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GROSVENOR GALLERY

Image 04-05-2020 at 15.41
ABOUT

Grosvenor Gallery was first established by the American sociologist and writer Eric Estorick (1913-1993).  who moved to England in 1947. In the initial years, he and his wife developed a major collection of Italian art. It was then that Estorick became a full time art dealer and went on to establish the Grosvenor Gallery in 1960, with its first premise on Davies Street. It was the largest and best equipped gallery in England at the time. 

In 2006, Grosvenor Gallery collaborated with Vadehra Art Gallery in New Delhi to form Grosvenor Vadehra. The purpose of this collaboration was to promote international art in India and Indian art in the UK. In this guise it has held international exhibitions in India including a Pablo Picasso exhibition in 2006 and an exhibition of Lucien Freud and Francis Bacon along with Tyeb Mehta and Francis Newton Souza in 2007. Since then the Gallery has continued to exhibit modern and contemporary South Asian art, predominantly the work of mid-20th century Indian modernists such as the Bombay Progressives, as well as Chughtai, Gulgee and Sadequain from Pakistan. Our contemporary program includes exhibitions of work by Rasheed Araeen, Faiza Butt, Olivia Fraser and Dhruva Mistry amongst others.

INFORMATION

Islamic and Indian Art

South Asian Art 1820 – 2020
22 October – 30 October 2020

During Asian Art in London’s Indian and Islamic Art week we will be exhibiting paintings and drawings by artists from South Asia, as well as artists using India and Pakistan as a subject. Works range in date from the early 19th century up to the present day.

Highlights include: a selection of works by Horace Van Ruith, as well as an early view of the Victoria and Prince’s Docks in Bombay (Mumbai) by a European artist. Paintings will be on display by Souza, Raza and Jamini Roy, as well as drawings by George Keyt and Bhupen Khakhar.

Contemporary paintings by Olivia Fraser, Elisabeth Deane and Senaka Senanayake will also be on view at the gallery.

East Asian Art

Zimbiri: Solo Exhibition
30 October – 20 November 2020

Grosvenor Gallery is delighted to be showing for the first time in the UK, new paintings by Bhutanese artist, Zimbiri (b. 1991).  The body of paintings that have been selected for the show are from Zimbiri’s ‘Tiger’ series. The tiger for her is a symbol with multiple connotations and mythic references. Not only does it exude strength and power, but fragility, and precariousness in the complex dynamics between man and nature. Zimbiri says she decided on the tiger because it is endangered as well as considered precious in Bhutanese mythic history. Most of the animals in their mythic tales belong to the past and the tiger, too, being an endangered species, will one day become a species of the past.

OPENING HOURS

Monday – Friday: 10am – 5pm
Saturday 24 October: 12 – 4pm
Sunday 25 October: 12 – 8pm
Saturday 31 October: 12 – 4pm
Sunday 1 November: 12 – 8pm
Saturday 7 November: 12 – 4pm

ADDRESS

Grosvenor Gallery

35 Bury Street
St James’s
London SW1Y 6AU

CONTACT

Conor Macklin, Charles Moore,

Kajoli Khanna
Phone +44 (0)20 7484 7979
Email art@grosvenorgallery.com
Website www.grosvenorgallery.com

