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Sadequain

(1937 -  1987 )
SADEQUAIN Untitled (woman Embracing Man)

Sotheby's /Oct 6, 2015
3,795.07 - 6,325.11
Not Sold

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Variants on Artist's name :

Syed Sadequain

Ahmed Naqvi Syed Sadequain

 

Artworks in Arcadja
236

Some works of Sadequain

Extracted between 236 works in the catalog of Arcadja
 Sadequain - Two Figures

Sadequain - Two Figures

Original 1966
Estimate:
Starting price:

Price:

Lot number: 19
Other WORKS AT AUCTION
Description:
Sadequain, Two Figures, Oil Painting, 1966 Oil on canvas (without stretcher frame) Syed Sadequain Ahmed Naqvi (1930-1987) - The most famous 20th century Pakistani painter and calligrapher Signed, dated, titled and inscribed in black fiber pencil ‘Sadequain 10/11/66 'Two Figures' Painted at Paris’’’’’’’’ on the reverse Dimensions of the canvas: 122 x 91 cm
 Sadequain - Untitled

Sadequain - Untitled

Original -
Estimate:

Price:

Gross Price
Lot number: 46
Other WORKS AT AUCTION
Description:
Sadequain UNTITLED 1930 - 1987 Signed 'SADEQUAIN' lower right Oil on canvas 60.7 x 30.1 cm. (23 ¾ x 11 ⅞ in.) Provenance The previous owner was given the work as a gift from the artist. She taught art history at The Central Institute of Arts & Crafts, Karachi, where Syed Ali Imam served as principal. Thence by descent to the current owner Catalogue Note Syed Sadequain Ahmed Naqvi, also known as Sadequain Naqqash or Sadequain, was a self-made, self-taught painter, and completely untraditional. While his works suggest a strong confluence of Cubism and Constructivism, he distorted his figures in a pioneering and creative way. He initiated himself to visual images of transnational modernism much before his travels to Europe– indirectly through magazine illustrations. Choosing not to go down the mimetic route, he sought to create rather than copy. Unlike a lot of his contemporaries from both Pakistan and India, Sadequain’’’’’’’’s influences not only stemmed from Western art, but from a myriad of sources including his Muslim faith. Following Independence in 1947, Pakistani artists began to salvage ethnic artistic traditions, primary among which was the revival of the Mughal miniature tradition mastered by the iconic painter, Abdur Rahman Chughtai (see lot 45). Calligraphy was one of Pakistan’’’’’’’’s oldest and most venerated ancient art forms and was used as a tool for the devout to express their faith. Over the centuries, it declined in popularity and was consigned to a second-class status until Sadequain adapted this medium in the 1960s, transforming it into a mainstream art form. This profoundly influenced a generation of artists thereafter and he was responsible for the renaissance of Islamic calligraphy in Pakistan. Sadequain was also moved by the landscape and the natural forms present in the countryside around Karachi. This amalgam of inspirations is what makes his works truly unique. ‘One cannot label his work with any of the usual titles. He is not abstract although some of his large compositions inspired by the Kufi forms, came very near to it. Nor is he a surrealist despite the fantastic nature of many of his paintings…. He transforms [forms of nature] into a world of his own by the force of his imagination’’’’’’’’ (Barnett D. Conlan quoted in I. Dadi, ‘Sadequain and Calligraphic Modernism,’’’’’’’’ Modernism and the Art of Muslim South Asia, University of North Carolina Press, 2010, p. 156). The 1960s is considered to be the most prolific and creative period in his entire oeuvre. This work is a classic example of Sadequain’’’’’’’’s signature cross-hatching technique along with his predilection for cactus shaped limbs and figures. The cacti first appeared in his art in 1957 when he encountered these long and prickly plants during a self-imposed period of seclusion on Karachi’’’’’’’’s barren seacoast village of Gadani. The cacti became his alter-ego- a symbol of life and endurance in a hostile environment. Thereafter he used this imagery extensively in his work in different variations – one of these was the Sun series of paintings, as seen in this work featuring a red sun casting its rays on a cactus plant resulting in a luminous hide-and-seek of light. In an interview Sadequain acknowledged the significance of these forms in his work- “[i]n the anatomy of these gigantic plants I found the essence of calligraphy. Everything that I have painted since then – a city like Rawalpindi, buildings, a forest, a boat, a table or a chair, a man, a mother and child, or a woman- has been based on calligraphy, which in itself issues from the structure of the cactus” (ibid., p. 150). Noted art historian, Iftikhar Dadi has attributed these silhouettes suggestive of calligraphic forms to the “existential angst reminiscent of Giacometti’’’’’’’’s sculptures” (ibid.). He further comments, “[t]ransformed by his cactus epiphany, Sadequain’’’’’’’’s paintings of the late 1950s and early 1960s show his reworking of the modernism of the likes of Picasso and Matisse…and of abstract expressionists like Mark Tobey, who emphasized linear, abstract calligraphy inspired by the Chinese script, or a movement towards forms inspired by the Arabic script" (ibid.).
 Sadequain - Two Figures

