MAQBOOL FIDA HUSAIN | Untitled (Farmer and Bullock)

There are small stains observed on both figures. There is a depression in the wood close to the hump of the bull that is likely inherent. There have been expansions to multiple joints on the bull and at various places of the human figure which is commensurate with age and the nature of the medium. Small repairs have previously been undertaken by a professional conservator. There are small losses observed at various places on both figures, 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."

Maqbool Fida Husain's early body of works depict India and its population in a localised context. Starting in the 1940s, he first worked as a commercial billboard artist and then as an illustrator, and as a toy maker at the Fantasy Furniture Shop, Bombay until he quit his job in 1947. Writing about Husain’s toys, R. Chatterjee has stated that Husain’s toys were much more than mere playthings; he describes them as being ‘neither ephemeral nor piquant in appeal’ but possessing a ‘monumental quality’ that is derived from their formal beauty and decorative charm. (N. Berlia, 'Maqbool Fida Husain: Renaissance Artist', Continuum: Progressive Artists’ Group, ed. K. Singh, DAG, New Delhi, 2011, p. 71) This toy from the earliest days of Husain’s career exemplifies his unstoppable creative output even in the midst of his struggle to establish himself as a full-time artist in the initial post-colonial years. Husain’s toys are said to have had a strong influence on his paintings. “My paintings, drawings and the recent paper work has been directly influenced by my experience of traditional Indian dolls, paper toys – shapes galore. The experience of being with them and the inspiration to create them are inseparable.” (A. S. Peerbhoy, Paintings of Husain, Thacker & Company Limited, Bombay, 1955, introductory essay).

The present lot, painted in bright colours depicts a farmer with his bullock and is an important example from this influential body of work, and although two-dimensional, one can observe movement which is characteristic of Husain’s figures. His toys are precursors to Husain’s early paintings that revolved around peasant themes such as Marathi Women (1950), Mother and Child (1951) and Farmer (1953) which were rooted in social realism. Says Alkazi about Husain’s figures, 'There is an exalted dignity about the people who inhabit Husain’s canvases. Peasants, workers, craftsmen, women toiling in fields or huddled together in conversation all have self-contained poise, the stoic patience and grace associated with the common people. He captures their postures and lineaments their distinctive ethos and culture … not by physiognomy or costume alone are they differentiated, but by their total bearing and presence.' (Alkazi, M. F. Husain: The Modern Artist and Tradition, New Delhi, 1978, p. 22).