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ART · DESIGN · LUXURY



An introduction to NFTs

In an era where technology is moving forward in leaps and bounds it is but natural that the art world enters a new domain, ‘NFT.’ The abbreviation NFT stands for a Non-fungible token. It is a unique digital token now recognised as a collectible digital asset. This means that if you have the winning bid for an artwork, you will not get a sculpture, painting, or even a print in flesh. Instead, you will receive a unique digital token referred to as an NFT. 
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An introduction to NFTs
An introduction to NFTs

An introduction to NFTs

In an era where technology is moving forward in leaps and bounds it is but natural that the art world enters a new domain, ‘NFT.’ The abbreviation NFT stands for a Non-fungible token. It is a unique digital token now recognised as a collectible digital asset. This means that if you have the winning bid for an artwork, you will not get a sculpture, painting, or even a print in flesh. Instead, you will receive a unique digital token referred to as an NFT. 

An ode to Sankha Ghosh

The country just lost an eminent poet and a Rabindranath Tagore specialist. I had first heard of Sankha Ghosh from Raman Sivakumar at Santiniketan, who had suggested I take his help in annotating Rabindranath Tagore’s speeches from the Rathindranath Tagore estate. Annotating Rabindranath is not an easy task, there are many nuances. These speeches were written in interesting times – independence movement, internal politics in Santiniketan, impending wars, and leading up to the famous crisis of civilizations speech just before he passed away.
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An ode to Sankha Ghosh
An ode to Sankha Ghosh

An ode to Sankha Ghosh

The country just lost an eminent poet and a Rabindranath Tagore specialist. I had first heard of Sankha Ghosh from Raman Sivakumar at Santiniketan, who had suggested I take his help in annotating Rabindranath Tagore’s speeches from the Rathindranath Tagore estate. Annotating Rabindranath is not an easy task, there are many nuances. These speeches were written in interesting times – independence movement, internal politics in Santiniketan, impending wars, and leading up to the famous crisis of civilizations speech just before he passed away.

Rabindranath Tagore's speeches: Santiniketan Mandir

...have hurt my ears severely. In entire India, it is only in Bengal, that Sanskrit pronunciation is such non-Aryan. Mutilation of Sanskrit in such a manner, I have not seen in any other state. Especially convolution of utter-able mantras is to be considered a blunder. Since it has hurt me, I had to say this.
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Rabindranath Tagore's speeches: Santiniketan Mandir
Rabindranath Tagore's speeches: Santiniketan Mandir

Rabindranath Tagore's speeches: Santiniketan Mandir

...have hurt my ears severely. In entire India, it is only in Bengal, that Sanskrit pronunciation is such non-Aryan. Mutilation of Sanskrit in such a manner, I have not seen in any other state. Especially convolution of utter-able mantras is to be considered a blunder. Since it has hurt me, I had to say this.

Rabindrath Tagore's speeches: Mandir

After many days, today I am present in front of you in this shrine (mandir). I have come with a lot of hesitation. I am aware that due to prolonged absence our entire organization has become weak. For whatever reason it may be, your minds are no longer ready to accept all the functions, activities, and rites of the Ashrama. There is no point denying this. For this, not only are you to be held responsible but we are equally responsible.
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Rabindrath Tagore's speeches: Mandir
Rabindrath Tagore's speeches: Mandir

Rabindrath Tagore's speeches: Mandir

After many days, today I am present in front of you in this shrine (mandir). I have come with a lot of hesitation. I am aware that due to prolonged absence our entire organization has become weak. For whatever reason it may be, your minds are no longer ready to accept all the functions, activities, and rites of the Ashrama. There is no point denying this. For this, not only are you to be held responsible but we are equally responsible.

