ART BEYOND BORDERS
28 - 31 MARCH 2019
• FlexiPay scheme for buyers at our auctions • Bespoke solutions for consignors and collectors • Fast decisions and quick disbursals • Flexible tenors and repayment options • No early exit fees payable
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www.artiana.com Viewing Gallery: 903, The Metropolis, Business Bay, Dubai, UAE E info@artiana.com T +971 55 815 3030 +971 55 825 3030
ART BEYOND BORDERS AFRICAN, MIDDLE EASTERN AND ASIAN ART SALE NUMBER: 19 01 ONLINE AUCTION MARCH 28 - 31, 2019
‘What You Bid is What You Pay’
‘Bid Now Pay Later’
March 28, 2019 9:00 a.m. onwards UAE Standard Time
March 31, 2019 7:30 p.m. to 9:00 p.m. UAE Standard Time
903|The Metropolis Business Bay Dubai | UAE +971 55 815 3030 +971 55 825 3030 info@artiana.com
SPECIALIST AND SERVICES P.O. Box 112646 Dubai | UAE Sale Number: 1901
Lavesh Jagasia +971 50 796 3030 lavesh@artiana.com Artiana Help Desk +971 55 815 3030 +971 55 825 3030 auction@artiana.com info@artiana.com Additional information on the buying process is available on page 61 Additional information on the FlexiPay scheme is available on page 68 This auction is conducted under the Conditions of Sale as stipulated in the catalogue on page 70 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, 2019
CONTENTS SALE GUIDE AFRICAN ART LOTS 1 - 4 MIDDLE EASTERN ART LOTS 5 - 11 ASIAN ART LOTS 12 - 38 INTERNATIONAL ART LOTS 39 - 40 IT’S EASY TO BUY AT ARTIANA AUCTION CLOSING SCHEDULE WRITTEN / ABSENTEE BID FORM BIDDING INCREMENTS BUYING AT ARTIANA FINANCE AT ARTIANA CONDITIONS OF SALE ARTIANA GUARANTEE COLLECTION AND STORAGE ARTIST PROFILES AND INDEX
AFRICAN ART LOTS 1 - 4
LOT 1
ATO DELAQUIS (b. 1945) Blue Horsemen of the South Sahel
US$ 7,500 - 9,500
LOT 2
ABLADE GLOVER (b. 1934) Untitled (Yellow Woman)
US$ 4,500 - 6,500
LOT 3
KOFI AGORSOR (b. 1970) Party of Soundness
US$ 5,500 - 7,500
LOT 4
MURAINA OYELAMI (b. 1940) Spiritual Head
US$ 4,000 - 6,000
MIDDLE EASTERN ART LOTS 5 - 11
LOT 5
FARAH OSSOULI (b. 1953) Love's Cage
US$ 8,000 - 12,000
LOT 6
HASSAN MASSOUDY (b. 1944) Untitled
US$ 1,200 - 1,800
LOT 7
KHALED BEN SLIMANE (b. 1951) Untitled
US$ 8,000 - 12,000
LOT 8
GOLNAZ FATHI (B. 1972) Untitled
US$ 8,000 - 12,000
LOT 9
FEREYDOUN AVE (B. 1945) Untitled (Lal Dahlia)
US$ 4,000 - 6,000
LOT 10
FARAH OSSOULI (B. 1953) Waiting
US$ 4,000 - 6,000
LOT 11
ALI SARMINI (B. 1943) Angelika K.
US$ 3,000 - 5,000
ASIAN ART LOTS 12 - 38
CENTRAL ASIA LOTS 12 - 15
LOT 12
BOBUR ISMOILOV (b. 1973) Behind-the-scenes
US$ 4,000 - 6,000
LOT 13
JAVLON UMARBEKOV (b. 1946) Tuareg Family
US$ 5,000 - 7,000
LOT 14
BAKHODIR JALAL (B. 1948) Memory of the Land
US$ 4,000 - 6,000
LOT 15
TIMUR D ’VATZ (b. 1968) Falconers
US$ 12,000 - 18,000
SOUTH ASIA LOTS 16 - 26
LOT 16
MANU PAREKH (b. 1939) Banaras in Monsoon
US$ 6,000 - 9,000
LOT 17
THUKRAL AND TAGRA (b. 1976 and 1979) Pan Troglodytes
US$ 15,000 - 25,000
LOT 18
BAIJU PARTHAN (b. 1956) Untitled
US$ 4,000 - 6,000
LOT 19
JOGEN CHOWDHURY (b. 1939) Untitled
US$ 4,000 - 6,000
LOT 20
C.N. KARUNAKARAN (1940 - 2013) Anxiety
US$ 2,000 - 3,000
LOT 21
SAKTI BURMAN (b. 1935) Untitled
US$ 3,000 - 5,000
LOT 22
SAYED HAIDER RAZA (1922 - 2016) Sketch
US$ 6,000 - 9,000
LOT 23
K. LAXMA GOUD (b. 1940) Untitled
US$ 3,000 - 5,000
LOT 24
PARITOSH SEN (1918 - 2008) Portrait of a Woman Paritosh Sen: IXth Decade, Neovision,
US$ 5,000 - 7,000
LOT 25
THOTA VAIKUNTAM (b. 1942) Untitled
US$ 3,000 - 5,000
LOT 26
SENAKA SENANAYAKE (b. 1951) Untitled
US$ 15,000 - 25,000
SOUTHEAST ASIA LOTS 27 - 35
LOT 27
CHATCHAWAN RODKLONGTAN (b. 1974) Lanna Candles
US$ 2,000 - 3,000
LOT 28
HOANG DUC DUNG (b. 1971) Sunset
US$ 5,000 - 7,000
LOT 29
NGUYEN VAN CUONG (b. 1976) Saigon Lady
US$ 2,000 - 3,000
LOT 30
HOANG HAI ANH (b. 1970) Self-Portrait 1
US$ 600 - 900
LOT 31
LE QUAN (b. 1953) A Rainy Day
US$ 2,000 - 3,000
LOT 32
LE THANH SON (b. 1962) West Lake
US$ 10,000 - 15,000
LOT 33
PHAM HONG SON (b. 1967) A Bunch of Flowers
US$ 1,500 - 2,500
LOT 34
NGUYEN THANH BINH (b. 1954) Happiness
US$ 3,000 - 5,000
LOT 35
THANH CHUONG (b. 1949) Playing
US$ 1,400 - 2,000
FAR EAST LOTS 36 - 38
LOT 36
JEONGWOONG LEE (b. 1982) The Peak
US$ 2,000 - 3,000
LOT 37
MARI KIM (b. 1977) Giseng
US$ 7,000 - 10,000
LOT 38
SUNGCHUL HONG (b. 1969) String Hands 004
US$ 7,000 - 10,000
INTERNATIONAL ART LOTS 39 & 40
LOT 39
TIM WRIGHT (b. 1959) Gatekeeper
US$ 6,000 - 9,000
LOT 40
RADO KIROV (b. 1955) Fish Pond 2
US$ 4,000 - 6,000
END OF SALE
IT’S EASY TO BUY AT ARTIANA
1. BROWSING
Before Bidding, Clients are welcome to browse through our Lots and see what we have to offer.Artiana offers a variety of ways to discover more about our Lots, so make the most of your browsing: Auction Catalogue Our catalogues are available on our website, mobile app, as well as in print form, and are a great way for clients to browse through upcoming sales. Our catalogues contain the following: • Images of the work • Descriptions of the Lot, including size, date and age, medium, type, attribution, quantity, etc. • Estimates, which are given for all Lots are based on prices recently paid at auction or average market value for comparable property.They take into account rarity, condition, quality and provenance Condition Reports Condition Reports supplement the catalogue description and provide guidance on the item’s condition.These are available upon request. Our Specialists We have in-house auction specialists who will always be happy to discuss an item in greater detail. Just contact our Auction Help Desk at +971 55 815 3030| +971 55 825 3030 | auction@artiana.com Viewing Gallery Artiana is a click-and-mortar hybrid and has a viewing gallery located in Dubai, UAE and we would always recommend coming to the auction viewings and looking at an item for yourself.
