Details

Provenance

Acquired circa 2011 from a local estate auction Condition There are a few minor accretions or fly spots at the left edge near the<br>top, along with very minor wear to the black pigment near the right edge and the bottom right corner. Minor paint shrinkage is is visible near the bottom left corner as well. This painting is in good condition, 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. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE. Catalogue Note Paramjit Singh started painting in the 1950s. Growing up in Amritsar on the outskirts of the city, he was surrounded by the Punjabi countryside. Coupled with his discovery of Rabindranath Tagore's landscapes, this led to his fascination with this theme, a subject he continues to paint to this very day. He first depicted still-lifes, and when he felt the need to move beyond this subject, he began to incorporate objects within panoramic settings, or a still life in the foreground with a vast protruding landscape in the background. This painting is an example of some of his earliest landscapes, nevertheless, Singh only made five of these canvases, and they were

Exhibited

at his very first solo exhibition in a commercial gallery in 1969 in New Delhi. Esoterical and shrouded in mystery, this hauntingly beautiful painting contains elements of mysticism and Surrealist fantasy. Singh wanted to retain a ‘Surrealistic feeling’ in his works but also impart a sense of stillness and foreboding, making the viewer expect that ‘something is going to happen’. Singh’s canvases are also explorations of the vast possibilities that lay beyond the physical world. He was inspired by a small movement in Italian art called Pittura metafisica, and in particular the works of Giorgio de Chirico, the founding member. Dream-like visions executed with sharp contrasts between light and shadow, these works had an eerie quality. With a complete dislocation between an object and its surrounding environment, these works transcended any particular space or time. Singh elegantly captures this metaphysical quality in his canvases. When commenting on his choice of pigments while painting he quipped, ‘I used to think in colour.’ (In conversation with the artist, 13 February 2014) Most artists would begin by drawing a composition and then proceed to paint but Singh would use colour in his mind to build his works and then distribute the objects compositionally. Perhaps it was inspiration from his teacher at the Delhi Polytchnic Sailoz Mukherjee, that led to his initial experiments with colour fields. Singh’s art is significant not only because of its impact on Indian art history, but also its lasting impression on the viewer.

Catalog summary

Paramjit Singh Untitled Signed 'PARAMJIT SINGH / 69' lower right Oil on canvas 42 by 36 in. (106.7 by 91.4 cm.) Painted in 1969 Provenance Acquired circa 2011 from a local estate auction Condition There are a few minor accretions or fly spots at the left edge near the<br>top, along with very minor wear to the black pigment near the right edge and the bottom right corner. Minor paint shrinkage is is visible near the bottom left corner as well. This painting is in good condition, 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. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE. Catalogue Note Paramjit Singh started painting in the 1950s. Growing up in Amritsar on the outskirts of the city, he was surrounded by the Punjabi countryside. Coupled with his discovery of Rabindranath Tagore's landscapes, this led to his fascination with this theme, a subject he continues to paint to this very day. He first depicted still-lifes, and when he felt the need to move beyond this subject, he began to incorporate objects within panoramic settings, or a still life in the foreground with a vast protruding landscape in the background. This painting is an example of some of his earliest landscapes, nevertheless, Singh only made five of these canvases, and they were exhibited at his very first solo exhibition in a commercial gallery in 1969 in New Delhi. Esoterical and shrouded in mystery, this hauntingly beautiful painting contains elements of mysticism and Surrealist fantasy. Singh wanted to retain a ‘Surrealistic feeling’ in his works but also impart a sense of stillness and foreboding, making the viewer expect that ‘something is going to happen’. Singh’s canvases are also explorations of the vast possibilities that lay beyond the physical world. He was inspired by a small movement in Italian art called Pittura metafisica, and in particular the works of Giorgio de Chirico, the founding member. Dream-like visions executed with sharp contrasts between light and shadow, these works had an eerie quality. With a complete dislocation between an object and its surrounding environment, these works transcended any particular space or time. Singh elegantly captures this metaphysical quality in his canvases. When commenting on his choice of pigments while painting he quipped, ‘I used to think in colour.’ (In conversation with the artist, 13 February 2014) Most artists would begin by drawing a composition and then proceed to paint but Singh would use colour in his mind to build his works and then distribute the objects compositionally. Perhaps it was inspiration from his teacher at the Delhi Polytchnic Sailoz Mukherjee, that led to his initial experiments with colour fields. Singh’s art is significant not only because of its impact on Indian art history, but also its lasting impression on the viewer.