These two works (offered as a single lot) are a striking record of goodwill and admiration shared between two of the leading artists of Bengal, Abanindranath Tagore and Hemendranath Mazumdar.

Though they differed considerably in temperament and artistic styles, Hemendranath had high regard for Abanindranath who was older by age and experience to him. While Abanindranath established the Neo-Bengal School with disciples like Nandalal Bose, Kshitindranath Mazumdar, Asit Kumar Haldar, Mukul Dey and K. Venkatappa (among others); Hemendranath remained committed to the ideals of European academic style.

In 28(a) we see a portrait of Abanindranath reverently drawn by Hemendranath in coloured chalk, a medium which he had mastered, as is evident by the glowing likeness to the great master. Below the portrait he writes in flowing English to express his gratitude for a previous compliment bestowed on him by Abanindranth. 28(b) is dated just about a year later and has Abanindranath’s hand impression in red ink. On top left of the paper he sends his blessings (in Bengali) and signs his name at the lower right end. It is an old Bengali custom to have hand and feet print marks of revered elders in one’s house as a remembrance of their blessing.