| 中文版 English
书画 陶瓷 玉石 佛造像/唐卡 金属器 家具 漆器 竹木牙角 紫砂 鼻烟壶 钱币邮品 名酒 奢侈品 其它
Calendar
Today
< >

具体要求

其它要求

-
关闭
全球拍卖首页 > Christie's > 南亚现代及当代印度艺术 > Lot 507
JEHANGIR SABAVALA (1922-2011)
美国 北京时间
2020年09月23日 开拍 / 2020年09月21日 截止委托
上一件 下一件
拍品描述 翻译
JEHANGIR SABAVALA (1922-2011) The Peasants signed and dated 'Sabavala '81' (lower right) oil on canvas 54 x 42 in. (137.2 x 106.7 cm.) Painted in 1981 This is Jehangir Sabavala’s return to the human form under the light of western India. It is light that cuts a form, fragments it and the chopped pieces coalesce again through the animation of understated colours, subdued tones and a pale sulphuric miasma. Jehangir has crossed oceans of landscapes to arrive at the human form. - N. Goswami, 1983 In 1979, Jehangir Sabavala summed up the nature of his creative process, saying that painting for him was “an unceasing battle to achieve perfection” (Artist statement, For You: The Magazine with a Mind, November 1979, p. 34). Although the artist’s quest for constant reinvention and perfection spanned all six decades of his career, by 1981, when The Peasants was painted, he had overcome one of the most challenging hurdles of this journey. It was during this period that Sabavala’s control of structure, color, light and texture reached an apogee of sorts, bringing him closer than ever to the perfection he sought. This, in turn, led to the creation of some of his most refined paintings, which his biographer, Ranjit Hoskote, has termed “visionary”. The path from vision to execution, however, was a long and arduous one for Sabavala. Each painting took the artist close to a month and a half to complete, their complex constructions evolving from initial sketches, schematic plans and color calculations. Describing this meticulous process, Sabavala noted, “First, the idea strikes, either visual or through the spoken word. I put it down in an ordinary sketch-book, a pencil sketch [...] I do a number of sketches before the idea crystallises [...] I decide on the colours, the colours must marry the subject matter and the drawing. My instinct is not towards bright colours, I use a very subtle range, muted, soft colours, but a very wide spectrum of them, often 50-60 shades. The effort is to make it evocative in colours. I also think of the texture of the painting, how thick or thin the colours should be [...] The eye has to be constantly stimulated” (Artist statement, B. Contractor, ‘Sabavala: Portrait of an Artist’, Parsiana, December 1983, p. 35). During the late 1970s, Sabavala also consciously turned away from the sweeping land and seascapes he was so well known for, to focus once again on the human figure. Created with his subtle yet refined palette and consummate control light and texture, the groups of statuesque figures that the artist now painted dominated his compositions. Veiled ladies in purdah, cloaked farmers, tired pilgrims, seated monks and their itinerant disciples were portrayed solemnly engaged in their particular journeys, at once restrained and powerful. “What has happened is that the distant and enigmatic human figures who peopled his poignant visionary landscapes now advance towards us and wholly occupy the forefront of our attention. Their monumental scale and the concentrated silence with which they confront the world imbue these personages with commanding presence. The mood is often magisterially austere and sometimes sublime. In their hieratic stillness their deep and searching gaze seems to proceed from some unfathomable resource. These groups share a secret solidarity, a self-containment which, in its fullness, imparts what only the full technical and spiritual equipment of classical art can give: an abidingly gravid calm or rapt inner intensity” (R. Lannoy, ‘Rave Press Reviews’, Jehangir Sabavala, Calcutta, 1983, unpaginated). This seminal painting from 1981 connects past, present and future in the arc of Sabavala’s long artistic career. Building on the early series of figurative works that the artist painted on his return to India in the mid-1950s, The Peasants is inspired by the people and landscapes the artist encountered on his travels around the country, particularly its Western states. Sabavala also offers a nod to his early experiments with Cubism as a student in the ateliers of London and Paris in the finely rendered drapery of the men’s clothing and the many strata of terrain they occupy, constructed from precisely gradated and textured layers of pigment arranged in crystalline forms. At the same, this painting foreshadows works that the artist would paint almost three decades later, in which these central figures reappear, taking on an even more mysterious and prophetic aura. The five men in the present lot, carrying walking sticks and wrapped in thick brown shawls, are portrayed during a moment of pause in what seems to be a long and demanding journey. Far ahead of them, at the foothills of the hazy blue mountains in the distance, lies a group of houses, either a rest stop for the night or their elusive destination. Gathered in a circle, they seem to be taking stock of their progress, much like Sabavala himself frequently did, contemplating what he saw as the ever-retreating horizon of artistic perfection. In this context, the artist’s description of this painting takes on an added, personal layer of meaning, leaving us speculating about the ‘ferocity of the elements’ he perceived his subjects battling against. “A group of Maharashtrian sons of the soil cluster together in ‘The Peasants’. Their rugged, independent stance is clear and admirable. I picture them in their dhablis, coarse-haired homespun shawls that protect them from the ferocity of the elements.” (Artist statement, The Crucible of Painting: The Art of Jehangir Sabavala, Mumbai, 2005, p. 214) A poster featuring this painting, published by the National Gallery of Modern Art, New Delhi, on the occassion of the exhibition Jehangir Sabavala, A Retrospective and signed and dated by the artist is included with this lot.