Rabindranath Tagore's speeches: Havell Hall

Today, dedicated to whose memory we have gathered together, whose memory-hall is to be founded today; it is necessary to tell something about him. His identity for many today is not that bright.
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Rabindranath Tagore's speeches: Havell Hall
Rabindranath Tagore's speeches: Havell Hall

Rabindranath Tagore's speeches: Havell Hall

Today, dedicated to whose memory we have gathered together, whose memory-hall is to be founded today; it is necessary to tell something about him. His identity for many today is not that bright.

SANKHA GHOSH: ‘The Silent Index Finger’

The passing away of noted Bengali poet, essayist, Tagorian scholar, at the age of 90 on April 21st signifies an end of an era in Bengali literature and creates an irreplaceable void in the cultural domain of Bengali intelligentsia. Otherwise, soft-spoken and sober, Sankha babu in his immaculate white-dhoti-Punjabi, in his quiet and calm way became the most vociferous voice of Bengali youth and civil society in his writings. Be it on anything in the cultural field or the world around us, he became the conscience of every sensitive, educated Bengali, who never hesitated to speak out his mind, loud and clear, irrespective of the political regimes in the state.
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SANKHA GHOSH: ‘The Silent Index Finger’
SANKHA GHOSH: ‘The Silent Index Finger’

SANKHA GHOSH: ‘The Silent Index Finger’

The passing away of noted Bengali poet, essayist, Tagorian scholar, at the age of 90 on April 21st signifies an end of an era in Bengali literature and creates an irreplaceable void in the cultural domain of Bengali intelligentsia. Otherwise, soft-spoken and sober, Sankha babu in his immaculate white-dhoti-Punjabi, in his quiet and calm way became the most vociferous voice of Bengali youth and civil society in his writings. Be it on anything in the cultural field or the world around us, he became the conscience of every sensitive, educated Bengali, who never hesitated to speak out his mind, loud and clear, irrespective of the political regimes in the state.

M.F. Husain: The King of Hearts by Ashvin E. Rajagopalan

The only time I have seen M. F. Husain in person was at his exhibition in honour of singer M. S. Subbulakshmi at a gallery in Chennai (Madras) in 2004. Wearing no footwear, except for thick black socks, and wielding a massive paintbrush in one hand, Husain was surrounded by a group of Chennai’s socialites. I was patiently waiting behind them to meet Husain when he suddenly popped out and said, “Hello”. I was giddy with excitement and asked him to autograph the invitation card I had in my hand. He did so and quickly moved on to greet the next visitor. Husain was as excited to meet unknown gallery visitors as they were to meet him—the energy was amazing for a man who, at that time, was 91 years old. A year or so later, Husain left India, never to return. 
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M.F. Husain: The King of Hearts by Ashvin E. Rajagopalan
M.F. Husain: The King of Hearts by Ashvin E. Rajagopalan

M.F. Husain: The King of Hearts by Ashvin E. Rajagopalan

The only time I have seen M. F. Husain in person was at his exhibition in honour of singer M. S. Subbulakshmi at a gallery in Chennai (Madras) in 2004. Wearing no footwear, except for thick black socks, and wielding a massive paintbrush in one hand, Husain was surrounded by a group of Chennai’s socialites. I was patiently waiting behind them to meet Husain when he suddenly popped out and said, “Hello”. I was giddy with excitement and asked him to autograph the invitation card I had in my hand. He did so and quickly moved on to greet the next visitor. Husain was as excited to meet unknown gallery visitors as they were to meet him—the energy was amazing for a man who, at that time, was 91 years old. A year or so later, Husain left India, never to return. 

