ARTIANA | South Asian Art | Online Auction | No Buyer's Premium | 6-10 December, 2018 | Sale 1802

SOUTH ASIAN ART CLASSICAL, MODERN AND CONTEMPORARY ONLINE AUCTION (NO BUYER’S PREMIUM)

6 -10 DECEMBER 2018

South Asian Art | Classical, Modern AND Contemporary

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South Asian Art Classical, Modern AND Contemporary Online Auction (no buyer’s premium)

South Asian Art | Classical, Modern AND Contemporary

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South Asian Art Classical, Modern AND ContemporarY SALE NUMBER: 1802 ONLINE AUCTION DECEMBER 6 - 10, 2018 No Buyer’s Premium ‘What You Bid is What You Pay’ FlexiPay ‘Bid Now Pay Later’ Auction Opening December 6, 2018 6:00 p.m. onwards UAE Standard Time

Auction Closing December 10, 2018 7:00 p.m. to 9:00 p.m.

UAE Standard Time

Viewings December 1-6, 2018 11:00 a.m. - 6:00 p.m.

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Lavesh Jagasia +971 50 796 3030 lavesh@artiana.com Services Artiana Help Desk +971 55 815 3030 +971 55 825 3030 Registration and Written Bids auction@artiana.com Payment, Collection and Other Services info@artiana.com It’s Easy to Buy at Artiana Additional information on the buying process is available on page 99 FlexiPay Additional information on the FlexiPay scheme is available on page 106 Conditions of Sale This auction is conducted under the Conditions of Sale as stipulated in the catalogue on page 108 Copyright Notice No part of this catalogue may be reproduced, stored in a retrieval system or transmitted by any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of Artiana. Š Copyright, Artiana, 2018 Front Cover: Lot 21 Inside Front Cover: Lot 35 (detail) Page 2-3: Lot 17 (detail) Page 4: Lot 2 (detail)

Page 98: Lot 13 (detail) Inside Back Cover: Lot 32 (detail) Back Cover: Lot 8

CONTENTS SALE GUIDE 10 Classical SOUTH ASIAN ART, Company paintings LOTS 1 - 10 24 MODERN AND CONTEMPORARY South Asian Art LOTS 11 - 50 99 IT’S EASY TO BUY AT ARTIANA 100 AUCTION CLOSING SCHEDULE 101 WRITTEN / ABSENTEE BID FORM 102 BIDDING INCREMENTS 103 BUYING AT ARTIANA 106 FINANCE AT ARTIANA 108 CONDITIONS OF SALE 114 ARTIANA GUARANTEE 115 COLLECTION AND STORAGE 116 ARTIST PROFILES AND INDEX

Southern Indian artists in the 18th century were among the first to adapt their styles and subject matters for their new patrons from the French and English East India Companies. Hindu deities and religious scenes had been the traditional decorations on the walls of temples throughout the south, so it was a simple matter for the artists to produce sets of deities and festivals on paper to inform westerners of the many unfamiliar aspects of south Indian Hinduism.

These paintings were painted in brilliant colours against an uncoloured ground. It was again a relatively easy further step for these artists also to produce sets of occupations, castes, ascetics and festivals when British tastes changed to want permanent records of local life. The figures were normally in the early period painted in pairs, a man and his wife, originally standing on a simply painted ground and with a blue sky background behind them, sometimes with a narrow strip of tangled clouds at the top. Around 1800 more details of landscapes and more naturalistic clouds were added and the clouds began to cover the whole sky in jagged alternations of blue and grey.

Men from Tanjore of the muchi or leather-workers caste are thought to have been the artists of these sets, although inscriptions of some of the albums and paintings indicate that they must have moved to other towns, particularly Madras, in search of employment, where they continued to paint their traditional subjects. Other centres where they are known to have painted included Vellore and Trichinopoly. The artists based in Trichinopoly specialised in painting on small sheets of mica that were mounted on paper guards and bound into albums. By the mid-19th century the artists had often abandoned painting couples, a man and his wife, and instead concentrated on single figures, as found here in this set.

The figures in the set are well drawn, lively and colourful, with good modelling of forms and facial features. Without inscriptions, however, some of the women especially are difficult to identify, but most are normally based on earlier identified figures. Many of the single women seem modelled on the ‘wife’ half of the earlier couples. The women normally wear the elaborate jewellery of the south, with various heavy earrings, hairpins, noserings, necklaces, bracelets and anklets, not detailed here.

References below are comparable to albums in the published catalogues of the collections of the Victoria & Albert Museum and British Museum, London.

Accession numbers are included here as both collections are now on-line.

References: Archer, M., Company Paintings: Indian Paintings of the British Period, Victoria and Albert Museum, London, 1992 Dallapiccola, A., South Indian Paintings: a Catalogue of the British Museum Collections, British Museum Press, London, 2010

EXPERT: J.P. Losty J.P. Losty was for many years curator of Indian visual materials in the British Library in London and has published many books and articles on painting in India from the 12th to the 19th centuries.

Artiana would like to thank J.P. Losty for his expertise and assistance in preparing this section of the catalogue.

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Classical South Asian Art Company paintings lots 1 - 10 South Asian Art | Classical, Modern AND Contemporary

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LOT 1

Maratha warrior gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.2 cm.)

Tanjore, c. 1850

US$ 600 - 900 PROVENANCE Private collection, USA

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A Maratha warrior stands wearing a white jama over a yellow skirt and with a wide Maratha style turban.

He is holding vertically a curved sword and wears a grieve on his sword arm.

A comparably dressed warrior though without the grieve is in a set in the V&A (AL 547, Archer 1992, no. 24(4)).

LOT 2

Woman dancer gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.2 cm.)

Tanjore, c. 1850

US$ 600 - 900 PROVENANCE Private collection, USA

A woman dancing, wearing a yellow peshwaj over blue salwar and a red bodice, holding out the end of her mauve dupatta as she dances.

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LOT 3

Brahmin with a waterpot gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.1 cm.

Tanjore, c. 1850

US$ 600 - 900 PROVENANCE Private collection, USA

A Brahmin wearing a white dhoti with red trim and two angavastra, his head shaved and stubbled apart from a back kudumi, stands carrying a waterpot. He wears a red tilaka on his forehead with a vertical black stripe running through it and leaf designs both open and in the shape of a banyan leaf on his face and body. A necklace of shells is around his neck and a yajnopavita or sacred thread around his body.

The leaf designs are connected with the cult of the boy Krishna.

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LOT 4

Woman in thought gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.1 cm.)

Tanjore, c. 1850

US$ 600 - 900 PROVENANCE Private collection, USA

A woman wearing a yellow nine-yard sari wound between her legs standing in a thoughtful attitude with leaf designs painted on her forearm and hand.

South Asian Art | Classical, Modern AND Contemporary

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LOT 5

Cymbal player gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.2 cm.)

Tanjore, c. 1850

US$ 600 - 900 PROVENANCE Private collection, USA

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A musician wearing a green jama over a white gown with a blue cummerbund and red turban stands beating small cymbals together.

LOT 6

Courtesan gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.3 cm.)

Tanjore, c. 1850

US$ 600 - 900 PROVENANCE Private collection, USA

A woman wearing a red sari and a yellow blouse. She is perhaps a courtesan.

South Asian Art | Classical, Modern AND Contemporary

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LOT 7

Man with a book gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.2 cm.)

Tanjore, c. 1850

US$ 600 - 900 PROVENANCE Private collection, USA

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A man pehaps an accountant or a munshi wears a white dhoti trimmed with red and two angavastra and Maratha style turban, with Shakta sectarian marks on his forehead. He is carrying a manuscript or an account book and has a pen tucked behind his ear.

LOT 8

Wife of an ascetic gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.1 cm.)

Tanjore, c. 1850

US$ 600 - 900 PROVENANCE Private collection, USA

A woman carrying a hand punkah. She would normally be accompanying a male ascetic (as in V&A AL 9128 (12), Archer 1992, no. 14(12)), or is possibly the wife of a fan-maker (see V&A IS 39:2-1987, Archer 1992, no. 26(2)).

South Asian Art | Classical, Modern AND Contemporary

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LOT 9

Bangle seller gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.1 cm.)

Tanjore, c. 1850

US$ 600 - 900 PROVENANCE Private collection, USA

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A bangle seller stands wearing a white dhoti and a chintz turban, with a bag and an angavastra along with strings of bangles slung over his shoulder. The chappals on his feet are unusual and distinctive.

He also holds a cylinder furnished with bangles. He is a Vaishnava with Tenkalai namans on forehead and body.

Compare V&A IPN 2498, Archer 1992, no. 28(4), from c. 1850, where the bangle seller is accompanied by the wife in a blue sari and holding a baby as in no. 10 below. Also V&A AL 8940L. c. 1800, see Archer 1992, no. 22(12).

LOT 10

Woman with a baby gouache on paper folio 13 x 8 in. (32.8 x 20.1 cm.) painting 7 x 4.5 in. (18 x 11.1 cm.)

Tanjore, c. 1850

US$ 600 - 900 PROVENANCE Private collection, USA

A woman wearing a blue sari stands holding a baby.

In sets with couples, this figure is the wife of the bangle seller, no. 9. Compare V&A IPN 2498, Archer 1992, no. 28(4), from c. 1850, where the wife in a blue sari and holding a baby accompanies her husband the bangle seller.

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MODERN AND CONTEMPORARY South Asian Art lots 11 - 50

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lots 11 - 20

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Jogen Chowdhury is known for his ability to successfully merge traditional imagery with contemporary flavors, he masterfully blends worldly self-awareness and local influence in an autobiographical narrative producing work that are universal yet strangely reminiscent of an indigenous spirit. With imagery drawn from his cultural background more than his intellectual province, the Bengali influence serves an integral component of the nature and style of his paintings.

During the 1970s, while developing his own unique artistic style and language, Chowdhury began to include references to popular visual culture to comment on the complexities and contradictions of the society during that period. It was also during this time that he began to incorporate deities within his works. The artist reported that his representation of Ganesha is meant to represent political satire and commentary rather than the god himself.

In the painting, Chowdhury plays on the popular characterization of the elephant god Ganesha.

Depicted sitting centrally almost spilling out of the frame, he is holding a flower on the right hand. Like the general depiction of the god, he is shown having the head of an elephant with a single tusk and a large belly sitting cross-legged with one leg touching the ground and the other resting on his knee. The artist portrays the figure using powerful fluid lines, tightened with crosshatching and touches of colours, rendered against a black background typical with his style. The black background draws attention to the image itself while the cross-hatching in ink builds up surface quality and sensitivity vital to the picture.

With his distinctive style, mastery of lines and careful distortion of the form, Chowdhury imparts the air of caricature in his figures while keeping the indigenous sensibilities and the nuances of characterization in the painting.

