SOUTH ASIAN ART CLASSICAL, MODERN AND CONTEMPORARY ONLINE AUCTION (NO BUYER’S PREMIUM)
10 -14 MAY 2018
South Asian Art | Classical, Modern AND Contemporary
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South Asian Art Classical, Modern AND Contemporary Online Auction (no buyer’s premium)
South Asian Art | Classical, Modern AND Contemporary
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South Asian Art Classical, Modern AND ContemporarY SALE NUMBER: 1801 ONLINE AUCTION MAY 10 -14, 2018 No Buyer’s Premium ‘What You Bid Is What You Pay’
Auction Opening May 10, 2018 6:00 p.m. onwards UAE Standard Time
Auction Closing May 14, 2018 6:30 p.m. to 9:00 p.m. UAE Standard Time
Viewings May 1-10, 2018 11:00 a.m. - 6:00 p.m. By appointment 903|The Metropolis Business Bay Dubai | UAE +971 55 815 3030 +971 55 825 3030 auction@artiana.com
SPECIALIST AND SERVICES ARTIANA P.O. Box 112646 Dubai | UAE Sale Number: 1801 Specialist
Lavesh Jagasia +971 50 796 3030 lavesh@artiana.com Services Artiana Help Desk +971 55 815 3030 +971 55 825 3030 Registration and Written Bids auction@artiana.com Payment, Collection and Other Services info@artiana.com It’s Easy to Buy at Artiana Additional information on the buying process is available on page 121 Conditions of Sale This auction is conducted under the Conditions of Sale as stipulated in the catalogue on page 128 Copyright Notice No part of this catalogue may be reproduced, stored in a retrieval system or transmitted by any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of Artiana. Š Copyright, Artiana, 2018
Front Cover: Lot 39 Inside Front Cover: Lot 50 (detail) Page 2-3: Lot 26 (detail) Page 4: Lot 14 (detail)
Page 120: Lot 53 (detail) Inside Back Cover: Lot 30 (detail) Back Cover: Lot 1
CONTENTS SALE GUIDE 8 Classical SOUTH ASIAN ART, indian sculptureS LOTS 1 - 3 18 Classical SOUTH ASIAN ART, Company paintings LOTS 4 - 23 48 MODERN AND CONTEMPORARY SOUTH ASIAN ART LOTS 24 - 60 121 IT’S EASY TO BUY AT ARTIANA 122 AUCTION CLOSING SCHEDULE 123 WRITTEN / ABSENTEE BID FORM 124 BIDDING INCREMENTS 125 BUYING AT ARTIANA 128 CONDITIONS OF SALE 134 ARTIANA GUARANTEE 135 COLLECTION AND STORAGE 136 ARTIST PROFILES AND INDEX
Expert: Renzo Freschi Renzo Freschi is an expert in Oriental Art and has extensively travelled within Asia since 1971. He has curated over forty monographic exhibitions on different aspects and periods of Asian art and has published several catalogues on the subject. In 2013 he curated the public exhibition The magic of India, from the Temple to the Court, masterpieces of Indian Art, showcasing more than 200 works of Indian art from the most important Italian collections. Artiana would like to thank Renzo Freschi for his expertise and assistance in preparing this section of the catalogue.
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Classical South Asian Art Indian Sculptures lots 1 - 3
South Asian Art | Classical, Modern AND Contemporary
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This impressive figure is of the god Vishnu standing on a lotus pedestal surrounded by a prabha of flames. His two upper hands are holding a conch (sankha), its sound defeating the demons, and a discus (chakra), the symbol of his power in the world. The right lower hand is in the gesture of protection (abhayamudra) while the left is placed on the hip in the “easy gesture.” The three sacred cords of brahams cross his torso: the endless knot (shrivasta) is still visible on the right side. A vest (dhoti) wraps the lower part of his body, detained by a belt on the hips. This slender figure of Vishnu is well proportioned, is of superior quality and refined in every detail. Of great delicacy are the fingers holding the sankha and the chakra, as well as the crown, elaborated in a jewel style. The perfect oval of the god’s face holds a glance much more vividly compared with the sculptures of Southern India. 10
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LOT 1
An impressive figure of vishnu copper alloy height - 25 in. (63.5 cm.) width - 14.5 in. (37 cm.) depth - 6.75 in. (17 cm.) South India, Nayak Dynasty 17th-18th century
US$ 30,000 - 50,000
PROVENANCE From the estate of Louis and Annette Kaufman
South Asian Art | Classical, Modern AND Contemporary
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It’s the bust of a jain tirthankara one of the 24 holy masters of Jainism - showing an accurate naturalistic research and full volumes even if, as a matter of fact, it is a high relief The finely shaped face is framed in its upper part by the beautifully waved line of the eyebrows and, at the sides, by the elongated ears that symbolize the supreme wisdom. The intense, almost severe glance of the eyes expresses the detachment from the material world, as well as all the jain sculptures do. The hairstyle is particularly precise, with all these small curls gathered in a conic shape.
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LOT 2
Jain Bust sandstone height - 14.5 in. (36.5 cm.) width - 10.5 in. (26.5 cm.) depth - 5 in. (13 cm.) Central India 10th-11th century
US$ 12,000 - 18,000
PROVENANCE From the estate of Louis and Annette Kaufman
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The left arm was probably holding a cup full of something, food or flowers. The left hip bends towards outside while the bust and the right leg bend to the right, thus restoring the balance of the figure. It’s the classic tribhanga Indian posture that points out the connection between Indian sculpture and the dance. The dancer’s body is adorned with sumptuous jewels: at ears, neck, arms, legs, hips and feet, while her vest’s folds even enhance her figure. Many temples of Central India are decorated with these sensuous figures of holy dancers, offerers and celestial figures, whose only purpose was that of celebrating their deities.
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LOT 3
Holy Dancer sandstone height - 20 in. (51 cm.) width - 7.25 in. (18.5 cm.) depth - 4 in. (10 cm.) Central India 11th-12th century
US$ 15,000 - 25,000
PROVENANCE From the estate of Louis and Annette Kaufman
South Asian Art | Classical, Modern AND Contemporary
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Southern Indian artists in the 18th century were among the first to adapt their styles and subject matters for their new patrons from the French and English East India Companies. Hindu deities and religious scenes had been the traditional decorations on the walls of temples throughout the south, so it was a simple matter for the artists to produce sets of deities and festivals on paper to inform westerners of the many unfamiliar aspects of south Indian Hinduism. These paintings were painted in brilliant colours against an uncoloured ground. It was again a relatively easy further step for these artists also to produce sets of occupations, castes, ascetics and festivals when British tastes changed to want permanent records of local life. The figures were normally in the early period painted in pairs, a man and his wife, originally standing on a simply painted ground and with a blue sky background behind them, sometimes with a narrow strip of tangled clouds at the top. Around 1800 more details of landscapes and more naturalistic clouds were added and the clouds began to cover the whole sky in jagged alternations of blue and grey. Men from Tanjore of the muchi or leather-workers caste are thought to have been the artists of these sets, athough inscriptions of some of the albums and paintings indicate that they must have moved to other towns, particularly Madras, in search of employment, where they continued to paint their traditional subjects. Other centres where they are known to have painted included Vellore and Trichinopoly. The artists based in Trichinopoly specialised in painting on small sheets of mica that were mounted on paper guards and bound into albums. By the mid-19th century the artists had often abandoned painting couples, a man and his wife, and instead concentrated on single figures, as found here in this set. The figures in the set are well drawn, lively and colourful, with good modelling of forms and facial features. Without inscriptions, however, some of the women especially are difficult to identify, but most are normally based on earlier identified figures. Many of the single women seem modelled on the ‘wife’ half of the earlier couples. The women normally wear the elaborate jewellery of the south, with various heavy earrings, hairpins, noserings, necklaces, bracelets and anklets, not detailed here. References below are comparable to albums in the published catalogues of the collections of the Victoria & Albert Museum and British Museum, London. Accession numbers are included here as both collections are now on-line. References: Archer, M., Company Paintings: Indian Paintings of the British Period, Victoria and Albert Museum, London, 1992 Dallapiccola, A., South Indian Paintings: a Catalogue of the British Museum Collections, British Museum Press, London, 2010
EXPERT: J.P. Losty J.P. Losty was for many years curator of Indian visual materials in the British Library in London and has published many books and articles on painting in India from the 12th to the 19th centuries. Artiana would like to thank J.P. Losty for his expertise and assistance in preparing this section of the catalogue.
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Classical South Asian Art Company paintings lots 4 - 23 South Asian Art | Classical, Modern AND Contemporary
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LOT 4
Mughal nobleman gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.2 cm.) Tanjore, c. 1850
US$ 600 - 900 PROVENANCE Private collection, USA
A Mughal nobleman wearing a blue angarkha, half-length striped paijama and a tall domed hat and carrying a long curved sword, stands in an easy stance half sideways but looking out and with his other hand on his hip. A similar figure described as a Mughal of high caste is in an album in the V&A from around 1800 (AL 8940 (H), Archer 1992, no. 22(8)).
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LOT 5
Woman musician gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.2 cm.) Tanjore, c. 1850
US$ 600 - 900 PROVENANCE Private collection, USA
A woman stands holding a tanpura. She wears a blue peshwaj over red salwar with a yellow dupatta. She does not seem to be derived from earlier paintings of dancers and musicians from Tanjore albums, since the musicians are invariably male.
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LOT 6
Arab woman gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.2 cm.) Tanjore, c. 1850
US$ 600 - 900 PROVENANCE Private collection, USA
A woman wearing a red odhani over a blue skirt and a yellow bodice. Her right hand is raised to pull her odhani over her head for modesty. She is based on the female half of a painting of an ‘Arabian’ couple (despite her costume) from an earlier set such as an album in the V&A from c. 1805 (AL 9254(24), Archer 1992, no. 23 (24)).
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LOT 7
Holy water seller gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.1 cm.) Tanjore, c. 1850
US$ 600 - 900 PROVENANCE Private collection, USA
A man wearing Shaiva sect marks, a dhoti and tall red hat carrying holy water suspended from a kavati. The water brought from the Ganges at Benares to south India is carried in pots on these traditional frames, decorated with peacock feathers.
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LOT 8
Warrior gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.3 cm.) Tanjore, c. 1850
US$ 600 - 900 PROVENANCE Private collection, USA
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A man stands armed with a lance carried over his shoulder. He wears a short white angarkha with a blue angavastra tied around his waist and a flat purple turban. A half-moon pendant hangs round his neck and gold discs with a pendant chain are fixed to his ears.
LOT 9
Woman pilgrim gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.1 cm.) Tanjore, c. 1850
US$ 600 - 900 PROVENANCE Private collection, USA
A woman wearing Shaiva sect marks and a brown and white striped sari is carrying a bundle on her head and a cloth bag over her shoulder. The bundle no doubt contains clothes and other belongings as she seems to be the wife of a kavati-bearer on their way to the shrine of Subrahmanya at Palani. She is a slightly simplified version of the female half of a couple in an album in the British Museum from 1830-35 (Asia 1884,0913,0.16, Dallapiccola 2010, no. 15.1).
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LOT 10
Woman with a pot gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.2 cm.) Tanjore, c. 1850
US$ 600 - 900
A woman wearing a yellow nine-yard sari and carrying a pot stands looking questioningly behind her.
PROVENANCE Private collection, USA
She is perhaps the wife of a pot-seller, compare V&A AL 9138 (31), Archer 1992, no. 14(31).
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LOT 11
Vaishnava mendicant gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.2 cm.) Tanjore, c. 1850
US$ 600 - 900 PROVENANCE Private collection, USA
A Vaishnava with Tenkalai sect marks wearing a white dhoti with red trim and a pink angavastra stands feet apart dancing while balancing a small pot on his stubbled head (with a kudumi or queue at the back) and carrying clapping sticks for his rhythmic dancing in each hand. He would appear to be a Vaishnava mendicant carrying clappers instead of a vina, to the music of which a similarly attired mendicant is dancing in a late 18th century album in the British Museum (Asia1974, 0617, 0.7.4, Dallapiccola 2010, no. 13.4).
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LOT 12
Courtesan gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.2 cm.) Tanjore, c. 1850
US$ 600 - 900 PROVENANCE Private collection, USA
A courtesan wearing a red skirt and a diaphanous red odhni stands holding a parrot with a long cord attached to its feet. A parrot, the vehicle of Kama, the god of love, is symbolic of the profession. Comparable to a painting on mica from Trichinopoly c. 1850 in the V&A (D 549-1891, Archer 1992, no. 219(6)).
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LOT 13
Muslim fakir gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.1 cm.) Tanjore, c. 1850
US$ 600 - 900
A Muslim fakir wearing a chequered lungi with a pink coat, a mitre shaped pink cap, and a blanket over his shoulder holds a caged bird and smokes a nargila.
PROVENANCE Private collection, USA
Comparable to a fakir in a set in the V&A from c.1770 (AL9128(120, Archer 1992, no. 14(12)).
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LOT 14
Courtesan gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.2 cm.) Tanjore, c. 1850
US$ 600 - 900 PROVENANCE Private collection, USA
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A woman wearing a red sari and blue blouse stands looking out at the viewer, provocatively perhaps, holding the dangling end pallu of her sari. She is perhaps a courtesan.
LOT 15
Rajput warrior gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.3 cm.) Tanjore, c. 1850
US$ 600 - 900 PROVENANCE Private collection, USA
A Rajput warrior with impressive whiskers stands wearing a long blue angarkha with a red cummerbund and tall turban and carrying a tall lance and a bow. A quiver of arrows is slung from a bandolier over his shoulder and a small shield is tied to his back. A similar figure in an album in the British Museum is described as of the Rajput or warrior caste (Asia 1974,0617,0.7.3, Dallapiccola 2010, 13.3).
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LOT 16
Wife of an ascetic gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 6.75 x 4 in. (17.3 x 10.4 cm.) Tanjore, c. 185
US$ 600 - 900 PROVENANCE Private collection, USA
A woman wearing a pink sari carrying a morchhal and a waterpot. She wears Shaiva sect marks. Such women with morchhals normally accompany Hindu religious figures, the peacock-feather fan being a mark of respect.
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LOT 17
Dancing Devotee gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.1 cm.) Tanjore, c. 1850
US$ 600 - 900 PROVENANCE Private collection, USA
A man dances and beats time on a frame drum (or perhaps a tambourine) with a stick. He wears tight white drawers with red stripes, a saffron angavastra and a red cap with a feathery leaf. A Shaiva black oval tilaka is on his forehead which is also smeared with white ash as are in various parts of his body. A comparable dancer with drum or tambourine in an early album in the British Museum is labelled a Conjurer, but seems to be a dancing devotee of the goddess Mariamman (Asia 1074.0617,0.7.33, Dallapiccola 2010, no. 15(33)).
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LOT 18
Woman in a green sari gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.1 cm.) Tanjore, c. 1850
US$ 600 - 900 PROVENANCE Private collection, USA
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A woman wearing a green sari with zig-zag red stripes and with a beautiful maroon pallu stands looking out at us.
LOT 19
Hindu devotee gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.3 cm.) Tanjore, c. 1850
US$ 600 - 900 PROVENANCE Private collection, USA
A man stands his hands outstretched, wearing a long white jama, two angavastra (one tie-dyed) and a flat turban with a feather cockade. He wears Shakta sect marks and has a pendant round his neck with what seems to be a shivalingam. A painting in the V&A also unfortunately unidentified shows a similarly dressed man but with a Hanuman plaque (0928(2) IS, see Archer 1992, no. 20(2)).
South Asian Art | Classical, Modern AND Contemporary
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LOT 20
Woman with a fan gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.2 cm.) Tanjore, c. 1850
US$ 600 - 900 PROVENANCE Private collection, USA
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A woman stands holding a closed fan and wears a white nine-yard sari with light thin red stripes and a blue bodice.
LOT 21
Carpet weaver gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.1 cm.) Tanjore, c. 1850
US$ 600 - 900 PROVENANCE Private collection, USA
A carpet weaver stands holding a durrie under his arm. He has a Tenkalai Vaishnava tilaka and wears a white dhoti and angavastra, both with red trim, and a Maratha style turban of chintz. A similar carpet weaver is portrayed in an album in the V&A from c. 1830 (IS 39-1987(12), Archer 1992, no. 26.12 (detail 1)).
South Asian Art | Classical, Modern AND Contemporary
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LOT 22
Woman with a shivalingam gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.2 cm.) Tanjore, c. 1850
US$ 600 - 900 PROVENANCE Private collection, USA
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A woman wearing a pink nine-yard sari carrying a small shivalingam.
LOT 23
Dancing Devotee gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.3 cm.) Tanjore, c. 1850
US$ 600 - 900 PROVENANCE Private collection, USA
A Karagam dancer, his hair tied in a kudumi at the back of his head and wearing a vertical black tilaka on his forehead, dances balancing on his head a pot filled with water (karagam) and with tiered leaves and flowers cascading down. The pot is surmounted by a stick covered with leaves of the margosa tree and with flowers, representing the goddess Mariamman. He wears green drawers and carries a flower in his left hand and a stick decorated with leaves in his right. Mariamman is the main mother goddess figure of the Tamil country and is associated with fertility and the bringing of rain. At her main festival in April young men and women dance with pots of water and margosa leaves on their heads. For a comparable image in the British Museum, see Asia 1884.0913,0.22 (Dallapiccola 2010, no. 15.6).