Pupul Jayakar: the craft catalyst

Pupul Jayakar had an undying passion for preserving the country's culture and weaving tradition. She was a writer and an advocate of crafts in Indian society. The textile scholar aimed to restore India's cottage weaving industry. Her interest in rural arts and crafts, her eye for potential, and her unparalleled execution skills initiated a change in many areas of craft. Jayakar singlehandedly led the revival of arts and handicrafts in India. Hence, she established The Weavers' Service Centre formerly known as the Handloom Design Centre in the 1950s. 
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Pupul Jayakar: the craft catalyst
Pupul Jayakar: the craft catalyst

Pupul Jayakar: the craft catalyst

Pupul Jayakar had an undying passion for preserving the country's culture and weaving tradition. She was a writer and an advocate of crafts in Indian society. The textile scholar aimed to restore India's cottage weaving industry. Her interest in rural arts and crafts, her eye for potential, and her unparalleled execution skills initiated a change in many areas of craft. Jayakar singlehandedly led the revival of arts and handicrafts in India. Hence, she established The Weavers' Service Centre formerly known as the Handloom Design Centre in the 1950s. 

Ganesh Pyne: The Mystical Artist

An intensely private artist whose artistic imagination was fuelled by the strange, dark fantasy of his grandmother’s stories and charred by the horrors of his reality, Ganesh Pyne's paintings are quiet revelations of his personality. Pyne's intricate ink works, haunting temperas, and jottings are rich in imagery and symbolism, bordering along the uncanny and drawing our attention to a world beyond the familiar. His art deeply rooted in dark, unsettling images, derived from mythology and dreams. 
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Ganesh Pyne: The Mystical Artist
Ganesh Pyne: The Mystical Artist

Ganesh Pyne: The Mystical Artist

An intensely private artist whose artistic imagination was fuelled by the strange, dark fantasy of his grandmother’s stories and charred by the horrors of his reality, Ganesh Pyne's paintings are quiet revelations of his personality. Pyne's intricate ink works, haunting temperas, and jottings are rich in imagery and symbolism, bordering along the uncanny and drawing our attention to a world beyond the familiar. His art deeply rooted in dark, unsettling images, derived from mythology and dreams. 

Uncle Husain by Anjum Siddiqui

I had the good fortune of spending a larger part of my life in close association with M. F. Husain. Or Uncle H, as I called him. He was more than just a friend of the family. He was part of the family. We all lived, painted, and went on vacations together. There were always the choicest of paints and canvases in the house while growing up, for which I am always thankful to him. I got to paint alongside him right from when I was 6 years old. As a child, he must have seen a unique creative spark in me. Or so he said to me in a note, written inside a book he sent me just a month before he passed away. 
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Uncle Husain by Anjum Siddiqui
Uncle Husain by Anjum Siddiqui

Uncle Husain by Anjum Siddiqui

I had the good fortune of spending a larger part of my life in close association with M. F. Husain. Or Uncle H, as I called him. He was more than just a friend of the family. He was part of the family. We all lived, painted, and went on vacations together. There were always the choicest of paints and canvases in the house while growing up, for which I am always thankful to him. I got to paint alongside him right from when I was 6 years old. As a child, he must have seen a unique creative spark in me. Or so he said to me in a note, written inside a book he sent me just a month before he passed away. 

On Bhupen Khakhar's encaustic painting - Ranjit Hoskote

At first sight, this encaustic painting – rendered in heated beeswax, into which pigments of various colours have been mixed – seems to be worlds away from what most viewers know of Bhupen Khakhar’s work. There are no limp-limbed yet curiously wide-awake men from a broad middle class; no domestic interiors laid out for erotic encounter; no playful or picaresque encounters among figures whose ordinariness is belied by some eccentric bodily feature or undecipherable gesture. No figures at all, in fact. 
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On Bhupen Khakhar's encaustic painting - Ranjit Hoskote
On Bhupen Khakhar's encaustic painting - Ranjit Hoskote

On Bhupen Khakhar's encaustic painting - Ranjit Hoskote

At first sight, this encaustic painting – rendered in heated beeswax, into which pigments of various colours have been mixed – seems to be worlds away from what most viewers know of Bhupen Khakhar’s work. There are no limp-limbed yet curiously wide-awake men from a broad middle class; no domestic interiors laid out for erotic encounter; no playful or picaresque encounters among figures whose ordinariness is belied by some eccentric bodily feature or undecipherable gesture. No figures at all, in fact. 

