Acquired in Calcutta in 1963 by the previous owner

Purchased from a gallery in Virginia circa 2010

The surface of this work is uneven due to the nature of the medium. There is some rubbing and pigment loss to the card, most notably in the lower left quadrant. There are some very minor surface accretions and spots of pigment loss only visible upon very close inspection.
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.

A pupil of the Calcutta Government School of Art, Jamini Roy was trained in the European academic tradition but by the late 1920s he had begun to look towards the indigenous painting of Bengal. He was particularly inspired by Kalighat and the pat paintings of rural Bengal. Roy abandoned the use of European paints in favour of mineral and vegetable based pigments. This painting is a rare and important work as it represents his transitional phase. The image displays qualities seen in early Italian Renaissance depictions of the Madonna and child but it has a fluid line and minimalist style clearly influenced by the Kalighat school. The palette is muted and although the outlines are strong and clear there is an element of chiaroscuro which gives solidity to the figures. This work is a precursor to the 'monochrome brush drawings, mainly studies of women, which attempted to impart volume and structure through just a single vital sweep' (S. Datta, Urban Patua: The Art of Jamini Roy, Marg Foundation, Mumbai, 2010, p.43). Roy's early works in the European manner were usually signed 'J.R', yet interestingly this painting has a Bengali signature which Roy went on to use for the rest of his career.