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MODERN AND CONTEMPORARY South Asian Art lots 24 - 60
South Asian Art | Classical, Modern AND Contemporary
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LOT 24
Lalu Prasad Shaw (b. 1937) Untitled tempera on paper board 20.5 x 15 in. (52 x 38.1 cm.) painted in 2011 Signed and dated in Bengali (lower left) Bearing artist’s stamp (lower left)
US$ 8,000 - 12,000
PROVENANCE Private collection, Dubai
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‘Through the years, Naqsh has remained single-minded about his work; it was and remains, the crux of his existence. His concerns address the surface of his canvas, the subject a means of manipulating space. Pigeons is a subject he has explored for over forty years that emerged as a facet of a personal idiom. For him, pigeons represent domestic harmony drawn from memories of his childhood in Kairana, they were a frequent visitor to the family home, flying in and out through open windows, strutting around the compound and pecking at grains scattered by girls who sifted wheat. In later paintings, the pigeons acted as a fluttering foil to monumental female figures; a striking contrast of movement and stillness. [...] (Jamil Naqsh: A Retrospective, Mohatta Palace Museum, Karachi, 2013, pg.39) The images of pigeons so prominent in one of his series of paintings, speak not only of clandestine romance, but are also symbolic of a lost epoch of tranquil family life before the trauma of his mother’s early death closely followed by the further trauma of the exile that followed Partition after the second World War. [...] (E.L. Smith, Jamil Naqsh: An Artist Between Three Cultures, 2016)
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LOT 25
Jamil Naqsh (b. 1939) Ladder oil on canvas 36 x 48 in. (91 x 121.5 cm.) painted in 2012 Signed ‘Jamil Naqsh’ (lower right) Further signed ‘Jamil Naqsh’ (on the reverse)
US$ 35,000 - 55,000
PROVENANCE Albemarle Gallery, London Private collection, Dubai EXHIBITED AND PUBLISHED Jamil Naqsh: Memories of Doves & Pigeons, Albemarle Gallery, London, 2012, p. 11 (illustrated)
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“S.H. Raza first painted the Bindu in the late 1970’s; a single, solid black dot that lay unmoving at the center of a field of muted colour. Since these early engagement, however, the bindu has taken on several different layers of meaning in Raza’s work. In an even deeper extension of his work, Raza arrived at bija, the seed which is the core of existence and which gives birth to the fecund, fertile world. In his evolutionary manner, Raza’s ruminations began to arrive at the Param or the eternal Bindu where the soft shades of ochre, green and white are transposed from light to dark in subtle nuances conveying a sense of movement. If naad bindu denotes the eternal rhythm underlying creation then the Shanti Bindu as in this work which followed emanated in its rarefied colour harmonies the enveloping peace which wrapped the universe. Sometimes the bija or seed, bearing infinite generative potential, and at others a large black orb, surrounded by concentric rings of multiple hues, the bindu has generated an iconic non-objective idiom for the artist.” [...] (Ashok Vajpeyi, A Life in Art: Raza, 2007 p. 198-199) In one of his canvases in 2004, Raza made another interpretation of the bindu, with rings radiating from the black core of the painting to a less darker shades of black, and finally to an almost abstinent palette of whites and grays. The work, with a title that translates into contemplation, the black bindu transmits white light spreading serenity and clarity with gentler quality as it reaches the edges of the canvas. “Likening these recent almost monochromatic works to a new step in his spiritual journey towards significant form and the infinite, Raza notes: “I have found a divine quest in me to come to the essentials. Less is more. And I thought, that to express my aspiration to the divine, I would use fewer colours, to create a sacred feel” [...] (Ashok Vajpeyi, Understanding Raza: Many ways of looking at a Master, 2013, p. 345)
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LOT 26
Sayed Haider Raza (1922 - 2016) Dhayan acrylic on canvas 39.5 x 39.5 in. (100 x 100 cm.) painted in 2004 Signed and dated ‘RAZA ‘04’ (lower right) Further signed, titled, dated and inscribed ‘RAZA / “Dhayan” / 2004 / acrylic on canvas / 100 x 100 cm’ (on the reverse) Further inscribed in Hindi and English ‘Did I do it. Oh no. It just happened suddenly’ (on the reverse) Further signed and dated ‘Raza, 15th April 2004’ (on the reverse)
US$ 120,000 - 180,000
PROVENANCE Acquired directly from the artist PUBLISHED Alain Bonfand, Raza, Paris, 2008, p. 221 (illustrated) Ashok Vajpeyi, A Life in Art: Raza, Art Alive Gallery, New Delhi, 2007 p. 291 (illustrated) Olivier Germain-Thomas, S.H. Raza: Mandalas, Paris, 2004, p.101 (illustrated)
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Ram Kumar (1924 - 2018) “Like the river, Kumar’s mind meanders through nature absorbing all its beautiful features from the clear blue skies to the mountains. However Kumar’s affinity to the mountains began very early in his life. His attractions to the mountains continued when he encountered Kumaon, Ladakh and Andretta—havens he frequently retreated to, to paint. He seems to enjoy a certain peace and inner security every time he recalls his childhood memories of the mountains confirming that artworks are about space, childhood and love. At the same time his quest for spirituality surfaced. Kumar’s spiritual journey began with Varanasi followed by Machu Picchu with its ancient ruins and finally ended in Ladakh with its mountains and monasteries.” [...] (Uma Prakash, Ram Kumar: Selected Works 1950-2010, 2010, pg. 11-12)
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LOT 27
Ram Kumar (1924 - 2018) Untitled oil on canvas 36 x 48 in. (91.5 x 122 cm.) painted in 2002 Signed, dated and inscribed ‘Ram Kumar / 2002 / 36 x 48’ (on the reverse)
US$ 50,000 - 70,000
PROVENANCE Saffronart / Lot 9 / Auction May 2006 / 10-11 May 2006
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LOT 28
Jogen Chowdhury (b. 1939) Couple - III ink with brush and pastel 23 x 35 in. (58.5 x 89 cm.) painted in 2001
US$ 5,000 - 7,000
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Signed and dated ‘Jogen / 2001’ (upper centre) Initialed in Bengali (lower centre) and English (lower left) PROVENANCE Private collection, Dubai EXHIBITED AND PUBLISHED Jogen Chowdhury: Painted Drawings, Gajah Gallery, Singapore, 2001, p.14 (illustrated)
LOT 29
Sakti Burman (b. 1935) Carnaval oil on canvas 18 x 14.75 in. (45.7 x 37.4 cm.) painted in 1985
US$ 25,000 - 35,000
Signed ‘SAKTI BURMAN’ (lower centre left) Titled ‘CARNAVAL’ (on the stretcher bar) PROVENANCE Galerie Schèmes, Lille Tajan / Lot 46 / Modern and Contemporary Art / Auction 1511 / 10 March 2015 / Paris Private collection, France
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Krishen Khanna’s introduction to allegory and religious symbolism is buried in a childhood memory which served as his instrument of engagement during troubled periods of Indian polity. The fact that Khanna’s labouring men are reimaged in the Christ cycle of paintings indicate how he brings the economically disenfranchised and the religious minority on the same plane. From the 1960s, Khanna engaged in a series of paintings on Christ that started with ‘The Last Supper’ and ‘Garden at Gethsemane’ and gradually culminate in ‘Betrayal’, ‘Christ’s Descent from the Cross’, ‘Pieta’ and ‘Emmaus’. Khanna’s Christ becomes emblematic of a resistance to persecution which is neither the healing Christ, the divine worker of miracles or the haloed Son of God but the persecuted figure within an oppressive system.’ As an artist, he brought the Christ cycle the coherence of narrative and an explicit conflict with figures of authority, symptomatic of public life in the Indian subcontinent. [...] (Gayatri Sinha, Krishen Khanna, The Embrace of Love, 2005, pg. 17) During the 1980’s, Khanna had an exhibition of thirteen works on the theme Christ’s Betrayal which included the work “Thou Sayest So / The Interrogation” where Jesus is being interrogated by Pontius Pilate. The title of the work is a direct reference to the Gospel of John 18:37. ‘Pilate therefore said unto him, Art thou a king then? Jesus answered, Thou sayest so. To this end was I born, and for this cause came I into the world, that I should bear witness unto the truth. Every one that is of the truth heareth my voice.’ The work clearly relates to the Biblical scene but the artist gave a modern context to it depicted by the army officials interrogating him in 20th century uniforms. As in the original Gospel story, the painting highlights our inability to recognise the presence of the divine as we are blinded by the mundane aspects of life such as how we see an individual based on physique and outside appearances. In the Interrogation the rugged physique of the figures with their sun darkened bodies and rough callous faces are a representation of the labour class found in the Nizammuddin Bhogal area of Delhi, the figures of authority in military caps and Nehru topis are recognizably emblematic of the military and political establishment. ‘I have used them as metaphors of authority because that is what they have come to mean in our society today’. [...] (Gayatri Sinha, Krishen Khanna, A Critical Biography, 2001, pg. 135).
South Asian Art | Classical, Modern AND Contemporary
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LOT 30
Krishen Khanna (b. 1925) Thou Sayest So oil on canvas 70 x 50 in. (178 x 127 cm.) painted in 1980 Signed, dated and inscribed ‘KKhanna/ GARHI-MAY 1980/ “THOU SAYEST SO”/ 70”x50”/ 178 x 127cm.’ (on the reverse)
US$ 100,000 - 150,000
PROVENANCE Property from a private European collection Sotheby’s / Lot 122 / The Indian Sale / 24 May 2007 EXHIBITED Krishen Khanna, Rabindra Bhavan, New Delhi, 1980 PUBLISHED Gayatri Sinha, Krishen Khanna, A Critical Biography, 2001, pg.126. (illustrated)
South Asian Art | Classical, Modern AND Contemporary
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LOT 31
Francis Newton Souza (1922 - 2002) Untitled (Landscape) acrylic on paper 15 x 22 in. (38 x 56 cm.) painted in 1992
US$ 25,000 - 35,000
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Signed and dated ‘Souza 92’ (upper right) PROVENANCE Dhoomimal Gallery Acquired from the above by the present owner
LOT 32
K.H. Ara (1914 - 1985) Still Life oil on canvas 21.5 x 15.5 in. (54.5 x 39 cm.) circa 1940’s Signed ‘ARA’ (lower left)
US$ 7,000 - 10,000
PROVENANCE Private collection, UK Acquired by a UK based collector directly from the artist in the 1940’s Bonhams / Lot 23 / Modern and Contemporary Indian and Pakistani Paintings / 21 May 2007
South Asian Art | Classical, Modern AND Contemporary
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LOT 33
Paritosh Sen (1918 - 2008) Binodini in Benares acrylic on canvas 30 x 24 in. (76.2 x 60.9 cm.) painted in 2003
US$ 7,000 - 10,000
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Signed faintly ‘Paritosh Sen’ (lower right) Further signed, dated, titled and inscribed Paritosh Sen / 2003 / “Binodini in Benares” / (based on the film “Chokher Bali” made by Rituparna Ghosh) / medium - acrylic / Size: 30” x 24” (on the reverse) PROVENANCE Acquired directly from the artist Private collection, Dubai PUBLISHED Mrinal Ghosh, Paritosh Sen: IX th Decade, Neovision, New Delhi, 2006, p. 195 (illustrated)
LOT 34
Jamil Naqsh (b. 1938) Emissaries oil on canvas 40 x 30 in. (101.5 x 76 cm.) painted in 2016
US$ 30,000 - 50,000
Signed ‘Jamil Naqsh’ (lower right) Further signed and inscribed ‘Jamil Naqsh London’ (on the reverse) PROVENANCE Albemarle Gallery, London EXHIBITED AND PUBLISHED Jamil Naqsh: an artist between three cultures, Albemarle Gallery, London, 2016, p. 31 (illustrated)
South Asian Art | Classical, Modern AND Contemporary
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“In the heart of India’s spiritual home, with its cycle of life and death, Banaras evokes learning in a metaphysical sense, that motif turning into an endeavour for artist’s looking for a muse in what historian Diana Eck epithised as the city of light. Manu Parekh uses that light like an evangelist. His riverine landscapes of the city, and of its interiors, capture the moment when the sky is an indistinct hue that he evokes magically as pink now, green later, a piercing yellow elsewhere, or a blue of so many varying cyans you couldn’t imagine there were as many shades in nature’s repertoire. The light that rules the skies is tentative on the grounds of Banaras, not knowing what to make of the spires and steeples of this city of temples, the cupolas and domes creating strong silhouettes [...] Manu returns to his Banaras series with Van Gogh’s Starry Night as an inspiration. The bright stars in the sky shining over Banaras blends perfectly in the landscape filled with temples, with the drama of enlightenment and knowledge, of worship and supplication, of lament and prayer which remains unbroken. In combining the light from the skies with that from the temples, Manu Parekh’s canvases dwell simultaneously on the celestial and the temporal. His paintings is the singular voice in Banaras that responds to both the magic and the light to create an impression of a spiritual city drowned in a cacophony of sound and light. He might not paint it, but under the guise of that poignant moment lies chaos. The light over the city obscures it for one magical moment. It is of that magical moment that Manu Parekh is a magnificent interloper.” […] (Kishore Singh, Manu Parekh: City of Magical Light, 2014, pg. 4-5)
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South Asian Art | Classical, Modern AND Contemporary
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LOT 35
Manu Parekh (b. 1939) Starry Night acrylic on canvas 60 x 60 in. (152.4 x 152.4 cm.) painted in 2015
US$ 25,000 - 35,000
Signed, dated, titled and inscribed ‘Manu Parekh / Starry Night / 5’ x 5’ / Acrylic on canvas / 2015 (on the reverse) PROVENANCE Private collection, Dubai
South Asian Art | Classical, Modern AND Contemporary
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LOT 36
Sayed Haider Raza (1922 - 2016) Nam Mayo oil on canvas 12 x 12 in. (30 x 30 cm.) painted in 2005
US$ 10,000 - 15,000
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Signed ‘RAZA ‘05’ (lower right) Further signed, dated, titled and inscribed ‘RAZA / 2005 / 30 x 30 / “NAM-MAYO” / Acrylic (on the reverse) Further inscribed in Hindi (on the reverse) PROVENANCE Bodhi Art, Singapore Private collection, Dubai
LOT 37
B. Prabha (1933 - 2001) Untitled oil on canvas 10 x 10 in. (25.4 x 25.4 cm.) painted in 1981 Signed and dated in Hindi (lower right)
US$ 5,000 - 7,000
PROVENANCE Property of a Mumbai Collector
South Asian Art | Classical, Modern AND Contemporary
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South Asian Art | Classical, Modern AND Contemporary
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‘Khakhar’s work has been characterised by a rare irreverence and a lack of inhibition about his lack of formal training. Indeed, he has been able to evolve his own mode of address that harnesses this lack of training to provide an edge to his expressions. A deliberate naivete is visible in his paintings from the 1970’s, coupled with a deeply felt sympathy with his subjects, who are often ordinary folk caught in an existence they do not quite understand. There is also a biting comment on the gentle stupidity of petit bourgeois life; a quality of being frozen in time permeates several of these representations of common people in all their vulnerability. This argument was taken a step further when in the early 1980s, he declared is homoerotic concerns, often with self-referential figures. Observation of the everyday life plays an important role in his work and he is able to zero in on ‘typical’ characters that the observer can often locate within his/her world.’ [...] (Indian Contemporary Art Post Independence, 1997, pg. 172) The work ‘Butcher’s Shop in London’ was one of the two paintings on glass in the Anthony Stokes Exhibition which featured several of the artist’s work in 1979. He arrived in England the same year in the middle of a harsh winter to take up the position of artist-in-residence in the painting department at Bath Academy in January and lived nearby at Hodgkin’s house, Monk’s Park, negotiating the icy lanes in the area on a borrowed moped. Stokes Gallery was located in Covent Garden in one of the former banana warehouses, disused when the fruit and flower markets relocated to another area of the city. The office above the butcher’s shop is that of Hope and Co. solicitors which has been one of the subjects of his paintings whilst in England. The traces of snow at the corners of the steps depicts the weather at the time of the artist’s stay in the area. The other works made in England were ‘Howard Hodgkin’s House on Hand Painted Cushion’, ‘Wiltshire House at Night’, and ‘Joe Hope and Mary Hope at Box’, all of which were painted in 1979. 78
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LOT 38
Bhupen Khakhar (1934 - 2003) Butcher’s Shop in London oil on glass 17.75 x 17.75 in. (45 x 45 cm.) painted in 1979
US$ 30,000 - 50,000