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LOT 11

Jogen Chowdhury (b. 1939) Ganesha mixed media on paper 11 x 9.5 in. (27.9 x 24.1 cm.) painted in 1996 Signed twice in Bengali and English and dated ‘Jogen 96’ (upper right)

US$ 20,000 - 30,000

PROVENANCE Sakshi Gallery, Mumbai

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Ram Kumar’s fondness for hilly ranges, rivers, lakes, trees and the open sky is well-known and all these have their presence, not symbolically but characteristically in both his drawings and paintings. Indeed they get ‘abstracted’ in his art but nevertheless they are there in many forms with the essence of their ‘character’ bringing a kind of ‘realism’ to them. It is in this sense that his abstract ‘landscapes’ are never devoid of an earthiness, and the elements from nature to be seen and felt are mirrored in them. The surging strokes, the palette knife with layers of pigment fills the canvas with somber hues. […] These are soothing, comforting works—intimate to the core. (Prayag Shukla, Ram Kumar: Lines and Colours, Aakriti Art Gallery Pvt. Ltd., Kolkata, 2016, pg.10) The poetic line and use of space is elevating in this example of the artist’s work, affirming the harmony between the mountains, the sea, and the greenery. “Stripped of sentiment and freed from the burden of description, the landscapes have an inner voice that is waiting to be heard. The meditative nature has not been achieved by accident; rather it is a result of long contemplation.” (Uma Prakash, Ram Kumar: Selected Works 1950-2010, Vadehra Art Gallery, New Delhi, 2010, pg.11)

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LOT 12

Ram Kumar (1924 - 2018) Untitled oil on canvas 36 x 36 in. (91.8 x 91.8 cm.) painted in 2004 Signed and dated ‘Ram Kumar 04’ (on the reverse)

US$ 40,000 - 60,000

PROVENANCE Saffronart / Lot 33 / Auction December 2005 / 6-8 December 2005

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LOT 13

Anjolie Ela Menon (b. 1940) Untitled oil on masonite board 11.5 x 8.5 in. (29 x 21.5 cm.)

Signed ‘Anjolie Ela Menon’ (upper right)

US$ 7,000 - 10,000

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PROVENANCE Private collection, Dubai Anjolie Ela Menon is best known for her religiousthemed works. Her portraits incorporate a vibrant color palette rendered in variety of styles. A non-conformist artist, she preferred the ornate embellishments and colorations in Christian iconography, particularly Byzantine art, instead of the cubist style popular with her peers.

LOT 14

Maqbool Fida Husain (1915 - 2011) Untitled (Lady with a Candle) acrylic on canvas 36 x 24 in. (91.4 x 61 cm.) painted in 2005 Signed ‘Husain’ (lower right)

US$ 50,000 - 70,000

PROVENANCE Acquired directly from the artist Private collection, Dubai “He captures in their postures and lineaments their distinctive ethos and culture -- the Maharashtrian woman as distinguished from her sister in Kerala, the Rajasthani herdsmen from the Andhra peasant. Not by physiognomy or costume alone are they differentiated, but in their total bearing and presence.” (E. Alkazi, M.F. Husain: The Modern Artist and Tradition, New Delhi, 1978, pg. 22)

South Asian Art | Classical, Modern AND Contemporary

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LOT 15

Badri Narayan (1929 - 2013) The Offering ink and watercolor on handmade paper 22 x 22 in. (55.9 x 55.9 cm.) painted in 1991 Initialed in Hindi (lower right) Signed, dated and inscribed ‘The Offering by Badri Narayan / watercolour on paper / 1991’ (on the reverse)

US$ 6,000 - 9,000

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PROVENANCE Sotheby’s / Lot 80 / 20th Century Asian Art / 14 July 2005

LOT 16

Sakti Burman (b. 1935) Untitled (Le Songe) oil on canvas 15.25 x 18 in. (38.5 x 46 cm.) painted circa 1990s Signed ‘Sakti Burman’ (lower left)

US$ 25,000 - 35,000

PROVENANCE Acquired directly from the artist Private collection, Dubai

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‘Krishen Khanna’s ‘Bandwallahs’ occupy a grey zone - they represent cultural practices but not cultural property, they demonstrate performative spectacle but are not claimed by a body of accepted performative coda. The genesis of Krishen’s Bandwallah paintings is rooted in personal experience. While driving out of Garhi Studios one day, in the early 1970s, his car was held up by a passing band. Against the background of the 18th century Garhi fort with its large, capacious studios, the raucous band crammed into the small mean street of Garhi village. The syncopated tunes intended for it, the quotient of assertive maleness, the residual image of the British colonial march past, and sanguine military energy collapsed into a singular image in that warm Delhi afternoon.

Positioning himself as sympathetic spectator and as somewhat humorous narrator, Krishen has steadily painted the Bandwallahs incorporating all the elements he had seen that day. His engagement with music and musicians as a subject has been a steady preoccupation since then.’

‘Most recently, the Bandwallahs are painted singly or in groups, playing in their trombones and trumpets. In their performative aspect, the bandwallahs embody multiple histories.

The figures are foreshortened to represent a compression of bodies and instruments, emphasized by the curves and arcs achieved by each form. In the play of flat colours of red, a geometric rhythm emerges that mimics the syncopated sounds of the band. The woodland element in the foreground and background appears to balance the compressed activity in the rest of the frame.’ [...] (Krishen Khanna: Images in My Time, Mapin Publishing, 2007, pg. 27 & 36) 36

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LOT 17

Krishen Khanna (b. 1925) A Woodland Melody oil on canvas 36 x 48 in. (91.4 x 121.9 cm.) painted in 2017 Signed ‘KKhanna’ (lower left) Signed and inscribed ‘Krishen Khanna’ / ‘A Woodland Melody’ / oil on canvas (on the reverse)

US$ 60,000 - 90,000

PROVENANCE Acquired directly from the artist Private collection, New Delhi

South Asian Art | Classical, Modern AND Contemporary

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LOT 18

Akbar Padamsee (b. 1928) Untitled (Self-Portrait) pencil on paper 11.5 x 8 in. (29 x 20.5 cm.) painted in 1995 Signed and dated ‘PADAMSEE 1995’ (lower left)

US$ 8,000 - 12,000

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PROVENANCE The Guild Art Gallery, Mumbai Private collection, Dubai

LOT 19

Ram Kumar (1924 - 2018) Untitled oil on canvas 30 x 34 in. (76.2 x 86.4 cm.) painted in 1982 Signed, dated and inscribed ‘Ram Kumar 82’ / 30 x 34 (on the reverse)

US$ 40,000 - 60,000

Rendered in a muted palette, Ram Kumar’s work conveys the feeling of a night landscape. Art critic Richard Bartholomew posited, “Using the encaustic process Ram even delved into the shades of black.

Grays derived from blues and browns set off the facets of the texture, the drifts, the engulfed landforms, the isthmus shapes and the general theme of the fecund but desolate landscape.” (Richard Bartholomew, The Abstract Principle in the Paintings of Ram Kumar, Lalit Kala Contemporary, Nos. 19 and 22, 1975-76.)

PROVENANCE Bodhi Art, Singapore

South Asian Art | Classical, Modern AND Contemporary

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Before the acclaimed Bindu surfaced in Sayed Haider Raza’s work, he began as a landscape artist. His earliest works were composed of expressionist landscapes which gradually evolved to rigid and geometric representations of French towns and villages following his move to Paris.

In the early 1960s, Raza’s exposure to the New York School of painters and to Abstract Expressionism marked a shift in his paintings. He began to integrate vital elements of his Indian heritage and memories into his paintings. Rooted in his childhood memories of life growing up close to the dense forest of Madhya Pradesh, his work fused symbolic abstract forms into a powerful expression of mood and atmosphere of the Indian night. Raza’s theme remained on landscape but his lines began to blur, reflecting his engagement with the nonrepresentational. Colour began to dominate his work, especially black, which for him was the mother colour from which other hues were born. Majority of the painting from this period was emerging from darkness, crepuscular and almost hallucinatory. He started showing the more intangible aspects of a landscape rather than mimetic representation. Instead of the physical attributes, he deftly manipulated colour and light to focus on the emotion a scene evoked.

The present lot represents the culmination of this period of experimentation in S.H Raza’s career, he masterfully used an emotive, largely monochromatic palette to recreate the elusive mood brought on by the descent of night. The aura of the night is suggested by establishing a most luminous indigo, light enough for the black of the night to be defined, yet dark enough to establish mystique, and for the white to contrast against it. There is no apparent source of light yet the texture of the paint lends subtle luminescence, emphasizing the darkness and their allusion to the memory and the mood.

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LOT 20

Sayed Haider Raza (1922 - 2016) Le Réve acrylic on canvas 23.5 x 23.5 in. (60 x 60 cm.) painted in 1981

US$ 30,000 - 50,000

Signed and dated ‘Raza ‘81’ (lower right) Further signed, titled dated and inscribed in French and English ‘Raza / 1981 / 50 x 50 cm / “Le Réve” / Acrylique sur toile’ (on the reverse) PROVENANCE Private collection, Dubai

South Asian Art | Classical, Modern AND Contemporary

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lots 21 - 30

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LOT 21

Maqbool Fida Husain

M.F. Husain, Untitled (Arjuna and Krishna), circa 1980s, Christie’s London, 10 June 2010, Lot 252, sold for GBP 577,250

(1915 - 2011) Arjun and Sudarshan Chakra acrylic on canvas 40 x 60 in. (102 x 153 cm.) painted circa 1980s Signed ‘Husain’ (lower right) Titled ‘Arjun and Sudarshan Chakra’ in the artist’s hand in a book cataloging the owner’s collection

US$ 300,000 - 500,000 PROVENANCE Property of an esteemed art collector

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Titled ‘Arjun and Sudarshan Chakra’ in the artist’s handwriting in a book cataloging the owner’s collection. A copy of this book signed by the collector accompanies the lot.

For decades, MF Husain had been a leading, almost magical figure in the Indian art scene. Known as the “Picasso of India”, his works have defined modern Indian painting and has helped in creating a niche for Indian art, not only in the society of art but also in the prestigious art markets of the world. Enormously prolific, Husain, created works that could be caustic and funny as well as serious and sombre.

Among his best-known works are based on the Mahabharata.

The Hindu epic narrates the founding of ancient India culminated by the Kurukshetra War fought between Pandava and Kauravan cousins in a dynastic struggle for the throne of Hastinapura, the seat of the Kuru clan. The present work portrays Lord Krishna and the Pandava prince Arjuna before the commencement of the climactic war. Arjuna stands at the chariot holding his Gandiv (bow) and arrow. Lord Krishna, symbolized here by the abstract hand bearing the Sudarshan Chakra, was Arjuna’s charioteer and guide. Initially hesitant to go to war against his own kin, friends and teachers, Arjuna is persuaded otherwise by Lord Krishna.

The dialogue between them formed the Bhagavad Gita, one of the most important texts of Hindu philosophy.

Accentuating the violence that forms the central core of the epic, the composition is dynamic. The strong influence of Indian folk art is indicated by the division of planes which may have been derived from the narrative style in Rajasthani miniature painting. Notably, present in the painting are all of Husain’s popular symbols; the tiger, the horses, the Sudarshan Chakra, and the mudra. His signature style and engagement with the folk elements is also evident in the sharp use of colors, simple design and broad shoulder attributed to the Basholi period. By predominantly using shades of red, black and brown, Husain conveyed the violence and frenzied energy of the war while palpable movement is conveyed through the stance of the horses and the charging tiger; enhancing the mood of the whole painting.

Husain’s treatment of the Mahabharata series is considered far more abstract in form yet has more narrative elements than the rest of his works. Most of them were done by Husain in early 1971, when India is on the brink of war with Pakistan and the Indian Emergency was on its way. Referencing the Mahabharata, before the start of the great war, Arjuna turns to Krishna for advice.

Krishna advises him about the nature of life, ethics, and morality when one is faced with a war between good and evil. As with the great thinkers inspired by the epic including Husain himself, the allegory of war might signify the war constantly going on within man between the tendencies of good and evil yet it might also reflect the social and political landscape of the period.

