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The Gopis Gather to Behold Krishna (detail)
Kota, Rajasthan
Circa 1830
Opaque watercolour and gold on cotton
93 x 120 cm
Prahlad Bubbar is delighted to participate in Frieze Masters London with a captivating collection of works speaking to the theme of ‘A Surrealist Eye.’
Marking 100 years since André Breton’s Surrealist Manifesto, as celebrated by the Centre Pompidou’s current Surrealism exhibition, the gallery’s presentation will offer a curated glimpse of the surreal, and the “proto-surreal”, through placing works which speak universally to the subconscious, and in-turn possess a dreamlike quality.
At the heart of the collection is a superb large-scale altar textile, or sihri, from the Kota school of Rajasthan (1800- 1830), titled The Gopis Gather to Behold Krishna. With a companion piece held in the collection of the National Gallery of Australia, this masterpiece is first and foremost remarkable for the incisive quality of the figural drawing of each of the gopis—devoted female cowherds—gazing towards an absent deity. Previously part of a prestigious German collection, the work, with its fluctuations of figurative scales and the delicate individuality of each female character, creates a conceptual void, inviting viewers to contemplate the spiritual presence traditionally placed on the altar, drawing them into a dreamlike, meditative experience.
A further highlight is an outstanding Zoomorphic silver-gilt Parrot dagger of late 16th century Deccan origin. This exquisitely charming object carries immense symbolic and artistic value, showcasing the highest level of craftsmanship in silver and gold. With the beautifully rendered naturalism of the parrot form, we are symbolically summoned to grasp the history of Indo-Persian storytelling and literary eloquence as symbolised by the parrot figure of which the Deccan Sultanates would have honoured.
Integral to the presentation is a noteworthy selection of works from the Arturo Schwarz collection, featuring pieces that showcase his fascination and keen eye for the surreal. Among them is a Composite Ram (c. 1750), an extraordinary Indian miniature painting that blends animals into a single form, symbolising the interconnectedness of souls (Samsara). Its compact, visually surreal composition exemplifies the visionary themes of the collection.
We are also pleased to present Schwarz’s personal example of Man Ray’s Chess Set and Table (1962-66). An elegant masterpiece whereby Man Ray mystified the rules of the game by integrating a French theatrical poem around the edge of the board. Shown alongside Man Ray’s iconic photograph Demain (1929/1962), which immortalises Kiki de Montparnasse in a captivating double exposure. These two remarkable works highlight the Surrealist ambition to merge dream and reality.
Also on display is an extraordinary series of vintage photographs by Attilio Bacci, directed by Arturo Schwarz, documenting Marcel Duchamp’s Readymades (1964). These rare images reveal the meticulous approach to the “surrealist eye.”
Through this unique collection of paintings, photographs, and objects spanning five centuries, Prahlad Bubbar presents a thought-provoking perspective on ‘A Surrealist Eye.’
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