SPECIALITY
Contemporary, Indian
IMAGE GALLERY
ANGLO INDIAN SCHOOL Victoria Docks, Bombay, 19th century Watercolour on paper 24.5 x 79.5 cm 9 5/8 x 31 1/4 in The view depicted here is of the Victoria and Prince’s Docks in Bombay (Mumbai) in the early 19th century. In the scene there are Parsees wearing ‘phetas’on the jetty. Parsees were actively involved with the docks in Bombay, as well as the trade with China. There are numerous Maharashtrians with typical Peshwa style pagdi along the quay. The general labourers are dressed in typical Marathi style. Cross Island can be seen in the background. The date is suggested as steam has not yet replaced the sailing ships. The swing bridge to the right of the painting was positioned at the entrance to the docks, and was in use as late as the 1970s. There appears to be a regatta or celebration of some description taking place to the right of the scene, with troops parading and the ships flying coloured pennants. A highly detailed scene, a particularly charming detail is the group of figures standing at the right hand edge, peering to get a better look at what’s going on. The work was clearly painted by a talented artist with an eye for detail. ANGLO INDIAN SCHOOL Victoria Docks, Bombay, 19th century Watercolour on paper 24.5 x 79.5 cm 9 5/8 x 31 1/4 in The view depicted here is of the Victoria and Prince’s Docks in Bombay (Mumbai) in the early 19th century. In the scene there are Parsees wearing ‘phetas’on the jetty. Parsees were actively involved with the docks in Bombay, as well as the trade with China. There are numerous Maharashtrians with typical Peshwa style pagdi along the quay. The general labourers are dressed in typical Marathi style. Cross Island can be seen in the background. The date is suggested as steam has not yet replaced the sailing ships. The swing bridge to the right of the painting was positioned at the entrance to the docks, and was in use as late as the 1970s. There appears to be a regatta or celebration of some description taking place to the right of the scene, with troops parading and the ships flying coloured pennants. A highly detailed scene, a particularly charming detail is the group of figures standing at the right hand edge, peering to get a better look at what’s going on. The work was clearly painted by a talented artist with an eye for detail.
EUROPEAN SCHOOL View of Bombay, 1865 Watercolour on paper, signed indistinctly lower right J. F. Coz[...] and dated 1865, inscribed on reverse and on backboard View in India/Bombay 20 x 40.5 cm 7 7/8 x 16 in EUROPEAN SCHOOL View of Bombay, 1865 Watercolour on paper, signed indistinctly lower right J. F. Coz[...] and dated 1865, inscribed on reverse and on backboard View in India/Bombay 20 x 40.5 cm 7 7/8 x 16 in
Indian Artist Portrait of Sir Charles Metcalfe, c.1835 Watercolour and gold paint 36.8 x 29.2 cm 14 1/2 x 11 1/2 in Provenance Private UK collection, acquired in the mid 1990s This striking portrait represents Sir Charles Theophilus Metclafe, Bart. (1785-1846), whose career in the Bengal Civil Service spanned the years 1801-1838. He became the Resident of Delhi in 1811, Resident of Hyderabad in 1920, Member of the Supreme Council in 1827, and Acting Governor-General of India in 1835-8; after leaving India he became Governor-General of Jamaica and then of Canada, and was created Baron Metcalfe in 1845. For British portraits of Metcalfe at a comparable age see Patrick Conner, George Chinnery, artist of India and the China Coast, 1993, pl.62; Edward Thompson, The Life of Charles, Lord Metcalfe, 1937, anon. artist, opp.364; and Christie’s (London) 20 July 1990, lot 330 (as by George Chinnery). All three clearly depict the double chin, the folds at the sides of the mouth, and the swept-back hair – all features which, together with the copious sidewhiskers, are emphasised by the painter. In other respects also the painting is distinctively Indian – the rich gold patterning of the fringed purple canopy, the finely detailed handling of hair and whiskers, the somewhat stylised landscape in the distance, and the green and ochre borders. A version in miniature of the