The ambiguity of Husain’s visual language allows for pluralistic readings much like the Mahabharata itself.

Husain unveiled his Mahabharata series as a thought provoking body of work as well as a timely reminder of the horrors of war. By transforming the mythic tragedy into a powerful contemporary statement, he evolved the language of his art to reach out to people in a culturally comprehensive way. An important tribute and reinterpretation, Husain uses this particular scene to explicitly call for reflection and in a way offer rationale and clarity in the midst of confusion and divisiveness.

South Asian Art | Classical, Modern AND Contemporary

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LOT 22

Senaka Senanayake (b. 1951) Untitled (Butterflies) mixed media on paper 29.5 x 21.75 in. (75 x 55.5 cm.) painted in 1999 Signed and dated ‘Senaka Senanayake 1999’ (lower right)

US$ 6,000 - 9,000

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PROVENANCE Acquired directly from the artist Private collection, Dubai

LOT 23

Senaka Senanayake (b. 1951) Untitled oil on canvas 65.75 x 53 in. (167.3 x 134.7 cm.) painted in 1993 Signed and dated ‘Senaka Senanayake 1993’ (lower left)

US$ 25,000 - 35,000

PROVENANCE Private collection, Germany

South Asian Art | Classical, Modern AND Contemporary

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LOT 24

A. Ramachandran (b. 1935) Untitled oil on canvas 18 x 18 in. (45.7 x 45.7 cm.) painted in 2006

US$ 10,000 - 15,000

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Signed and dated ‘Ramachandran 2006’ (lower right) Further signed, dated and inscribed ‘Ramachandran / 2006 / Studies from Rajastan’ (on the reverse) PROVENANCE Private collection, Dubai

LOT 25

Jogen Chowdhury (b. 1939) Untitled ink and pastel on paper 9.5 x 12.5 in. (24 x 32 cm.) painted in 2004 Signed ‘JOGEN’ (lower right), initialed in Bengali and dated 2004 (lower left)

US$ 5,000 - 7,000

PROVENANCE Private collection, Dubai

South Asian Art | Classical, Modern AND Contemporary

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LOT 26

Gulam Mohammed Sheikh (b. 1937) Untitled acrylic and water on paper 14.75 x 21.5 in. (37.5 x 54.6 cm.)

Signed in Gujarati (lower centre)

US$ 5,000 - 7,000

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PROVENANCE Bodhi Art, Singapore

LOT 27

Sayed Haider Raza (1922 - 2016) Untitled acrylic on paper 23.25 x 9.5 in. (59 x 24 cm.) painted in 2005 Signed ‘Raza 05’ (lower right)

US$ 8,000 - 12,000 PROVENANCE The Guild Art Gallery, Mumbai Private collection, Dubai

South Asian Art | Classical, Modern AND Contemporary

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LOT 28

Sayed Haider Raza (1922 - 2016) Flore acrylic on canvas 16 x 13 in. (40.6 x 33 cm.) painted in 1969 Signed, dated, titled and inscribed ‘RAZA / P-812 ‘69 / “Flore” / 6F’ (on the reverse)

US$ 12,000 - 18,000

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PROVENANCE Bodhi Art, Singapore

LOT 29

Jamil Naqsh (b. 1939) Messenger oil on canvas 40 x 30 in. (101.2 x 76 cm.) painted in 2016 Signed ‘Jamil Naqsh’ (lower right)

US$ 15,000 - 25,000

PROVENANCE Albemarle Gallery, London EXHIBITED AND PUBLISHED Jamil Naqsh: an artist between three cultures, Albemarle Gallery, London, 2016 p. 41 (illustrated)

South Asian Art | Classical, Modern AND Contemporary

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LOT 30

Manu Parekh (b. 1939) Moonlight Festival at Banaras acrylic on canvas 36 x 72 in. (91.4 x 182.9 cm.) painted in 2014 Signed, dated, titled and inscribed ‘Manu Parekh’ 14’ / ‘Moonlight Festival at Banaras’ / 3’ x 6’ / Acrylic on Canvas / 2014’ (on the reverse)

US$ 15,000 - 25,000

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PROVENANCE Private collection, Dubai

Manu Parekh, one of India’s best known contemporary artist, is noted for his works on Banaras. He depicts the zany “city of light” in panoramic landscapes bursting with the celebration of colours and noise. Following his visit in 1979, Parekh was struck by the scenery, as the evening descend on the holy city. The view profoundly moved him, compelling him to paint the landscape persistently. Since then, he completed a cycle of immense panoramic works on the city, immersed in the structural elements and mapping the city’s particular quality of light during its myriad moods of change.

Resembling his memory, the painting depicts the Banaras landscape at twilight. With the sky dimmed, the trees, houses, boats and the domes of the temples become darker giving way to the lights of temples and shrines to glow. The lit interior of the temples with the floral offerings is depicted bursting with vibrant colors in oblation and worship. The moon hung low illuminating the scenery in a silvery light while the sacred river Ganga calmly reflects the night.

Parekh’s Banaras offers a holistic view of the eternal city. The dark landscape with its patches of bright colours depicts both quietude and human energy capturing the potency and breadth of belief that has since ignited the city that has been his muse for the better part of his career.

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Francis Newton Souza is arguably one of the greatest and most celebrated painter in the history of Indian contemporary art.

Versatile and spontaneous over the command of his pen and brush, his facility with his craft shows in the diversity of his works. From landscapes, nudes, still-life and to his widely popular strongly drawn heads, Souza spanned the entire gamut.

Painted in 1957, the picture is part of the culmination of both technique and subject in the artist’s prime decade. “Red Houses with Front Garden” depicts an English suburban landscape in Souza’s signature strong and expressive style. The houses, situated in a grassy space, are rendered in simple rectilinear structures punctuated by gnarled trees. The trees set in the foreground give the picture a sense of depth. Unlike other artists, Souza’s landscape is not figurative or life-like, instead they are vehicles of his mood and expression. Inspired by the ecclesiastical architecture of the Roman Catholic churches from his native Goa, the palette of the work was indicative of Souza’s interest in stained-glass windows illustrated with his use of luminous hues framed by dark outlines. Like his other landscapes, the sky appears stormy and turbulent lending a disconcerting sense in the otherwise peaceful scenario. This can be attributed to Souza’s angular brush strokes.

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LOT 31

Francis Newton Souza (1924 - 2002) Red Houses with Front Garden oil on board 36 x 24 in. (91.5 x 61 cm.) painted in 1957 Signed and dated ‘Souza 57’ (lower right) Further signed, titled and dated ‘F.N. SOUZA / RED HOUSES WITH FRONT GARDEN / 1957’ (on the reverse)

US$ 150,000 - 250,000

PROVENANCE Maurice Jadot Private collection, UK (By descent) Grosvenor Gallery, London Private collection, Dubai EXHIBITED AND PUBLISHED South Asian Modern Masters / 19 May - 9 June 2017 / Grosvenor Gallery / London / No. 1 South Asian Modern Masters exhibition catalogue (iilustrated)

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At the last years of his creativity, MF Husain, age 95 was India’s best known painter. During his long prolific career as an artist, he was witness as history unfolds; from the great wars being fought, through genocides and holocaust, the partition and the unfurling of his nation from the British Raj to modern India. He witnessed deprivation, violence and rapid deterioration of human values across the world. In pursuing the theme, he dedicated his art to express the great loss he called, “The Lost Continent” which he made into a 21-part series chronicling his thoughts about lost human values.

In the painting where a magician dangles the fortune bird in a cage, “the bird is surrounded by a mosaic of riotous colour. The bird is held by the stark blue hands of a magician, who is covered in a white cloth and slowly considering his next move. The composition lures viewers into a terrain where play and uncertainty coexist.”1 The title suggests a magician dangling the bird in a cage, just like in the popular magic trick; but behind the act is the magician knowing the true nature of the trick, concealed by the sleight of hand. Concurrently referencing Mahabharata, the blue hands signify Lord Krishna as he oversee the fate of the world. Starting from the game of dice, a key incident in the great epic, deceit had been a powerful driving force that ultimately led to the cosmic war from which the order of the universe was achieved. He orchestrated the war and change the whole course of the epic in ways more than one. Despite knowing the outcome, Lord Krishna let the events unfold and ensured that everyone answers to the laws of karma.

Through the act of deception, he restore dharma into the world.

The immense narrative and pivotal personas that Husain picked from the epics convey deep meaning more than the explicit imagery. His symbolic images are introduced naturally in continual juxtaposition and serves as the foundation of his work. Husain used strong even coarse lines of Jain miniature painting to express energy and movement and sharp colors in basic simple design within strong broad border as influenced by the Basholi period.

The demotic stylistics, the use of symbol, folk elements, and vibrant colors have come to characterize Husain’s signature style.

1 Hwee Koon, MF Husain: The Lost Continent,

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LOT 32

Maqbool Fida Husain (1915 - 2011) A Magician Dangles the Fortune Bird in a Cage oil on canvas 72 x 90 in. (182.9 x 228.6 cm.) painted in 2005 Signed and dated ‘Husain 2005’ (lower left)

US$ 200,000 - 300,000 PROVENANCE Acquired directly from the artist

EXHIBITED AND PUBLISHED The Lost Continent, The Arts House, Old Parliament Building, Singapore, October, 2005 The Lost Continent, The Gamble Room, Victoria and Albert Museum, London, July, 2005 M.F Husain: The Lost Continent, Exhibition catalogue, UBS and Galerie 88, 2005 “Where the beauty and the beast has no quarrel.

Where areas gave you the direction to heaven, and not hell.

Where evil was filtered at the first entry point.

Where people breathed the rare oxygen of love.

Where hatred and lies had been scissored from our genes.

Take me, my Lord, into that lost continent.“ -Lost Continent, MF Husain, 2005

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LOT 33

Krishen Khanna (b. 1925) Untitled oil on canvas 9.75 x 14.25 in. (25 x 36 cm.) painted in 2005 Signed and dated ‘KKhanna / 3-05’

US$ 5,000 - 7,000

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PROVENANCE Saffronart / Lot 20 / Krishen Khanna / 5 August - 22 October 2005 Private collection, Mumbai EXHIBITED Krishen Khanna, Saffronart, Mumbai, 5 August - 22 October 2005

LOT 34

K. Laxma Goud (b. 1940) Untitled mixed media on paper 7.25 x 7.25 in. (18.5 x 18.5 cm.) painted in 2003

US$ 3,000 - 5,000

Signed and dated in Telugu (lower right) Inscribed in Telugu (upper right) PROVENANCE Private collection, Dubai

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The focus of SH Raza’s art over the last decades has been to explore and represent the elements of nature, he used the language of symbols and saturated his canvases in geometric shapes and colors to produce powerful works that are contemplative and spiritual. Merging his background and training, he produced work both with deep Indian vision and French plastic mastery, enfolded in modernism yet with the deep resonance of the past. Raza repeatedly revisited his defining themes creating an extraordinary series of meditative and symbolic paintings.

In this piece, Srijan, which loosely translates to creation, Raza’s geometric vocabulary was apparent. Deeply immersed in ancient Indian cosmological symbolism, he celebrated the process of creation in an expansive interplay of visually disparate images sharing a collective narrative. The painting is divided into sections enclosing principle forms, each with strips of colours and variation of aligned triangles, with a black bindu in the upper center of the canvas. Just below that is a pair of bindu in red and blue representing male and female energies—close but not merging into each other. The colours, like most of his works, are remarkably vibrant with a concentration of red, orange, and earthy browns.