本场其它拍品

  • 竞价阶梯
  • 快递物流
  • 拍卖规则
  • 支付方式
竞价区间 加价幅度
0
10
100
50
500
100
1,000
200
2,000
250
5,000
500
10,000
1,000
20,000
2,000
50,000
5,000
100,000
10,000
+

价格信息

拍品估价：450,000 - 600,000 美元 起拍价格：450,000 美元  买家佣金：
落槌价 佣金比率
0 - 300,000 25.00%
300,000 - 4,000,000 20.00%
4,000,000 - 以上 13.50%
服务费：平台服务费为成交总金额（含佣金）的3%

拍卖公司

Christie's
Christie's
地址： 20 Rockefeller Plaza New York
邮编： NY 10020
向卖家提问

小贴士

1. 一般拍卖公司接受的付款方式有以下几种：
现金、信用卡、转账汇款、银行支票、个人支票以及PayPal支付。
使用PayPal支付时，请留意需要在账单金额的基础上额外加上 4% 的手续费。
2. 信用卡的种类有以下几种：
3. 转账汇款时请注意银行手续费
海外拍企会要求足额到账，所以请您在汇款时，选择足额到账，或在汇款金额的基础上加上汇款手续费（如25美金）。
4. 国际转账汇款时， 您需要知道海外拍卖行以下汇款信息：
* 收款人名称
* 收款人地址
* 收款人银行账号
* 收款银行国际编码（8位字母数字组合，必填项， 如： BFKKAT2K）
* 收款银行清算码（9位数字组合，选填项）
* 收款银行名称
* 收款银行地址
5. 运输相关事项
有的海外拍卖行会替您安排和协调运输， 您只需要支付相关的运费及保险费（如您需要）即可；有的海外拍卖行会推荐几家长期合作的运输公司， 这些运输公司有着良好的信誉和高质量的工作效率，您大可放心。您只需要提供您的收货地址， 竞得拍品账单。 运输公司会根据您提供的信息给您报价， 您可以在其中选择最优的报价者来承担运输任务。然后就是付款了， 信用卡是最常用的支付手段， 当然还有其他像PayPal，转账等。
6. 进口通关可能出现的关税
国际运送的包裹在进口清关过程中如需支付关税，需由包裹接受人（即买家）自行承担。 征收标准：具体征收标准和额度以海关通知和解释为准。
7. 禁拍拍品
海外拍卖会可能会出现中国法律禁止交易的物品，如枪支、管制刀具、象牙、犀角等；中国买家不得通过本平台参与上述物品的拍卖活动；任何情形下，买家均须对自己的竞拍行为独立承担责任。
服务热线：400-608-1178
查看全部小贴士