Osian's Auction Catalogue Creative India Series 1 Bengal | December 2011

s oMnath h oRe 13 April 1921 – 28 June 2006 Seated Girl Bronze (Single Edition), 1981 Initialled and dated in English ‘SH 81’ l.r. on back 8.3 x 11.9 x 3.5 in (30.2 x 21.0 x 11.0 cm) Provenance Acquired from the Mullick family collection, where the father of the consignor was the Chief Caster for Somnath Hore, Santiniketan. ` 1,600,000 – 2,400,000 US$ 32,000 – 48,000 95 1780 1800 1820 1840 1860 1880 1900 1910 1920 1925 1930 1935 1940 1945 1950 1955 1960 1965 1970 1975 1980 1985 1990 2000 “The metal sculptures of Somnath are examples par excellence of perfect interpenetration of techniques of making and the language of expression, of idiom of expression and the conceptual content. The images indeed represent a convergence of the structural elements of metal sculpture making, of the human and animal figures and of the concept. The armatures, air vents and the escape pipes of the molten metal are arranged in such a manner as they form the skeletal structures of the figures with bones, veins and all that. The sheets of thin metal over the torso and the head of a figure is, at the same time, like a skin covering the bones with no flesh intervening and a bandage covering the wounds. The ends of the metal sheets join in such a manner as it suggests a slashed-open skin or skins with marks of surgical operation or showing naked bones. They are like living apparitions from scenes of destruction walking down the corridors of hospital after being attended to.” [Ray, Pranabranjan [Text] [nd (c.1984)]. Somnath Hore. New Delhi: Lalit Kala Akademi; p.9] “In varying degrees in his sculptures, prints and paintings, besides the haunting sight of an anguished struggle, it is a sustained feeling of the possibility of endurance and hope that permeates the work of Somnath Hore, whereby all is not altogether bleak.The work-process allows technicalities to lead on to a more forceful statement of sensitive emotive contents...rescuing them from immediate topicality, thereby harnessing experience into expression.” [Majumdar, Soumik Nandy & Sanjoy Mallik [2002]. Somnath Hore: A Focus. New Delhi: [JOU] Lalit Kala Contemporary No.45 (LKA); p.46] Signature An Important Sculpture 215 214 Creative India BENGAL | Somnath Hore & Santiniketan