Supporting a central idea, Raza wields his unique visual language to reinforce the gestural idioms and philosophical aesthetics of his work. The painting seems to chronicle a story with the different patterned squares coming together to form the whole construct, with each fragment with its own metaphysical significance. The serpent-like painted circles of kundalini forming an unbroken continuity is the rejuvenation and the cyclical nature of life; the Bindu which is the primordial life-force in turn connects to germination which is conveyed with the use of triangular yonis; while the symbols of fire, water, earth, wind and sky embody elements that sustain life. The interconnectedness of the key components of the universe, simplified in Raza’s canvas.

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LOT 35

Sayed Haider Raza (1922 - 2016) Srijan acrylic on canvas 57.5 x 45 in. (146 x 114.3 cm.) painted in 2007

US$ 200,000 - 300,000

Signed and dated ‘Raza 07’ (lower right) Inscribed in Hindi (lower centre) Further signed, titled twice in Hindi and English, dated and inscribed ‘RAZA / 2007 / “SRIJAN” / 146 x 114 cm. / Acrylic on Canvas” (on the reverse) PROVENANCE Acquired directly from the artist Private collection, Dubai

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LOT 36

Paritosh Sen (1918 - 2008) Self-Portrait acrylic on canvas 20 x 16 in. (50.8 x 40.6 cm.) painted in 2005 Signed and dated ‘Paritosh Sen 05’ (lower left)

US$ 6,000 - 9,000

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PROVENANCE Acquired directly from the artist Private collection, Dubai PUBLISHED Mrinal Ghosh, Paritosh Sen: IX th Decade, Neovision, New Delhi, 2006, p. 197 (illustrated)

LOT 37

Maqbool Fida Husain (1915 - 2011) Lady with Blue Tiger oil on canvas 23 x 35.5 in. (58.4 x 90.2 cm.) painted in 2005 Signed ‘Husain’ (upper right) Further signed, titled and dated ‘Husain / “Lady with Blue Tiger” / P.1 005’ (on the reverse)

US$ 50,000 - 70,000

PROVENANCE Vadehra Art Gallery, New Delhi Saffronart / Lot 48 / Autumn Auction 2011 / 21-22 September 2011 / India Private collection, Dubai

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LOT 38

Sakti Burman (b. 1935) Untitled watercolor on paper 19.5 x 25.75 in. (49.8 x 65.2 cm.)

Signed ‘Sakti Burman’ (lower left)

US$ 3,000 - 5,000

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PROVENANCE Private collection, Mumbai

LOT 39

Lalu Prasad Shaw (b. 1937) Untitled tempera on paper board 27.5 x 20 in. (70 x 50.8 cm.) painted in 2015 Signed and dated in Bengali (lower left)

US$ 8,000 - 12,000

PROVENANCE Private collection, Dubai PUBLISHED Lalu Prasad Shaw: A Dual Discourse, The Fine Art Advisory, Dubai, 2015, unpaginated (illustrated)

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LOT 40

Francis Newton Souza (1924 - 2002) Profile oil on board 30 x 24 in. (76 x 61 cm.) painted in 1957 Signed and dated ‘Souza 57’ (upper left) Further signed, titled and dated, ‘F.N. SOUZA / PROFILE - 1957’ (on the reverse) Bearing original Gallery One label (on the reverse)

US$ 150,000 - 250,000

PROVENANCE Acquired from Gallery One, London by Mr. Milnes Smith (Thence by descent) Grosvenor Gallery, London Sotheby’s / Lot 54 / Modern and Contemporary South Asian Art / 7 October 2014 Private collection, Dubai EXHIBITED Souza 57, Gallery One, London, 1957 Souza 57 exhibition catalogue (illustrated)

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Much like his influences from India and France, Sakti Burman organizes the narrative of his works from both the grand mythologies of the world and from personal myth. Drawing instinctively from varied religious traditions and folklores as much as he borrows from his everyday encounters, his frames are graced by families and friends often seen accompanying gods, nymphs, heroes and celestial emissaries into ethereal fantasy and reverie.

Sakti’s fascination with demotic imageries is apparent in the current lot. Employing the Kalighat ethos, he humanized Lord Krishna in the picture. Here, he presented the god as a child dancing with the cow as his mount. Lord Krishna as dancer and flautist is a recurrent object of painterly devotion for Burman. To one side stands a human father carrying his child and on the other side is a flautist. Seated below is an accordion player. Both musicians are playing music to Krishna’s dancing; and blurring the boundaries between the world of mortals and gods. The picture also includes Sakti’s recurring characters like harlequin and other mythical creatures joining in a blissful coexistence. Sakti conceives paradoxical imagery depicting familial relationships, celestial and terrestrial figures of dreams and perceived reality; tying them cohesively in a powerful narrative.

“Child and Supreme God, serenader of women and killer demons, the divine flautist is often at the centre of a dance of other figures from Burman’s ongoing fantasia: sometimes, the peacock; at other times, a chorus of adolescents; on occasion, a centaur-like figure who prances yet remains melancholy, keeps the beat of the dance yet retains the detachment of the observer. Perhaps that centaur-like figure is, once again, the artist as chronicler and archivist of human dispositions, marking the rhythm of point and counterpoint.” (Ranjit Hoskote, Sakti Burman: In The Presence Of Another Sky, Art Musings, India, pg. 245)

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LOT 41

Sakti Burman (b. 1935) Musicians Playing for Krishna oil on canvas 63.75 x 51.25 in. (162 x 130 cm.) painted in 2015 Signed ‘Sakti Burman’ (lower right)

US$ 140,000 - 200,000

PROVENANCE Private collection, Dubai

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Throughout his career, Sayed Haider Raza had been influenced by the mystical power of nature.

Drawn by his Indian heritage and driven by his desire for the elimination of the inessentials he began an extensive pictorial research of the elements, the potency of colors, and symbols which soon became the formal elements of his paintings. Preoccupied with the use of this elements, it became the center of Raza’s artistic vocabulary and true raison d’être - the purpose of the existence of his painting. He went on to perfect this symbolism throughout the 1980-1990s.

Maintaining harmony in the use of simple geometry and pure color, he adopted a symbolic language to represent different aspects of the natural world. The current work is delineated in sections, with each of them containing an image, usually in geometric shape suggesting the essence of the element. He used primary colors to highlight the elements; fire, water, wind, earth and the sun. Here, he utilized vibrant red, electric blue, black, ochres and white colors which are also significant colors to the Indian tradition.

S. H. Raza exploited shapes, lines and diagonals to illustrate the union of forces in the universe not merely from form and color but also from their arrangement on the canvas. His works express a highly simplified perception of the powerful forces inherent in nature. “At the epicenter of many of these paintings is a dark, blank void. Emanating from this inner core the forms and shapes are like veins, energizing and giving life to the painting. The viewer begins a visual journey outwards from this centre, a journey through the elements of life itself. Raza explains that at the heart of this unique visual language lie the five key symbols of fire and water, earth, wind and sky, brought together within a geometric framework that also contains signifiers of fertility and fruitfulness, all together underlining the inevitable interrelationship of the key components of the universe and the interconnections of our humble lives within it” (S. H. Raza, Saffronart and Berkeley Square Gallery exhibition catalogue, 2005, not paginated).

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LOT 42

Sayed Haider Raza (1922 - 2016) Prakriti acrylic on canvas 39.25 x 39.25 in. (100 x 100 cm.) painted in 1998

US$ 150,000 - 250,000

Signed ‘Raza 98’ (lower centre) Further signed, titled twice in Hindi and English, dated and inscribed ‘RAZA / 1998 / 100 x 100 cm. / “PRAKRITI” / Acrylic on Canvas’ (on the reverse) PROVENANCE Private collection, Dubai

South Asian Art | Classical, Modern AND Contemporary

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LOT 43

Sujata Bajaj (b.1958) Équilibre acrylic on canvas 39.5 in. (100 cm.) painted in 2016

US$ 10,000 - 15,000

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Signed twice in Hindi and English and dated ‘Sujata 16’ (lower left) Further signed in Hindi and English (on the reverse) Titled, dated and inscribed ‘SUJATA BAJAJ / Acrylic on Canvas / 100 cm. D / 2016’ (on the reverse) PROVENANCE Private collection, Dubai

LOT 44

Paresh Maity (b. 1965) Talsari (Orissa) watercolour on paper 45 x 85 in. (112 x 212 cm.) painted in 2004

US$ 20,000 - 30,000

Signed and dated ‘Paresh Maity 04’ (lower left) Further signed, dated, titled, and inscribed ‘Paresh Maity / 2004 / 45” x 85” / water color on paper / Talsari (Orissa)’ (on the reverse) PROVENANCE Private collection, Dubai

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(top) Signed and numbered 14/50 / N. Krishna Reddy’ (lower edge) (bottom) Signed, inscribed and numbered ‘Imp. par l’artiste 14/50 / N. Krishna Reddy’ (lower edge) Edition 14 of 50 each PROVENANCE Private collection, Mumbai EXHIBITED (bottom) Wisconsin-Madison, Elvehjem Art Center, University of WisconsinMadison, Atelier 17, 1977 (another from the edition)

LOT 45

Krishna Reddy (1925 - 2018) Untitled and Falling Figure (top) etching on paper 12.75 x 18.5 in. (32.7 x 47.4 cm.) (bottom) mixed color intaglio on paper 13 x 18.25 in. (33.5 x 46.3 cm.) executed in 1973

US$ 4,000 - 6,000

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New York, Bronx Museum of the Arts, Krishna Reddy: A Retrospective, 5 November 1981 - 28 February 1982 (another from the edition) Paris, Galerie de la Bouquinerie de l’Institut, Krishna Reddy: La Force Vita, 2009 (another from the edition) New Delhi, Indira Gandhi Center for the Arts, The Embodied Image - Krishna Reddy A Retrospective, 20 November 2011- 21 January 2012 (another from the edition) PUBLISHED Exhibition catalogue, Krishna Reddy: A Retrospective, Bronx Museum of the Arts, New York, 1981, illustration p. 30 (another from the edition)

LOT 46

Zarina Hashmi (b. 1937) Home is a Foreign Place woodcuts on Kozo paper, mounted on Somerset paper 16 x 13 in. (40.5 x 33 cm.) each sheet 7.75 x 5.75 in. (19.5 x 14.3 cm.) each plate executed in 1999

US$ 5,000 - 7,000

Signed, titled ‘Afternoon’ & ‘Hot Breeze’, dated and numbered ‘Zarina ‘99’ (lower edge) each 2 woodcuts with Urdu text printed in black Edition 4 of 22 (Lot Note: From a set of 36 woodcut prints titled ‘Home is a Foreign Place’) PROVENANCE The Guild Art Gallery, Mumbai Private collection, Dubai

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Zarina Hashmi has always engaged with the politics of space and its crossings. Mirroring her own extensive travels and the multiple meanings that the word ‘home’ has for her, Hashmi’s work challenges familiar locations like ‘country’, the ways in which they are bordered, delimited and traversed, and the feelings and memories that they evoke in us.

Her minimalist prints use these locations to construct new geographies, imbuing them with fresh perspectives and new, universal meanings.