Jewellery terms

If you are looking to start and sustain a jewellery collection, you must be aware of its frequently used terms to be able to make an informed choice. Here is a list of frequently used terminologies for every jewellery connoisseur out there. 
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Jewellery terms
Jewellery terms

Jewellery terms

If you are looking to start and sustain a jewellery collection, you must be aware of its frequently used terms to be able to make an informed choice. Here is a list of frequently used terminologies for every jewellery connoisseur out there. 

Bhupen Khakhar: the gentle radical painter

An observer and painter of life, a chartered accountant occasionally picked up his paintbrush to reflect the uncanny, the fantastical, the mixed droll, and dramatic impulses quintessential to everyday life. Bhupen Khakhar (b.1934) unabashedly revealed the melancholia, mundanities, and inner monologues of the marginal man. Khakhar was born in Bombay, but the quaint town of Baroda nurtured the artist in him. An office accountant in the city of dreams, money was not the only thing Bhupen wished to draw.
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Bhupen Khakhar: the gentle radical painter
Bhupen Khakhar: the gentle radical painter

Bhupen Khakhar: the gentle radical painter

An observer and painter of life, a chartered accountant occasionally picked up his paintbrush to reflect the uncanny, the fantastical, the mixed droll, and dramatic impulses quintessential to everyday life. Bhupen Khakhar (b.1934) unabashedly revealed the melancholia, mundanities, and inner monologues of the marginal man. Khakhar was born in Bombay, but the quaint town of Baroda nurtured the artist in him. An office accountant in the city of dreams, money was not the only thing Bhupen wished to draw.

From the archives: F.N. Souza on Modern Art

A letter written by Francis Newton Souza expressing his views on Modern Art in the summer of '88. This is one of Souza's three letters to be featured in the Modern Indian Art auction this May,
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From the archives: F.N. Souza on Modern Art
From the archives: F.N. Souza on Modern Art

From the archives: F.N. Souza on Modern Art

A letter written by Francis Newton Souza expressing his views on Modern Art in the summer of '88. This is one of Souza's three letters to be featured in the Modern Indian Art auction this May,

Manjit Bawa: the lyrical painter

Once upon a time, a dreamer derived his painterly language from Indian mythological tales, legends, and fables rich in moral and spiritual lessons. Manjit Bawa (b. 1941) introduced fragments of his thoughts, ideas, and poetry into the rational world throughout his artistic oeuvre. Born in Dhuri, Punjab, Bawa's childlike fascination with music, spirituality, and philosophy breathed heavily on his canvas. Manjit Bawa's artworks are mystical musicals that strike a chord and capture a dream.
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Manjit Bawa: the lyrical painter
Manjit Bawa: the lyrical painter

Manjit Bawa: the lyrical painter

Once upon a time, a dreamer derived his painterly language from Indian mythological tales, legends, and fables rich in moral and spiritual lessons. Manjit Bawa (b. 1941) introduced fragments of his thoughts, ideas, and poetry into the rational world throughout his artistic oeuvre. Born in Dhuri, Punjab, Bawa's childlike fascination with music, spirituality, and philosophy breathed heavily on his canvas. Manjit Bawa's artworks are mystical musicals that strike a chord and capture a dream.

A historical rediscovery: the second PAG Catalogue, 1950

Stated below is the text of the second catalog of the Bombay Progressive Artists' Group in collaboration with the Calcutta Group. Gobardhan Ash's works were exhibited in the joint show of the Calcutta Group and Progressive Artists’ Group alongside masters such as K.H. Ara, Francis Newton Souza, Maqbool Fida Husain, S.H. Raza, H.A. Gade, and S.K. Bakre at Calcutta in 1950. This document is indeed a historically prominent yet lesser-known artistic discovery in the world of modern Indian art. 
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A historical rediscovery: the second PAG Catalogue, 1950
A historical rediscovery: the second PAG Catalogue, 1950