2. BIDDING
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
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:
WRIT T EN / ABSENTEE BIDS FORM 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.
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.
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 License). 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.
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.
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.
• 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
FINANCE AT ARTIANA What is Artiana Fine Art Finance? Artiana Fine Art Finance is our art finance advisory division. Leveraging upon the strength of our auction house platform, we specialize in financing solutions that cater to both—buyers in our auctions as well as others who can borrow against blue-chip Indian art works. What services does Artiana Fine Art Finance provide? We provide finance solutions to consignors and FlexiPay options to buyers at our auctions, and arrange advances secured against Indian fine art at competitive interest rates. Our bespoke finance solutions provide financing for fresh acquisitions or existing collections. What is FlexiPay? Buyers at our auctions can avail of our FlexiPay scheme to pay for the lots won by them subject to eligibility, and securing a pre-approval before the auction. Bidders intending to use FlexiPay to pay for their items should contact the auction desk before the auction with details of the total anticipated amount and specific lot/s that would be required to be covered by the FlexiPay scheme in case the bids are successful.The FlexiPay scheme covers up to 80% of the lower estimate value of the lots excluding any taxes and/or levies, and the balance amount over and above the amount covered by the FlexiPay scheme has to be settled within the regular timeline as mentioned in the invoice.The item/s remain in the custody of Artiana till all amounts due under the scheme and any other incidental charges are cleared in full by the buyer. What is the tenor and charges for the FlexiPay scheme? The maximum amount covered by the FlexiPay scheme is up to 80% of lower estimate value of the respective lot, which can be divided into equal payments ranging from 3 to 12 months and the service charges payable for availing the scheme is a flat rate of 12 % p.a. prorated as per the payment tenor.There is no arrangement fee or storage charges applicable whereas insurance charges are billed at actuals to all FlexiPay clients. Why finance or borrow against art? By financing their purchases at Artiana auctions, clients can take advantage of opportunity buys and schedule a delayed or installment payment on their acquisitions based on their cash flows. By leveraging existing artworks, our clients optimize the use and enjoyment of their collection, while unlocking equity and allowing further portfolio diversification. What type of art does Artiana Fine Art Finance accept as collateral? We will consider individual artworks and collections of blue-chip Indian fine art as collateral.Artworks must be freely marketable and produced by prominent artists with an existing track record in the secondary market. What is the artwork evaluation process for external art collateral? We are an auction house, and offer advisory services on a highly confidential basis to evaluate artworks.The individual artwork or collection will be estimated by us as if they are being proposed for auction, and the advance against these item/s will typically be 50% of the lower estimate value offered by us.We will also require an independent inspection by a conservator. What Loan-To-Value (LTV) does Artiana Fine Art Finance offer against the artworks? We will typically advance up to 80% of the lower estimate value of artworks purchased at our auctions or up to 60% of the appraised value of the proposed external art collateral. What are the advance sizes that Artiana Fine Art Finance offers? We arrange advances starting at USD 50,000 and can assist in securing advances of substantially larger amounts. For buyers at our auctions we can offer a reduced threshold on a case-to-case basis. How long does the disbursal take? The approval depends on the location of the artworks and the clients’ art ownership structure. However, our domain expertise and large, liquid balance sheets of our financiers allow us to complete the process more quickly than traditional operators. Do our clients retain possession of their art? No, we require that the artwork be held as collateral in our art storage facility till the advance has been fully paid back to our financier. Will the artworks be insured during the term they are held as collateral in storage? Throughout the term that the artworks are held as collateral they will be insured at double of the advance amount, to cover the full value of the art asset.The policy will be assigned to us for distributing the amounts as stipulated, between the client and financier.The insurance covers the items right from the time of collection, during storage until the final handover. Who owns the artworks during the term they are held as collateral in storage? The artworks remain the clients’ property during the entire storage period. What are the advantages of Artiana’s Fine Art Finance compared to a traditional bank loan? Our advances offer flexibility and a variable tenors upto 24 months with a no-charge early exit option. Unlocking equity and receiving liquidity without cumbersome documentation and credit approval process.There is no personal liability, the collateralized artworks are the sole guarantee towards the advance (non recourse).
What are the early exit options before expiry of the agreed tenor? Clients can request an early exit before the expiry of the agreed tenor by giving 30 days notice without any exit charges being payable.Any advance service charges collected in such cases will be non-refundable. What are the charges and costs for the service and advance? Artiana Fine Art Finance will charge an arrangement fee of 2% of the advance amounts arranged against external art assets, this fee is waived for finance arranged against purchases made in our auctions. Depending on the value, tenor and terms of the advance the charges are calculated at typically 15 % p.a., payable quarterly in advance for fixed maturity payments, and at a flat rate of 12 % p.a. for monthly installment payments. The charges are set at the start of the facility and fixed for the entire tenor.There are no additional costs for evaluation and storage, insurance cover is procured by Artiana to cover the full value of the asset and billed at actuals to the client.
• FlexiPay scheme for buyers at our auctions • Bespoke solutions for consignors and collectors • Fast decisions and quick disbursals • Flexible tenors and repayment options • No early exit fees payable
CONDITIONS OF SALE
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
• 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.
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, • granting 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.
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.
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 the sale 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.
2.12. The Auction is conducted in United States Dollars (USD) and, for any transaction in other currencies, the exchange rate will be
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.
3.1. 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.