portrait, apparently by the same artist, survives in a private collection. Indian Artist Portrait of Sir Charles Metcalfe, c.1835 Watercolour and gold paint 36.8 x 29.2 cm 14 1/2 x 11 1/2 in Provenance Private UK collection, acquired in the mid 1990s This striking portrait represents Sir Charles Theophilus Metclafe, Bart. (1785-1846), whose career in the Bengal Civil Service spanned the years 1801-1838. He became the Resident of Delhi in 1811, Resident of Hyderabad in 1920, Member of the Supreme Council in 1827, and Acting Governor-General of India in 1835-8; after leaving India he became Governor-General of Jamaica and then of Canada, and was created Baron Metcalfe in 1845. For British portraits of Metcalfe at a comparable age see Patrick Conner, George Chinnery, artist of India and the China Coast, 1993, pl.62; Edward Thompson, The Life of Charles, Lord Metcalfe, 1937, anon. artist, opp.364; and Christie’s (London) 20 July 1990, lot 330 (as by George Chinnery). All three clearly depict the double chin, the folds at the sides of the mouth, and the swept-back hair – all features which, together with the copious sidewhiskers, are emphasised by the painter. In other respects also the painting is distinctively Indian – the rich gold patterning of the fringed purple canopy, the finely detailed handling of hair and whiskers, the somewhat stylised landscape in the distance, and the green and ochre borders. A version in miniature of the portrait, apparently by the same artist, survives in a private collection.
ENGLISH SCHOOL Portrait of a Parsee Boy, 1884 Oil on canvas Signed and dated "J Maggs / 1884" lower left 38 x 29 cm 15 x 11 3/8 in PROVENANCE With Indar Pasrichar Fine Arts; Private UK collection ENGLISH SCHOOL Portrait of a Parsee Boy, 1884 Oil on canvas Signed and dated "J Maggs / 1884" lower left 38 x 29 cm 15 x 11 3/8 in PROVENANCE With Indar Pasrichar Fine Arts; Private UK collection
HORACE VAN RUITH (1839-1923) Smoking Figure, c.1880 Oil on canvas Signed 'HORACE VAN RUITH' lower right, letter from Sir Merton Russell-Cotes pasted on the reverse 56 x 30 cm 22 1/8 x 11 3/4 in PROVENANCE Sir Merton Russell-Cotes (1835-1921), Bournemouth, UK; acquired from the studio of the artist; By descent to his son Herbert Merton; Private German collection; Private Swiss collection; Grosvenor Gallery, London HORACE VAN RUITH (1839-1923) Smoking Figure, c.1880 Oil on canvas Signed 'HORACE VAN RUITH' lower right, letter from Sir Merton Russell-Cotes pasted on the reverse 56 x 30 cm 22 1/8 x 11 3/4 in PROVENANCE Sir Merton Russell-Cotes (1835-1921), Bournemouth, UK; acquired from the studio of the artist; By descent to his son Herbert Merton; Private German collection; Private Swiss collection; Grosvenor Gallery, London
HORACE VAN RUITH (1839-1923) Untitled (Village Girl), c.1880 Gouache on paper Signed lower right 'Horace van Ruith' 53.1 x 37 cm 20 7/8 x 14 5/8 in PROVENANCE Private German collection HORACE VAN RUITH (1839-1923) Untitled (Village Girl), c.1880 Gouache on paper Signed lower right 'Horace van Ruith' 53.1 x 37 cm 20 7/8 x 14 5/8 in PROVENANCE Private German collection
BENGAL SCHOOL Angel with two grieving figures, 1932 ink and gouache on paper, signed with monogram and dated 1932 lower right, bears inscription on the reverse 40.2 x 28.6 cm 15 7/8 x 11 1/4 in BENGAL SCHOOL Angel with two grieving figures, 1932 ink and gouache on paper, signed with monogram and dated 1932 lower right, bears inscription on the reverse 40.2 x 28.6 cm 15 7/8 x 11 1/4 in
JAMINI ROY (1887 - 1972) Horse, c.1940 Tempera on card Signed lower right, the backboard inscribed by Maurice Draper 'Jamini Roy/ Calcutta/ 1940' 39.4 x 29.6 cm 15 1/2 x 11 5/8 in PROVENANCE Given by the artist to Maurice Draper (1907-2012), Calcutta, 1940 (by repute in exchange for one of his paintings); Thence by descent; Grosvenor Gallery, London Maurice Draper lived and worked in India from 1930-1945. Employed as an art teacher at La Martiniere school in Calcutta he travelled widely, making sketches and watercolours of the country. A contemporary review of an exhibition of Draper's work mentions the influence of Jamini Roy, and it