A historical rediscovery: the second PAG Catalogue, 1950

Stated below is the text of the second catalog of the Bombay Progressive Artists' Group in collaboration with the Calcutta Group. Gobardhan Ash's works were exhibited in the joint show of the Calcutta Group and Progressive Artists’ Group alongside masters such as K.H. Ara, Francis Newton Souza, Maqbool Fida Husain, S.H. Raza, H.A. Gade, and S.K. Bakre at Calcutta in 1950. This document is indeed a historically prominent yet lesser-known artistic discovery in the world of modern Indian art. 

Gobardhan Ash: the quiet master artist

A silent, dedicated artist content amidst the walls of paintings stacked in his Begumpur mud house stirred a quiet revolution against the preconceived notions of artistic expression. No wonder Gobardhan Ash (b.1907) carved a niche for himself as an individualistic artist who fearlessly explored diverse artistic styles and techniques.
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Gobardhan Ash: the quiet master artist
Gobardhan Ash: the quiet master artist

Gobardhan Ash: the quiet master artist

A silent, dedicated artist content amidst the walls of paintings stacked in his Begumpur mud house stirred a quiet revolution against the preconceived notions of artistic expression. No wonder Gobardhan Ash (b.1907) carved a niche for himself as an individualistic artist who fearlessly explored diverse artistic styles and techniques.

An introduction to the Weavers' Service Centre

Years ago, artists from various walks of life gravitated towards a creative anomaly near Mumbai's Opera House. The Weavers' Service Centre was established in the 1950s by Pupul Jayakar. Masters such as Prabhakar Barwe, Anand Mohan Naik, Gautam Waghela, Ramesh Vaghela, and Gopal Adivrekar designed textiles at the center for years to support themselves while exploring their identities as artists. 
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An introduction to the Weavers' Service Centre
An introduction to the Weavers' Service Centre

An introduction to the Weavers' Service Centre

Years ago, artists from various walks of life gravitated towards a creative anomaly near Mumbai's Opera House. The Weavers' Service Centre was established in the 1950s by Pupul Jayakar. Masters such as Prabhakar Barwe, Anand Mohan Naik, Gautam Waghela, Ramesh Vaghela, and Gopal Adivrekar designed textiles at the center for years to support themselves while exploring their identities as artists. 

How to acquire antiques online

While the good old days of sauntering amidst quaint antique stores and art galleries might be on hold for now, the thrill of the hunt has now shifted online. And if done right, antique shopping can be rewarding – by uncovering an elaborate piece of history or acquiring artworks that speak to you. If the antique collector in you is tugging at your sleeve to bring home vintage furniture and rare collectibles, follow our lead.
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How to acquire antiques online
How to acquire antiques online

How to acquire antiques online

While the good old days of sauntering amidst quaint antique stores and art galleries might be on hold for now, the thrill of the hunt has now shifted online. And if done right, antique shopping can be rewarding – by uncovering an elaborate piece of history or acquiring artworks that speak to you. If the antique collector in you is tugging at your sleeve to bring home vintage furniture and rare collectibles, follow our lead.

Antiques and their provenance

In the world of antiquing, provenance refers to the history of an acquired object. The provenance of a piece traces its origin back to its owner(s) or where it comes from. A certain artifact could belong to a previous era, like a glorious chandelier that once illuminated the ballroom of a magnificent palace. Or a scatter of old maps, manuscripts, and sheets quietly tucked away in between the pages of old books at a library.
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Antiques and their provenance
Antiques and their provenance

Antiques and their provenance

In the world of antiquing, provenance refers to the history of an acquired object. The provenance of a piece traces its origin back to its owner(s) or where it comes from. A certain artifact could belong to a previous era, like a glorious chandelier that once illuminated the ballroom of a magnificent palace. Or a scatter of old maps, manuscripts, and sheets quietly tucked away in between the pages of old books at a library.
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