Details

Provenance

Purchased from Corvi-Mora Gallery Condition This work is in good condition and framed behind glass, as viewed. Colours are slightly brighter than the catalogue. "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." Catalogue Note Aisha Khalid is renowned for her intricate and dense patterning. Khalid studied at the National Collage of Arts, Lahore, where she developed and honed her technique for the meticulous and repetitive geometry that is carefully applied in her works. Within these patterns, Khalid imports her own vision of the feminine, incorporating softer touches around certain lines and borders. Khalid grew up in a conservative Pakistani society, and as a consequence, her work is cognizant of the suffering of women. Ideas of oppression and subversion are embedded within her intricate ornamentation. ‘Each setting of  Khalid’s precious scenes conveys the claustrophobia of interior space through the tightness of its structure, […] the picture plane undulates echoing Escher and Mughal manuscripts simultaneously. Within it, a hidden female form is submerged wearing a burqa, becoming part of the fabric itself, enveloped and suffocated.’ (Salima Hashmi quoted in Virginia Whiles, Art and Polemic in Pakistan: Cultural Politics and Tradition in Contemporary Miniature Painting , Tauris Academic Studies, London, 2010, p. 43)

Catalog summary

Aisha Khalid Together Opaque watercolour on wasli 29 by 92.2 cm. (11 3/8 by 36 1/4 in.) Executed in 2006 Provenance Purchased from Corvi-Mora Gallery Condition This work is in good condition and framed behind glass, as viewed. Colours are slightly brighter than the catalogue. "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." Catalogue Note Aisha Khalid is renowned for her intricate and dense patterning. Khalid studied at the National Collage of Arts, Lahore, where she developed and honed her technique for the meticulous and repetitive geometry that is carefully applied in her works. Within these patterns, Khalid imports her own vision of the feminine, incorporating softer touches around certain lines and borders. Khalid grew up in a conservative Pakistani society, and as a consequence, her work is cognizant of the suffering of women. Ideas of oppression and subversion are embedded within her intricate ornamentation. ‘Each setting of  Khalid’s precious scenes conveys the claustrophobia of interior space through the tightness of its structure, […] the picture plane undulates echoing Escher and Mughal manuscripts simultaneously. Within it, a hidden female form is submerged wearing a burqa, becoming part of the fabric itself, enveloped and suffocated.’ (Salima Hashmi quoted in Virginia Whiles, Art and Polemic in Pakistan: Cultural Politics and Tradition in Contemporary Miniature Painting , Tauris Academic Studies, London, 2010, p. 43)