4.1. 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,
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.
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.
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.
7.1. 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.
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.
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.
ARTIANA GUARANTEE
All artworks offered for sale by Artiana are authentic to the best of Artiana’s knowledge. 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.
COLLECTION AND STORAGE 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
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
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ARTIST PROFILES AND INDEX Born in Accra in 1970, Kofi Agorsor is a contemporary artist from Ghana. He initially studied Architecture for two years before switching to Art at the Accra Ankles College of Art, where he obtained his degree in 1993. In his paintings, Agorsor uses bold and vibrant colors to reflect the daily lives of people in Ghana. He has participated in several solo and group exhibitions, as well as auctions both locally and internationally. Selected recent shows include Peace Splash "The Artist Voice for the Peace of Mother Ghana" (2012); Across the Volta to the Niger (2012); " Munyu Matters Arising"(2011); "3+3: 3 Artist from Denmark, 3 Artists from Ghana", Gallery Gofs, Denmark (2011); "Totobieto ( Into the Depths of Lightness, Darkness, and the Spaces In-between)" (2010); "Agorsor in Lusaka", Alliance Francaise, Zambia (2010); "Pause the Pulse The Portrait of Accra", ACC Galerie, Weimar, Germany (2010); "World Class Contemporary Paintings", The Africa Center, London, UK (2010); FIFA Fineart, South Africa (2010); Rendezvous Exhibitions and Artists Meet, Nubuke Foundation (2009); and "World Class Contemporary Paintings, The Hayloft Courtyards, London, UK (2009) among numerous others. Also an accomplished musician and a humanitarian missionary, Agorsor continues to live and work in Accra, Ghana.
Born in Tehran in 1945, Ave is considered one of the most important and influential contemporary artist of Iran. In 1963, he moved to the United States for his art studies, he went to Orange County in California, Tempe, Arizona and in New York to attend NYU's film school. Following his studies, he returned to Iran to work in theater, film, and eventually in art as a curator. The Islamic Revolution of 1979 disrupted life in Iran, but Ave stayed on in the country and commits himself increasingly to the visual arts. In 1984, he established 13 Vanak Street Gallery, an alternative exhibition space in Tehran, took an active part in promoting artistic discourse and consequently became the mentor to an entire generation of Iranian artists. From 1975 onwards, his works were shown in a number of solo exhibitions as well as group exhibitions in Tehran, United Arab Emirates, Israel, Greece, Zurich, London, Paris, New Zealand and the USA. Ave's works were also featured in numerous publications and are included, among others, in the collections of the Centre Georges Pompidou (Paris), Contemporary Art Museum (Tehran), The British Museum (London), and The Metropolitan Museum of Art (New York). Ave lives and works between Tehran and Paris.
Born in Kolkata, Sakti Burman 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 Gallery, Mumbai, in 2011, 2006, 2001, 1990, 1988, 1977, 1970 and 1967; Aicon Gallery, London and New York, in 2009; Art Musings, Mumbai, in 2009; and Maison de I’Unesco, 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.
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.
Born in Cape Coast in 1945, Ato Delaquis is one of Ghana’s foremost artist. He was one of the leading figures of the Ghanaian Renaissance and is known for his iconic paintings of horsemen, landscapes, as well as abstract works. As a prolific draughtsman, he has worked in a wide variety of media including prints, watercolor, and etchings. He earned a Certificat de fin d’Etudes from Ecole ABC de Paris (1964), received his Bachelors Degree in Art from the Kwame Nkrumah University of Science and Technology, Ghana (1971), and completed his Masters in Fine Art from the Tyler School of Art, Temple University, U.S.A. (1975). He was awarded the Bronze Medal for the International Graphic Art Exhibition in Leipzig, Warsaw (1966); the National Art Exhibitions Award in Ghana (1968 & 1970); and the Entertainment Critics and Reviewers Association of Ghana (ECRAG) Award for outstanding contribution to the development of African Culture in the field of Painting (1988); among others. Ato Delaquis has exhibited widely and his works are in private collections in Africa, Europe, the Americas, and Australia.
Born in Moscow, Russia in 1968. He completed his studies at the Republican College of Art in Tashkent, Uzbekistan in 1987. He subsequently studied in the postgraduate program at the London's Royal Academy after receiving the Jack Goldhill and the Sir James Walker scholarships from 1993 to 1996. His work which has been described as a fused between medieval symbols and legends and its modernist form has a vibrancy of colour that offers a modernist approach to the traditional Byzantine and Russian Art. He won several awards including the A.T Kearney Prize (1996) and the BP Portrait Award from the National Portrait Gallery in London (2002). D'Vatz then collaborated with Corrie Nielsen for London Fashion Week in 2011 and with fashion brand Alice + Olivia in 2015. He also illustrated the book, "The English Knight' by Christopher Long. Selected exhibitions include "The Influence of Historicism", London (2012); Uzbekistan Embassy London (2013); "The Rites of Spring", Abu Dhabi (2015); and "The Flight Into Egypt" in Notre Dame de France Cathedral, London (2015).
Ablade Glover is a Ghanaian artist and educator, regarded as a seminal figure on the West African art scene. He founded the Glover’s Artists Alliance Gallery in 1993 to showcase emerging talents and bring international attention to traditional and contemporary African art. Glover was attending teacher training (1957–58), before winning a scholarship to study textile design at London's Central School of Art and Design (1959–62). He returned to Ghana briefly to teach before he received another scholarship that enabled him to study art education at the University of Newcastle, Tyne in 1964. For further studies, he attended the Kent State University where he earned his master's degree and the Ohio State University for his Ph.D. in 1974. After receiving his doctorate, Glover came back to Ghana for good and taught for the next two decades at the College of Art in the Kwame Nkrumah University of Science and Technology, Kumasi until 1994. He received the prestigious Flagstar Award, the highest recognition for art in Ghana in 1998; the Distinguished AFGRAD Alumni Award by the African-American Institute in New York; the Ghana Order of the Volta in 2007; and the Millennium Excellence Award in 2010. He is a Life Fellow of the Royal Society of Arts in London and a Fellow of the Ghana Academy of Arts and Sciences.Glover has exhibited widely over several decades, and his work is held in many prestigious private and public collections, including at the Imperial Palace of Japan, the UNESCO headquarters in Paris and Chicago's O'Hare International Airport.
