject.