https://archive.metromod.net/viewer.p/69/2951/object/5138-7555936
Kekoo Minochair Gandhy
Kaikhushru
Starting from a cosmopolitan milieu for young local artists, Kekoo and his wife Khorshed Gandhy developed a business model that turned the frame shop into Gallery Chemould.
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Bhatia, Sidharth. “The Accidental Gallerist and the Making of Indian Modern Art.” 8 July 2020, The Wire, thewire.in/the-arts/kekoo-gandhy-art-gallery-bombay. Accessed 4 February 2021.
Franz, Margit. “Exile meets Avantgarde: ExilantInnen-Kunstnetzwerke in Bombay.” Going East – Going South. Österreichisches Exil in Asien und Afrika, edited by Margit Franz and Heimo Halbrainer, CLIO, 2014, pp. 403–431. Academia, www.academia.edu/49079321/Exile_meets_Avantgarde_ExilantInnen_Kunstnetzwerke_in_Bombay. Accessed 16 June 2021.
Franz, Margit. Gateway India: Deutschsprachiges Exil in Indien zwischen britischer Kolonialherrschaft, Maharadschas und Gandhi. CLIO, 2015.
Gandhy, Kekoo. “Revival of art in India.” The Times of India, 30 November 1947, p. 14.
Gandhy, Kekoo, “The Beginnings of the Art Movement.” City of Dreams, special issue of Seminar, no. 539, August 2003, www.india-seminar.com/2003/528/528%20kekoo%20gandhy.htm. Accessed 15 April 2021.
Hoskote, Ranjit. “Kekoo Gandhy by Ranjit Hoskote. In memoriam: Kekoo Gandhy (2 February 1920–10 November 2012).” 10 November 2012, Out of Print Blog, outofprintmagazine.blogspot.com/2012/11/in-memoriam-kekoo-gandhy-by-ranjit.html. Accessed 15 April 2021.
Pinto, Jerry. The Art Gallery on Princess Street. Illustrated by Gieve Patel, Kripa B, Sudhir Patwardhan. Pratham Books, 2019. Storyweaver, storyweaver.org.in/stories/105518-the-art-gallery-on-princess-street. Accessed 16 June 2021.
Zitzewitz, Karin. The Perfect Frame: Presenting Modern Indian Art. Stories and Photographs from the Collection of Kekoo Gandhy. Chemould Publications and Arts, 2003.
Zitzewitz, Karin. “The Perfect Frame: Presenting Modern Indian Art. Stories and Photographs from the Collection of Kekoo Gandhy.” Christieʼs First Auction in India, exh. cat. Christie’s, Mumbai, 2013, pp. 28–37.
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Private Archive Margit Franz, Sinabelkirchen: Audio file: Kekoo Gandhy in conversation with Khorshed Gandhy, Rashna Imhasly-Gandhy and son of Roger van Damme. Mumbai, n.d. (kindly provided by Rashna Imhasly-Gandhy; transcript Margit Franz). Archival records from personal interviews between the author and Khorshed and Kekoo Gandhy, Mumbai, 30 April to 3 May 2003; 18 to 22 January 2004; 26 April to 12 May 2007; 13 to 15 October 2008; 24 October 2010.
Bombay Art Society exhibition catalogues from 1938 till 1960.
Private Archive of late Khorshed & Kekoo Gandhy, Mumbai.
Times of India Archive via Staatsbibliothek zu Berlin:
http://erf.sbb.spk-berlin.de/historical-newspapers/. Accessed 18 April 2021.
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Kekee Manzil, Bandra Band Stand, Bandra, Bombay (now 43-A, Siraj Dokadia Road, HK Bhaba Rd, Mount Mary, Bandra West, Mumbai) (residence 1920-2012); Informal frame-shop, Sepulchre Brothers’ Office, Haroon House, Bazar Gate Street, behind Reserve Bank Building, Fort (now 23A, Haroon House, 294, Perin Nariman St, Fort, Mumbai) (workplace, until 1946); Frame shop, 271 Princess Street, Marine Lines, Bombay (now Shamaldas Gandhi Marg, Navajeevan Wadi, Lohar Chawl, Kalbadevi, Mumbai, Maharashtra) (workplace, since 1946); Jehangir Art Gallery, first floor, 161 B, Mahatma Gandhi Road, Kala Ghoda, Fort, Mumbai (workplace, 1963–2007).
The advertisement expert, Rudolf von Leyden, became a major art critic and art historian in Bombay in the 1940s, advocating an urgent need for modernism in art in post-colonial India.
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The art collector Schlesinger provided primarily financial aid by creating working opportunities for young artists in post-independence Bombay, and initiated the corporate culture of buying art.
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Local and exiled creatives formed the Modern Architectural Research Group to publish a progressive journal of art and architecture in Bombay from 1946 onwards.
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There are two versions of the PAG photo at the opening of M.F. Husain's first solo exhibition in 1950 (published in 1996 and 2003) and two narratives about the opening.
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The film shows Schimmel’s Jewish wedding ceremony at the prestigious Glamis Villa, followed by lunch at the Taj Mahal Hotel. Among the guests were Käthe and Walter Langhammer.
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The painter Walter Langhammer and his wife Käthe built an informal infrastructure to promote local avant-garde artists and regularly invited them to Open Studio Evenings at their studio.
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Chemould’s history stretches from its beginnings as a manufacturer of chemical mouldings and frames in 1941 over to a hub for art circulation displaying a variety of artists in Bombay.
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The TIFR is one of India’s premier scientific institutions. Inside its buildings, scientists ponder over path-breaking ideas. Also, within its hallowed walls is a fine collection of modern Indian art.
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One of the oldest art societies in India founded by colonial rulers, Bombay Art Society showcased art students and professional artists from all over India, including the Progressive Artists of Bombay.
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Air India was one of the largest art collectors in Bombay. Indian art was used as branding for Air India in international competition right from the start.
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Efforts to create spaces for the democratic presentation, discussion and reflection of art in Bombay after independence led to the establishment of the Jehangir Art Gallery in 1952.
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