seems the two artists met and exchanged works in 1940. Following spells in Lucknow and Darjeeling, Draper and his family returned to the UK in 1945. JAMINI ROY (1887 - 1972) Horse, c.1940 Tempera on card Signed lower right, the backboard inscribed by Maurice Draper 'Jamini Roy/ Calcutta/ 1940' 39.4 x 29.6 cm 15 1/2 x 11 5/8 in PROVENANCE Given by the artist to Maurice Draper (1907-2012), Calcutta, 1940 (by repute in exchange for one of his paintings); Thence by descent; Grosvenor Gallery, London Maurice Draper lived and worked in India from 1930-1945. Employed as an art teacher at La Martiniere school in Calcutta he travelled widely, making sketches and watercolours of the country. A contemporary review of an exhibition of Draper's work mentions the influence of Jamini Roy, and it seems the two artists met and exchanged works in 1940. Following spells in Lucknow and Darjeeling, Draper and his family returned to the UK in 1945.
ABDUR RAHMAN CHUGHTAI (1897-1975) To Mecca Dry point etching and aquatint on paper Signed and titled along lower edge 33 x 38.1 cm 13 x 15 in ABDUR RAHMAN CHUGHTAI (1897-1975) To Mecca Dry point etching and aquatint on paper Signed and titled along lower edge 33 x 38.1 cm 13 x 15 in
LANCELOT RIBEIRO (1933-2011) Strange Town, 1962 Oil on board Signed and dated upper left 91.5 x 80 cm 36 1/8 x 31 1/2 in PROVENANCE Purchased from Piccadilly Gallery, London 25.3.1963 by the Leicester Education Committee for £25.0.0 (original invoice on file) Golding, Young and Mawer, 150th Anniversary Auction, 4 September 2014 Acquired from the above by Roderick Burton, Caistor, Lincs. Hemswell Antiques Centre Grosvenor Gallery, acquired from the above LANCELOT RIBEIRO (1933-2011) Strange Town, 1962 Oil on board Signed and dated upper left 91.5 x 80 cm 36 1/8 x 31 1/2 in PROVENANCE Purchased from Piccadilly Gallery, London 25.3.1963 by the Leicester Education Committee for £25.0.0 (original invoice on file) Golding, Young and Mawer, 150th Anniversary Auction, 4 September 2014 Acquired from the above by Roderick Burton, Caistor, Lincs. Hemswell Antiques Centre Grosvenor Gallery, acquired from the above
SAYED HAIDER RAZA (1922-2016) Ferveur Noire, 1969 Acrylic on canvas Signed and dated 'RAZA '69' lower right, the reverse signed, dated, titled and inscribed '5F'/ ‘P.794’69' 35 x 27 cm 13 3/4 x 10 5/8 in PROVENANCE Private French collection; Grosvenor Gallery, London PUBLICATIONS Macklin, Anne, SH Raza, Catalogue Raisonne, vol 1 (1958-1971), New Delhi, 2016, p.177 SAYED HAIDER RAZA (1922-2016) Ferveur Noire, 1969 Acrylic on canvas Signed and dated 'RAZA '69' lower right, the reverse signed, dated, titled and inscribed '5F'/ ‘P.794’69' 35 x 27 cm 13 3/4 x 10 5/8 in PROVENANCE Private French collection; Grosvenor Gallery, London PUBLICATIONS Macklin, Anne, SH Raza, Catalogue Raisonne, vol 1 (1958-1971), New Delhi, 2016, p.177
FRANCIS NEWTON SOUZA (1924-2002) Volvox Head, 1974 Oil on board Signed and dated 'Souza 74' upper left, the reverse inscribed 'FN Souza, Volvox Head - 1974 oil, 20 x 15' 50.8 x 40.6 cm 20 x 16 in PROVENANCE Private UK collection; Grosvenor Gallery, London EXHIBITIONS F.N. Souza, Saffronart and Grosvenor Gallery, New York, 16 September - 15 October 2008, No. 37, (illustrated in the catalogue p.93 and 119) South Asian Modern Art 2020, Grosvenor Gallery, London, 23 July - 14 August 2020 (illustrated exh. cat. pg. 29) FRANCIS NEWTON SOUZA (1924-2002) Volvox Head, 1974 Oil on board Signed and dated 'Souza 74' upper left, the reverse inscribed 'FN Souza, Volvox Head - 1974 oil, 20 x 15' 50.8 x 40.6 cm 20 x 16 in PROVENANCE Private UK collection; Grosvenor Gallery, London EXHIBITIONS F.N. Souza, Saffronart and Grosvenor Gallery, New York, 16 September - 15 October 2008, No. 37, (illustrated in the catalogue p.93 and 119) South Asian Modern Art 2020, Grosvenor Gallery, London, 23 July - 14 August 2020 (illustrated exh. cat. pg. 29)
BHUPEN KHAKHAR (1934-2003) Friends Pencil on paper Signed lower right, verso with drawing 'Head of a Man' height 26.9 cm cm height 10 5/8 in BHUPEN KHAKHAR (1934-2003) Friends Pencil on paper Signed lower right, verso with drawing 'Head of a Man' height 26.9 cm cm height 10 5/8 in