Born in 1972 in Tehran, Fathi is an Iranian contemporary artist who lives and works in Tehran and Paris. She studied graphic design at Islamic Azad University, receiving a BA in 1995. She went on to study traditional Persian calligraphy, receiving a diploma from the Iranian Society of Calligraphy. Fathi was named Best Woman Calligraphist by the Iranian Society of Calligraphy in 1995. She received an award at the Sharjah Calligraphy Biennial in 2010. Fathi has developed her own abstract style derived from the practice of traditional calligraphy. Unlike traditional calligraphy, her painting features strong brushstrokes and vibrant colour. Although her work may include Arabic letters, Fathi wants it to be viewed as abstract images rather than as text. Her work has appeared in solo shows in London, New York City, Shanghai, Dubai, Kuwait, Bahrain, Beirut and Paris. Fathi has been included in group exhibitions in the United States, the United Kingdom, India, Germany, South Korea, Switzerland, France, Jordan, Turkey, the United Arab Emirates, Italy and Belgium. Her work is included in the collections of the Metropolitan Museum of Art, the British Museum in London, Carnegie Mellon University in Qatar, the Islamic Arts Museum Malaysia, the Asian Civilisations Museum in Singapore, the Devi Art Foundation in New Delhi and the Farjam Collection in Dubai.
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 Gallery, New York in 2011-12; Art Musings at Jehangir Art Gallery, Mumbai, in 2008; 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.
Born in Hanoi in 1971, Hoang Duc Dung graduated from the Vietnam Fine Art University in 1998. As a student, Dung got recognized for his talent and won several awards. He completed his masters from the same university in 2005 and has been lecturing at the University of Art Education since 2009. He preferred oil as a medium and favors a quieter mood of calm in his works. Duc Dung has staged solo and group exhibitions in Vietnam and other countries such as Hong Kong, Italy, USA, and the UK. Exhibits include “Group of Seven Young Artists” exhibition, Hanoi Fine Art Exhibition, Central Arts College, Hanoi (1999); Vietnam – Asean Exhibition, Opera Gallery, Hanoi (2000); Solo Exhibition, Zee Stone Gallery, Hong Kong (2001); Vietnamese Exhibition, Kings Road Gallery, London (2002); "Two Man" show, Kings Road Gallery, London (2004); and Vietnamese Exhibition, Kings Road Gallery, London (2005).
Hoang Hai Anh was born in 1970 in Hanoi, Vietnam. From 1993 to 1998, he studied at Hanoi University of Fine Arts (now renamed as Vietnam University of Fine Arts) and was among the first painting students from the school to trained in oils, lacquer, and silk. After graduating, he spent two years teaching silk painting, then shifted his focus on his artistic career. His themes varied greatly, he started from nude girls from 2000 to 2001, then moved his concern to self-portraits and portraits of relatives, still-life, and landscape in later years. A respected figure and artist in the Vietnamese art scene, he exhibited widely. Most recently is "T.O.A.N" in Vietnam Fine Art Museum in Hanoi (2018). Past exhibitions include "No 5" - Group exhibition in Hanoi (2017); Group Exhibition at Apricot Gallery, London, UK (2011); “Pictures of Asia Fine Art Auction”, Singapore (2007); “New Generation”,Hanoi (2005); "Three Young Artists", Hanoi (2001); Solo exhibition, Thailand (2000); First solo exhibition in Hanoi (1999); Vietnam ASEAN Contemporary Fine Art, Hanoi (1998); and “New Wave”, Hanoi (1997).
Born in 1969, Sungchul Hong is a South Korean contemporary artist who embraces modern technologies and various media within his work. He earned his BFA and MFA in Sculpture from Hong-Ik University, Seoul in 1994 and received his MFA in Integrated Media from the California Institute of the Arts in 2001. Hong has exhibited many times in the Far East, the USA and Europe and his work features in several international collections. Most notable solo exhibitions were 'White Cube', CalArts, Los Angeles (2000), USA; 'RGB show_Green', Kumho Museum of Art, Seoul, South Korea (2002); 'Perpetual Mirror', Gallery IHN, Seoul, South Korea (2007); 'Les mains dé FILent Les Yeux FILent', Galerie Orem, Paris France (2010); 'Solid but Fluid', HADA | Vyner Street, London, UK (2012); and 'Solid but Fluid', Pontone Gallery, London, UK (2017). His works are part of the collections of the Seoul Museum of Art and the National Museum of Modern and Contemporary Art in South Korea while some of his commissioned public art projects are housed at the Platinum River Building, the Federation of Korean Industries Head Office Building, and the Dansung Theater, among others. The artist lives and works in Seoul, South Korea.
Born in Tashkent, Uzbekistan in 1973. Ismoilov studied at the Benkov Art College (1987-1990) and at the State Institute of Arts (1990-1996) in Tashkent. Since graduating, he worked in theatre, cinema, painting, design, graphic arts, and, finally, video-art. He directed the musical play "The Tricks of Nasreddin" at the National Theatre of Opera and Ballet (1997), worked at the Republic Puppet Theatre (1997-2000) and the Theatre of Drama as a scenographer. He also started teaching at the National Fine Arts and Design Institute in 1997. Exploring his own themes, characters and artistic language he held solo exhibitions and participated in group exhibitions extensively, both in Uzbekistan and abroad. He also illustrated several books such as Peter Pan, Sufistic Decameron by Timur Zulfikarov, Gold and Sun Emroiderer by I.Finkelshtein, and Mischief-maker by Gafur Gulyam. In 1999, he held a personal exhibition of his paintings and graphic works at the Cinema House in Tashkent. Most recent exhibitions were in 2015 at the Ilhom Theatre in Tashkent, Palais Concorde in Paris, the Embassy of Uzbekistan in Washington, USA, and at the World Art Fair, Dubai. His works are in several public collections including The Fine Art Gallery Of Uzbekistan, The House of Van Gogh in France, the Qala Museum and the city museum in Azerbaijan, the National Bank of Uzbekistan, and the International Art Gallery in USA, as well as in selected private collections around the world. Ismoilov is a member of the Creative Union of Arts of Uzbekistan and also a member of the Moscow Union of Artists of the International Art Fund. He holds a Golden Medal from the Fine Arts Academy of Uzbekistan and The Medal of the Honored Artists of Uzbekistan. He lives and works in Tashkent.
Born in Tashkent in 1948, Jalal is Uzbekistan's most renowned muralist. He completed his studies at the Republican Art College (1968) and at the St. Petersburg Repin’s Institute of Painting (1968-1974) where he graduated with honors from the Department of Monumental and Decorative Painting. He then received a grant and was allowed to travel to Italy where he studied the classics. He came back to his native Uzbekistan in the 1980s to begin his artistic career. Jalal was commissioned for several works such as “Harvest”, “Genesis of Dance” and “Chronicles of Uzbek National Theatre” by the Uzbekistan government for important public spaces. He won the USSR State Prize in 1984 and the Uzbekistan State Prize in 1991. Notable exhibition of his works were at the Russian Cultural Centre, Accra, Ghana (1985); Kortrijk, Belgium (1990); Central House of Artists, Moscow, Russia (1991); Sackville Gallery, London, UK (1997); 3rd Triennale International Exhibition, Lalit Kala Akademi, New Delhi, India (1999); 3rd Moscow Biennale of Contemporary Art, Russia (2009); 7th Tashkent International Biennale of Contemporary Art, Uzbekistan (2013); and the World Art Dubai Fair (2016). Jalal's work is collected by renowned international institutions and private collections, including the British Museum, Modern Art Museum in Moscow and the National Gallery of Uzbekistan. He lives and work in Tashkent.
