SAYED HAIDER RAZA | Untitled (Maison Rouges)

Formerly in the collection of Jean-Marie Drot, Paris
Acquired form the above by the current owner                                                                       
Jean-Marie Drot (1929-2015) was a French writer and documentary film maker. He was the director of the French Academy in Rome from 1985 to 1994. Drot is noted for his documentary work on Montparnasse This lot will be published in a forthcoming edition of the Raza Catalogue Raisonné

There are small spots of loss along the top edge, lower left corner and centre left edge. Craquelure is present in areas of thicker paint, especially along the lower right edge. Overall, the work is in good condition commensurate with age, 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."

In 1950, Sayed Haider Raza left for Paris with a bursary from the French Government to study at the École Nationale des Beaux-Arts in Paris. Whilst in Paris, Raza achieved commercial success and in 1956 was awarded the prestigious Prix de La Critique, which provided Raza with international recognition. During his time in France, Raza was exposed to the Post-Impressionist artists, in particular, Paul Cézanne who he greatly admired for his ability to create structure through colour. Raza later moved to Gorbio, where he became enamoured by the French countryside. 'The landscape with its trees, mountains, villages, and churches became his staple diet' (Y. Dalmia, 'Journeys with the Black Sun', The Making of Modern Indian Art: The Progressives, Oxford University Press, New Delhi, 2001 p. 152). The current work painted in 1958 is typical of this period; heavy impasto and architectural elements appear within an abstracted lyrical landscape, with the palette derived from Raza’s continued interest in Rajput miniature painting. 'Be it village, town or church, the world according to Raza was aflame. It was being forged anew through the crucible of recollection—baptized through fire.' (G. Sen, Bindu, Space and Time in Raza’s Vision, Media Transasia Ltd, New Delhi, 1997, p.66). The current work as with Church painted a year earlier display the same 'charred roofs' that 'burn in their intensity against a smouldering orange sky.' (Y. Dalmia, 'Journeys with the Black Sun', The Making of Modern Indian Art: The Progressives, Oxford University Press, New Delhi, 2001 p. 152).