The current lot, which is from a set of 36 wood cut prints entitled “Home is a Foreign Place” (1999), is the artist’s exploration of the universal nature of home and of the individual sense of place in the world. She explores the metaphors of home and raises questions of meaning, stability, endurance, mobility and the ephemeral concept of the nature of home.

The co-existence of calligraphy and geometric symbols in her work is her way of lending personal presence to an otherwise abstract image. Zarina inscribed texts in Urdu, giving clues to the viewers and allowing them to share her sensibility, reflecting how she views home which was once familiar but no longer.

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LOT 47

Zarina Hashmi (b. 1937) Window woodcut with black ink on Indian handmade paper 22 x 15 in. (55.8 x 38.1 cm.) executed in 1970

US$ 5,000 - 7,000

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Signed, dated and numbered ‘Zarina 70 / 1/10’ (lower edge) PROVENANCE Bodhi Art, Singapore

LOT 48

Zarina Hashmi (b. 1937) Homes for Invisible People fired clay 3.5 x 4.5 x 4.5 in. (8.9 x 11.4 x 11.4 cm.) executed in 1986

US$ 6,000 - 9,000

PROVENANCE Bodhi Art, Singapore

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LOT 49

Jayashree Chakravarty (b. 1956) Untitled oil on canvas 70 x 107.5 in. (178 x 273 cm.) painted in 1997 Signed, titled, dated and inscribed ‘Jayashree / ‘97 / oil on canvas / Untitled / Size - 273 x 178 cm.’ (on the reverse)

US$ 15,000 - 25,000

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PROVENANCE Private collection, Dubai

LOT 50

Jitish Kallat (b. 1974) Tragedienne (Taste, Lick, Swallow and Speak) mixed media on canvas triptych 89.75 x 178.75 in. (228 x 454.5 cm.) each panel 89.75 x 59.5 in. (228 x 151 cm.) painted in 2002

US$ 30,000 - 50,000

Signed, titled and dated ‘(c) 2002 JITISH KALLAT TRAGEDIENNE (TASTE, LICK, SWALLOW AND SPEAK ) - C tor (3) (first panel, left centre edge & third panel, upper right) initialed and dated ‘(c) 2002 JK’ (bottom right) PROVENANCE The Guild Art Gallery, Mumbai Private collection, Dubai EXHIBITED “subTerrain: artworks in the cityfold”, The House of World Cultures, Berlin, 19 September 2003

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Artiana ID By signing this form you agree that you have seen the catalogue and have read and understood our Conditions of Sale, Bidding Increments and Clauses overleaf and wish to be bound by them, and agree to pay any charges applicable to Bidders. This affects your legal rights.

Signature

Place & Date

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BIDDING INCREMENTS Bidding begins below the lower estimate, and increases in steps, or increments. The next valid Bid is based on the increments listed below. If Bidders enter a Proxy Bid online, the next Bid is placed at the minimum incremental value.

USD 100 to 2,000

by USD 100

USD 2,000 to 4,000

by USD 200

USD 4,000 to 10,000

by USD 500

USD 10,000 to 20,000

by USD 1,000

USD 20,000 to 40,000

by USD 2,000

USD 40,000 to 100,000

by USD 5,000

USD 100,000 to 200,000

by USD 10,000

USD 200,000 to 400,000

by USD 20,000

USD 400,000 to 1,000,000

by USD 50,000

USD 1,000,000 and upwards

by USD 100,000

All Bids for Artiana’s auctions are placed and accepted in United States Dollars.

1. I agree and consent to pay all the applicable duties, fees, shipping and handling charges.

2. I understand that if Artiana receives identical Absentee or Proxy Bids, and if these Bids are higher or equal to the Reserve Price, Artiana will sell the Lot to the Bidder, whose Bid it received and accepted first.

3. I understand that Absentee or Proxy Bids submitted on ‘No Reserve’ Lots will be executed at a minimum of 10% of the lower estimate (the ‘Minimum Value’), if there is no competing Bid, and the Absentee or Proxy Bid amount is greater than the Minimum Value.

4. I understand that the execution of Written / Absentee Bids is offered as an additional service for no extra charge.

Such bids are executed at the Bidder’s risk and undertaken subject to Artiana’s other commitments at the time of the auction. Artiana therefore cannot accept liability for any reasonable error or failure to place such Bids.

For New Bidders If you have not previously registered with Artiana, please create an ‘Artiana ID’ on our website. To participate in this auction, you will have to ‘Register to Bid’ with your Sign-In details. When contacted by our representative, please provide a proof of identity and address document, such as a copy of an official photo identity card (either a National Identity Card, Passport or Driver’s Licence). Once your documents are verified, you will be given access to Bid. You may also call our Auction Help Desk at +971 55 815 3030 | +971 55 825 3030 or email info@artiana.com.

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BUYING AT ARTIANA Estimates • Estimates are based on prices recently paid at auction or average market value of the Lot as determined by Artiana’s specialists.

• These Estimates are prepared well in advance of the sale and are subject to revision.

• Estimates are provided only as a guide for buyers and should not be relied on as a prediction of actual price.

Reserves • The Reserve Price is the minimum price at which the Lot shall be sold.

• The Reserve Price is confidential and will not be disclosed.

• The Reserve Price is always lower or equal to low estimate.

Customs Duty, Buyer’s Premium and Value Added Tax • Customs duty of 5% will be applicable for GCC wide delivery of certain Lots that have been temporarily imported into the UAE for re-export.

These Lots will be identified in the catalogue accordingly.

• Artiana does not charge any Buyer’s Premium.

• No taxes are applicable on purchases from Rest of World and designated VAT exempt free zones.

• Value Added Tax (VAT) of 5% will be applicable on Artiana’s commission component (20%) of the Sale Price (Winning Bid) as per the Profit Margin Scheme on any and all purchases from within the UAE, excepting designated VAT exempt free zones.

Pre-Auction Viewings • Pre-auction viewings will be held at Artiana’s viewing gallery in Dubai at the dates and times printed in the front of the catalogue.

• Artiana’s auction specialists will be available to provide advice regarding Lots on display.

• Artiana encourages prospective buyers to examine Lots thoroughly before the auction.

Pre-Registration & Bidding Access • Prospective Bidders are asked to register with us before Bidding. This simple, one-time process will allow users to create a unique Artiana ID and password, which will be required in order to Bid in all our auctions.

• After creating an Artiana ID and password, prospective Bidders will still need to request for Bidding access for a particular Lot by clicking on the ‘Register for Sale’ button.

• Bidders will still need to request for Bidding access for a particular Lot by clicking on the ‘Register for Sale’ button.

• Once this request has been processed by the Artiana Auction Desk, the Bidder will receive an email confirmation of Bidding access.

• In the event that additional information is required for approval, the Bidder will be directly contacted by an Artiana representative.

• Please note that if this process has not taken place, you shall not be granted Bidding access.

• It is recommended that all Bidders register at least 24 hours before the auction.

Personalised Notifications • After signing into Artiana and accessing the ‘My Account’ page, you may select artists of interest and request to be notified when they become available at auction.

Proxy / Maximum Bids • Proxy or Maximum Bids can be placed on any Lot by going to ‘Upcoming Auctions’ or ‘Current Auctions’, selecting the catalogue of interest, and clicking the ‘Proxy Bid’ button next to the Lot on which you wish to Bid. • Please note that you must be registered and Signed In to place a Bid at any time.

Written / Absentee Bids • Written or Absentee Bids can be placed on any Lot by contacting the Artiana Auction Desk in person, or by email at auction@artiana.com.

• You may place a Written / Absentee Bid by filling out, signing and submitting the Written / Absentee Bids form available online and in the printed catalogue.

• It is recommended that all Bids come in at least 12 hours before the first Closing Time of the Auction.

Starting Bid • Starting Bid is the value at which the auction house opens the Bidding on each Lot. • Starting Bid can sometimes be lower than the value of the lower estimate.

Bidding Online • Once you are signed in and granted Bidding access, you may proceed to Bid. • After you have identified the Lot on which you would like to Bid, click on ‘Place Bid’ and confirm your Bid at the next valid Bid value listed.

• Now, you will be able to participate in the Bidding process by entering the next valid Bid each time you are out-bid.

• Each new Bid will increase in steps or increments over the previous valid Bid.

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Bidding Increments • Bidding Increments will be calculated as shown in the Bid increment table in this catalogue.

Bid History • All Lots have Bid History available, which can be viewed by clicking on ‘View Bid History.’

• Bid History indicates the values recorded for each Lot since the start of the auction.

• Bid History will not be displayed once the auction has closed.

Auction Closing Schedule • Predetermined groups of Lots will close simultaneously in Lot order every 30 minutes.

• If a Bid is placed within the last 5 minutes, the timer on your screen will be extended to 5 minutes after the scheduled Closing Time of the Lot. • The timer will continue to be extended in 5 minute increments for any Bidding received in the 5 minutes prior to the new Closing Time of such Lot. • As with a traditional auction house, Bidding will continue on each Lot until there is no more interest in the room.

• For more information on the closing times for this sale, please refer to the Auction Closing Schedule in the catalogue.

Winning / Successful Bid • Winning or Successful Bid is the last and highest Bid at which the Lot has closed.

• No new Bids can be placed after the close of a Lot. • The closing Bid is considered the Winning Bid only if the Bid exceeds the Reserve Price.

• Artiana reserves the right to publish all Winning Bids on the website after the close of the auction.

Currency of Bidding and Invoicing • All Bids are placed in US Dollars (USD).

• All Invoices are raised in US Dollars (USD).

• Payments received in UAE Dirhams (AED) will be converted to USD as per Artiana’s standard conversion rate of 1USD=3.675 AED. • Payments received in any other currency will be converted to USD as per the bank’s sheet rate on the day of transaction.

Bid Cancellation • Once any Bid has been placed, it cannot be cancelled.

• Artiana reserves the right to cancel any Bids in order to protect the efficacy of the Bidding process.

After the Sale • If a Bidder is successful, he shall be informed via email after the auction has closed and will also be able to view his winning Bids under ‘Successful Bids’ on the ‘My Account’ page on the website.

• The Bidder will then receive an email with the invoice for the Lot. • If a Bidder is the winning Bidder, he is legally bound to purchase the item from Artiana.

• Please note that purchases will not be shipped out until full payment has been received and cleared.

Invoicing & Payment • All details for the invoice are to be provided and verified prior to the auction.

• For any and all clients and/or transactions from Rest of World except the UAE invoicing and payments are processed by Artiana Limited, a company duly incorporated under the RAK ICC Business Companies Regulations 2016 bearing registered number IC20120900; and for any and all clients and/or transactions from within the UAE invoicing and payments are processed by Artiana Limited, a company duly incorporated under the Dubai International Financial Centre bearing registered number 2249.

• After the sale, the Buyer, as invoiced, is required to pay the amount in full (including the Winning Bid, VAT and any applicable charges for additional services availed).

• Buyers will be required to complete payment within a period of seven business days from the receipt of the invoice via email.

• Artiana shall only release Lots once the payment is made in full.

• Bank Transfer: You may electronically transfer funds to our account in US dollars. When doing so, please quote the sale details along with the Lot number and invoice number as the reference. For payments made by bank transfer, all bank charges are payable by the remitter.

• Credit and Debit Cards: Visa and Mastercard only. Please note that as Artiana does not charge any Buyer’s Premium to the Buyer, for any payments made by Credit or Debit Cards a service charge of 3% on the total invoice amount will be charged to the Buyer. It may be advisable to notify your card provider of your intended purchase in advance to reduce delays caused by us having to seek payment authorisation.