Born in 1977, Mari Kim is a Korean contemporary artist and animator from Seoul, South Korea. She completed her Master's Degree in Creative Media in the Royal Melbourne Institute of Technology in Australia (2006) before specializing in Digital Art and moving back to Korea where she in addition to her art and career as a video director, worked as an adjunct professor for the Catholic University of Korea since 2007. She uses the language of Manga, Disney, and Pop-Art to make her glossily realized paintings. Her images are derived from a rich mixture of Western and Eastern cultural references, producing pieces which explicitly reflect a pop sensibility and aesthetics. Her works are part of the collections of Seoul Museum of Art, Gyeongnam Art Museum, and the Korea Advanced Institute of Science and Technology (KAIST). Notable exhibitions of her works include Child Play, Television 12 Gallery, Seoul (2011); Famous Show, Dubai Opera, Dubai (2012), The Premiere U.S. Solo Exhibition of Mari Kim, Art Aqua, Miami (2013); Synchronicity, Shine Artists, London (2014); Famous Show, Berlin (2014); Famous Eyedoll, AP Contemporary Gallery, Hong Kong (2014); Romance in the Age of Chaos, JR Gallery, Berlin (2015); Days of Future Past, Pontone Gallery, London (2016); Art Miami, Miami (2018); From Miami to London, Pontone Gallery, London (2019).
Born in Brahmakulam, Kerala in 1940, Karunakaran received degrees in design and painting from the Government School of Arts and Crafts, Madras while studying under the tutelage of the renowned artists D.P. Roy Choudhari and K. C. S. Paniker. He moved to Madras, painted seashells for sale and occasionally worked for the cinema industry before completing his degrees and working as a designer with Madras Design Demonstration Center. Returning to Kerala in 1970, he began as an instructor in Kalapeetom (Kerala Institute of Arts) and continued his art practice within the regional framework. In 1973, he opened Chithrakootam - the first private art gallery in Kerala, although short-lived. His illustrations appeared in numerous publications including Lore and Legends of Kerala from Aithihyamala. Karunakaran exhibited extensively in India and abroad; notable were his solo exhibitions in Brazil (2002), Asian Art Gallery in Virginia, USA (2003), Kuwait (2003) and at the Embassy of India in Washington, USA (2003). He was awarded the Madras Lalitha Kala Academy award (1964), the Kerala Lalitha Kala Academy award (1971, 1972, 1975), the P.T. Bhaskara Paniker Award (2000), the Malayattoor Ramakrishnan Award (2003), and the Ravi Varma Puraskaram Award (2009). In 2005, he received a fellowship from the Kerala Lalithakala Academy and eventually served as the chairman. He passed away in Kochi on December 14, 2013, following a period of brief illness.
Born in 1955 in Bulgaria, Rado Kirov trained as a coppersmith under the tutelage of Alexander Raev. He was the Head Coppersmith at the Old Dobrich Ethnographic Complex until he moved to South Africa in 1991 where he pursued a successful career crafting objects in precious metals. In 2012, drawing on his thorough knowledge of silversmithing, the artist perfected a technique of manipulating sheets of stainless steel by hand. His sculpture consists of wall-mounted reliefs and free-standing sculptures, all fabricated from stainless steel with highly polished surfaces. He exhibited widely from London, Cape Town, and Paris. Most recently was The Mercury Effect in Pontone Gallery in London (2018). Significant commissions include a chalice presented to Pope John Paul II by President Nelson Mandela in 1998, 'Mercury Landscapes' and 'Cannes: River Wild' for Christian Dior in 2016 and 'Organized Chaos' for the Gibbs Farm in New Zealand in 2018.
Born in Hanoi in 1953, Le Quan graduated from the Hanoi Fine Arts College in 1973 and the Hanoi Fine Arts University in 1982. Since 1980, he had become the Chief Designer for Vietnam Song, Music and Dance Theatre. He won the gold medal in the National Theater Festival for the design of the play “Conical Hat with Poem”(1980) and the play “Noi Dau Tinh me” (1990). He also received recognition for his work for the play “Tran Thanh Ngo”(1985) and “La Dieu bong”(1999). He joined group exhibitions locally and abroad from 1968 to 2012. Selected shows include The Hanoi Fine Arts Exhibition, Vietnam (1996,1997,1998); Vietnamese Fine Arts Exhibition – South Korea (1999); “Hanoi Season”, Ancient Gallery, HCMC, Vietnam (2000); “A Vision of Vietnam", Kings Road Gallery London, UK (2001); “A Vision of Vietnam", Motscom Gallery, London, UK (2001); “A Vision of Vietnam", Zee Stone Gallery, Hong Kong (2001); Group Exhibition at Apricot Gallery, Ho Chi Minh City, Vietnam (2003); “Contemporary Vietnamese Artists” Group Exhibition, Hong Kong (2005); Group Exhibition at JIA MODERNE in Boston Design Center, USA (2010); and a Group Exhibition at Apricot Gallery, London, UK (2012).
Le Thanh Son was born in 1962 in Hanoi, Vietnam. He graduated from Hanoi’s College of Drama and Cinematography in 1986 and is a full-time artist and a member of the Vietnam Fine Art Association. As an impressionist, he does not follow the simple visual sight or reality. His imagination and expert use of colors turn plain scenes of everyday life into extraordinary pictures of splendid and charming beauty. Son has established great personal achievements, with several fine arts awards and solo exhibitions in Vietnam and international. He was awarded the first prize at the Competition for Hanoi Young Artists by Hanoi Fine Art Association in 1990. His shows include “Nature’s True Son I – Season of Le Thanh Son” in Hong Kong (1998); “The Art from Vietnam” in Seoul, Korean (1999); “The Images from Vietnam”,Melbourne, Australia (2000); “The World of Le Thanh Son” in Hanoi, Vietnam (2000); “Separate Paths” in Hanoi, Vietnam (2001); "The Quality of Natural Power", Latin American Arts Museum, Miami, USA (2002); “Where the Rivers Meets", Vietnam Cultural Festival, Luxembourg (2002); "New Season" in Bradford, UK (2003); "Hanoi Flowers" in Hong Kong (2004); “Brilliant Life” solo exhibition, Tokyo, Japan (2008); "Treasures of Vietnam", Hanoi Art House, London (2015); and "Colours Of Life", Hanoi Art House, Buckinghamshire, UK (2016).
