Alice Richardson met Ananda Coomaraswamy around 1910, most probably at a recital of folk songs given by pupils of the collector of folk songs and cultural revivalist, Cecil Sharp. Richardson accompanied Coomaraswamy on a trip to India in 1911 and became his second wife. They lived on a houseboat in Srinagar, Kashmir, whilst she studied Indian music with Abdul Rahim of Kapurthala, and Coomaraswamy researched Rajput painting of northern India.

Once back in London, Alice Coomaraswamy became noted for her recitals of Indian music which were often introduced by an explanatory lecture given by her husband. She performed widely in the UK (including at the Theosophical Society Summer Schools) under the name Ratan Devi and in Indian dress. When the Coomaraswamys first went to the US, it was for her concert tour. Alice had two children (a boy, Narada, and a girl, Rohini) by Coomaraswamy before their divorce and his subsequent marriage to the American dancer and artist, Stella Bloch.

Eric Gill was one of the most significant sculptors to work in Britain during the first half of the twentieth century. As well as being a talented stone carver, he was also a gifted draughtsman, letterer, typographer and printer. Rejecting the established techniques of making sculpture with the aid of the pointing machine, Gill is credited with re-establishing the practice of ‘direct carving’ in Britain and influencing the work of subsequent generations of sculptors, including Henry Moore.

Gill began to make sculpture in 1909, having trained in the offices of the architect W. D. Caroë and enrolled in evening classes in masonry at the Westminster Technical Institute and calligraphy at the Central School of Arts and Crafts. His first figural sculpture, Estin Thalassa (now lost), combined cut lettering, for which he had already become well known, and a naked, crouching woman. He showed photographs of this work to William Rothenstein and Roger Fry who became crucial supporters of his work. Whilst Rothenstein was travelling in India, Gill wrote to him telling him about his own exposure in Britain to images of Indian architecture and sculpture through a publication called Wonders of the World.

In 1908, Gill met Ananda Coomaraswamy at a lecture given by the latter at the Art Workers’ Guild in London. Through these acquaintances, Gill became interested in the art and culture of India and he joined the India Society in 1910 (as did fellow sculptor Jacob Epstein). Gill took a specific interest in the religious carving which adorned South Asian temples, heavily influenced by Coomaraswamy’s publications. In his Autobiography, Gill wrote of Coomaraswamy: ‘I dare not confess myself his disciple; that would only embarrass him. I can only say that I believe that no other living writer has written the truth in matters of art and life and religion and piety with such wisdom and understanding.’ Gill also wrote an introductory essay on ‘Art and Reality’ for Mulk Raj Anand’s The Hindu View of Art and contributed a full-page engraving to Anand’s The Lost Child, published in 1934.