Signed and dated ‘79’ in Gujarati (lower right) Bearing Anthony Stokes Gallery label (on the reverse) PROVENANCE Private collection, UK Bonhams / Lot 131 / Modern and Contemporary Indian and Pakistani Art / 21 May 2007 EXHIBITED No. 15, Anthony Stokes Gallery, London, June 1979
South Asian Art | Classical, Modern AND Contemporary
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“The eight decade, the decade of eternal mother, Her white sari, lights up the unlit lanes of Calcutta. I paint and unfold several layers of her sari, In search of my lost mother. Sometimes her trembling hand, Appears from the bodyless bundle of cloth To touch her fugitive son.” (MF Husain) “Husain had seen Mother Teresa in Calcutta in one of her visits while she was comforting sick children and old destitute people by holding their hands and praying for them. Husain, so moved by her presence, resolved to make a portrait of her that very day despite knowing it would need a lot of study. For him, her personality, presence and work are so great that he cannot depict it all in realistic form. Husain was attracted by Mother Teresa as a living personification of his own mother and the very idea of motherhood. She had a sculptural presence and Husain saw in her the artist’s concept of motherhood hallowed both in Indian and western art. Besides, she had the aura of an evolved spiritual person and, therefore, the spiritual dimension of Mother Teresa was as important to him as an artist, as her more obvious manifestation of motherhood. Looking at her, he had instinctively realized that a realistic approach to portray the Mother would not succeed in capturing her presence or her spiritual dimension. And yet, curiously, his search for the right form began with the creation of a few almost realistic sketches. Husain did pen & ink sketches of Mother Teresa, with her wrinkled, peasant face and hand sharply etched in strong lines. creating a feeling of profound gentleness and compassion. However, there is no presence of her spiritual aura in the sketches that he was trying to capture. In another ink drawing, her hand is no longer a part of the portrait. Instead, the border of her sari frames her face. It is this border that points to the direction in which Husain was seeking a solution to the artistic problem of going beyond realism and creating an abstract metaphor that would evoke both her person and the spiritual aura surrounding her. He then takes a huge step when in another sketch of 1979, he removed the face of the Mother from the portrait and concentrated on her all-enfolding robe, therefore solving the problem he was facing. He added figures of children as it was a part of her persona. Yet, the results are quite not satisfactory so he studied the treatment of saints in the pre-Renaissance paintings of Italy. He found the robe of ‘The Missionaries of Charity’ founded by Mother Teresa, a white, thick cotton sari with a broad blue border which he later on converted into a metaphor of her. To accentuate the abstract dimension of the robe, he completely removed the face from his portraits. He incorporated images of emaciated children and dying men and women who were the prime objects of Mother Teresa’s boundless love. In the process, his images of Mother Teresa did not remain only abstract portraits but acquired the elements of a biography. These pictorial elements became the core of the numerous images of her that Husain was to create over the next two and a half decades.” [...] (K. Bikram Singh, Maqbool Fida Husain, 2008, p. 229-231) South Asian Art | Classical, Modern AND Contemporary
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LOT 39
Maqbool Fida Husain (1915 - 2011) Trinity of Mother Teresa acrylic on canvas 36.5 x 61.5 in. (101.6 x 152.4 cm.) painted in 1989 Signed in Bengali and English ‘Husain’ (lower right)
US$ 350,000 - 550,000
Titled ‘Trinity of Mother Teresa’ in the artist’s hand in a book cataloging the owner’s collection
PROVENANCE Property of an esteemed art collector
South Asian Art | Classical, Modern AND Contemporary
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LOT 40
Francis Newton Souza (1924 - 2002) Untitled (Landscape) acrylic on canvas 10 x 30 in. (25.4 x 76.2 cm.) painted in 1989
US$ 40,000 - 60,000
Signed and dated ‘Souza 89’ (upper right) PROVENANCE Christie’s / Sale 12174 / Lot 615 / South Asian Modern + Contemporary Art / New York / 14 September 2016
South Asian Art | Classical, Modern AND Contemporary
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South Asian Art | Classical, Modern AND Contemporary
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LOT 41
Francis Newton Souza (1924 - 2002) Head oil on linen laid on canvas 30 x 19.25 in. (76.5 x 49 cm.) painted in 1963 Signed and dated ‘Souza 63’ (upper right)
US$ 50,000 - 70,000
PROVENANCE Sotheby’s / Lot 23 / Indian and Southeast Asian Art / 29 March 2006
South Asian Art | Classical, Modern AND Contemporary
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LOT 42
Badri Narayan (1929 - 2013) A Dream in Winter watercolor on paper 22 x 22 in. (56 x 56 cm.) painted in 1996
US$ 5,000 - 7,000
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Initialed in Hindi (lower right) Dated and inscribed ‘A Dream in Winter by Badri Narayan / watercolor / 20th Dec.1996’
LOT 43
Senaka Senanayake (b. 1951) Untitled oil on canvas 45.5 x 30.5 in. (116 x 77.6 cm.) painted in 1995
US$ 10,000 - 15,000
Signed and dated ‘Senaka Senanayake 1995’ (lower right) PROVENANCE Acquired directly from the artist Property from a German collection
South Asian Art | Classical, Modern AND Contemporary
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LOT 44
Laxman Shreshtha (b. 1939) Untitled mixed media on paper 22.25 x 29.75 in. (56.5 x 75.3 cm.) painted in 2005
US$ 7,000 - 10,000
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Signed and dated ‘Laxman 2005’ (lower right) PROVENANCE The Guild Art Gallery, Mumbai Private collection, Dubai
LOT 45
Sakti Burman (b. 1935) Untitled watercolor on paper 16.75 x 22.75 in. (42.7 x 57.8 cm.)
US$ 3,000 - 5,000
Signed ‘Sakti Burman’ (lower left) PROVENANCE Private collection, Mumbai
South Asian Art | Classical, Modern AND Contemporary
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”It was in Santiniketan, where I have been since the 1990, that I again started drawing in every possible medium. I have been through several phases working with pastels, ink, ink and brush, including drawings painted with dry pastels or oil pastels. My recent drawings represent nature and human beings - flowers, vases, trees, mountains, clouds, men and women and their relationship. They depict an intimate sensibility rooted in my feelings and imagination. They are done in a personal ways, and I feel they contain an original approach and creativity in their form, lines and images. It is important to do something with conviction. For me, all objects are basically same in spirit and element. This is an ‘Upanisadic’ or Tagorean concept, which has influenced my thinking from my early youth. This is also scientifically true. I do not see any difference between man and woman and in a deeper sense, between man and nature. When I look at nature and the people in it, I feel they all move with a unity of rhythm and growth, they take birth and they die. This sense of oneness has strongly influenced my work. When I paint a creeper, a plant, a vase, a mountain, a tree or a human being, it has the same spirit and vibration. It attracts me strongly and I find that there is a deep sense of inner force, a subconscious force that works in me to create the images and objects with an undefined spirit and vibration. I consciously judge them, and accept or reject them, with my experience, understanding, and knowledge of the development of arts in our time.” [...] (Jogen Chowdhury, Painted Drawings, Exhibition Catalogue, 2001)
South Asian Art | Classical, Modern AND Contemporary
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LOT 46
Jogen Chowdhury (b. 1939) Face ink and pastel on paper 9.75 x 12.75 in. (24.8 x 32.2 cm.) painted in 2011
US$ 20,000 - 30,000
Signed and dated ‘Jogen 2011’ (upper left) Dated in Bengali (lower left) Initialed in Bengali (upper right) Further signed, titled, dated and inscribed ‘Jogen Chowdhury’/ ‘Face’ / 25 x 32.5 cm. / Ink & Pastel / 2011 (Santiniketan) / Code No: 29/2011 (on the reverse) PROVENANCE Acquired directly from the artist by the present owner
South Asian Art | Classical, Modern AND Contemporary
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LOT 47
K.G. Subramanyan (1924 - 2016) Untitled reverse painting in gouache and oil on acrylic sheet 11.75 x 8.25 in. (29.8 x 20.8 cm.)
US$ 4,000 - 6,000
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Signed in Tamil (lower left) PROVENANCE Property of a private collection based in Dubai
LOT 48
Sayed Haider Raza (1922 - 2016) Shanti-Bindu acrylic on canvas 15.75 x 15.75 in. (40 x 40 cm.) painted in 2005 Signed and dated ‘Raza 05’ (lower right) Further signed, dated, titled and inscribed ‘RAZA / 2005 / 40 x 40 cm / “Shanti-Bindu” / Acrylic on Canvas
US$ 15,000 - 25,000
PROVENANCE Bodhi Art, Singapore Private collection, Dubai
South Asian Art | Classical, Modern AND Contemporary
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LOT 49
Ram Kumar (1924 - 2018) Untitled acrylic on paper 22.25 x 35 in. (56.5 x 89 cm.) painted in 1998 Signed and dated ‘Ram Kumar 98’ (on the reverse)
US$ 8,000 - 12,000
PROVENANCE The Guild Art Gallery, Mumbai Private Collection, Dubai
South Asian Art | Classical, Modern AND Contemporary
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South Asian Art | Classical, Modern AND Contemporary
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“One of Husain’s most perennial obsessions as an artist has been the form of the horse. His encounter with the horses began in his childhood in Indore - encounters which came in several forms with different associations, inspiring different emotions. His interest in it is not confined to a single aspect, rather, he is equally interested in the gentle, daemonic, mythical and the erotic associations of the horse, one of the most graceful and lively forms in nature. He has explored this aspect and its numerous variations in several paintings that draw the viewer’s attention to the form of the horse rather than elicit any specific emotion. Altogether, the horse paintings of Husain done over several decades represent some of his finest works and demonstrate the power of his draftsmanship, his deep understanding of the myths associated with the horse in the multifaceted Indian artistic and cultural tradition and his talent to invest them with a new contemporary meaning [...] (K. Bikram Singh, Maqbool Fida Husain, New Delhi, 2008, p. 169 & 192)
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LOT 50
Maqbool Fida Husain (1915 - 2011) Untitled (2 Horses) acrylic on canvas 30 x 48 in. (75 x 121 cm.) painted in 2011
US$ 200,000 - 300,000
Signed ‘Husain’ (upper left) Dated ‘2nd April 2011’ (lower left) Painted on the day of the ICC Cricket World Cup 2011 final match depicting India and Sri Lanka as the two stallions PROVENANCE Private Collection, Dubai EXHIBITED AND PUBLISHED Legends & Icons: M.F. Husain, The Fine Art Advisory, Dubai, 2013, p.3 (illustrated)
South Asian Art | Classical, Modern AND Contemporary
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LOT 51
K. Laxma Goud (b. 1940) Untitled (Buddha) acrylic on canvas 72 x 60 in. (183 x 152 cm.) painted in 2017
US$ 50,000 - 70,000
Signed and dated in Telugu (lower centre) Further signed and dated in Telugu (on the reverse) PROVENANCE Acquired directly from the artist Property of a private collection based in Dubai
South Asian Art | Classical, Modern AND Contemporary
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LOT 52
Senaka Senanayake (b. 1951) Love Birds oil on canvas 44 x 16.5 in. (112 x 42 cm.) painted in 1996
US$ 6,000 - 9,000 Signed and dated ‘Senaka Senanayake 1996’ (lower left) Titled ‘Love Birds’ (on the reverse) PROVENANCE Acquired directly from the artist Property from a German collection
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LOT 53
Ram Kumar (1924 - 2018) Untitled oil on canvas 36 x 30 in (90.2 x 74.9 cm) painted in 2008
US$ 35,000 - 45,000
Signed and dated in English (on the reverse) PROVENANCE Saffronart / Lot 36 / Autumn Art Auction / 19-20 September 2012
South Asian Art | Classical, Modern AND Contemporary
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LOT 54
Jogen Chowdhury (b. 1939) Flower Vase mixed media on canvas 24 x 20 in. (61 x 51 cm.) painted in 2012
US$ 20,000 - 30,000
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Signed ‘Jogen’ (upper right) Dated ‘2012’ (upper left) Initialed in Bengali (lower right) Further signed, dated and titled in Jogen Chowdhury / “Flower Vase” / 2012 (on the reverse) PROVENANCE Acquired directly from the artist
LOT 55
A. Ramachandran (b. 1935) Untitled oil on canvas 18 x 18 in. (45.7 x 45.7 cm.) painted in 2006
US$ 10,000 - 15,000
Signed and dated ‘Ramachandran 2006’ (lower right) Further signed, dated and inscribed ‘Ramachandran / 2006 / Studies from Rajastan’ (on the reverse) PROVENANCE The Guild Art Gallery, Mumbai Private collection, Dubai
South Asian Art | Classical, Modern AND Contemporary
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LOT 56
Paresh Maity (b.1965) Memory of the Ghats oil on canvas 30 x 48 in. (76 x 122.5 cm.) painted in 2007
US$ 15,000 - 25,000
Signed and dated ‘Paresh Maity ‘07’ (lower left) Further signed, titled, dated and inscribed ‘Paresh Maity ‘07 / “Memory of the Ghats” / oil on canvas / 30” x 48” PROVENANCE Private collection, Dubai
South Asian Art | Classical, Modern AND Contemporary
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“I understood from a very early age that home is not necessarily a permanent place, it is an idea we carry with us wherever we go. We are our homes.” Home is Foreign Place is more than just a woodblock prints on paper, to Zarina, it is her narrative of the house where she was born in, left in her early twenties never to return for decades until her recent visit to Aligarh. In 1975, Zarina moved to New York with the thought that one day she will go back home. But for over 4 decades, she stayed in New York and California simultaneously as there was nothing to go back to in Aligarh. This work, as the others, is an exploration of the universal nature of home and of the individual sense of place in the world. She did the piece for herself in order to understand how she got where she is from her place of origin. The co-existence of calligraphy and geometric symbols in her work is her way of lending personal presence to an otherwise abstract image. Instead of the plain images, Zarina inscribed texts in Urdu, giving clues to the viewers and allowing them to share her sensibility, and in a way, her sense of home. Through art, she was able to explore the metaphors of home and raise questions of meaning, stability, endurance, mobility and the ephemeral concept of the nature of home. The work very much reflects how she views home which was once familiar but no longer. Her nomadic lifestyle, moving from place to place, the memory of her once called home was engraved in her heart through her art, a place which she will carry with her always. Home is a Foreign Place is a work meant to be read as a poem, an approach that is consistent with the often spoken importance of poetry in her art. “Beautifully penned, the poetry has an aesthetic beauty of its own. It is the words, the titles that Zarina has given to the works that conjure of magical other worlds in one’s mind evocating memories that lie buried in our psyche casting a spell of insight into the human condition.” 114
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LOT 57
Zarina Hashmi (b. 1937) Home is a Foreign Place woodcuts on Kozo paper, mounted on Somerset paper 16 x 13 in. (40.5 x 33 cm.) each sheet 8 x 6 in. (20.3 x 15.2 cm.) each plate executed in 1999 Signed, titled, dated and numbered ‘Zarina ‘99’ (lower edge) each Portfolio of 24 woodcuts with Urdu text printed in black Edition 20 of 25
US$ 50,000 - 70,000
PROVENANCE The Guild Art Gallery, Mumbai Private collection, Dubai EXHIBITED Zarina Hashmi, Home is a Foreign Place, The Guild Art Gallery, India, June to July 2005 Mind and Matter: Alternative Abstractions, 1940s to Now, The Museum of Modern Art, New York, May to August 2010
South Asian Art | Classical, Modern AND Contemporary
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LOT 58
K. Laxma Goud (b. 1940) Untitled bronze (patinated) height - 12.5 in. (31.5 cm.) width - 13 in. (33 cm.) depth - 3.5 in. (8.5 cm.)
US$ 5,000 - 7,000
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Signed in Telugu and numbered ‘5/8’ (lower left chin) The sculpture is mounted on a wooden board measuring 15 x 13 in. (38 x 33.5 cm.) Edition 5 of 8 PROVENANCE The Guild Art Gallery, Mumbai Private collection, Dubai
LOT 59
Himmat Shah (b. 1933) Untitled bronze height - 18 in. (46 cm.) width - 9 in. (22.8 cm.) depth - 6.5 in. (16.5 cm.) casted in 2006
US$ 10,000 - 15,000
Signed and numbered ‘Himmat 1/9’ (lower centre) Edition 1 of 9 PROVENANCE The Guild Art Gallery, Mumbai Private collection, Dubai
South Asian Art | Classical, Modern AND Contemporary
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LOT 60
Akbar Padamsee (b. 1928) Untitled bronze (patinated) height - 14 in. (35.5 cm.) width - 9 in. (22.8 cm.) depth - 11 in. ( 27.9 cm.)