Korean artist, Jeongwoong Lee, was born in 1982 in Seoul. He graduated from Sungkyungkwan University in 2008, after which he exhibited extensively at home and abroad gaining commercial success at the art markets of Hong Kong, Singapore, New York, and his home country of South Korea. His first solo exhibition was 'Young Korean Painters', Pontone Gallery, London in 2014; after which he had another solo exhibition with Shine Artists in 2015, where he showed paintings on the subject of ‘Laputa’; and again in 2018 at the newly opened Pontone Gallery in London.
Born in 1944 in Najaf, Iraq, Massoudy grew up in a traditional society. To pursue his art, he moved to Baghdad (1961) and was apprenticed to various calligraphers. He learnt the various classical styles of calligraphy while also studying graphic design and fine arts. In 1969, amidst unfolding of political events and ensuing dictatorship, he fled Iraq for France and entered the École des Beaux-Arts where he studied figurative painting. He continued to work on calligraphy by doing headlines for Arabic magazines to pay for his studies until he received his degree in 1975. From 1972, he started collaborating with other creatives in combining music, poetry and calligraphies to produced live shows such as "Arabesque" (1972-1985); a ballet production (1995) and "Metaphore" (2005). Massoudy’s work was first exhibited in Musee des Beaux-Arts, Pau, France in 1981; since then, his works were exhibited extensively in France and the Middle East. They were also used as the primary promotional image for the British Museum's 2006 exhibition, Word Into Art: Artists of the Modern Middle East. Most recently, the artist held a solo exhibition, "Breath, Gesture and Light" (2017) in London, UK. Massoudy continues to live and work in France.
Nguyen Thanh Binh is a contemporary Vietnamese painter, best known for his simplified figurations upon a flat backdrop of color. Born in 1954 in Hanoi, he joined the army during the war and went on to study at Hanoi College of Fine Art where he graduated in 1972. He later attended the Gia Dinh Na College of Fine Art in Ho Chi Minh City, (now Ho Chi Minh City Fine Art University) where he specialized in oil painting (1983). Binh uses wellplaced lines and subtle forms in his figures as a means to separate them from space, creating a minimalist and elegant aesthetic relating to his love of Haiku poetry. Throughout his career, Binh has staged many solo shows and participated in numerous group exhibitions in Vietnam, Hong Kong, Singapore, Thailand, Japan, South Korea, Australia, USA, France, Belgium, and the UK. Among his numerous exhibitions are solo Shows in La Vong Gallery, Hong Kong (1996,1999, 2000, 2001); Vinh Loi Gallery, Hong Kong (1998); “The Elegance of the South”, Red River Gallery, Hanoi (2000);“Private moment”, Vinh Loi Gallery, Ho Chi Minh City (2000). Binh is a member of the Vietnam Fine Art Association.
Born in Bac Giang, Vietnam, Nguyen Van Cuong studied in the Fine Art Teacher’s College in Bac Giang Province from 1992 until 1995 before receiving his degree in painting from the Hanoi Fine Art University in 1999. Upon further studies, he received his Master of Fine Arts from the same institution. Aside from painting, he serves as a lecturer at the National College of Music and Painting from 2005 until the present. Van was awarded the first prize for Propaganda Paintings Contest in 1996 and the 2nd prize for National Fine Arts Exhibition in 2005. He also exhibited widely in Asia as well as the United States. Selected shows include “Hanoi’s Young Painters” Group show held by Hanoi Fine Art Association (1998); Group show of the three Asian Fine Art Universities of Vietnam, Japan and Thailand in Japan (2000); “National Fine Arts Exhibition”, Hanoi, Vietnam (2001); Group show, Seoul, Korea (2002); “Hanoi Fine Arts Exhibition” held by Hanoi Fine Arts Association, Hanoi (2002); “National Fine Arts Exhibition”, Hanoi, Vietnam (2005); “National Fine Arts Exhibition”, Hanoi, Vietnam (2010); “Asian Art Link” Group show, Manila, Philippines (2010); “Malaysian –Vietnamese Contemporary Art” Group show, Mutiana Gallery, Penang, Malaysia (2010); “Nguyen Van Cuong and Ngo Van Cuong” at the Viet Art Center, Hanoi, Vietnam (2011); “Moving on” Group Exhibition at Apricot Gallery, London, UK (2011); “The make – up Faces”, Solo Exhibition at Vietnam Fine Arts Museum, Hanoi, Vietnam (2012); and the Florida Asian Art Exhibition - Art Wynwood, Miami, Florida (2013).
Born in 1953 in Iran, Ossouli received her Diploma in Painting at the Girl's School of Fine Arts in Tehran in 1971 before completing a Bachelor's of Art in Graphic Design at the Faculty of Fine Arts at the University of Tehran in 1977. She was a professor at the Design Studio (1972 -1977) and Moaser Studio (1981-1987) in Tehran before painting full-time. Known for her modern take on Persian miniatures and her bold use of colors, she draws deep inspiration from the plight of women, Persian poetry, and classical Western art in her works. Ossouli evolved her distinct style through the unique fusion of techniques, materials, and themes set in the history of Persian iconography and heritage. Farah received her first award at “Ayeneh dar Ayeneh” in Tehran in 1997. Later she won the Renowned Iranian Women Award (2000) and the Iranian Women Artists Prize (2002). An active member of the art community, she has sat on several boards and jury panels over the years including the First International Fajr Festival of Visual Arts at the Tehran Museum of Contemporary Art (2009). Ossouli exhibits widely both in her native Iran and abroad. Her work is in many prestigious collections, including the Los Angeles County Museum of Art (LACMA), USA; The Metropolitan Museum of Art, New York, USA; Devi Art Foundation, New Delhi, India; Tropen Museum, Amsterdam, Netherlands; Ludwig Museum, Koblenz, Germany; and in the Tehran Museum of Contemporary Art, Tehran, Iran.
Muraina Oyelami was born in Iragbiji, Nigeria in 1940. Known as a master painter and as a great performing artist, he is one of the original products of the Oshogbo Art School. He studied at the Obafemi Awolowo University, Ile-Ife specializing in Theater Design, where he later taught traditional music from 1975 to 1987. Before his career in art, Oyelami was a founding member of the late Duro Ladipo Theatre Company performing as an actor and musician. Some of his works are in the Studio Museum in Harlem, New York; Staatlichen Kunsthalle, Berlin; National Gallery of Modern Art, Lagos, Nigeria; IWALEWAHaus, University of Bayreuth, Germany; Museum of African Art, Smithsonian Institute, Washington D.C.; and Institute of Contemporary Arts, London among others. Selected recent exhibitions include Living Masters: The Works of Bruce Onobrakpeya, El Anatsui, Muraina Oyelami, Mydrim Gallery, Lagos (2007); Contemporary African Art from the Collection of William Jones, Aljira, A Center for Contemporary Art, Newark NJ (2007); Mbari Institute, Washington DC USA (2001); A Concrete Vision: Oshogbo Art from the 1960s, National Museum of African Art Smithsonian Institution, Washington, D.C. (2001); Nimbus Gallery, Lagos Nigeria (1998); and Gallerie am Turm, Eltville-am-Rhein, Germany (1998).