Delivery / Collection of Purchase & Insurance • Price estimates and/or the Winning Bid price do not include any packing, insurance, shipping or handling charges, all of which will be borne by the Buyer.

• Works will be shipped within 7 days of the payment being cleared.

• Artiana offers free delivery in Dubai and can recommend our affiliated shipping company for deliveries outside the UAE. For more information, please refer to the ‘Storage and Collection’ page in this catalogue.

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• Alternatively, Buyers may choose to collect their purchase from Artiana in Dubai within 15 days from the date of the sale.

• Buyers who have not completed payment formalities will be charged demurrage @ 2% per month on the value of the artworks and the charges for storage of the property.

• Artiana provides insurance coverage on sold Lots for seven days after the Closing Time of the auction. After that period, or once a Lot has been collected (whichever is earlier), the Lot will be entirely at the buyer’s risk.

Participate in our next auction • If you would like to stay informed of Artiana’s upcoming events, please register with us online at www.artiana.com Consign for our next auction • If you are interested in consigning works from your collection to our next sale, please contact us at the Artiana Auction Desk on • +971 55 815 3030 | +971 55 825 3030 | auction@artiana.com

• Fully climate controlled art storage facility • In-house art handling truck for transportation • Bespoke collection management services • Located in the safe and convenient jurisdiction of Dubai International Financial Centre (DIFC) • Assets stored are governed by a commonlaw framework with laws and regulations issued in English

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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 regu-lar 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).

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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

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CONDITIONS OF SALE 1. DEFINITIONS Artiana: Artiana refers to our relevant corporate entity acting as a representative of either itself, any of its affiliates, assigns or any of its Sellers.

Catalogue version, as modified by Artiana from time to time, shall take precedence.

Cultural Artifacts: Antiquities and items of historical interest or significance designated as Cultural Property.

• For any and all clients and/or transactions from Rest of World except the UAE: Refers to Artiana Limited, a company duly incorporated under the RAK ICC Business Companies Regulations 2016 bearing registered number IC20120900.

Description: All the details of a Property as set out in the Auction Catalogue and may include, without limitation, the name of the artist, designer or manufacturer, the title of the Property, and the following additional details.

• For any and all clients and/or transactions from within the UAE: Refers to Artiana Limited, a company duly incorporated under the Dubai International Financial Centre bearing registered number 2249.

• For Artworks: The signature of the artist/date of the Property (if any), the surface, medium, edition number (wherever applicable) and dimensions of the Property.

(Designated VAT exempt free zones within the UAE are deemed as Rest of World region) Artiana Server: The system(s) that provides computer devices with access to resources shared on computer networks, including Artiana data, application files and printers.

Auction: An auction of Property(ies)/Lot(s) to be conducted by Artiana on www.artiana.com or any other website on the date indicated in the Auction Catalogue.

Auction Catalogue: The catalogue as published by Artiana, whether in print, on the Mobile Application, or on the Website, including the Print Auction Catalogue, the MobileApp Auction Catalogue, the Online Auction Catalogue, and the eCatalogue with respect to an Auction, containing details of the Auction along with the description, price and other details of Properties to be offered for sale at such Auction. In case of any discrepancy between the Print Auction Catalogue, the MobileApp Auction Catalogue, the Online Auction Catalogue and/or the eCatalogue, the Online Auction Catalogue, as modified by Artiana from time to time, shall take precedence.

Auction Closing Schedule: The schedule specifying the closing times for Bids for each Lot to be sold through the Auction as specified in the Auction Catalogue.

Bid: The price offered by a Bidder to purchase a particular Property offered for sale at an Auction.

Bidder: A person making a Bid for the purchase of one or more Property(ies) offered for sale at an Auction in accordance with the terms and conditions set out in the Conditions of Sale and such person shall be deemed to have entered into all applicable contracts under the governing law.

Buyer: The Bidder making the Winning Bid with respect to a Property(ies), who has thereby agreed to pay/ has paid the Sale Price payable with respect to such Property(ies).

Closing Date: The date specified in the Auction Closing Schedule on which the Auction closes.

Closing Time: The time at which the Auction for any of the Lot Groups listed in the Auction Closing Schedule closes.

Conditions of Sale: The Conditions, which are published in any of the Auction Catalogues and are applicable to every Bid and every sale of Property made through an Auction. In case of a conflict between the Conditions published in the Online Auction Catalogue and in the Print Auction Catalogue or eCatalogue, the Online Auction

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• For Precious Objects: Any other features or characteristics of the Property mentioned in the Auction Catalogue. eCatalogue: An electronic reproduction of the Print Auction Catalogue that may be made available on the Website for certain auctions.

Lot Groups: The Properties grouped together for Auction that will close at a particular time.

Mobile Application: Refers to Artiana’s proprietary mobile auction application, as updated from time to time, and available for download from the Apple App Store or Google Play, for the purpose of viewing the Auction Catalogue, placing Bids, viewing Auction results, accessing other information related to Artiana or the Auction, and receiving push notifications on a mobile device.

MobileApp Auction Catalogue: The screens within the Mobile Application relating to the Auction, as may be amended from time to time.

Notices: Information included in the Auction Catalogue by Artiana - whether in print or online or on the Mobile Application - to correct errors and omissions in the Auction Catalogue. Although these are provided for the Bidders’ convenience, the Online Auction Catalogue, as modified by Artiana from time to time, shall take precedence in all cases of discrepancy.

Online Auction Catalogue: The web pages on the Website relating to the Auction, as may be amended from time to time including web pages accessible via the link “Auction Catalogue” (including all pages providing details related to the Property(ies)), as well as additional pages containing details of the Auction accessible via the link “About the Auction.”

Precious Objects: Jewellery, watches, loose precious stones and any other objects offered for sale within the context of an Auction.

Print Auction Catalogue: The printed version of the Auction Catalogue.

Property/Lot: The Artworks, Precious Objects, and any other items offered by Artiana for sale, either individually or collectively (as a single unit), through the Auction.

Proxy Bid: Refers to any Proxy/Maximum Bid placed by a buyer on the Website authorising the auction software to automatically Bid on his behalf, until such Maximum amount is reached.

Reserve Price: The minimum price, as determined by Artiana and the Seller, acceptable for the sale of the Property through an Auction.

Seller: The party consigning the Property to Artiana as its agent for sale through Auction.

Technical Downtime: The time period during which the Artiana Server or the Website is not operational due to a malfunction or planned maintenance.

Terms of Business: The terms of business executed between Artiana and the Seller including but not limited to the consignment agreement.

Website: The collection of HTML and/or internet data and media located at the URL www.artiana.com and/or any other URL linked to the Website.

Winning Bid/Sale Price: The highest Bid offered with respect to a Property at the Closing Time, where the Winning Bid shall either be higher than or equal to the Reserve Price.

Winning Bidder: The Bidder who has placed the Winning Bid. Written Bid: Refers to any Written/Absentee Bid recorded with Artiana upon submission of the completed Written/Absentee Bids form at least 12 hours before the first Closing Time.

2. General Terms By participating in this Auction, you acknowledge that you are bound by the Conditions of Sale as listed below and on the Website.

2.1. Artiana’s role as the agent of the Seller: Artiana undertakes to sell the Properties through Auction as the agent for and on behalf of the Seller.

2.2. Making a Bid constitutes an irrevocable offer to purchase the Property, and the acceptance of a Bid as the Winning Bid by Artiana shall result in an enforceable contract of sale between Artiana, acting solely as the agent of the Seller, and the Winning Bidder.

2.3. Artiana is authorised by the Seller to exercise its complete discretion in: • determining the form and content of the Descriptions in the Auction Catalogue, • g ranting Bidding access to a Bidder, • recording, rejecting or accepting Bids, and • deciding which Bid constitutes the Winning Bid, if any.

(Bidding access shall be given at Artiana’s discretion and Artiana may set limits on the total value of all Bids made and/or the number of Bids that may be made by a Bidder. Artiana may also require payment guarantees and/or deposits as a condition precedent to giving Bidding access to a Bidder. Bidders will be informed of the limits on the total Bid value and/or the number of Bids that they may make, if any, and will not be allowed to Bid further if either of such Bidding limit has been exhausted. Bid updates and time extensions, if any, shall be updated on the Website and Mobile Application. On both the Website and the Mobile App, Bidders may refresh their Bidding pages by clicking on the “Refresh Now” icon or the re-load/refresh buttons on their browsers, where applicable. Artiana shall evaluate the Bid histories of specific Lot Groups periodically to preserve the efficacy of the Auction process. This exercise may be conducted by Artiana internally or through third parties solely at the discretion of Artiana.)

2.4. Closing Times For the convenience of Bidders, particularly those who are placing Bids on more than one Lot, Lot Groups are scheduled to close at 30-minute time intervals during the Auction.

The Bidding for various Lot Groups shall be closed in accordance with the Auction Closing Schedule. However, in the event that Artiana records any Bidding activity in the 5 minutes prior to the

closing of a Lot, the Closing Time for such a Lot shall be extended by 5 minutes from its originally scheduled Closing Time. The Closing Time shall continue to be extended in 5-minute increments for any subsequent Bidding received in the 5 minutes prior to the closing of such Lot. In the event that the Closing Time is extended in accordance with this Clause, bidding on the Lot shall only end if no Bidding activity is recorded by Artiana during the last 5 minutes of extended time. Bidders are advised to click on the “Refresh Now” icon on the Website page or in the Mobile Application at regular intervals in accordance with the provisions of Clause 2.5 for updates on latest Bids and time extensions if any.

2.5. Tracking Bids The Website shall contain a link titled ‘Lots I Bid On’ within the page ‘Current Auction’ and the Bidder may click on this link to access information on all Bids made on various Lots. For ease of tracking Bids, Bidders are advised to assign Bidding nicknames to themselves.

The Website and Mobile Application shall contain: • The Bid history for each Lot, being the last 5 Bid amounts that have been recorded until and including the current highest Bid; and • A countdown clock indicating the amount of time available for placing Bids before the Closing Time.

The Bid history, current Bid, and countdown clock shall be accurate at the time of downloading of those values, provided that such information has not changed during the time taken for this information to reach the Bidder’s computer or mobile device from the Artiana Server. The most updated Bid values shall be shown only when the Website page or the Mobile Application page containing the information on Bid values is refreshed; which shall happen either automatically at regular intervals (Every 5 minutes prior to one hour before the closing time of the first Lot/Lot Group and every 1 minute within the last hour of the closing time of the first Lot/Lot Group and shall continue refreshing every minute till the close of the last Lot/Lot Group) or when a Bidder clicks on the ‘Refresh Now’ icon on the Website page or in the Mobile Application page.

When the countdown clock counts down to zero, in the case where the Closing Time with respect to a particular Lot has been extended by a further 5 minutes pursuant to Clause 2.4 above, the countdown clock may not reflect such extension. As such, the Bidder may wait for the values on the page to refresh automatically on the Website, or click on the ‘Refresh Now’ link on the page or in the Mobile Application to determine whether the Closing Time has been extended for that Lot. The countdown clock combined with the current highest Bid as shown in the Bid history on the Website shall only be an indication of the highest Bid amount at the time when the values on the Website or Mobile Application were refreshed in the manner set out in Clause 2.5 above. Should bidders want more frequent updates, they are advised to refresh values as described in Clause 2.5 in order to view the most updated Bid history and countdown clock.