US$ 10,000 - 15,000
Marked ‘AP / II / 2/5’ (lower back of the head) Edition 2 of 5 PROVENANCE The Guild Art Gallery, Mumbai Private collection, Dubai
South Asian Art | Classical, Modern AND Contemporary
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END OF SALE
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In order to Bid, users must first register on our website, Sign In with their Artiana ID, and request Bidding access for the sale in which they are interested. Once their request has been approved, users can proceed to Bid. Artiana offers you ease and flexibility by providing three ways to Bid on a desired Lot: Online Bids Online Bidding allows you to directly participate in the auction through the Artiana website or mobile app in real time and from anywhere in the world. All you have to do is click to Bid wherever you may be. You will be able to track your Bids through the website and will be alerted if you have been outbid. Visit www.artiana.com to find out more. Proxy/Maximum Bids These are suitable for those Bidders who are not available to follow the Bidding process, or would simply like to reserve a maximum Bid on a Lot. To make a Proxy Bid, you must enter the Maximum amount that you would like to Bid on a Lot, and our auction software will Bid on your behalf up to this amount. If you are the only person to Bid on the selected Lot, then you will purchase it at the lowest possible price (the Reserve Price). Written/Absentee Bids These are suitable for those Bidders who may not be available during the auction, or would prefer to have an Artiana representative complete the online transaction on their behalf. Once you have completed the Written/Absentee Bids form, we will either Bid online directly or place a ‘Proxy Bid’ on your behalf, allowing our auction software to Bid upto this amount. If you are the only person to Bid on your Lot, then you will purchase it at the lowest possible price (the Reserve Price). For more information, please refer to the Written/ Absentee Bids form in this catalogue or contact our Auction Help Desk at +971 55 815 3030 | +971 55 825 3030 | auction@artiana.com
3. Paying and Taking It Home
Congratulations! You hold the Winning Bid and are the Successful Bidder. Once you have paid for your purchase, delivery can be arranged. No Buyer’s Premium Ariana does not charge any Buyer’s Premium over and above the Winning Bid. ‘What You Bid Is What You Pay’. Payment As the Successful Bidder, you will only pay the Winning bid amount, along with any applicable charges for additional services availed and VAT if applicable. Payments for invoices are required to be completed within a period of seven business days from the receipt of the invoice via email. Refer to the ‘Buying at Artiana’ guide in this catalogue for more details. If you have any further questions please contact our Help Desk at +971 55 815 3030 | +971 55 825 3030 | info@artiana.com Storage Purchased Lots will initially be held for collection either at Artiana’s viewing gallery or at the shipper’s warehouse for 15 business days at no charge, after which a daily storage charge will be imposed. Delivery We can help you with all your delivery and shipping requirements whether local or international freight. Please refer to the ‘Storage and collection’ page in this catalogue or contact our Help Desk on +971 55 815 3030 | +971 55 825 3030 | info@artiana.com
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AUCTION CLOSING SCHEDULE For your convenience, particularly if you are bidding on more than one lot, predetermined groups of Lots are scheduled to close at 30-minute time intervals during the Auction. If a Bid is placed within the last 5 minutes, the timer on your screen will be extended by 5 minutes after the scheduled Closing Time of the Lot. The timer will continue to be extended in 5 minute increments for any Bidding received in the 5 minutes prior to the new Closing Time of such Lot. As with a traditional auction house, bidding will continue on each lot until there is no more interest in the room. Lots have been allotted into groups, and the closing schedule for the various Lot Groups are as follows: CLOSING TIMES INDIA UAE SRI LANKA LOT NUMBERS UTC +4:00 UTC +5:30
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US EASTERN UTC -4:00
US PACIFIC UTC -7:00
UK UTC +1:00
WEST AFRICA UTC +1:00
EAST AFRICA UTC +3:00
HONG KONG SINGAPORE UTC +8:00
EASTERN AUSTRALIA UTC +11:00
1-10
6:30 p.m.
8:00 p.m.
10:30 a.m.
7:30 a.m.
3:30 p.m.
3:30 p.m.
5:30 p.m.
10:30 p.m.
1:30 a.m. (May 15)
11-20
7:00 p.m.
8:30 p.m.
11:00 a.m.
8:00 a.m.
4:00 p.m.
4:00 p.m.
6:00 p.m.
11:00 p.m.
2:00 a.m. (May 15)
21-30
7:30 p.m.
9:00 p.m.
11:30 a.m.
8:30 a.m.
4:30 p.m.
4:30 p.m.
6:30 p.m.
11:30 p.m.
2:30 a.m. (May 15)
31-40
8:00 p.m.
9:30 p.m.
12:00 p.m.
9:00 a.m.
5:00 p.m.
5:00 p.m.
7:00 p.m.
12:00 a.m. (May 15)
3:00 a.m. (May 15)
41-50
8:30 p.m.
10:00 p.m. 12:30 p.m.
9:30 a.m.
5:30 p.m.
5:30 p.m.
7:30 p.m
12:30 a.m. (May 15)
3:30 a.m. (May 15)
51-60
9:00 p.m.
10:30 p.m.
10:00 a.m.
6:00 p.m.
6:00 p.m.
8:00 p.m
1:00 a.m. (May 15)
4:00 a.m. (May 15)
ARTIANA
1:00 p.m.
WRITTEN / ABSENTEE BIDS FORM SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY, MAY 10 - 14, 2018
SALE NUMBER: 1801
To enter Written / Absentee Bids, please sign the completed form and email it to auction@artiana.com at least 12 hours before the first closing time of the auction. For additional information, please refer to the ‘It’s Easy to Buy at Artiana’ and ‘Buying at Artiana’ sections in this catalogue or the ‘Frequently Asked Questions’ (FAQ’s) page on our website www.artiana.com. “I request Artiana, without legal obligation on its part, to Bid on the Lots listed below, upto the Maximum Bid Amount I have specified. I agree that my Bid will be treated as an offer and is subject to the Conditions of Sale listed in the catalogue and on the website www.artiana.com. I understand that Artiana is accepting Written / Absentee Bids for the convenience of clients and I will not hold it liable for failure to record my Bid. I understand that the Maximum Written Bid once recorded cannot be cancelled and can only be increased via email confirmation or by completing another Written / Absentee Bids Form, specifying the higher maximum Bid amount/s.” Please mention clearly in capital letters the Lot number and the description accurately (artist name, title). Bidders are requested to provide all invoicing details prior to the sale. The Bidder as registered with Artiana will be invoiced, and no invoices will be changed after the sale. Lot No.
Artist / Description
Maximum Bid Amount in USD
Name
Address
City
Postcode
Tel (mobile)
Tel (landline)
Country
Artiana ID By signing this form you agree that you have seen the catalogue and have read and understood our Conditions of Sale, Bidding Increments and Clauses overleaf and wish to be bound by them, and agree to pay any charges applicable to Bidders. This affects your legal rights. Signature
Place & Date
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BIDDING INCREMENTS Bidding begins below the lower estimate, and increases in steps, or increments. The next valid Bid is based on the increments listed below. If Bidders enter a Proxy Bid online, the next Bid is placed at the minimum incremental value.
USD 100 to 2,000
by USD 100
USD 2,000 to 4,000
by USD 200
USD 4,000 to 10,000
by USD 500
USD 10,000 to 20,000
by USD 1,000
USD 20,000 to 40,000
by USD 2,000
USD 40,000 to 100,000
by USD 5,000
USD 100,000 to 200,000
by USD 10,000
USD 200,000 to 400,000
by USD 20,000
USD 400,000 to 1,000,000
by USD 50,000
USD 1,000,000 and upwards
by USD 100,000
All Bids for Artiana’s auctions are placed and accepted in United States Dollars.
1. I agree and consent to pay all the applicable duties, fees, shipping and handling charges. 2. I understand that if Artiana receives identical Absentee or Proxy Bids, and if these Bids are higher or equal to the Reserve Price, Artiana will sell the Lot to the Bidder, whose Bid it received and accepted first. 3. I understand that Absentee or Proxy Bids submitted on ‘No Reserve’ Lots will be executed at a minimum of 10% of the lower estimate (the ‘Minimum Value’), if there is no competing Bid, and the Absentee or Proxy Bid amount is greater than the Minimum Value. 4. I understand that the execution of Written / Absentee Bids is offered as an additional service for no extra charge. Such bids are executed at the Bidder’s risk and undertaken subject to Artiana’s other commitments at the time of the auction. Artiana therefore cannot accept liability for any reasonable error or failure to place such Bids. For New Bidders If you have not previously registered with Artiana, please create an ‘Artiana ID’ on our website. To participate in this auction, you will have to ‘Register to Bid’ with your Sign-In details. When contacted by our representative, please provide a proof of identity and address document, such as a copy of an official photo identity card (either a National Identity Card, Passport or Driver’s Licence). Once your documents are verified, you will be given access to Bid. You may also call our Auction Help Desk at +971 55 815 3030 | +971 55 825 3030 or email info@artiana.com.
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BUYING AT ARTIANA Estimates • Estimates are based on prices recently paid at auction or average market value of the Lot as determined by Artiana’s specialists. • These Estimates are prepared well in advance of the sale and are subject to revision. • Estimates are provided only as a guide for buyers and should not be relied on as a prediction of actual price. Reserves • The Reserve Price is the minimum price at which the Lot shall be sold. • The Reserve Price is confidential and will not be disclosed. • The Reserve Price is always lower or equal to low estimate. Customs Duty, Buyer’s Premium and Value Added Tax • Customs duty of 5% will be applicable for GCC wide delivery of certain Lots that have been temporarily imported into the UAE for re-export. These Lots will be identified in the catalogue accordingly. • Artiana does not charge any Buyer’s Premium. • No taxes are applicable on purchases from Rest of World and designated VAT exempt free zones. • Value Added Tax (VAT) of 5% will be applicable on Artiana’s commission component (20%) of the Sale Price (Winning Bid) as per the Profit Margin Scheme on any and all purchases from within the UAE, excepting designated VAT exempt free zones. Pre-Auction Viewings • Pre-auction viewings will be held at Artiana’s viewing gallery in Dubai at the dates and times printed in the front of the catalogue. • Artiana’s auction specialists will be available to provide advice regarding Lots on display. • Artiana encourages prospective buyers to examine Lots thoroughly before the auction. Pre-Registration & Bidding Access • Prospective Bidders are asked to register with us before Bidding. This simple, one-time process will allow users to create a unique Artiana ID and password, which will be required in order to Bid in all our auctions. • After creating an Artiana ID and password, prospective Bidders will still need to request for Bidding access for a particular Lot by clicking on the ‘Register for Sale’ button. • Bidders will still need to request for Bidding access for a particular Lot by clicking on the ‘Register for Sale’ button. • Once this request has been processed by the Artiana Auction Desk, the Bidder will receive an email confirmation of Bidding access. • In the event that additional information is required for approval, the Bidder will be directly contacted by an Artiana representative. • Please note that if this process has not taken place, you shall not be granted Bidding access. • It is recommended that all Bidders register at least 24 hours before the auction. Personalised Notifications • After signing into Artiana and accessing the ‘My Account’ page, you may select artists of interest and request to be notified when they become available at auction. Proxy / Maximum Bids • Proxy or Maximum Bids can be placed on any Lot by going to ‘Upcoming Auctions’ or ‘Current Auctions’, selecting the catalogue of interest, and clicking the ‘Proxy Bid’ button next to the Lot on which you wish to Bid. • Please note that you must be registered and Signed In to place a Bid at any time. Written / Absentee Bids • Written or Absentee Bids can be placed on any Lot by contacting the Artiana Auction Desk in person, or by email at auction@artiana.com. • You may place a Written / Absentee Bid by filling out, signing and submitting the Written / Absentee Bids form available online and in the printed catalogue. • It is recommended that all Bids come in at least 12 hours before the first Closing Time of the Auction. Starting Bid • Starting Bid is the value at which the auction house opens the Bidding on each Lot. • Starting Bid can sometimes be lower than the value of the lower estimate. Bidding Online • Once you are signed in and granted Bidding access, you may proceed to Bid. • After you have identified the Lot on which you would like to Bid, click on ‘Place Bid’ and confirm your Bid at the next valid Bid value listed. • Now, you will be able to participate in the Bidding process by entering the next valid Bid each time you are out-bid. • Each new Bid will increase in steps or increments over the previous valid Bid.
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Bidding Increments • Bidding Increments will be calculated as shown in the Bid increment table in this catalogue. Bid History • All Lots have Bid History available, which can be viewed by clicking on ‘View Bid History.’ • Bid History indicates the values recorded for each Lot since the start of the auction. • Bid History will not be displayed once the auction has closed. Auction Closing Schedule • Predetermined groups of Lots will close simultaneously in Lot order every 30 minutes. • If a Bid is placed within the last 5 minutes, the timer on your screen will be extended to 5 minutes after the scheduled Closing Time of the Lot. • The timer will continue to be extended in 5 minute increments for any Bidding received in the 5 minutes prior to the new Closing Time of such Lot. • As with a traditional auction house, Bidding will continue on each Lot until there is no more interest in the room. • For more information on the closing times for this sale, please refer to the Auction Closing Schedule in the catalogue. Winning / Successful Bid • Winning or Successful Bid is the last and highest Bid at which the Lot has closed. • No new Bids can be placed after the close of a Lot. • The closing Bid is considered the Winning Bid only if the Bid exceeds the Reserve Price. • Artiana reserves the right to publish all Winning Bids on the website after the close of the auction. Currency of Bidding and Invoicing • All Bids are placed in US Dollars (USD). • All Invoices are raised in US Dollars (USD). • Payments received in UAE Dirhams (AED) will be converted to USD as per Artiana’s standard conversion rate of 1USD=3.675 AED. • Payments received in any other currency will be converted to USD as per the bank’s sheet rate on the day of transaction. Bid Cancellation • Once any Bid has been placed, it cannot be cancelled. • Artiana reserves the right to cancel any Bids in order to protect the efficacy of the Bidding process. After the Sale • If a Bidder is successful, he shall be informed via email after the auction has closed and will also be able to view his winning Bids under ‘Successful Bids’ on the ‘My Account’ page on the website. • The Bidder will then receive an email with the invoice for the Lot. • If a Bidder is the winning Bidder, he is legally bound to purchase the item from Artiana. • Please note that purchases will not be shipped out until full payment has been received and cleared. Invoicing & Payment • All details for the invoice are to be provided and verified prior to the auction. • For any and all clients and/or transactions from Rest of World except the UAE invoicing and payments are processed by Artiana Limited, a company duly incorporated under the RAK ICC Business Companies Regulations 2016 bearing registered number IC20120900; and for any and all clients and/or transactions from within the UAE invoicing and payments are processed by Artiana Limited, a company duly incorporated under the Dubai International Financial Centre bearing registered number 2249. • After the sale, the Buyer, as invoiced, is required to pay the amount in full (including the Winning Bid, VAT and any applicable charges for additional services availed). • Buyers will be required to complete payment within a period of seven business days from the receipt of the invoice via email. • Artiana shall only release Lots once the payment is made in full. • Bank Transfer: You may electronically transfer funds to our account in US dollars. When doing so, please quote the sale details along with the Lot number and invoice number as the reference. For payments made by bank transfer, all bank charges are payable by the remitter. • Credit and Debit Cards: Visa and Mastercard only. Please note that as Artiana does not charge any Buyer’s Premium to the Buyer, for any payments made by Credit or Debit Cards a service charge of 3% on the total invoice amount will be charged to the Buyer. It may be advisable to notify your card provider of your intended purchase in advance to reduce delays caused by us having to seek payment authorisation. Delivery / Collection of Purchase & Insurance • Price estimates and/or the Winning Bid price do not include any packing, insurance, shipping or handling charges, all of which will be borne by the Buyer. • Works will be shipped within 7 days of the payment being cleared. • Artiana offers free delivery in Dubai and can recommend our affiliated shipping company for deliveries outside the UAE. For more information, please refer to the ‘Storage and Collection’ page in this catalogue.
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• Alternatively, Buyers may choose to collect their purchase from Artiana in Dubai within 15 days from the date of the sale. • Buyers who have not completed payment formalities will be charged demurrage @ 2% per month on the value of the artworks and the charges for storage of the property. • Artiana provides insurance coverage on sold Lots for seven days after the Closing Time of the auction. After that period, or once a Lot has been collected (whichever is earlier), the Lot will be entirely at the buyer’s risk. Participate in our next auction • If you would like to stay informed of Artiana’s upcoming events, please register with us online at www.artiana.com Consign for our next auction • If you are interested in consigning works from your collection to our next sale, please contact us at the Artiana Auction Desk on • +971 55 815 3030 | +971 55 825 3030 | auction@artiana.com
• Fully climate controlled art storage facility • In-house art handling truck for transportation • Bespoke collection management services • Located in the safe and convenient jurisdiction of Dubai International Financial Centre (DIFC) • Assets stored are governed by a commonlaw framework with laws and regulations issued in English
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CONDITIONS OF SALE 1. DEFINITIONS Artiana: Artiana refers to our relevant corporate entity acting as a representative of either itself, any of its affiliates, assigns or any of its Sellers.
Catalogue version, as modified by Artiana from time to time, shall take precedence. Cultural Artifacts: Antiquities and items of historical interest or significance designated as Cultural Property.
• For any and all clients and/or transactions from Rest of World except the UAE: Refers to Artiana Limited, a company duly incorporated under the RAK ICC Business Companies Regulations 2016 bearing registered number IC20120900.