Born in Gujarat, Manu Parekh studied at 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, '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, 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.
Born in Kottayam, Kerala, Parthan began as an engineer but was drawn into the world of art in 1974. He completed his Bachelors Degree in Fine Arts (Painting), from the Goa College of Art, Goa in 1983. He has had a number of solo and group exhibitions, including ‘Recursor’, Gallery OED, Kochi, in 2012; ‘Milljunction: Paintings and Photo works by Baiju Parthan’, Aicon Gallery, New York, in 2010; ‘Liquid Memory + Rant’, New Media Installation at Vedehra Art Gallery, New Delhi in 2007; ‘Looking Glass: The Existence of Difference’, Twenty Indian Contemporary Artists presented by Religare Arts Initiative, New Delhi in collaboration with American Center; British Council; Goethe-Institut/Max Mueller Bhavan, New Delhi in 2010; ‘Dislocation: Millijunction Part 2’, Aicon Gallery, London in 2011; ‘Pause: A Collection’, Sakshi Gallery, Mumbai in 2011; ‘Melange’, The Harrington Street Arts Center, Kolkata in 2011; ‘Adbhutam: Rasa in Indian Art’, Center of International Modern Art (CIMA), Kolkata in 2011; ‘Reprise 2011’, Aicon Gallery, New York in 2011-2012; ‘Recursor’, Gallery OED Kochi, in 2012, among many others. Parthan has also received many awards, including the “Goa Lalit Kala Academy Award for Artist of the Year,” Goa, in 1981.
Pham Hong Son was born in 1967, in the Thai Nguyen Province. He graduated from the Children School of Fine Art in 1976 and completed his degree in painting in the Hanoi Fine Arts University in 1992. He currently lectures at his alma mater and is an active member of the Vietnam Fine Arts Association and the Hanoi Fine Arts Association. He uses a predominantly white background to accentuate the interplay between heaven and earth and the simplicity and coarseness of nature. Notable exhibitions include First National Student Exhibition of Art (1992); The National Fine Art Exhibition of Vietnam (1995); Solo Exhibition at Hanoi Exhibition House (1999); Exhibition in Washington D.C, US (2000); HKFINEART Gallery in Hong Kong (2008); National Fine Arts Exhibition (2010); and 'At the Hindsight', Green Palm Gallery, Hanoi (2016). His paintings are included in several private collections in Vietnam and abroad.
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’, ‘Parikrama: Around Gandhi’, Vadehra Art Gallery, New Delhi, in 2014; ‘ShabdBindu’, 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, 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. The artist passed away in New Delhi in July 2016.
Born in 1974, Chatchawan Rodklongtan graduate from Rajamagala Institute of Technology with a Bachelor of Arts (Painting) in 1992 and completed his Masters of Art at the same university in 1994. As a devout Buddhist, the temple murals that he often explores in his youth influenced Chatchawan’s works. But despite his philosophical concepts and his painting’s detail intricacy, his works evoke a sense of tranquility that is almost like the inner sanctum of a monastery. His works convey an acute awareness of the truth that comes forth from an individual. He exhibited from 1990 until 2008 in Asia and the US. Key solo exhibitions include “Light in an Atmosphere of Faith” Exhibition, River City, Thailand (2003); “ Study in Light” Exhibition at the Carpediem Galleria, Thailand (2006); and “The Moral Precept” Exhibition at Number One Gallery, Silom (2008). Chatchawan lives and works in Bangkok, Thailand.
Born in 1943 in Aleppo, Ali Sarmini is a Syrian painter best known for his work, "Quneitra on Remains". He graduated with a degree in Fine Arts in 1972 from the University of Damascus where he became the Vice-Dean from 1981 to 1991; and eventually the Dean of the Faculty of Fine Art from 1993 to 2001. He received his Doctorate in Fine Arts from the Berlin-Weißensee Academy of Arts in Germany and gained professorship in 1993. Sarmini has exhibited internationally, most notably in Germany and Russia.
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 for 1970-'71 from the John D. Rockefeller III Fund. 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 the US. Paritosh Sen passed away in October 2008.
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 with critical acclaim. Till date he has more than 100 solo shows to his credit, and numerous group shows 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.
Born in Sousse, Tunisia in 1951, Slimane is one of the major contemporary artists in Tunisia as well as in the Arab world. He graduated from the Escola Massana of Barcelona in 1977 and the Technological Institute of Art in Tunis in 1982. Two years later, he began to learn ceramics in Barcelona. He traveled a lot, notably in Tokyo where he completed an eight-month residency at the Idemetsu Tokyo Museum and studied the national treasures of Japan and inevitably developed a passion for the arts in the Far East countries. In 1990, Ben Slimane was elected as a member of the International Academy of Ceramics in Geneva. His works have been exhibited beside works by maestros like Miro, Picasso, and Artigas. His works are part of various private and public collections including the Smithsonian Museum in Washington DC, Idemitsu Museum of Arts in Tokyo, the British Museum, and the Benaki Museum in Athens. In 1990, he became the first Arab to be invited to become a member of the Academie Internationale de la Ceramique in Geneva. He received several awards including the Prize of National Culture in Tunisia, the International “Grand Prix” of Ceramic in Vietri Sul Mare, Italy in 2002.
Thanh Chuong is one of Vietnam's foremost artists. Born in 1949 in Bac Ninh Province, he was a child prodigy and began painting at the age of seven. From 1956 to 1960, he joined and won prizes in several art competitions; where he earned a gold medal for his painting "Doi Ga To” in London in 1957. By 1960, barely 11 years old, he entered the Hanoi Fine Arts College, where he stayed until he joined the war efforts in 1966. After the war, he worked as a painter for Thong Nhat Journal (1974) and as lead designer for the Van Nghe Journal (1975). It was only in 1994, after Vietnam implemented an open-door policy, that he was able to exhibit as a solo artist. His first exhibition is in Song Hong Gallery in Hanoi, which was highly received received by critics. Since then, he has been exhibiting his artworks in Vietnam and overseas. Most recently was "Treasures of Vietnam" in Hanoi Art House in London (2015). Thanh Chuong’s primary medium is lacquer, and his subjects of inspiration have been Vietnamese rural life, family, love, and self-portrait. Thanh Chuong’s work "Love" was chosen by the United Nations as the symbol for the International Year of Volunteers in 2001. Moreover, in 2012, he was named one of the "50 Pioneers of All Time" for his achievements, his revolutionary contributions to the development of the society and communities.
