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Chaudhuri is considered one of the stalwarts of Modern Indian sculpture, whose work is significant in the evolution of Indian sculpture away from the academic style based on mid-Victorian ideals of naturalism that had developed under the British Raj. In the 1940s, new styles and media were explored by sculptors, with a strong leaning towards abstraction. Chaudhuri was a student of Ramkinkar Baij, who was himself a key figure in this early... Chaudhuri is considered one of the stalwarts of Modern Indian sculpture, whose work is significant in the evolution of Indian sculpture away from the academic style based on mid-Victorian ideals of naturalism that had developed under the British Raj. In the 1940s, new styles and media were explored by sculptors, with a strong leaning towards abstraction. Chaudhuri was a student of Ramkinkar Baij, who was himself a key figure in this early emancipation from the mainstream British style. Though he was profoundly influenced by Baij, Chaudhuri was by no means restricted to one school of expression. He constantly strove to experiment and innovate with material, style and technique. At 100 cm in height, the present lot is an unusually large work which retains the smooth rhythm and elongated line that Chaudhuri is known for.

The present lot was formerly in the collection of Eugene and Penelope Rosenberg. Eugene Rosenberg was one of the leading exponents of modernist architecture in Post-war Britain. He was known for fostering a close relationship between art and architecture, and believed that buildings provided ideal spaces in which to house art and sculpture for daily enjoyment. Rosenberg worked with Le Corbusier in Paris before setting up the firm Yorke, Rosenberg and Mardall in Britain with F R S Yorke and C S Mardall. They were responsible for some of the most original architectural projects of the time, including Gatwick Airport, the John Radcliffe Hospital in Oxford and Manchester Magistrates Court. In 1992 Eugene Rosenburg's book Architect's Choice: Art in Architecture in Great Britain since 1945 was published by Thames & Hudson, which he hoped would continue to inspire alliances between architects and artists.

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