Description: All the details of a Property as set out in the Auction Catalogue and may include, without limitation, the name of the artist, designer or manufacturer, the title of the Property, and the following additional details.
• For any and all clients and/or transactions from within the UAE: Refers to Artiana Limited, a company duly incorporated under the Dubai International Financial Centre bearing registered number 2249.
• For Artworks: The signature of the artist/date of the Property (if any), the surface, medium, edition number (wherever applicable) and dimensions of the Property.
(Designated VAT exempt free zones within the UAE are deemed as Rest of World region) Artiana Server: The system(s) that provides computer devices with access to resources shared on computer networks, including Artiana data, application files and printers. Auction: An auction of Property(ies)/Lot(s) to be conducted by Artiana on www.artiana.com or any other website on the date indicated in the Auction Catalogue. Auction Catalogue: The catalogue as published by Artiana, whether in print, on the Mobile Application, or on the Website, including the Print Auction Catalogue, the MobileApp Auction Catalogue, the Online Auction Catalogue, and the eCatalogue with respect to an Auction, containing details of the Auction along with the description, price and other details of Properties to be offered for sale at such Auction. In case of any discrepancy between the Print Auction Catalogue, the MobileApp Auction Catalogue, the Online Auction Catalogue and/or the eCatalogue, the Online Auction Catalogue, as modified by Artiana from time to time, shall take precedence. Auction Closing Schedule: The schedule specifying the closing times for Bids for each Lot to be sold through the Auction as specified in the Auction Catalogue. Bid: The price offered by a Bidder to purchase a particular Property offered for sale at an Auction. Bidder: A person making a Bid for the purchase of one or more Property(ies) offered for sale at an Auction in accordance with the terms and conditions set out in the Conditions of Sale and such person shall be deemed to have entered into all applicable contracts under the governing law. Buyer: The Bidder making the Winning Bid with respect to a Property(ies), who has thereby agreed to pay/ has paid the Sale Price payable with respect to such Property(ies). Closing Date: The date specified in the Auction Closing Schedule on which the Auction closes. Closing Time: The time at which the Auction for any of the Lot Groups listed in the Auction Closing Schedule closes. Conditions of Sale: The Conditions, which are published in any of the Auction Catalogues and are applicable to every Bid and every sale of Property made through an Auction. In case of a conflict between the Conditions published in the Online Auction Catalogue and in the Print Auction Catalogue or eCatalogue, the Online Auction
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• For Precious Objects: Any other features or characteristics of the Property mentioned in the Auction Catalogue. eCatalogue: An electronic reproduction of the Print Auction Catalogue that may be made available on the Website for certain auctions. Lot Groups: The Properties grouped together for Auction that will close at a particular time. Mobile Application: Refers to Artiana’s proprietary mobile auction application, as updated from time to time, and available for download from the Apple App Store or Google Play, for the purpose of viewing the Auction Catalogue, placing Bids, viewing Auction results, accessing other information related to Artiana or the Auction, and receiving push notifications on a mobile device. MobileApp Auction Catalogue: The screens within the Mobile Application relating to the Auction, as may be amended from time to time. Notices: Information included in the Auction Catalogue by Artiana - whether in print or online or on the Mobile Application - to correct errors and omissions in the Auction Catalogue. Although these are provided for the Bidders’ convenience, the Online Auction Catalogue, as modified by Artiana from time to time, shall take precedence in all cases of discrepancy. Online Auction Catalogue: The web pages on the Website relating to the Auction, as may be amended from time to time including web pages accessible via the link “Auction Catalogue” (including all pages providing details related to the Property(ies)), as well as additional pages containing details of the Auction accessible via the link “About the Auction.” Precious Objects: Jewellery, watches, loose precious stones and any other objects offered for sale within the context of an Auction. Print Auction Catalogue: The printed version of the Auction Catalogue. Property/Lot: The Artworks, Precious Objects, and any other items offered by Artiana for sale, either individually or collectively (as a single unit), through the Auction. Proxy Bid: Refers to any Proxy/Maximum Bid placed by a buyer on the Website authorising the auction software to automatically Bid on his behalf, until such Maximum amount is reached. Reserve Price: The minimum price, as determined by Artiana and the Seller, acceptable for the sale of the Property through an Auction. Seller: The party consigning the Property to Artiana as its agent for sale through Auction.
Technical Downtime: The time period during which the Artiana Server or the Website is not operational due to a malfunction or planned maintenance. Terms of Business: The terms of business executed between Artiana and the Seller including but not limited to the consignment agreement. Website: The collection of HTML and/or internet data and media located at the URL www.artiana.com and/or any other URL linked to the Website. Winning Bid/Sale Price: The highest Bid offered with respect to a Property at the Closing Time, where the Winning Bid shall either be higher than or equal to the Reserve Price. Winning Bidder: The Bidder who has placed the Winning Bid. Written Bid: Refers to any Written/Absentee Bid recorded with Artiana upon submission of the completed Written/Absentee Bids form at least 12 hours before the first Closing Time. 2. General Terms By participating in this Auction, you acknowledge that you are bound by the Conditions of Sale as listed below and on the Website. 2.1. Artiana’s role as the agent of the Seller: Artiana undertakes to sell the Properties through Auction as the agent for and on behalf of the Seller. 2.2. Making a Bid constitutes an irrevocable offer to purchase the Property, and the acceptance of a Bid as the Winning Bid by Artiana shall result in an enforceable contract of sale between Artiana, acting solely as the agent of the Seller, and the Winning Bidder. 2.3. Artiana is authorised by the Seller to exercise its complete discretion in: • determining the form and content of the Descriptions in the Auction Catalogue, • g ranting Bidding access to a Bidder, • recording, rejecting or accepting Bids, and • deciding which Bid constitutes the Winning Bid, if any. (Bidding access shall be given at Artiana’s discretion and Artiana may set limits on the total value of all Bids made and/or the number of Bids that may be made by a Bidder. Artiana may also require payment guarantees and/or deposits as a condition precedent to giving Bidding access to a Bidder. Bidders will be informed of the limits on the total Bid value and/or the number of Bids that they may make, if any, and will not be allowed to Bid further if either of such Bidding limit has been exhausted. Bid updates and time extensions, if any, shall be updated on the Website and Mobile Application. On both the Website and the Mobile App, Bidders may refresh their Bidding pages by clicking on the “Refresh Now” icon or the re-load/refresh buttons on their browsers, where applicable. Artiana shall evaluate the Bid histories of specific Lot Groups periodically to preserve the efficacy of the Auction process. This exercise may be conducted by Artiana internally or through third parties solely at the discretion of Artiana.) 2.4. Closing Times For the convenience of Bidders, particularly those who are placing Bids on more than one Lot, Lot Groups are scheduled to close at 30-minute time intervals during the Auction. The Bidding for various Lot Groups shall be closed in accordance with the Auction Closing Schedule. However, in the event that Artiana records any Bidding activity in the 5 minutes prior to the
closing of a Lot, the Closing Time for such a Lot shall be extended by 5 minutes from its originally scheduled Closing Time. The Closing Time shall continue to be extended in 5-minute increments for any subsequent Bidding received in the 5 minutes prior to the closing of such Lot. In the event that the Closing Time is extended in accordance with this Clause, bidding on the Lot shall only end if no Bidding activity is recorded by Artiana during the last 5 minutes of extended time. Bidders are advised to click on the “Refresh Now” icon on the Website page or in the Mobile Application at regular intervals in accordance with the provisions of Clause 2.5 for updates on latest Bids and time extensions if any. 2.5. Tracking Bids The Website shall contain a link titled ‘Lots I Bid On’ within the page ‘Current Auction’ and the Bidder may click on this link to access information on all Bids made on various Lots. For ease of tracking Bids, Bidders are advised to assign Bidding nicknames to themselves. The Website and Mobile Application shall contain: • The Bid history for each Lot, being the last 5 Bid amounts that have been recorded until and including the current highest Bid; and • A countdown clock indicating the amount of time available for placing Bids before the Closing Time. The Bid history, current Bid, and countdown clock shall be accurate at the time of downloading of those values, provided that such information has not changed during the time taken for this information to reach the Bidder’s computer or mobile device from the Artiana Server. The most updated Bid values shall be shown only when the Website page or the Mobile Application page containing the information on Bid values is refreshed; which shall happen either automatically at regular intervals (Every 5 minutes prior to one hour before the closing time of the first Lot/Lot Group and every 1 minute within the last hour of the closing time of the first Lot/Lot Group and shall continue refreshing every minute till the close of the last Lot/Lot Group) or when a Bidder clicks on the ‘Refresh Now’ icon on the Website page or in the Mobile Application page. When the countdown clock counts down to zero, in the case where the Closing Time with respect to a particular Lot has been extended by a further 5 minutes pursuant to Clause 2.4 above, the countdown clock may not reflect such extension. As such, the Bidder may wait for the values on the page to refresh automatically on the Website, or click on the ‘Refresh Now’ link on the page or in the Mobile Application to determine whether the Closing Time has been extended for that Lot. The countdown clock combined with the current highest Bid as shown in the Bid history on the Website shall only be an indication of the highest Bid amount at the time when the values on the Website or Mobile Application were refreshed in the manner set out in Clause 2.5 above. Should bidders want more frequent updates, they are advised to refresh values as described in Clause 2.5 in order to view the most updated Bid history and countdown clock. Due to the nature of internet and/or mobile traffic, there may be an unpredictable time lag between a Bidder placing a Bid, and that Bid being received by Artiana. Therefore, although a Bidder may have placed his/her Bid prior to Closing Time, Artiana may receive the Bid after the Closing Time for the Lot with respect to which the Bid has been placed and shall, in such an event, be rejected. In order to prevent Bids being rejected in such a manner, Bidders may set Proxy Bids/Maximum Bids for Lots on which they wish to Bid.
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Written/Absentee Bids may be recorded with Artiana 12 hours prior to the first Closing Time, subject to the other provisions of these Conditions of Sale, including any limits imposed by Artiana on the number of Bids that might be placed by a Bidder. 2.6. Bidders are advised to keep their Artiana ID and password secure at all times. Artiana will hold the Bidder responsible for all Bids placed using their Artiana ID and password, whether via the Website or a mobile device. Bidders using the Mobile Bidding Application are advised to keep their mobile devices secure and set passwords for them to prevent unauthorised use. 2.7. Artiana reserves the right to withdraw any Property before, during or after the Auction, if it has reason to believe that the authenticity of the Property or the accuracy of the Description is in doubt, or if there is a breach of the Terms of Business, or in the case of error or dispute, or if Artiana otherwise believes, at its sole discretion, that it would be improper to include the Property in the Auction, and can during or after the Auction continue the bidding, determine the successful Bidder, cancel the sale of the Lot, or re-offer and resell any Lot. 2.8. All Property(ies) shall be sold subject to the Reserve Price. If the Winning Bid is below the Reserve Price, the Property shall be considered unsold except in such case where the Winning Bid is a Proxy Bid and the maximum limit on the Proxy Bid either matches or is higher than the Reserve Price. In such cases the Property(ies) shall be sold at Reserve Price to the Proxy Bidder. The Reserve Price on each Property shall be confidential and Artiana shall have no obligation to disclose the same to any Bidder. 2.9. Artiana will invoice the Buyer for the Sale Price (Winning Bid) and any additional charges that may be incurred by Artiana are applicable on the sale, including shipping and handling of the Property. 5% VAT will be charged on Artiana’s commission component (20%) of the Sale Price as per the Profit Margin Scheme and is applicable on any and all purchases from within the UAE. 2.10. The title to the Properties purchased in an Auction shall pass to the Buyer at the Closing Time subject to the conditions in clause 2.7 for those Properties where a Buyer holds the Winning Bid and said Buyer assumes full risk and responsibilities for the Properties thereafter. Properties purchased will not be released or shipped out to the Buyer or his representative until the Buyer has fulfilled his payment and other obligations as described in these Conditions of Sale. Artiana may exercise a lien on the Properties under the conditions described in Clause 2.17. 2.11. Bidding Increments will be calculated as shown in the Bidding Increment table below. USD 100 to 2,000 USD 2,000 to 4,000 USD 4,000 to 10,000 USD 10,000 to 20,000 USD 20,000 to 40,000 USD 40,000 to 100,000 USD 100,000 to 200,000 USD 200,000 to 400,000 USD 400,000 to 1,000,000 USD 1,000,000 and upwards
by USD 100 by USD 200 by USD 500 by USD 1,000 by USD 2,000 by USD 5,000 by USD 10,000 by USD 20,000 by USD 50,000 by USD 100,000
2.12. The Auction is conducted in United States Dollars (USD) and, for any transaction in other currencies, the exchange rate will be
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calculated as per the sheet rate of the bank specified by Artiana on the date of either receiving the funds from the Buyer or remitting the funds to the Seller. In the case of payments for purchases being made in UAE Dirhams (AED), a standard conversion rate of 1USD = 3.675 AED will apply. 2.13. All Bidders are required to provide complete and accurate invoicing details to Artiana at the time of registration for the Auction. Invoicing details, once registered, will not be changed. The Bidder shall be invoiced based on details provided at the time of registering for the Auction. For any and all transactions from Rest of World except the UAE invoicing and/or payments are processed by Artiana Limited, a company duly incorporated under the RAK ICC Business Companies Regulations 2016 bearing registered number IC20120900; and for any and all transactions from within the UAE invoicing and/or payments are processed by Artiana Limited, a company duly incorporated under the Dubai International Financial Centre bearing registered number 2249. 2.14. The Winning Bidder shall pay the Sale Price in full (including any additional charges and VAT, if applicable) within seven business days from the Closing Date. No shipment or delivery of the Property will be made to the Winning Bidder if the Sale Price, and any other additional charges that may be payable by the Buyer, are not received by Artiana and until all proper documentation in connection with thesale of the Property has been completed. Payments will not be accepted from any parties other than the Winning Bidder as recorded on the invoice. 2.15. Non payment The Winning Bidder shall ensure that invoices provided by Artiana are paid in full and all remittance of amounts due under said invoice is made within seven business days from the date of the invoice. In the case that payments are not received within such period, it shall be treated as a breach of contract of sale by the Buyer and, in such an event, Artiana is authorised at its sole discretion to cancel the sale upon expiry of this stipulated period of seven business days without being obliged to inform the Buyer of the same, and the Seller authorises Artiana to take any steps (including reporting the late payments, missed payments, or other defaults on the account to any credit bureau and the institution of legal proceedings), as deemed appropriate, to enforce the full or any differential payment due by the Buyer. In addition, the Buyer will be charged demurrage @ 2% of the total value (Winning Bid) per month until the date of actual payment. 2.16. Failure to collect If the Buyer informs Artiana that he wishes to collect the Property(ies) from Artiana in person and such Property(ies) is not collected by the Buyer within 15 days from the auction closing date, Artiana shall arrange for storage of the Property(ies) at the Buyer’s expense, and shall only release the Property(ies) after payment has been made, in full, including demurrage @ 2% of the total value (Winning Bid plus any other additional charges, if applicable) per month for all payments due and the charges for storage of the Property(ies), if any. 2.17. Artiana shall be entitled to exercise a lien on the Property(ies) for payment of any sums receivable from the Buyer, including the Sale Price and costs relating to storage and insurance where they are to be borne by the Buyer, in relation to any Property(ies) purchased by the Buyer. 2.18. Artiana reserves the right to not award the Winning Bid to the highest Bidder at the Closing Date if it deems it necessary to do so.