Jiten Thukral and Sumir Tagra, branded as Thukral & Tagra, have worked as a team since the turn of the millennium. Born in 1976 in Jalandar, Thukral completed his Bachelor’s degree in Fine Art at Chandigarh College of Arts, and his Master’s degree in the same at the Delhi College of Art. Tagra was born in New Delhi in 1979. He completed his Bachelor’s degree in Fine Art at the Delhi College of Art and then went on to postgraduate studies in Communication Design at the National Institute of Design in Ahmedabad. Their works are executed in a wide variety of media including graphics, videos, music, interiors, product design, paintings, sculpture and installations. Amongst their solo shows are ‘Longing for Tomorrow-II’ at Nature Morte, New Delhi 2014, ‘Q’, by Nature Morte at Famous Studio, Mumbai, ‘Windows of Opportunity’ at Art Plural, Singapore, in 2013; ‘Longing for Tomorrow’ at Nature Morte, Berlin, ‘Nosturistic’ at Hilger Contemporary, Austria, in 2012; ‘The Beautifuk Game – Foundation Thukral and Tagra’ at the India Art Fair, ‘Put it on, Again!!; at Nature Morte, New Delhi, ‘Science Mystery and Magic’ at Btap, Tokyo ‘Germa Returned’ at Nature Morte, Gurgaon, in 2011; ‘Low-Tech Family Vacation’ at the Singapore Tyler Print Institute, Singapore, ‘Middle Class Dreams’ at Arario, Seoul, ‘Match – Fixed’ at Ullens Centre for Contemporary Art, Beijing, in 2010; Thukral and Tagra, Opp. Bosedk Mall’ at Gallery Barry Keldoulis Sydney, ‘Nouveau Riche’ at Nature Morte, Berlin, in 2009; ‘Somnium Genero’ at Gallery Barry Keldoulis, Sydney, in 2008; ‘Thukral and Tagra’ at Chatterjee & Lal, Mumbai, in 2008; ‘Put It On’ at Bose Pacia, New York, in 2007; ‘Everyday Bosedk’ at Nature Morte, New Delhi, in 2007; and ‘Bosedkdesigns.com’ at Nature Morte, New Delhi, in 2005. Thukral & Tagra have won a number of awards, their most recent one being the “101 Emerging Designers, from Wallpaper Magazine for Global Edit ‘06”. Both of the artists live and work in New Delhi.
Vaikuntam was born in 1942 in Andhra Pradesh. He studied at the College of Fine Arts and Architecture in Hyderabad. In 1971, he won the Lalit Kala Akademi Fellowship to study at the M.S. University, Baroda. He has had several solo and group shows internationally and in India, including New Delhi, Mumbai and cities in South India. His recent solo shows include the 2011 ‘Metamorphosis: The Changing World of Thota Vaikuntam’ at the Art Alive Gallery in New Delhi, as well as the 2011 ‘Memoire du passe 1979-1999’ at the Latitude 28 gallery, New Delhi. His works have also been exhibited in New York, London, Birmingham and Kassel. His work was shown at the VII Triennale, New Delhi, and he has also exhibited with Saffronart in Los Angeles and Hong Kong in 2001. Vaikuntam won the Bharat Bhavan Biennale Award, Bhopal in 1988, as well as the National Award for Painting from the Government of India in 1993. The artist lives and works in Hyderabad.
Born in 1946, in Tashkent, Uzbekistan, Umarbekov is one of the key figures of contemporary art in the country. He began exhibiting his works both within the Soviet Union and abroad in 1964, whilst still a student. In 1966, he moved to Moscow to study at the Gerasimov Institute of Cinematography. After completing his studies, he returned to his hometown, where he became known for boldly crossing boundaries and abandoning the rigid norms of the past to create his original interpretation of the Uzbek heritage. A celebrated artist, Umarbekov has exhibited his art in prestigious exhibition centers and museums, both in Uzbekistan and abroad; including the Tretyakov Gallery in Moscow, the UN headquarters in New York, the National Ukrainian Academy of Arts and the M.P. Kroshitsky Sevastopol Art Museum in Kiev, Ukraine. He was awarded the honorary title, People’s Artist of Uzbekistan in 1989 and later as an Honorary Professor of the National Ukrainian Academy of Arts in 2011. Umarbekov is an active member of the Academy of Arts of the Republic, a full member of the Academy of Arts of Kyrgyzstan and Ukraine; and is a professor at the Bekhzod National Institute of Art and Design in Tashkent.
Tim Wright was born and raised in London. In the mid-1980s he graduated in Fine Art from Middlesex University. His early paintings displayed an interest in the figure and explored its fragmentation through a vigorous painting process. His practice has developed along two strands: the portrait and figure painting. He has a long experience of teaching and lecturing. He worked as a fine art lecturer at most of the leading London art colleges, particularly Chelsea School of Art, Middlesex University and The Motley Theatre Design School. He continues to teach courses in life painting and drawing at his studio in London. Tim Wright has exhibited extensively, and his work features in many collections, both in the UK and internationally. Most recently, he has been a prizewinner in The Derwent Art Prize 2016, an exhibitor in The National Open Art Competition in the City of London, had a number of solo exhibitions with Shine Artists at The Albemarle Gallery London, featured in the 2014 BP Portrait Award at The National Portrait Gallery, and shown portraits at Petworth House in Sussex. The artist continues to live and work in London.
SOUTH ASIAN ART CLASSICAL, MODERN AND CONTEMPORARY ONLINE AUCTION (NO BUYER’S PREMIUM) JUNE 2019
M.F. Husain
Kathak dance performance at the Maharaja Darbar
A sale of classical, modern and contemporary paintings and sculptures from the Indian subcontinent
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RUGS AND CARPETS ONLINE AUCTION (NO BUYER’S PREMIUM) JANUARY 2020
The sale will offer a curated selection of hand-woven Oriental rugs and carpets.
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PRINTS AND MULTIPLES ONLINE AUCTION (NO BUYER’S PREMIUM) MAY 2020
Julian Opie
Ruth Smoking 3
The Prints and Multiples sale will comprise works by international artists executed in various printmaking techniques and three-dimensional multiples.
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AFRICAN ART MODERN AND CONTEMPORARY ONLINE AUCTION (NO BUYER’S PREMIUM) JUNE 2020
El Anatsui
Sacred Secrets Unfolding
Our inaugural African Art sale will offer modern and contemporary works from across the continent and diaspora artists.
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P.O. Box 112646, Dubai, UAE
• 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 common-law framework with laws and regulations issued in English