Due to the nature of internet and/or mobile traffic, there may be an unpredictable time lag between a Bidder placing a Bid, and that Bid being received by Artiana. Therefore, although a Bidder may have placed his/her Bid prior to Closing Time, Artiana may receive the Bid after the Closing Time for the Lot with respect to which the Bid has been placed and shall, in such an event, be rejected. In order to prevent Bids being rejected in such a manner, Bidders may set Proxy Bids/Maximum Bids for Lots on which they wish to Bid.

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Written/Absentee Bids may be recorded with Artiana 12 hours prior to the first Closing Time, subject to the other provisions of these Conditions of Sale, including any limits imposed by Artiana on the number of Bids that might be placed by a Bidder.

2.6. Bidders are advised to keep their Artiana ID and password secure at all times. Artiana will hold the Bidder responsible for all Bids placed using their Artiana ID and password, whether via the Website or a mobile device. Bidders using the Mobile Bidding Application are advised to keep their mobile devices secure and set passwords for them to prevent unauthorised use.

2.7. Artiana reserves the right to withdraw any Property before, during or after the Auction, if it has reason to believe that the authenticity of the Property or the accuracy of the Description is in doubt, or if there is a breach of the Terms of Business, or in the case of error or dispute, or if Artiana otherwise believes, at its sole discretion, that it would be improper to include the Property in the Auction, and can during or after the Auction continue the bidding, determine the successful Bidder, cancel the sale of the Lot, or re-offer and resell any Lot. 2.8. All Property(ies) shall be sold subject to the Reserve Price. If the Winning Bid is below the Reserve Price, the Property shall be considered unsold except in such case where the Winning Bid is a Proxy Bid and the maximum limit on the Proxy Bid either matches or is higher than the Reserve Price. In such cases the Property(ies) shall be sold at Reserve Price to the Proxy Bidder. The Reserve Price on each Property shall be confidential and Artiana shall have no obligation to disclose the same to any Bidder.

2.9. Artiana will invoice the Buyer for the Sale Price (Winning Bid) and any additional charges that may be incurred by Artiana are applicable on the sale, including shipping and handling of the Property. 5% VAT will be charged on Artiana’s commission component (20%) of the Sale Price as per the Profit Margin Scheme and is applicable on any and all purchases from within the UAE. 2.10. The title to the Properties purchased in an Auction shall pass to the Buyer at the Closing Time subject to the conditions in clause 2.7 for those Properties where a Buyer holds the Winning Bid and said Buyer assumes full risk and responsibilities for the Properties thereafter. Properties purchased will not be released or shipped out to the Buyer or his representative until the Buyer has fulfilled his payment and other obligations as described in these Conditions of Sale. Artiana may exercise a lien on the Properties under the conditions described in Clause 2.17.

2.11. Bidding Increments will be calculated as shown in the Bidding Increment table below.

USD 100 to 2,000 USD 2,000 to 4,000 USD 4,000 to 10,000 USD 10,000 to 20,000 USD 20,000 to 40,000 USD 40,000 to 100,000 USD 100,000 to 200,000 USD 200,000 to 400,000 USD 400,000 to 1,000,000 USD 1,000,000 and upwards

by USD 100

by USD 200

by USD 500

by USD 1,000

by USD 2,000

by USD 5,000

by USD 10,000

by USD 20,000

by USD 50,000

by USD 100,000

2.12. The Auction is conducted in United States Dollars (USD) and, for any transaction in other currencies, the exchange rate will be

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calculated as per the sheet rate of the bank specified by Artiana on the date of either receiving the funds from the Buyer or remitting the funds to the Seller. In the case of payments for purchases being made in UAE Dirhams (AED), a standard conversion rate of 1USD = 3.675 AED will apply.

2.13. All Bidders are required to provide complete and accurate invoicing details to Artiana at the time of registration for the Auction. Invoicing details, once registered, will not be changed. The Bidder shall be invoiced based on details provided at the time of registering for the Auction. For any and all transactions from Rest of World except the UAE invoicing and/or payments are processed by Artiana Limited, a company duly incorporated under the RAK ICC Business Companies Regulations 2016 bearing registered number IC20120900; and for any and all transactions from within the UAE invoicing and/or payments are processed by Artiana Limited, a company duly incorporated under the Dubai International Financial Centre bearing registered number 2249.

2.14. The Winning Bidder shall pay the Sale Price in full (including any additional charges and VAT, if applicable) within seven business days from the Closing Date. No shipment or delivery of the Property will be made to the Winning Bidder if the Sale Price, and any other additional charges that may be payable by the Buyer, are not received

by Artiana and until all proper documentation in connection with thesale of the Property has been completed. Payments will not be accepted from any parties other than the Winning Bidder as recorded on the invoice.

2.15. Non payment The Winning Bidder shall ensure that invoices provided by Artiana are paid in full and all remittance of amounts due under said invoice is made within seven business days from the date of the invoice. In the case that payments are not received within such period, it shall be treated as a breach of contract of sale by the Buyer and, in such an event, Artiana is authorised at its sole discretion to cancel the sale upon expiry of this stipulated period of seven business days without being obliged to inform the Buyer of the same, and the Seller authorises Artiana to take any steps (including reporting the late payments, missed payments, or other defaults on the account to any credit bureau and the institution of legal proceedings), as deemed appropriate, to enforce the full or any differential payment due by the Buyer. In addition, the Buyer will be charged demurrage @ 2% of the total value (Winning Bid) per month until the date of actual payment.

2.16. Failure to collect If the Buyer informs Artiana that he wishes to collect the Property(ies) from Artiana in person and such Property(ies) is not collected by the Buyer within 15 days from the auction closing date, Artiana shall arrange for storage of the Property(ies) at the Buyer’s expense, and shall only release the Property(ies) after payment has been made, in full, including demurrage @ 2% of the total value (Winning Bid plus any other additional charges, if applicable) per month for all payments due and the charges for storage of the Property(ies), if any.

2.17. Artiana shall be entitled to exercise a lien on the Property(ies) for payment of any sums receivable from the Buyer, including the Sale Price and costs relating to storage and insurance where they are to be borne by the Buyer, in relation to any Property(ies) purchased by the Buyer.

2.18. Artiana reserves the right to not award the Winning Bid to the highest Bidder at the Closing Date if it deems it necessary to do so.

2.19. The Buyer acknowledges that Artiana will abide by any export restrictions that may apply in the countries from where specific Property(ies) will be shipped. The Buyer shall also be responsible to ensure that the Property(ies) is freely importable into the country where such Property(ies) is intended for delivery (as specified by the Buyer). In the event the Buyer or Artiana become aware of any restrictions to such import subsequent to the completion of the Auction, the Buyer may provide an alternate delivery destination to Artiana. (Such restrictions on import of any Property/Lot purchased by a Buyer shall not qualify as grounds for the Buyer to cancel such sale under any circumstances). All costs associated with the process of delivery and storage (when required) of the Property(ies) shall be borne by the Buyer. The Property(ies) shall be handed over to the Buyer, or his nominee, only upon full payment of all such costs.

2.20. Artiana has the right to exercise reasonable discretion in setting Bid increments as per Clause 2.11 or otherwise, refusing any Bid, advancing the Bidding, withdrawing or dividing any Lot, combining two or more Lots; and in the case of error or dispute, during or after the sale, determining the successful Bidder, continuing the Bidding, cancelling the sale or reoffering and reselling the item in dispute. If any dispute arises after the sale, then, in the absence of any evidence to the contrary, the sale record maintained by Artiana will be conclusive.

2.21. Written Bids are accepted from Bidders once they have been given Bidding access for the Auction. These are entered as online direct or Proxy Bids by Artiana, and may not be stopped or altered by the Bidder once the Auction has commenced. Written Bids are accepted until twelve hours prior to the first Closing Time.

2.22. Artiana employees may not Bid in the Auction once the Auction has started. They may however submit a Written Bid for an amount that may be equal to or above the lower estimate of a Lot before the Auction commences and have a Proxy Bid placed on their behalf. Once the Auction has begun, they may only increase their Proxy Bid. 2.23. Artiana employees may Bid in charity auctions that are held on the Artiana Auction platform.

2.24. Sellers are not allowed to Bid on the particular Lot(s) they have consigned.

2.25. Artiana does not place or allow any Bids to be placed on behalf of the Seller. All of the Bids recorded at Artiana are from registered Bidders.

2.26. Once a Bid is registered in our system, whether placed by an active Bidder or by Proxy, it is immediately and automatically displayed for all registered users to see.

2.27. Technical Downtime In the unlikely event that the Website is inaccessible to Bidders worldwide due to Technical Downtime within the half hour prior to the scheduled Closing Time for any of the Lot Groups, the Closing Time of that Lot group and subsequent Lot Groups will be extended by the duration of the Technical Downtime. In case the Technical Downtime extends beyond the Closing Time for a particular Lot Group, the Website shall, after the Technical Downtime, show the Auction for the particular Lot Group as closed. However, the Closing Time for such Lot Group and subsequent Lot Groups shall be extended by the duration of the Technical Downtime and appropriate details of the extension shall be published on the Website shortly after recovery from the Technical Downtime. Note that any malfunction in

the Mobile Application does not constitute Technical Downtime. In the event of such malfunction, Bidders should use the Website to place Bids.

2.28. Bids recorded prior to any Technical Downtime will be treated as valid according to the Conditions of Sale. Artiana shall not be liable for any loss of information due to the Technical Downtime. The data logs of the Artiana Server will determine the duration of the Technical Downtime and any determination made by Artiana in respect of extension of the Closing Time shall be final.

3. Catalogue Description and Condition of Property 3.1. Artiana offers all Property(ies) for sale at the Auction “as is”, which means that the Property(ies) are sold with all existing faults and imperfections. Measurements are given as Height x Width x Depth in decimal inches (rationalized to the closest 0.25, 0.5, 0.75) and in decimal centimetres. Artiana encourages all potential Buyers to inspect each item carefully before Bidding.

3.2. Any statements made by Artiana about any Property(ies), whether orally or in writing concerning attribution to, for example, any school of art or craftsmanship, country or origin, history or provenance, are only expressions of Artiana’s own opinion or belief.

Such opinions or beliefs including the estimate values of the properties have been formed honestly in accordance with the standard of care expected of an auction house. However, Artiana does not in anyway represent that it has carried out exhaustive research or analysis, and it is therefore recommended, especially in cases of Property(ies) of high value, that potential Buyers seek advice on such matters from their own professional advisors.

3.3. The Buyer undertakes: • to inspect and satisfy himself prior to the Auction as to the condition and description of the Property(ies); • to rely on his own judgment as to whether the Property(ies) matches its description; and • to not rely on an illustration of any Property(ies) given in the Catalogue 3.4. Neither Artiana nor any of its affiliates, agents, representatives, employees or directors shall be liable for errors or omissions in any of the representations made in the Auction Catalogue or otherwise with respect to authenticity, description, or condition of any Property(ies) for sale through the Auction.

4. Authenticity Guarantee 4.1. Artiana provides an assurance on behalf of the Seller that each artwork offered at auction, is a genuine work of the artist listed.

Artiana guarantees the authenticity of such artwork for a period of six months from the auction closing date. Authenticity in relation to artworks shall mean compliance of the artwork with the description provided on the website, particularly with reference to the name of the artist, title (if any) of the artwork, date, the school of art (if mentioned), dimensions, medium, etc.