2.19. The Buyer acknowledges that Artiana will abide by any export restrictions that may apply in the countries from where specific Property(ies) will be shipped. The Buyer shall also be responsible to ensure that the Property(ies) is freely importable into the country where such Property(ies) is intended for delivery (as specified by the Buyer). In the event the Buyer or Artiana become aware of any restrictions to such import subsequent to the completion of the Auction, the Buyer may provide an alternate delivery destination to Artiana. (Such restrictions on import of any Property/Lot purchased by a Buyer shall not qualify as grounds for the Buyer to cancel such sale under any circumstances). All costs associated with the process of delivery and storage (when required) of the Property(ies) shall be borne by the Buyer. The Property(ies) shall be handed over to the Buyer, or his nominee, only upon full payment of all such costs. 2.20. Artiana has the right to exercise reasonable discretion in setting Bid increments as per Clause 2.11 or otherwise, refusing any Bid, advancing the Bidding, withdrawing or dividing any Lot, combining two or more Lots; and in the case of error or dispute, during or after the sale, determining the successful Bidder, continuing the Bidding, cancelling the sale or reoffering and reselling the item in dispute. If any dispute arises after the sale, then, in the absence of any evidence to the contrary, the sale record maintained by Artiana will be conclusive. 2.21. Written Bids are accepted from Bidders once they have been given Bidding access for the Auction. These are entered as online direct or Proxy Bids by Artiana, and may not be stopped or altered by the Bidder once the Auction has commenced. Written Bids are accepted until twelve hours prior to the first Closing Time. 2.22. Artiana employees may not Bid in the Auction once the Auction has started. They may however submit a Written Bid for an amount that may be equal to or above the lower estimate of a Lot before the Auction commences and have a Proxy Bid placed on their behalf. Once the Auction has begun, they may only increase their Proxy Bid. 2.23. Artiana employees may Bid in charity auctions that are held on the Artiana Auction platform. 2.24. Sellers are not allowed to Bid on the particular Lot(s) they have consigned. 2.25. Artiana does not place or allow any Bids to be placed on behalf of the Seller. All of the Bids recorded at Artiana are from registered Bidders. 2.26. Once a Bid is registered in our system, whether placed by an active Bidder or by Proxy, it is immediately and automatically displayed for all registered users to see. 2.27. Technical Downtime In the unlikely event that the Website is inaccessible to Bidders worldwide due to Technical Downtime within the half hour prior to the scheduled Closing Time for any of the Lot Groups, the Closing Time of that Lot group and subsequent Lot Groups will be extended by the duration of the Technical Downtime. In case the Technical Downtime extends beyond the Closing Time for a particular Lot Group, the Website shall, after the Technical Downtime, show the Auction for the particular Lot Group as closed. However, the Closing Time for such Lot Group and subsequent Lot Groups shall be extended by the duration of the Technical Downtime and appropriate details of the extension shall be published on the Website shortly after recovery from the Technical Downtime. Note that any malfunction in
the Mobile Application does not constitute Technical Downtime. In the event of such malfunction, Bidders should use the Website to place Bids. 2.28. Bids recorded prior to any Technical Downtime will be treated as valid according to the Conditions of Sale. Artiana shall not be liable for any loss of information due to the Technical Downtime. The data logs of the Artiana Server will determine the duration of the Technical Downtime and any determination made by Artiana in respect of extension of the Closing Time shall be final. 3. Catalogue Description and Condition of Property 3.1. Artiana offers all Property(ies) for sale at the Auction “as is”, which means that the Property(ies) are sold with all existing faults and imperfections. Measurements are given as Height x Width x Depth in decimal inches (rationalized to the closest 0.25, 0.5, 0.75) and in decimal centimetres. Artiana encourages all potential Buyers to inspect each item carefully before Bidding. 3.2. Any statements made by Artiana about any Property(ies), whether orally or in writing concerning attribution to, for example, any school of art or craftsmanship, country or origin, history or provenance, are only expressions of Artiana’s own opinion or belief. Such opinions or beliefs including the estimate values of the properties have been formed honestly in accordance with the standard of care expected of an auction house. However, Artiana does not in anyway represent that it has carried out exhaustive research or analysis, and it is therefore recommended, especially in cases of Property(ies) of high value, that potential Buyers seek advice on such matters from their own professional advisors. 3.3. The Buyer undertakes: • to inspect and satisfy himself prior to the Auction as to the condition and description of the Property(ies); • to rely on his own judgment as to whether the Property(ies) matches its description; and • to not rely on an illustration of any Property(ies) given in the Catalogue 3.4. Neither Artiana nor any of its affiliates, agents, representatives, employees or directors shall be liable for errors or omissions in any of the representations made in the Auction Catalogue or otherwise with respect to authenticity, description, or condition of any Property(ies) for sale through the Auction. 4. Authenticity Guarantee 4.1. Artiana provides an assurance on behalf of the Seller that each artwork offered at auction, is a genuine work of the artist listed. Artiana guarantees the authenticity of such artwork for a period of six months from the auction closing date. Authenticity in relation to artworks shall mean compliance of the artwork with the description provided on the website, particularly with reference to the name of the artist, title (if any) of the artwork, date, the school of art (if mentioned), dimensions, medium, etc. In the unlikely event that within six months from the close of an auction, it is proved by the Buyer, to the reasonable satisfaction of Artiana, that the item was not authentic and if, in Artiana’s opinion, this would have significantly impacted the Winning Bid for the item, Artiana shall be entitled to rescind the sale. In such an event, the Seller will be liable to refund the payment for the item to the Buyer,
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through Artiana. The item in question will subsequently be returned to the Seller. All such claims will be handled on a case-by-case basis, and in the case of an authenticity claim in relation to an artwork, examinable proof, clearly demonstrating that the item is not authentic, will be required. Such examinable proof should be provided by an established and acknowledged authority. Artiana’s decision, with regards to such claims, shall be final and binding. 4.2. The above guarantee given in clause 4.1 shall be subject to the following conditions: • The claim is made by the Buyer as registered with Artiana (the benefit of the claim is not assignable to any subsequent owners or others who may acquire or have an interest in any of the Properties) • The Property is returned in the same condition that it was in at the time of delivery of the Property to the Buyer • The Property was indisputably purchased through Artiana 4.3. In the case of Properties which have been categorised by Artiana as Precious Objects, Artiana provides an assurance, on behalf of the Seller, that each piece shall comply with characteristics or features mentioned in the Description of the Property in the Auction Catalogue for as long as the Property is in the possession of Artiana. All colored stones unless certified may or may not be treated for enhancements. It is therefore advisable for Buyers or potential Buyers of such Properties, to inspect the Property prior to Bidding or prior to shipment or Buyer pickup from Artiana. In the unlikely event that during such inspection, the Buyer is able to prove to the reasonable satisfaction of Artiana that the Property does not match the details in the Description, and if, in Artiana’s opinion, Bidders being aware of such error or omission would have Bid significantly less than the actual Sale Price, Artiana shall be entitled to rescind the sale and the Seller will be liable to refund to the Buyer the Sale Price paid for the Property; and Artiana shall hand over the Property to the Seller upon refund of the Sale Price paid to him for the Property. Once Artiana obtains the refunded amount from the Seller, it shall forward the same to the Buyer. This guarantee will not be applicable where the Property is being shipped to the Buyer by Artiana. 4.4. In the case of Properties such as antiquities or items of historical interest which have been categorised by Artiana as Cultural Artifacts, Artiana provides an assurance, on behalf of the Seller, that each object of antiquarian or historical interest or significance has been acquired without violating any local or international laws. In the unlikely event that it is proved that the acquisition, provenance and/or ownership of such Cultural Artifacts offered at our Auction is subject to a legal dispute, the Buyer shall keep Artiana indemnified from any such legal proceedings. 4.5. In all cases Artiana retains the right to consult with, at the expense of the Buyer, up to two recognized experts in the field (such experts being mutually acceptable to Artiana and the Buyer), to examine the Property under question before deciding to rescind the sale and offer the refund under the above guarantee. The opinion of the experts shall not be binding on Artiana. 4.6. In the event of the Seller’s failure to refund the proceeds as stated in this clause, the Buyer shall return the Property to Artiana and authorise Artiana as its agent to initiate legal proceedings against the Seller. Any such steps taken or legal proceedings instituted by Artiana, against the Seller, shall be at the cost of the Buyer and Artiana’s liability shall be limited as per Clause 5.1.
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5. Extent of Artiana’s Liability 5.1. Artiana has an obligation to refund the Sale Price to the Buyer only upon recovery of such amounts from the Seller and in the circumstances described in Clause 4 above (Authenticity Guarantee). The Buyer indemnifies Artiana from any non-recovery of such amounts and agrees that they shall not hold Artiana responsible in case such amounts are not recoverable from the Seller. Artiana provides insurance coverage on sold Lots for seven days after the Closing Time of the auction. After that period, or once a Lot has been collected (whichever is earlier), the Lot will be entirely at the buyer’s risk. Damages, losses or loss in value of any artworks (including frames) incurred during shipping and transit are not covered as per the insurance policy taken by Artiana. In case the Buyer opts for transit insurance coverage arranged for by Artiana by any of their insurance providers, Artiana shall not entertain any direct claims for damage or loss during shipping and transit and these would have to be directed to such insurance providers; Subject to the authenticity guarantee above, neither Artiana’s suppliers nor Artiana, nor any of Artiana’s employees or agents, shall be responsible, either for the correctness of any statements as to the authorship, origin, date, age, attributes or genuineness of any Property in the sale, or for any mistakes in the Description, or for any faults or defects in the Properties, or for any other act or omission, whatsoever. Artiana offers no guarantee or warranty other than the limited assurance contained in the authenticity guarantee above. 5.2. It is stated and agreed that the rescission of the sale and the refund of the total Sale Price paid by the Buyer is the sole remedy that may be sought by a Buyer, and such remedy is exclusive and in lieu of any other remedy which may otherwise be available under law. Artiana shall not be liable for any incidental or consequential damages incurred or claimed. 6. Copyright All content of the Print Auction Catalogue, eCatalogue and on the Website and Mobile Application are copyright protected in favour of Artiana. All trademarks, names, brand names, etc. used in the Print Auction Catalogue and on the Website and Mobile Application are trademarks of Artiana. Any rights not expressly granted herein are reserved. No image, illustration or written material may be used or required without the prior written permission of Artiana. Artiana and the Seller(s) make no representation or warranty that the Buyer of a Property will acquire any copyright or other reproduction rights in it. 7. Legal Notices, Language, Third Party Involvement AND MEDIATION 7.1. Artiana may validly serve the Bidder/ Buyer with legal notice, if required, under these Conditions of Sale by: • Sending an email to the email address disclosed by the Bidder/ Buyer to Artiana; or • Sending a courier to the address disclosed by the Bidder/ Buyer to Artiana. 7.2. Such legal notice shall be deemed to have been properly served: • In the case of email transmission - on the date of the transmission; or • In case of transmission by courier - 2 business days after the dispatch of the notice by courier. 7.3. The notices and contract language shall be English.
7.4. Artiana is at all times entitled to involve third parties for ensuring the Buyer’s compliance and performance as per these Conditions of Sale, and the Buyer hereby grants his consent in this regard. 7.5. In the event of any dispute arising out of or in connection with these Conditions of Sale or related thereto in any manner whatsoever, the parties shall first seek settlement of that dispute by mediation in accordance with the Mediation Rules of the DIFC-LCIA Arbitration Centre, which Rules are deemed to be incorporated by reference into this clause. The Buyer irrevocably submits to the jurisdiction of the Dubai International Financial Centre (“DIFC�) Courts and waives any objection it may have to refer the disputes arising out of or in connection with these Conditions of Sale to the DIFC-LCIA Arbitration Centre on the grounds that it is an inconvenient forum (forum non conveniens). If the dispute is not settled by mediation within 60 days of the commencement of the mediation, or such further period as the parties shall agree in writing, then the parties agree to refer and resolve the dispute by arbitration in accordance with Clause 9.
8. Severability If any part of the Conditions of Sale between the Buyer and Artiana is found legally invalid, illegal or unenforceable, that part may be discounted and the rest of the conditions will remain enforceable to the fullest extent permissible by law. In such cases, the Buyer and Artiana undertake to replace the wholly or partly legally invalid, illegal or unenforceable provision with one which is legally valid, legal or enforceable and whose economic purpose most closely reflects that of the legally invalid, illegal or unenforceable provision. 9. Law and Jurisdiction If the dispute is not settled by mediation in accordance with Clause 7.5 then the dispute shall be referred to and finally resolved by arbitration under the Arbitration Rules of the DIFC-LCIA Arbitration Centre, which Rules are deemed to be incorporated by reference into this clause. In any arbitration commenced pursuant to this clause, (i) the number of arbitrators shall be one; and (ii) the seat, or legal place, of arbitration shall be the DIFC. The language to be used in the arbitration shall be English. The governing law of the contract shall be the substantive law of England and Wales.
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ARTIANA GUARANTEE Aim of the Artiana Guarantee All artworks offered for sale by Artiana are authentic to the best of Artiana’s knowledge. Scope of the Artiana Guarantee Artiana provides the following assurance to buyers on behalf of the seller who may be a collector, dealer, retailer or gallery, that each artwork offered for sale on the site is a genuine work of the artist listed. Artiana guarantees the authenticity of the artwork for a period of six months from the auction closing date. Authenticity in relation to artworks shall mean compliance of the artwork with the description provided on the web site, particularly with reference to the name of the artist, title (if any) of the artwork itself, date, the school of art (if mentioned), dimensions, medium etc. In the unlikely event that within six months from the close of an auction, it is proved by the buyer to the reasonable satisfaction of Artiana that the item was not authentic and if, in Artiana’s opinion, this would have significantly impacted the price a buyer would have been willing to pay for the item, Artiana shall be entitled to rescind the sale, and the seller will be liable to refund to the buyer the price paid for the item. Once the buyer returns the item to Artiana it shall be handed over to the seller by Artiana. All such claims will be handled on a case-by-case basis, and in the case of an authenticity claim in relation to an artwork, such claim will require that examinable proof, which clearly demonstrates that the item is not authentic, is provided by an established and acknowledged authority. The decision of Artiana in respect of such claims shall be final and binding. This guarantee shall be subject to the following conditions: 1. The claim is made by the buyer as registered with Artiana (the benefit of the claim is not assignable to any subsequent owners or others who may acquire or have an interest in any of the items). 2. The Property is returned in the same condition that it was in at the time of delivery of the item to the buyer. 3. The Property was indisputably purchased through Artiana. Artiana retains the right to consult with, at the expense of the buyer, two recognised experts in the field, (such experts being mutually acceptable to Artiana and the buyer), to examine the item under question before deciding to rescind the sale and offer the refund under the above guarantee. The opinion of the experts shall not be binding on Artiana. In the event of the seller’s failure to refund the proceeds as stated above, the buyer shall return the item to Artiana and authorise Artiana as its agent to initiate legal proceedings against the seller. Any such steps taken or legal proceedings instituted by Artiana against the seller shall be at the cost of the buyer.
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COLLECTION AND STORAGE COLLECTION Lots will only be released from our viewing gallery or art storage facility upon presenting a delivery order issued by Artiana. Lots will not be released until all outstanding charges due to Artiana are settled Method
Where
STORAGE Please note that Lots in our art storage facility can be collected only by prior appointment from Artiana, P2-22B, Park Towers, DIFC, Dubai, UAE Charges Due
CONTACT ARTIANA Help Desk: T: +971 55 815 3030 E: info@artiana.com Office Hours: 10.30 am - 6.30 pm Packing / Costs
Onsite Delivery
Artiana Viewing Gallery: 903, The Metropolis Business Bay Dubai, UAE
5% Customs duty on Low Estimate & Customs Documentation Fee USD 95 per invoice (on applicable Lots) 5% VAT on Artiana’s commission Art Handler(s): USD 40 per art handler (if required)
Bubble wrap provided complimentary
Collection of Lots (By prior appointment)
Artiana Storage Facility: P2-22B, Park Towers, DIFC, Dubai, UAE
5% Customs duty on Low Estimate & Customs Documentation Fee USD 95 per invoice (on applicable Lots) 5% VAT on Artiana’s commission Handling Fee: USD 40 per Lot Art Handler(s): USD 40 per art handler
Bubble wrap provided complimentary Soft wrap (if required) will be chargeable based on size and materials
Local Deliveries (With fine art cool truck, soft wrapping and accompanied by a fine art handler)
Within UAE (Excluding Designated Free Zones)
5% Customs duty on Low Estimate & Customs Documentation Fee USD 95 per invoice (on applicable Lots) 5% VAT on Artiana’s commission Handling Fee: USD 40 per Lot plus Transit Insurance, if desired Art Handler(s): USD 40 per art handler Local Delivery: Offered without any charge within Dubai Delivery To: Sharjah USD 200; Ajman USD 250; Abu Dhabi USD 300; Other Emirates USD 350
Same as above for Bubble and Soft wrap Wooden crates (artworks wrapped in soft wrap and placed inside the crates) chargeable depending on size
International Deliveries (Based on confirmed shipping instructions from buyers)
Within GCC Countries (Excluding Designated Free Zones)
5% Customs duty on Low Estimate & Customs Documentation Fee USD 95 per invoice (on applicable Lots) 5% VAT on Artiana’s commission Handling Fee: USD 40 per Lot plus Transit Insurance, if desired Airfreight depending on weight and destination Insurance Coverage, if desired
Wooden crates packing is mandatory (artworks wrapped in soft wrap and placed inside the crates) chargeable depending on size
Outside GCC Countries and Designated Free Zones
As above but Customs duty and VAT exempt
As above
Important Information • All Lots will be stored free of charge for 15 days from the auction closing date either at Artiana’s viewing gallery or at our art storage facility. • After 15 days from the closing date of the auction, Lots shall be subject to a daily storage charge of USD 4 per Lot plus an administrative fee of USD 50 payable to Artiana. • As set out in the Conditions of Sale, risk and responsibility for the sold Lots (including frames or glass where relevant) passes to the Buyer at the Auction Closing Time. Artiana provides insurance coverage for sold Lots for seven days after the auction. Buyers are reminded that it is their responsibility to arrange adequate insurance for purchased Lots thereafter. • Lots sold at auction may be subject to import restrictions/taxes of foreign countries. It is the buyer’s sole responsibility to obtain any relevant import license into the buyer’s own country of residence and settle any taxes and destination clearance charges due. • Shipments can only be made once all outstanding charges dut to Artiana are settled and full payment of all shipping charges is received by the logistics service provider. • 5% VAT on Artiana’s commission is calculated as per the Profit Margin Scheme. This is applicable on Artiana’s commission component (20%) of the Sale Price (Winning Bid).