Sadequain - Two Figures

Original 1966
Estimate:
Starting price:

Price:

Lot number: 52
Other WORKS AT AUCTION
Description:
Sadequain (1930-1987), Two Figures, Oil, Paris, 1966 Oil on canvas Paris, France, 1966 Syed Sadequain Ahmed Naqvi (1930-1987) - The most famous Pakistani painter and calligrapher Signed, dated, titled and inscribed in black felt-tip pen on the reverse ‘Sadequain 10/11/66 ‚Tow Figures‘ Painted at Paris’’’’ Dimensions: 122 x 91 cm Very good condition
 Sadequain - Untitled (woman Embracing Man)

Sadequain - Untitled (woman Embracing Man)

Original 1966
Estimate:

Price:

Lot number: 91
Other WORKS AT AUCTION
Description:
Sadequain 1930 - 1987 UNTITLED (WOMAN EMBRACING MAN) Signed and dated 'Sadequain '66' lower right Ink on card 49.5 x 37.7 cm. (19 ½ x 14 ⅞ in.) Executed in 1966 Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Acquired directly from the artist Thence by descent
 Sadequain - Untitled

Sadequain - Untitled

Original 1961
Estimate:

Price:

Lot number: 25
Other WORKS AT AUCTION
Description:
Sadequain (Pakistan, 1937-1987) Untitled (Calligraphic) Watercolour on paper 41 x 68cm (16 1/8 x 26 3/4in). Signed and dated 2.3.61 lower right Footnotes Provenance: Private UK collection Acquired directly from the artist Thence by descent Sadequain was a wordsmith, both in his lyrical poetry and also his depictions of the words. He reignited the Pakistani love of calligraphy and reaffirmed its place in the visual culture of the new nation. Sadequain hailed from a family of calligraphers. His great grand uncle wrote thirty-one copies of the Qur'an and illuminated the pages with delicate gold and silver filigree. His grandfather was particularly adept at designing toghras , intricate and stylised calligraphic motifs using statements from the Qur'an. His father was also a calligraphist and poet. In 1958 the internationally renowned artist, went into self imposed seclusion to recuperate from exhaustion. He isolated himself on the arid and unforgiving seacoast of Gadani just outside Karachi. The dense covering of cacti on the parched landscape proved to be of significant influence as he admired the defiance of the resilient plant. In an interview with art critic Thomas Dowling, Sadequain notes the importance of the cactus to his oeuvre: "In the anatomy of these gigantic plants I found the essence of calligraphy. Everything that I have painted since then: a city like Rawalpindi, buildings, a forest, a boat, a table or a chair, a man, a mother and child, or a woman has been based on calligraphy, which in itself issues from the structure of the cactus." (Abdul Hamid Akhund et al, Sadequain: The Holy Sinner, Mohatta Palace Museum, Karachi, 2002, p. 30)
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