Important Notice

Lot 27

 

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Given a grant to work and study in Paris in 1952, F.N. Souza established several important connections with Western European gallerists and dealers there. Although Paris wasn't "the genuine Mecca for painters" that he imagined, it was there that he met Raymond Creuze and Iris Clert, who would significantly propel his artistic career over the next several years. It was also in Paris that Souza met Harold Kovner in 1956, his first and, perhaps,... Given a grant to work and study in Paris in 1952, F.N. Souza established several important connections with Western European gallerists and dealers there. Although Paris wasn't "the genuine Mecca for painters" that he imagined, it was there that he met Raymond Creuze and Iris Clert, who would significantly propel his artistic career over the next several years. It was also in Paris that Souza met Harold Kovner in 1956, his first and, perhaps, his most important patron. The present lot, painted more than a decade after Souza and Kovner parted ways, underlines the significance that their relationship held for the artist.

"Kovner, a wealthy American, had come over from New York to find a young artist whom he could take up. He saw Iris Clert, who showed him all her pet abstracts, artist by artist. Kovner remained unimpressed. Finally, and with some reluctance, she let him downstairs and produced several paintings by Souza. Kovner jumped. Within 24 hours he had met Souza, given him money, taken away some pictures, made arrangements for the future, and was flying back to New York. The arrangement was a perfectly simple one. Souza was to keep him supplied with pictures every few months - entirely of the artist's choosing - and in return Kovner would keep him supplied with money. It lasted four years, and Mr. Kovner is now the owner of nearly 200 Souzas. It was a case of patronage of the most simple and practical kind, and needless to say it enabled Souza to live without acute financial worries for the first time in his life" (Edwin Mullins, Souza, Anthony Blond Ltd., London, 1962, p. 26).

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