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ARTIST PROFILES AND INDEX Ara, K.H. (1914 - 1985) Born in 1914, in Andhra Pradesh, K.H. Ara for the most part, was a self-taught artist. He was a part of the Progressive Artists’ Group in Bombay and was a founder of the Artists’ Centre in Mumbai. Ara hosted his first solo show at the Chetana Restaurant in Bombay in 1942 which was a runaway success. Ara held his first solo show in 1942, at the Chetana Restaurant in Bombay. Since then he has had several other one man and group shows, including many with the Progressive Artists’ Group from 1948 to 1955 in Mumbai, Ahmedabad, Baroda and Calcutta. He had three more solo exhibitions in Mumbai in 1952, 1954 and 1960, and took part in the inaugural show of the Pundole Art Gallery in 1963. In the same year, he exhibited his Black Nude series in Mumbai. In 1955, Ara held shows of his work in Romania, Hungary and Bulgaria. His paintings have also been shown in galleries in West Germany, Russia and Japan. In 1944, the artist received the Governor’s Award for Painting. He went on to win the Bombay Art Society’s Gold Medal in 1952. Some of Ara’s significant Lot 32 works are part of the Cowasji Jehangir Family and the Rudi von Leyden Family collections. Ara passed away in 1985.
Burman, Sakti (b. 1935) Born in Kolkata, Sakti Bur-man graduated from the Government College of Arts and Crafts, Kolkata, in 1956 and then went on to study at the Ecole Nationale Superieure des Beaux Arts in Paris, where, in 1956, he won the Prix des Etrangers. Some of the most recent solo shows of his work include a retrospective at the Lalit Kala Akademi, New Delhi, Jehangir Art Gallery, Mumbai, Victoria Memorial Hall, Kolkata, and DakshinaChitra, Chennai, in 2012; at Apparao Galleries, Chennai in 2011; Pundole Art Lot 45 Gallery, Mumbai, in 2011, 2006, 2001, 1990, 1988, 1977, 1970 and 1967; Lot 29 Aicon Gallery, London and New York, in 2009; Art Musings, Mumbai, in 2009; and Maison de I’Unesco, in 2008. Burman’s works have also been featured at Saffronart’s exhibitions in Los Angeles in 2001 and in New York in 2002; at the Rand Palais, Paris, in 1975 and 1994; and at the French Biennales in 1963, 1965 and 1967. The artist lives and works in Paris.
Chowdhury, Jogen (b. 1939)
Lot 28
Lot 46
Lot 54
Born in 1939 in erstwhile Bengal, now Bangladesh, Jogen Chowdhury studied at Government College of Arts and Crafts, Kolkata, the Studio Academy of Fine Arts, Kolkata, and the Ecole Nationale Superieure des Beaux-Arts, Paris. His most recent solo exhibitions include ‘Jogen Chowdhury: Formative to Recent’, Centre of International Modern Art (CIMA), Kolkata, in 2014; ‘Lignes de Meditation’, Gallery Veda, Chennai, in 2012-13; ‘A Calligraphy of Touch and Gaze’ by Kalakriti Art Gallery at ICIA, Mumbai, in 2008; Vadehra Art Gallery, New Delhi, in 2007; the Centre of International Modern Art (CIMA), Kolkata, in 2006; and Bose Pacia, New York, in 2002. Chowdhury’s works have been exhibited in several group shows including ‘Ideas of the Sublime’, presented by Vadehra Art Gallery at Lalit Kala Akademi, New Delhi, in 2013; ‘Figure / Landscape: Part Two’, Aicon Gallery, London, in 2010-11; ‘Dali’s Elephant’, Aicon Gallery, London, ‘Paper Trails’,Vadehra Art Gallery, New Delhi, ‘Pretty Ugly’, Bose Pacia, Kolkata, ‘Image and Symbol: Painters Perception’, Aakrit Art Gallery, Kolkata, in 2010; ‘Modern Continuous’, Galerie 88, Kolkata, in 2009; ‘Inverting, Inventing,Traditions’, Grosvenor Vadehra, London, in 2007; Drawing Show an Act of Art II’, Priyasri Art Gallery, Mumbai, in 2006; those by Saffronart and Pundole Art Gallery, New York, in 2002 and 2001; the ‘Festival of India’ Geneva, in 1989; the II Havana Biennale, in 1986; and the Sao Paulo Biennale, in 1979. He was awarded the Kalidas Samman by the Madhya Pradesh State Government in 2001, the Shiromani Award, Kolkata, in 1997, and the Prix le France de la Jeune Peinture in 1966. The artist lives and works in Shantiniketan, West Bengal.
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Goud, K. Laxma (b. 1940) Born in Andhra Pradesh, Laxma Goud studied at the College of Fine Arts and Architecture in Hyderabad and at the Faculty of Fine Arts of M.S. University in Baroda. Goud has exhibited widely, both within and outside India. His solo shows include ones held at Art Alive Gallery, New Delhi in 2012; Art Musings, Mumbai in 2011; the Aicon Gallery, London, in 2009; Gallerie 88, Kolkata, in 2009; Indian Contemporary Art (ICA), Jaipur, in 2008; Gallery Space, Hyderabad, in 2008, and the Guild Art Gallery, Mumbai, 2006 and 2003. His works have been part of group exhibitions including those held at Sakshi Gallery, Mumbai in 2012; Aicon Lot 58 Gallery, New York in 2011-12; Art Musings at Jehangir Art Gallery, Mumbai, in 2008; Lot 51 Galerie 88 Kolkata, in 2007; Priyasri Art Gallery, Mumbai, in 2006; by Saffronart and Apparao Galleries, Los Angeles, 2001; Saffronart Hong Kong 2001, Saffronart and Pundole Art Gallery, New York, 2001 and 2002; Centre of International Modern Art (CIMA), Kolkata, and the National Gallery of Modern Art (NGMA), New Delhi, 1993; ‘Festival of India’, Geneva, 1987; and Worcester Art Museum, 1986. Goud received the Andhra Pradesh State Lalit Kala Academy awards in 1962, 1966 and 1971. The artist lives and works in Hyderabad.
Hashmi, Zarina (b. 1937) Born in Aligarh, Uttar Pradesh, in 1937, Zarina Hashmi received a Bachelor’s degree in Science with Honours from Aligarh Muslim University in 1958, before she turned to the study of print making in India and abroad. Between 1963 and 67 she studied printmaking with S.W. Hayter and Krishna Reddy at Atelier 17, Paris, and in 1974, studied woodblock printing at Toshi Yoshido’s studio in Tokyo on a Japan Foundation Fellowship. Her solo shows and retrospectives include ‘Zarina Paper Like Skin’ at the Chicago Art Institute, the Solomon R. Guggenheim Museum, New York, and the Hammer Museum, Los Angeles, in 2012-13; ‘Noor’ at Galerie Jaeger Boucher, Paris, in 2011; ‘Recent Works’ and ‘Kagaz Ke Ghar’ at Gallery Espace, New Delhi, in 2011 and 2007 respectively; ‘The Ten Thousand Things’ at Luhring Augustine, New York, in 2009; ‘Weaving Memory 1990-2006’ at Bodhi Art, Mumbai, in 2007; ‘Silent Lot 57 Soliloquy’ at Bodhi Art, Singapore, in 2006; ‘Counting 1977-2005’ Bose Pacia, New York in 2005; ‘Cities Countries and Borders’ at Chemould Gallery, Mumbai, and Chawkandi Gallery, Karachi, in 2004; and ‘House with Four Walls’ at the Bronx Museum of the Arts, New York, in 1992. In addition, her work has been featured in several group shows and is part of the permanent collections of the Museum of Modern Art, New York, the Victoria & Albert Museum, London, and the Bibliotheque Nationale, Paris. Hashmi has been awarded residencies at Art-Omi and at the Women’s Studio Workshop, both in New York, where she eventually settled. In 1985 and in 1990 Hashmi was awarded the New York Fine Art Fellowship in the printmaking category. In addition Hashmi has taught at Bennington College, Cornell University and the University of California in Santa Cruz.
Husain, Maqbool Fida (1913 - 2011)
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Born in Pandharpur, Maharashtra, in 1913, Husain moved to Mumbai in 1937 where he sustained himself by painting cinema hoardings and designing furniture and toys. A self-taught artist, Husain was invited to join the Progressive Artists Group in 1947 by F.N. Souza after his first public exhibition of paintings. Most recently, his work has been featured in solo shows including ‘M.F. Husain: Early Masterpieces 1950s-1970s at the David Winton Bell Gallery, Providence in 2010; ‘Epic India’ at the peabody Essex Museum, Salem, in 2006-07; and ‘Early Masterpieces 195070s, at Asia House Gallery, London, in 2006. Husain was nominated to the Rajya Sabha, India’s Upper House of Parliament in 1986-92, during which he pictorially recorded its events, which were then published in 1994. The Government of India awarded him with a Padma Shri in 1966, a Padma Bhushan in 1973 and Padma Vibhushan in 1991, all high civilian honours. In 1971, Husain was invited to exhibit as a special invitee with Pablo Picasso at the Sao Paulo Biennale, Brazil. In 2004, he was awarded the Lalit Kala Ratna by the Lalit Kala Akademi, New Delhi. Husian passed away in London in 2011.
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Khakhar, Bhupen (1934 - 2003) Born in 1934, Bhupen Khakhar’s career as an artist began quite late, when he was in his thirties. As a chartered accountant who went to study art criticism, he moved on to depicting the “everyday” on canvas. A solo exhibition in the 1970’s propelled him to fame abroad, following which he gained a footing in India as an artist to be reckoned with. Khakhar’s engagement with homosexuality and the dreary existence of the lives of many in India found a powerful outlet in his art. The artist has had numerous solo and group exhibitions, including ‘A Retrospective’ organized by the Fine Art Resource at the National Gallery of Modern Art (NGMA), Mumbai in 2003; and exhibitions at Vadehra Art Gallery, New Delhi in 2002; Optica Gallery, Montreal, and Charles H.Scott Gallery, Vancouver, in 2001-2002. Some of his works were recently exhibited around the world: ‘Long Gone and & Living Now’ at Gallerie Mirchandani + Steinreucke, Mumbai; ‘Progressive to Altermodern: 62 Years of Lot 38 Indian Modern Art’ at Grosvenor Gallery, London; ‘Kalpana: Figurative Art in India’ presented by the Indian Council for Cultural Relations (ICCR) at Aicon Gallery, London; and ‘Shifting Shapes, Unstable Signs’ at Yale School of Art in New Haven, all in 2009. Chemould Art Gallery paid a homage to the artist through an exhibition titled “Aesthetic Bind, Subject of Death” that included his works.The artist was awarded Padma Shri by the Government of India in 1984. Bhupen Khakhar passed away in 2003.
Khanna, Krishen (b. 1925) Born in 1925, in Lahore, Krishen Khanna worked as a banker while he studied painting as a part-time programme at the Mayo School of Art. A job transfer brought him in close proximity with the members of the Progressive Artists’ Group in Mumbai, where he chose to pursue a fulltime career as an artist. In 1962-63 Khanna received a fellow-ship from the Rockefeller Council, New York and was artist-in-residence at the American University, Washington DC. In 2010, Saffronart hosted a retrospective of his work at the Lalit Kala Akademi, New Delhi. His other solo exhibitions include those held by Saffronart in association with Osborne Samuel and Berkeley Square Gallery at the Royal Academy, London, in 2007; Saffronart and Berkeley Square Gallery, London, in 2005; Pundole Art Gallery, Mumbai 2004; Vadehra Art Gallery, New Delhi, 1994; and Kumar Art Gallery, New Delhi, 2001, 1966, ’64, ’60, ’59 and ’58. His works were also included in exhibitions held by Saffronart and Pundole Art Gallery, New York, in 2001 and 2002. In 2011, the Government of India Lot 30 awarded him with the Padma Bhushan; in 2004 he received the Lalit Kala Ratna from the President of India; and in 1997 he received the Kala Ratna from the All India Fine Arts and Crafts Society, New Delhi. Khanna lives and works in New Delhi.
Kumar, Ram (1924 - 2018)
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Born in Simla in 1924, Ram Kumar studied art while working on a Master’s degree in Economics from St. Stephens College, New Delhi. In 1949 he left for Paris to study painting under Andre Lhote and in 1950 he joined Atelier Fernand Leger, returning to India three years later. In 1970 he received the J.D. Rockefeller III Fund Fellowship. Since 1949, Ram Kumar has exhibited regularly in India and internationally. Some of his solo shows include those at Aicon Gallery, New York, in 2013; Chemould Prescott Road, Mumbai in 2008;Vadehra Art Gallery, New Delhi in 2012, 2010-11, ’09, ’08, ’06, ’05, ’03, ’01, ’00, 1993 and ’92; Aicon Gallery, New York in 2013 and 2007, Pundole Art Gallery, Mumbai in 2005, 1999, ’92, ’90, ’86, ’84, ’83, ’78, ’76, ’73 and ’71; Arks Gallery, London in 1997; and Grosvenor Gallery, London in 1966. In 2002, Saffronart and Pundole Art Gallery organised a show of his work in Mumbai, New Delhi, San Francisco and New York. Other retrospectives of his work have been held at the National Gallery of Modern Art, New Delhi in 1994 and 1993; Jehangir Art Gallery, Mumbai in 1993; and the Birla Museum, Kolkata in 1980. In 1972 the Government of India awarded him with the Padma Shri, one of its highest Civilian honours.The Madhya Pradesh State Government awarded him with the Kalidas Samman in 1985, and for his writing, he received the Uttar Pradesh State Government award in 1975. Ram Kumar lived and worked in New Delhi, till he passed away in April 2018.
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Maity, Paresh (b. 1965) Born in 1965, he studied at the Government College of Arts & Crafts, Kolkata, and the College of Art, New Delhi. A very skilled artist, he wields a rugged palette, and is extremely versatile in his treatment of colour and texture. He has held many solo shows, including exhibitions at Jehangir Art Gallery in Mumbai, Gallerie Ganesha in New Delhi and Gallery Katayun in Kolkata. He has participated in various group shows like the National Art Exhibition in Jaipur, Kala Mela, Lalit Kala Academy in New Delhi, and the Citibank Group Show in Mumbai. Besides other accolades, he has also received the National Scholarship from the Government of India and the All India Mini Sculpture Exhibition Award from AIFACS. He gradually moved from atmospheric scenery to representations of the human form. His more recent paintings are bold Lot 56 and graphic, with a strong color and unusual cropping. His works are in a number of collections, including the British Museum, and the National Gallery of Modern Art, New Delhi. In early years he did many watercolors of different locations.
Naqsh, Jamil (b. 1939) Born in 1939, in Kairana in Uttar Pradesh, India, Jamil Naqsh moved to Karachi in Pakistan following the partition of the sub-continent in 1947. In 1953, he enrolled at the National College of Arts (then Mayo College) in Lahore, but did not complete his education there, leaving after two years to study art on his own. Naqsh’s mature style is a blend of cubism—in the way he treats form and texture – tempered with fluidity and a subtle use of colour. Naqsh has painted the female form in many of his canvases replete with poise and grace. In another series of paintings, he pairs pigeons and doves with the female form, symbolic of love, peace and gentleness. One more series is inspired by the Italian sculptor Mario Marini, who Lot 34 captured the beauty of the horse in his work, combining the elegance of the nude female with the Lot 25 sturdy grace of the equine figure. Naqsh’s work has been exhibited extensively in Pakistan, India, the UK and the UAE. Between 1960 and 1968, he served as Co-Editor of Seep, an Urdu literary magazine, and between 1970 and 1973, as President of the Pakistan Painters Guild. Among the artist’s many honours are medals and awards from the Pakistan Art Council, Karachi; the Ministry of Culture, Pakistan; and the Arts Council of Pakistan. In 2009, Naqsh was awarded the Sitara-e-Imtiaz by the Government of Pakistan, and in 2003, a retrospective of his work was held at the Mohatta Palace Museum in Karachi, a rare honour for a living artist. Naqsh lives and works in London, and is considered the only living modern artist from Pakistan.
Narayan, Badri (1929 - 2013) Born in Hyderabad, Badri Narayan is a self-taught artist. He has held over fifty solo exhibitions in various cities in India and internationally, the most recent being at the Viewing Room, Mumbai, in 2012; Mon Art Gallerie, Kolkata, in 2007-08; Pundole Art Gallery, Mumbai, in 2006, 2004, and 2002 and Galerie 88, Kolkata in 2002. Narayan has also represented India at the Bharat Bhavan Biennale, Bhopal, in 1992; the VII and II International Triennials, New Delhi, 1991 and 1971 respectively; the Festival of India, Moscow, in 1987; the V Biennale of Prints, Tokyo, in 1966; and the II Paris Biennale in 1961. He has exhibited with Saffronart in Hong Kong in 2001. He has written and illustrated several books since 1977, and taught art to school children. Narayan was awarded the Padma Shri by the Government of India in 1987; a Senior Fellowship for Outstanding Artists from the Government of India in 1984-86, and the National Award from Lot 42 the Lalit Kala Akademi, New Delhi, in 1965. Badri Narayan passed away in Bangalore in 2013.