SAYED HAIDER RAZA (1922-2016) Untitled (Bindu/La Terre), 1982 Silkscreen on paper Signed lower right and numbered 11/120 lower left Print produced by the Noblet workshop in Grenoble Image: 49 x 48.5 cm, 19 1/4 x 19 1/8 in Sheet: 64.5 x 48.5 cm, 25 3/8 x 19 1/8 in SAYED HAIDER RAZA (1922-2016) Untitled (Bindu/La Terre), 1982 Silkscreen on paper Signed lower right and numbered 11/120 lower left Print produced by the Noblet workshop in Grenoble Image: 49 x 48.5 cm, 19 1/4 x 19 1/8 in Sheet: 64.5 x 48.5 cm, 25 3/8 x 19 1/8 in
SAYED HAIDER RAZA (1922-2016) Bindu/Germination, 1986 Acrylic on canvas, diptych Each panel signed, dated, titled and inscribed with the size on the reverse 60 x 30 cm 23 5/8 x 11 3/4 in PROVENANCE Private Collection, Paris Grosvenor Gallery, London EXHIBITIONS RAZA/TANTRA, Frieze Masters (exhibition catalogue), London, 2019, p.2 SAYED HAIDER RAZA (1922-2016) Bindu/Germination, 1986 Acrylic on canvas, diptych Each panel signed, dated, titled and inscribed with the size on the reverse 60 x 30 cm 23 5/8 x 11 3/4 in PROVENANCE Private Collection, Paris Grosvenor Gallery, London EXHIBITIONS RAZA/TANTRA, Frieze Masters (exhibition catalogue), London, 2019, p.2
DHRUVA MISTRY (b. 1957) Maya Medallion: The Dark One, 1988 Bronze Signed, inscribed and dated in the metal, from an edition of 56 Cast by the British Art Medal Society 12.6 cm in diameter About the medal, the artist wrote, ‘Maya is enchantment. The Dark One explores some of the qualities of this nature enhancing visual perception’. DHRUVA MISTRY (b. 1957) Maya Medallion: The Dark One, 1988 Bronze Signed, inscribed and dated in the metal, from an edition of 56 Cast by the British Art Medal Society 12.6 cm in diameter About the medal, the artist wrote, ‘Maya is enchantment. The Dark One explores some of the qualities of this nature enhancing visual perception’.
Elisabeth Deane (b. 1985) The Sun (Aten), 2019 Italian gold leaf and tempera on linen 180 x 180 cm 70 7/8 x 70 7/8 in Elisabeth Deane (b. 1985) The Sun (Aten), 2019 Italian gold leaf and tempera on linen 180 x 180 cm 70 7/8 x 70 7/8 in
OLIVIA FRASER (b. 1965) The Seven Chakras, 2019 Stone pigments and Arabic gum on handmade Sanganer paper 116.8 x 66 cm 46 x 26 in OLIVIA FRASER (b. 1965) The Seven Chakras, 2019 Stone pigments and Arabic gum on handmade Sanganer paper 116.8 x 66 cm 46 x 26 in
SENAKA SENANAYAKE (b. 1951) Heliconias, 2019 Oil on canvas Signed and dated 122 x 122 cm 48 1/8 x 48 1/8 in SENAKA SENANAYAKE (b. 1951) Heliconias, 2019 Oil on canvas Signed and dated 122 x 122 cm 48 1/8 x 48 1/8 in
Zimbiri (b. 1991) Circle, 2020 Saa-tshen on Rhay-shing (Earth paint on canvas) Signed 161.8 x 166.6 cm 63 3/4 x 65 5/8 in Zimbiri (b. 1991) Circle, 2020 Saa-tshen on Rhay-shing (Earth paint on canvas) Signed 161.8 x 166.6 cm 63 3/4 x 65 5/8 in
Zimbiri (b. 1991) Boxed Twin 1, 2020 Saa-tshen on Rhay-shing (Earth paint on canvas) Signed 76.5 x 76 cm 30 1/8 x 29 7/8 in Zimbiri (b. 1991) Boxed Twin 1, 2020 Saa-tshen on Rhay-shing (Earth paint on canvas) Signed 76.5 x 76 cm 30 1/8 x 29 7/8 in
Zimbiri (b. 1991) Boxed 5, 2020 Saa-tshen on Rhay-shing (Earth paint on canvas) Signed 147 x 147 cm 58 x 58 in Zimbiri (b. 1991) Boxed 5, 2020 Saa-tshen on Rhay-shing (Earth paint on canvas) Signed 147 x 147 cm 58 x 58 in
Zimbiri (b. 1991) Boxed 8, 2020 Saa-tshen on Rhay-shing (Earth paint on canvas) Signed 76.5 x 76 cm 30 1/8 x 29 7/8 in Zimbiri (b. 1991) Boxed 8, 2020 Saa-tshen on Rhay-shing (Earth paint on canvas) Signed 76.5 x 76 cm 30 1/8 x 29 7/8 in
Zimbiri (b. 1991) Boxed 7, 2020 Saa-tshen and charcoal on Rhay-shing (Earth paint and charcoal on canvas) Signed 137.2 x 91.4 cm 54 x 36 in Zimbiri (b. 1991) Boxed 7, 2020 Saa-tshen and charcoal on Rhay-shing (Earth paint and charcoal on canvas) Signed 137.2 x 91.4 cm 54 x 36 in
Zimbiri (b. 1991) Boxed Love, 2020 Saa-tshen on Rhay-shing (Earth paint on canvas) Signed 176.5 x 165.7 cm 69 1/2 x 65 1/4 in Zimbiri (b. 1991) Boxed Love, 2020 Saa-tshen on Rhay-shing (Earth paint on canvas) Signed 176.5 x 165.7 cm 69 1/2 x 65 1/4 in

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