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Ismail Gulgee

India (1926 -  2007 )
GULGEE Ismail Untitled

Sotheby's /Oct 7, 2014
11,126.77 - 14,835.69
23,718.75

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Artworks in Arcadja
46

Some works of Ismail Gulgee

Extracted between 46 works in the catalog of Arcadja
Ismail Gulgee - Horses

Ismail Gulgee - Horses

Original 1989
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Gross Price
Lot number: 31
Other WORKS AT AUCTION
Description:
Ismail Gulgee (Pakistan, 1926-2007) Horses Lapis lazuli mosaic 120 x 108cm (47 1/4 x 42 1/2in). Executed in 1989 Footnotes Provenance: Private Kuwaiti collection The present lot was commissioned directly from the artist in 1989/90. The present lot is an important work by the seminal Pakistani artist, Ismail Gulgee. Lapis Lazuli mosaic works such as this are rarely seen at auction. Bonhams sold a lapis lazuli mosaic work entitled 'Polo Players' at auction in 2008 [Figure 1], the first time in over a decade that a lapis lazuli work had been offered at auction. Born in 1926, Gulgee had initially trained as an engineer and held degrees from Colombia University and Harvard. Initially Gulgee's artistic endeavours were not taken seriously. Meeting with the Aga Khan in the early 1950s, when the country of Pakistan was still in its infancy, Gulgee was told that the nation needed engineers not artists as 'an artist brings glory to himself'. Gulgee's critical acclaim was received after his photo realistic commissioned portraits caught the attention of high ranking royalty and dignitaries in wider South Asia. Gulgee as an artist united the youthful Pakistani nation with the Middle East and Central Asia in a way that only an exchange of culture and art could. He was appointed as the portrait artist of numerous public figures such as the Afghan Royal family, the Crown Princes of Saudi Arabia and the Aga Khan. He chose to use a complex and expensive process of stone mosaics, delicately creating chiaroscuro by selecting light and dark pieces of the naturally occurring semi-precious stone, lapis lazuli. Reginald Massey speaks about Gulgee's process: "His chosen material is lapis lazuli which, in spite of the present troubles, still finds its way down from Afghanistan to Pakistan. The pieces are cut, polished and laid out by stone cutters. Then Gulgee selects the pieces he requires and has it cut out to the particular shape that he specifies. His considerations are those of colour, grade and feel. Finally the piece is fitted into the portrait and secured with polyester adhesive. After the portrait is completed it gets a rubbing down with fine diamond powder. This brings out the intrinsic lustre of the lapis lazuli." (M. Ismaili, Gulgee , Ferozesons, 2000, p.18)
Ismail Gulgee - Camel & Figures

Ismail Gulgee - Camel & Figures

Original 1966
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Lot number: 190
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Description:
Lot 190: Ismail Gulgee (Pakistani, 1926-2007), Camel & Figures Ismail Gulgee (1926-2007) graphite on paper, signed and dated 1966 at lower left, unidentified blind stamp at upper left, presented in the likely original frame under glass. SS 29.5 x 21.25 in.; DOA 36 x 28 in. Private Collection, Raleigh, NC
Ismail Gulgee - Untitled (nukta)

Ismail Gulgee - Untitled (nukta)

Original
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Lot number: 42
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Description:
Lot Details Ismail Gulgee (Pakistan, 1926-2007) Untitled (Nukta) Oil on canvas Signed and dated 05 upper right, further inscribed 'Gulgee Collection/2005/Dubae Exhibition' on reverse 60 x 60cm (23 5/8 x 23 5/8in). Footnotes Provenance: Private US collection Acquired directly from the artist Thence by descent
Ismail Gulgee - Untitled

Ismail Gulgee - Untitled

Original 1989
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Gross Price
Lot number: 86
Other WORKS AT AUCTION
Description:
Ismail Gulgee 1926 - 2007 UNTITLED Signed and dated lower left 'Gulgee '89' Oil on canvas 125.2 by 179 cm. (49 ⅜ by 70 ½ in.) Painted in 1989 Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Provenance: Acquired directly from the artist by a private collector Acquired from the above circa 2005 'My work is the externalisation of my inner journey. Through it I communicate with the pulse of life. The Calligraphic form and movement that emerges is not predetermined or cerebral, it is intuitive and articulates something deep inside me. It is important that no thought of how people will react to my work intrudes, as that would destroy the thread and take the truth away. I am enchanted by Islamic calligraphy and feel close to the Sufi mystics. At the mystic level barriers melt away and religious experience whether Buddhist, Hindu and Muslim becomes one. Once could call it human experience of the ineffable.' (M.I. Gulgee, Gulgee, Ferozsons Pvt Ltd., Lahore, 2000, inner sleeve of book cover)
Ismail Gulgee - Untitled

Ismail Gulgee - Untitled

Original 1968
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Lot number: 536
Other WORKS AT AUCTION
Description:
ISMAIL GULGEE (1926-2007) Untitled (Camels) signed, dated and inscribed 'Gulgee. '68. Karachi Pakistan' (lower right); further signed, inscribed and dated 'Gulgee c-67.KDA. Scheme No 1 Habib Ibrahim. Rahmitulla Road. Karachi. Pakistan. 25 Dec. 1968' (on the reverse) oil on canvas 33¾ x 57¼ in. (85.7 x 145.4 cm.) Painted in 1968 Grindlays Bank Corporate Collection Acquired from the above by the current owner in 1985 Pakistan: A Global Art Beyond Borders The Partition of the Indian Subcontinent after Independence in 1947 divided the former British colony into two countries and three distinct new political terrains. From a common well of culture, both new countries fostered art movements that were indigenous yet in dialogue with each other and the world at large. Established pre-partition artists, such as academic painter, Abdur Rahman Chughtai (Lot 531) and Zainul Abedin, (schooled in the Bengal Style and influenced by the Tagores) are today much admired and indeed claimed as members of the artistic pantheons of India, Pakistan and Bangladesh. Modernism in Pakistan manifested itself in the work of artists such as Ismail Gulgee (Lot 536). These artists either lived or travelled in Europe and absorbed the Western modernist styles of Abstract Expressionism and Post-Impressionism and combined these with classical Islamic artistic traditions. Cultural histories, in the context of identity and newly formed political boundaries, are rife with paradoxes and concepts to be mined, re-claimed and re-contextualized. Zahoor ul Akhlaq, seen today as the father of contemporary art in Pakistan, revolutionized the practice of miniature painting. His influence developing the contemporary generation of Neo-Miniature artists (Lots 537 - 541), proponents of which include Aisha Khalid, Ayaz Jokhio, Attiya Shaukat, Rehana Mangi and Tazeen Qayyum. These artists used the traditional meticulous techniques of Miniature Painting in an inventive and highly contemporary application. Pakistan is both a geopolitical product of the 20th century and a culture boasting centuries of tradition. It is in a continuous state of flux as Pakistan traverses the dialectics of East versus West, tradition versus modernity, and the local versus global. This melting pot has created a generation of artists who continue to grow in international acclaim and stature.
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