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Padamsee, Akbar (b. 1928) Born in Mumbai, Padamsee received a Diploma in Fine Arts from the Sir J.J. School of Art in 1951 and moved to Paris the same year. In 1965 he received the J.D. Rockefeller III Fund Fellowship and worked as artist-in-residence at the Stout State University, Wisconsin. His most recent solo shows include those held at the Priyasri Art Gallery, Mumbai, 2013; the Loft, Mumbai, in 2010; Pundole Art Gallery, Mumbai in 2010, ’03, ’02, 1999, ’97, ’96, ’94, ’93, ’86 ’75, ’74 and ’72; Galerie Helene Lamarque, Paris, in 2008; Aicon Gallery, New York and Palo Alto, in 2006-07; and the Guild Art Gallery, Mumbai, 2006. Retrospective exhibitions of his works were organized by Pundole Art Gallery, Mumbai, in 2004 and Art Heritage, New Delhi and Mumbai, in 1980. His group shows include those held at Sovereign FZE, Dubai, in 2013; Art Alive Gallery, New Delhi; Vadehra Art Gallery, New Delhi, in 2012; Grosvenor Gallery, London; Aicon Gallery, New York and London, in 2010-11; The Museum of Fine Art, Boston, in 2009; Grosvenor Gallery, London, in 2009; Nehru Center, London, in 2005; and Saffronart Lot 60 and Pundole Art Gallery New York, in 2001 and 2002. In 1969-70, Padamsee was awarded the prestigious Jawaharlal Nehru Fellowship and made four short films. In 2004 he was awarded the Lalit Kala Ratna by the Lalit Kala Akademi, New Delhi, and in 1997-98, he received the Kalidas Samman from the Madhya Pradesh State Government, Padamsee lives and works in Mumbai.
Parekh, Manu (b.1939) Born in Gujarat, Manu Parekh studied at the Sir J.J. School of Art, Mumbai. He has been exhibiting since 1967 and his most recent solo shows include those held at Art Alive Gallery, Gurgaon 2012; Tao Art Gallery, Mumbai, in 2010 and ‘09; Berkeley Square Gallery, London, in 2006; Vadehra Art Gallery, New Delhi, in 2004, 1994 and 1991; Jehangir Art Gallery and Tao Art Gallery, Mumbai, in 2003; Sakshi Gallery, Bangalore, in 1999; ARKS Gallery, London, in 1997; Bose Pacia, New York, in 1996; and Dhoomimal Art Gallery, New Delhi, in 1988, ’85, ’81, ’76, ’75 and ’74. A retrospective of his work was held in 1992 in Kolkata, New Delhi and Mumbai. His works have also been featured in several group shows including those held at Art Alive Gallery, Gurgaon in 2012; Gallery Threshold, New Delhi, in 2011 and ’10; Tao Art Gallery, Mumbai, 2010, ’09 and ’08; Nature Morte, New Delhi, in 2004; Saffronart, Hong Kong, in 2001 and Lakeeren Art Gallery, Mumbai, Lot 35 in 1977. He has also participated in the III and IV Triennales of New Delhi, in 1975 and 1978. The Government of India awarded him the Padma Shri in 1990. He received the National Award from the Lalit Kala Akademi, New Delhi, in 1982, and the President of India’s Silver Plaque in 1972. Manu Parekh lives and works in New Delhi. Prabha, B (1933 - 2001) Born in Nagpur, Maharashtra, Prabha studied at the Sir J.J. School of Art, Mumbai. In 1956, she had her first exhibition together with her husband and fellow artist, B.Vithal. Since then, she has held about fifty exhibitions in India and internationally, including ‘Shradhanjali’, dedicated to Vithal, Mumbai, in 1993; and exhibitions at Kumar Gallery, New Delhi, in 1961 and 1959. Since her death in 2001, her work has been featured posthumously in several group shows, including ‘Winter Moderns’, at Aicon Gallery, New York in 2008; and ‘Pot Pourri’ at Gallery Beyond, Mumbai, in 2008. Prabha won the first prize at the Bombay State Art Exhibition in 1958, and also received the All India Fine Arts and Crafts Society (AIFACS) Award, New Delhi. Lot 37
Ramachandran, A. (b. 1935) Born in Kochi, Kerala, Ramachandran graduated with a Degree in Malayalam Literature from Kerala University before going on to study art at Viswa Bharati University at Santiniketan. His most recent shows include ‘Dhyanachitra’ and ‘Bahurupi’ at Vadehra Art Gallery, New Delhi, in 2012 and 2009 respectively; and those held by Vadehra Art Gallery, New Delhi, at Jehangir Art Gallery, in 2008; Grosvenor Vadehra Gallery, London in 2008; the Guild Art Gallery, Mumbai and New York, 2007-08; Vadehra Art Gallery, New Delhi, 2006, 2005, and 2001; Nami Island, South Korea, 2005; Art Heritage, New Delhi, 2002; and Sridharani Gallery, New Delhi 1998. He has participated in numerous group exhibitions, including those hosted by Saffronart, Hong Kong and Los Angeles, 2001; the Museum of Modern Art, Oxford, 1982; the Royal Academy of Arts, London, 1982; and the Lalit Kala Akademi, New Delhi, 1977. He was honoured with a Padma Bhushan from the Lot 55 Government of India, in 2005, and has also received the Nama Conquers Award in 1980 and 1978, for the children’s books he wrote and illustrated. Ramachandran lives and works in New Delhi and Kochi.
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Raza, Sayed Haider (1922 - 2016)
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Born in 1922 in Babaria, Madhya Pradesh, Raza graduated from the Nagpur School of Art in 1943 and the Sir J.J. School of Art, Mumbai in 1947. He was one of the founding members of the Progressive Artists’ Group in 1948. After receiving a French Government Scholarship in 1950 he left for Ecole Nationale des Beaux Arts, Paris, where he was awarded the Prix de la Critique in 1956. In 1962 he served as a visiting lecturer at the University of California in Berkeley, USA. Raza has several solo exhibitions to his credit, including ‘Paysage: Select Works 1950s-1970s’, Dubai, ‘Parikrama: Around Gandhi’, Vadehra Art Gallery, New Delhi, in 2014; ‘Shabd-Bindu’, Akar Prakar, Kolkata, in 2013; ‘Vistaar’, Art Musings and Jehangir Art Gallery, Mumbai, in 2012-13, ‘Bindu Vistaar’, Grosvenor Gallery, London, in 2012; ‘Punarangman’, Vadehra Art Gallery and Lalit Kala Akademi, New Delhi, in 2011; ‘Ones’ at Vadehra Art Gallery, New Delhi, in 2011 and 2010; Tao Art Gallery, Mumbai, 2008 and 2006; and Saffronart and Berkeley Square Gallery, London and New York, 2005. In 2007 Saffronart held a major retrospective of his work in New York. Raza’s work has been exhibited in several group exhibitions including those at Aicon Gallery, New York and London, in 2014, ’13, ’12, ’11 and ’10; the Museum of Fine Art, Boston, in 2009; Grosvenor Gallery, London, Mumbai, 2004; Saffronart and Pundole Art Gallery, New York, 2001 and 2002; and Saffronart, Hong Kong and Los Angeles, 2001 among several others. Raza received a Lalit Kala Ratna from the Lalit Kala Akademi, New Delhi in 2004, and a Padma Bhushan and Padma Shri from the Government of India in 2007 and 1981 respectively. The Madhya Pradesh State Government also awarded him with the Kalidas Samman in 1996-97. Raza lived and worked in Paris and Gorbio, France, till 2011, and moved back to India, where he currently works.
Shah, Himmat (b.1933) Born in Gujarat, Shah initially began his education at the Sir J. J. School of Art, Mumbai but then moved to the Faculty of Fine Arts, Baroda. In 1966-’67 he studied etching under S. W. Hayter and Krishna Reddy at Atelier 17 in Paris. Shah has had several solo exhibitions of his works since 1965, the most recent one being held at Jehangir Nicholson Gallery, Mumbai, in 2007; and Berkeley Square Gallery and Saffronart, London, in 2007. Other exhibitions include those held at Anant Art Gallery, New Delhi, in 2005; Art Heritage Gallery, New Delhi, in 2002; Sakshi Gallery, Mumbai, 1994; Dhoomimal Art Gallery, New Delhi, in 1979; and Gallery Chemould, New Delhi and Mumbai, in 1966. Shah’s works have also been selected to represent India in many international exhibitions, including ‘Rediscovering the Roots’ at the Museo de la Nacion, Lima, in 1997; ‘Contemporary Indian Art’ at the Ludwig Museum, Budapest, at 1997; ‘Festival of India’, London, in 1982; and ‘Indian Painting Today’, London, in 1965. Shah was honoured with the Kalidas Samman in 2003, the Sahitya Kala Parishad Award, New Delhi, 1988, and the Lalit Kala Akademi National Award for painting in 1959 and 1962. He lives and works in New Delhi and Jaipur.
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Sen, Paritosh (1918 - 2008) Paritosh Sen was born in 1918 in Dhaka. After completing his diploma in Fine Arts from the Government College of Arts and Crafts, Chennai, he moved to Calcutta in 1942, where he and a group of friends formed the Calcutta Group, an association of artists that sought to incorporate contemporary values in Indian art. In 1949, he left for Paris to study further, attending, among other institutes, the Ecole des Beaux Arts. He received a Fellowship from the John D. Rockefeller III Fund for 1970-71. A prolific writer, Sen has published many works in both Bengali and in English, including a series of autobiographical vignettes titled Jindabahar Lane. His works have been exhibited in India and internationally, in Paris, London, Germany, Tokyo and in USA. Sen passed away in October 2008. Lot 33
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Senanayake, Senaka (b. 1951) A Sri Lankan by origin, Senaka attained fame early in life as a prodigy for his works of art. He held his first international solo exhibition at the age of ten, in New York. Although he painted copiously and held many shows both in his native country as well as abroad, it was only after he went to Yale school for graduation in Art and Architecture did he realize that his true calling lay in the field of art. For the past decade, Senanayake has concentrated his art as a medium for environmental advocacy: depicting beautiful scenes from the rainforest to promote public awareness of environmental degradation in his native Sri Lanka and around the world. Senanayake’s work shows a fervent passion for nature’s beauty and a great knowledge of the flora and fauna of the rainforest. His work has been shown at most parts of Europe and South Asia Lot 52 with critical acclaim. Till date he has more than 100 solo shows to his credit, and numerous group shows Lot 43 in the countries of Europe, China, Australia, Japan, Singapore, Czechoslovakia, Korea and Egypt to name a few. His work has been documented by Metro Goldwyn, British Movietone News, BBC TV, London, Yeo Soo TV, South Korea, TV Austria, and Star TV, India. Various journals, magazines and newspapers such as The New York Sunday Times, Washington Post, London Times, Weser Kurier, Germany, UNESCO Features, Paris, National Geographic Magazine, Asia Week and many others, have devoted their mediums to document Senaka’s work. He lives and works in Sri Lanka.
Shaw, Lalu Prasad (b. 1937) Born in 1937, in erstwhile Bengal, Lalu Prasad Shaw received a Diploma in painting from the Government College of Arts and Crafts, Kolkata, in 1959. He has exhibited extensively in India and abroad since 1956, and some of his most recent solo shows include ‘Looking in’ at Galerie 88, Kolkata, in 2011-12; ‘Graceful Silence’ and ‘Sepia Notes’ at Art Musings, Mumbai, in 2011 and 2007; ‘The Myriad Minded Artist’ at Gallery Sanskriti, Kolkata, in 2008; and ‘Painting’ at the Centre for International Modern Art (CIMA), Kolkata, in 1995. His work has also been featured in several group shows, and he has participated in art festivals and fairs all over the world since 1956. Shaw has received many awards, including the West Bengal State Lalit Kala Akademi Award in 1959, and the Birla Academy Award, Kolkata, in 1975-78. The artist lives and works in Kolkata. Lot 24
Shreshtha, Laxman (b. 1939) Laxman Shreshtha was born in Nepal in 1939. After securing a degree at the University of Patna, the aspiring artist moved to Mumbai to join the Sir J.J School of Art where he did a diploma in painting (1957-62). Later he went to Europe to further hone his skills at the Ecole Nationale des Beaux Arts in Paris followed by a stint at London’s Central School of Art (1970). He also studied at the Academie Grande Chaumiere, S.W. Hayter’s Atelier 17, Paris (1964-67) apart from undertaking a study tour to Baltimore and San Francisco in 1971. His debut exhibition took place at Mumbai’s Taj Art Gallery (1963), which led to several shows in India and internationally. Among his selected solo exhibit are the ones at Jehangir Art Gallery, Mumbai (2008, 2003, 1994); ‘Elaborations’, Recent works in Black and White, Pundole Art Gallery, Mumbai (2007); ‘Inaugural Show’, Lot 44 Prithvi Art Gallery, Mumbai (1994); Gallery Chemould, Mumbai (1968); and a show at Tribhuwan College, Kathmandu, Nepal almost five decades ago. His selected group shows are ‘Aqua’, Gallery Beyond, Mumbai, ‘One Eye Sees, the Other Feels’, The Viewing Room, Mumbai (both in 2012); ‘Point and Line to Plane VI’, Gallery Beyond (2008); ‘Tribute to Picasso’, Guild Art Gallery, Mumbai (2002); ‘Aspects of Modern Indian painting’, courtesy Saffronart and Pundole, Metropolitan Pavilion, New York (2002, 2001); ‘Ideas and Images – Part IV’, NGMA, Mumbai (2002); ‘The Search’, Apparao-Wallace Galleries, New York (1997); ‘Image Beyond Image’, Glenbarra Art Museum Collection, Japan, NGMA (1997); ‘50 Years of Freedom of Expression’, Jehangir Gallery (1997); 25 Years of Indian Art, Rabindra Bhavan, Delhi (1972); Baltimore and San Francisco (1971); Maisons des Beaux Arts, Paris (1966); Salle de la Presse, French Foreign Ministry, Paris (1966); and ‘Inaugural Exhibition’, Gallery Chemould (1963). Shreshtha’s abstract works are both sensuous and meditative in their shifts and balances of colour. Though abstract, his paintings have a sense of intrigue in them, that leaves the observer, and Shreshtha himself, as he confesses, trying to understand the shades of meaning they present. The artist lives and works in Mumbai.
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Souza, Francis Newton (1924 - 2002) Born in 1924 in Saligao, Goa, Souza was expelled from the Sir J.J. School of Art, Mumbai, in 1942 for taking part in the ‘Quit India’ freedom movement. He went on to found the Progressive Artist’s Group in 1948, before leaving for London a year later. In 1955 Souza held a one-man show at Gallery One in London and also had his autobiographical essay ‘Nirvana of a Maggot’ published. He was awarded the John Moore Prize at the Walker Art Gallery, Liverpool in 1957 and received an Italian Government Scholarship in 1960. In 1959 a collection of his autobiographical essays, ‘Words and Lines’, was published, and in 1962 a monograph on his work by Edwin Mullins was published as well. In 1967 Souza migrated to New York where he received the Guggenheim International Award. Two retrospectives of his work were Lot 31 organized by Art Heritage, New Delhi, in 1986 and 1996. Souza also participated in a work-live programme in Los Angeles, hosted by Saffronart in 2001. Souza passed away in Mumbai 2002. Some important posthumous exhibition of his work include, ‘F.N. Souza’ at Saffronart and Grosvenor Gallery, New York, in 2008; ‘F.N. Souza: Religion & Erotica’ at Lot 40 Lot 41 Tate Britain, London, in 2005-06; ‘Self-Portrait: Renaissance to Contemporary’ at the National Portrait Gallery, London, in 2005; and ‘Francis Newton Souza’ at Saffronart and Grosvenor Gallery, New York and London, in 2005.
Subramanyan, K.G. (1924 - 2016) Born in Kerala in 1924, Subramanyan received his art education at Kala Bhavan, Santiniketan, and the Slade School of Art, London. He continued painting and teaching over the next few decades, and was appointed a fellow of the National Lalit Kala Akademi in 1985, and a Christensen Fellow at St. Catherine’s College, Oxford, in 1987-88. Subramanyan also served as Dean at the Faculty of Fine Arts, M.S. University, Baroda, and in 1989 was appointed Professor Emeritus at Santiniketan. He has had numerous solo and group exhibitions, and participated in several major Biennales and Triennales. A retrospective exhibition of his work was held in 2003 at the National Gallery of Modern Art, New Delhi and Mumbai. Subramanyan was awarded the Padma Bhushan by the Government of India in 2006. In recognition of his varied contributions to the development of Indian art he was awarded the Shiromani Kala Puraskar by the Government of India in 1994. In 1966 Subramanyan was awarded the John D. Rockfeller III Fund Fellowship. Subramanyan lives and works in Baroda. Lot 47
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