In the unlikely event that within six months from the close of an auction, it is proved by the Buyer, to the reasonable satisfaction of Artiana, that the item was not authentic and if, in Artiana’s opinion, this would have significantly impacted the Winning Bid for the item, Artiana shall be entitled to rescind the sale. In such an event, the Seller will be liable to refund the payment for the item to the Buyer,

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through Artiana. The item in question will subsequently be returned to the Seller.

All such claims will be handled on a case-by-case basis, and in the case of an authenticity claim in relation to an artwork, examinable proof, clearly demonstrating that the item is not authentic, will be required. Such examinable proof should be provided by an established and acknowledged authority. Artiana’s decision, with regards to such claims, shall be final and binding.

4.2. The above guarantee given in clause 4.1 shall be subject to the following conditions: • The claim is made by the Buyer as registered with Artiana (the benefit of the claim is not assignable to any subsequent owners or others who may acquire or have an interest in any of the Properties) • The Property is returned in the same condition that it was in at the time of delivery of the Property to the Buyer • The Property was indisputably purchased through Artiana 4.3. In the case of Properties which have been categorised by Artiana as Precious Objects, Artiana provides an assurance, on behalf of the Seller, that each piece shall comply with characteristics or features mentioned in the Description of the Property in the Auction Catalogue for as long as the Property is in the possession of Artiana.

All colored stones unless certified may or may not be treated for enhancements. It is therefore advisable for Buyers or potential Buyers of such Properties, to inspect the Property prior to Bidding or prior to shipment or Buyer pickup from Artiana.

In the unlikely event that during such inspection, the Buyer is able to prove to the reasonable satisfaction of Artiana that the Property does not match the details in the Description, and if, in Artiana’s opinion, Bidders being aware of such error or omission would have Bid significantly less than the actual Sale Price, Artiana shall be entitled to rescind the sale and the Seller will be liable to refund to the Buyer the Sale Price paid for the Property; and Artiana shall hand over the Property to the Seller upon refund of the Sale Price paid to him for the Property. Once Artiana obtains the refunded amount from the Seller, it shall forward the same to the Buyer. This guarantee will not be applicable where the Property is being shipped to the Buyer

by Artiana.

4.4. In the case of Properties such as antiquities or items of historical interest which have been categorised by Artiana as Cultural Artifacts, Artiana provides an assurance, on behalf of the Seller, that each object of antiquarian or historical interest or significance has been acquired without violating any local or international laws.

In the unlikely event that it is proved that the acquisition, provenance and/or ownership of such Cultural Artifacts offered at our Auction is subject to a legal dispute, the Buyer shall keep Artiana indemnified from any such legal proceedings.

4.5. In all cases Artiana retains the right to consult with, at the expense of the Buyer, up to two recognized experts in the field (such experts being mutually acceptable to Artiana and the Buyer), to examine the Property under question before deciding to rescind the sale and offer the refund under the above guarantee. The opinion of the experts shall not be binding on Artiana.

4.6. In the event of the Seller’s failure to refund the proceeds as stated in this clause, the Buyer shall return the Property to Artiana and authorise Artiana as its agent to initiate legal proceedings against the Seller. Any such steps taken or legal proceedings instituted by Artiana, against the Seller, shall be at the cost of the Buyer and Artiana’s liability shall be limited as per Clause 5.1.

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5. Extent of Artiana’s Liability 5.1. Artiana has an obligation to refund the Sale Price to the Buyer only upon recovery of such amounts from the Seller and in the circumstances described in Clause 4 above (Authenticity Guarantee).

The Buyer indemnifies Artiana from any non-recovery of such amounts and agrees that they shall not hold Artiana responsible in case such amounts are not recoverable from the Seller. Artiana provides insurance coverage on sold Lots for seven days after the Closing Time of the auction. After that period, or once a Lot has been collected (whichever is earlier), the Lot will be entirely at the buyer’s risk. Damages, losses or loss in value of any artworks (including frames) incurred during shipping and transit are not covered as per the insurance policy taken by Artiana. In case the Buyer opts for transit insurance coverage arranged for by Artiana by any of their insurance providers, Artiana shall not entertain any direct claims for damage or loss during shipping and transit and these would have to be directed to such insurance providers; Subject to the authenticity guarantee above, neither Artiana’s suppliers nor Artiana, nor any of Artiana’s employees or agents, shall be responsible, either for the correctness of any statements as to the authorship, origin, date, age, attributes or genuineness of any Property in the sale, or for any mistakes in the Description, or for any faults or defects in the Properties, or for any other act or omission, whatsoever. Artiana offers no guarantee or warranty other than the limited assurance contained in the authenticity guarantee above.

5.2. It is stated and agreed that the rescission of the sale and the refund of the total Sale Price paid by the Buyer is the sole remedy that may be sought by a Buyer, and such remedy is exclusive and in lieu of any other remedy which may otherwise be available under law.

Artiana shall not be liable for any incidental or consequential damages incurred or claimed.

6. Copyright All content of the Print Auction Catalogue, eCatalogue and on the Website and Mobile Application are copyright protected in favour of Artiana. All trademarks, names, brand names, etc. used in the Print Auction Catalogue and on the Website and Mobile Application are trademarks of Artiana. Any rights not expressly granted herein are reserved. No image, illustration or written material may be used or required without the prior written permission of Artiana. Artiana and the Seller(s) make no representation or warranty that the Buyer of a Property will acquire any copyright or other reproduction rights in it.

7. Legal Notices, Language, Third Party

Involvement AND MEDIATION 7.1. Artiana may validly serve the Bidder/ Buyer with legal notice, if required, under these Conditions of Sale by: • Sending an email to the email address disclosed by the Bidder/ Buyer to Artiana; or • Sending a courier to the address disclosed by the Bidder/ Buyer to Artiana.

7.2. Such legal notice shall be deemed to have been properly served: • In the case of email transmission - on the date of the transmission; or • In case of transmission by courier - 2 business days after the dispatch of the notice by courier.

7.3. The notices and contract language shall be English.

7.4. Artiana is at all times entitled to involve third parties for ensuring the Buyer’s compliance and performance as per these Conditions of Sale, and the Buyer hereby grants his consent in this regard.

7.5. In the event of any dispute arising out of or in connection with these Conditions of Sale or related thereto in any manner whatsoever, the parties shall first seek settlement of that dispute by mediation in accordance with the Mediation Rules of the DIFC-LCIA Arbitration Centre, which Rules are deemed to be incorporated by reference into this clause. The Buyer irrevocably submits to the jurisdiction of the Dubai International Financial Centre (“DIFC�) Courts and waives any objection it may have to refer the disputes arising out of or in connection with these Conditions of Sale to the DIFC-LCIA Arbitration Centre on the grounds that it is an inconvenient forum (forum non conveniens). If the dispute is not settled by mediation within 60 days of the commencement of the mediation, or such further period as the parties shall agree in writing, then the parties agree to refer and resolve the dispute by arbitration in accordance with Clause 9.

8. Severability If any part of the Conditions of Sale between the Buyer and Artiana is found legally invalid, illegal or unenforceable, that part may be discounted and the rest of the conditions will remain enforceable to the fullest extent permissible by law. In such cases, the Buyer and Artiana undertake to replace the wholly or partly legally invalid, illegal or unenforceable provision with one which is legally valid, legal or enforceable and whose economic purpose most closely reflects that of the legally invalid, illegal or unenforceable provision.

9. Law and Jurisdiction If the dispute is not settled by mediation in accordance with Clause 7.5 then the dispute shall be referred to and finally resolved by arbitration under the Arbitration Rules of the DIFC-LCIA Arbitration Centre, which Rules are deemed to be incorporated by reference into this clause. In any arbitration commenced pursuant to this clause, (i) the number of arbitrators shall be one; and (ii) the seat, or legal place, of arbitration shall be the DIFC. The language to be used in the arbitration shall be English. The governing law of the contract shall be the substantive law of England and Wales.

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ARTIANA GUARANTEE Aim of the Artiana Guarantee All artworks offered for sale by Artiana are authentic to the best of Artiana’s knowledge.

Scope of the Artiana Guarantee Artiana provides the following assurance to buyers on behalf of the seller who may be a collector, dealer, retailer or gallery, that each artwork offered for sale on the site is a genuine work of the artist listed.

Artiana guarantees the authenticity of the artwork for a period of six months from the auction closing date. Authenticity in relation to artworks shall mean compliance of the artwork with the description provided on the web site, particularly with reference to the name of the artist, title (if any) of the artwork itself, date, the school of art (if mentioned), dimensions, medium etc.

In the unlikely event that within six months from the close of an auction, it is proved by the buyer to the reasonable satisfaction of Artiana that the item was not authentic and if, in Artiana’s opinion, this would have significantly impacted the price a buyer would have been willing to pay for the item, Artiana shall be entitled to rescind the sale, and the seller will be liable to refund to the buyer the price paid for the item. Once the buyer returns the item to Artiana it shall be handed over to the seller by Artiana.

All such claims will be handled on a case-by-case basis, and in the case of an authenticity claim in relation to an artwork, such claim will require that examinable proof, which clearly demonstrates that the item is not authentic, is provided by an established and acknowledged authority. The decision of Artiana in respect of such claims shall be final and binding.

This guarantee shall be subject to the following conditions: 1. The claim is made by the buyer as registered with Artiana (the benefit of the claim is not assignable to any subsequent owners or others who may acquire or have an interest in any of the items).

2. The Property is returned in the same condition that it was in at the time of delivery of the item to the buyer.

3. The Property was indisputably purchased through Artiana.

Artiana retains the right to consult with, at the expense of the buyer, two recognised experts in the field, (such experts being mutually acceptable to Artiana and the buyer), to examine the item under question before deciding to rescind the sale and offer the refund under the above guarantee. The opinion of the experts shall not be binding on Artiana.

In the event of the seller’s failure to refund the proceeds as stated above, the buyer shall return the item to Artiana and authorise Artiana as its agent to initiate legal proceedings against the seller. Any such steps taken or legal proceedings instituted by Artiana against the seller shall be at the cost of the buyer.

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COLLECTION AND STORAGE COLLECTION Lots will only be released from our viewing gallery or art storage facility upon presenting a delivery order issued by Artiana. Lots will not be released until all outstanding charges due to Artiana are settled Method

Where

STORAGE Please note that Lots in our art storage facility can be collected only by prior appointment from Artiana, P2-22B, Park Towers, DIFC, Dubai, UAE Charges Due

CONTACT ARTIANA Help Desk: T: +971 55 815 3030 E: info@artiana.com Office Hours: 10.30 am - 6.30 pm Packing / Costs

Onsite Delivery

Artiana Viewing Gallery: 903, The Metropolis Business Bay Dubai, UAE

5% Customs duty on Low Estimate & Customs Documentation Fee USD 95 per invoice (on applicable Lots) 5% VAT on Artiana’s commission Art Handler(s): USD 40 per art handler (if required)

Bubble wrap provided complimentary

Collection of Lots (By prior appointment)

Artiana Storage Facility: P2-22B, Park Towers, DIFC, Dubai, UAE

5% Customs duty on Low Estimate & Customs Documentation Fee USD 95 per invoice (on applicable Lots) 5% VAT on Artiana’s commission Handling Fee: USD 40 per Lot Art Handler(s): USD 40 per art handler

Bubble wrap provided complimentary Soft wrap (if required) will be chargeable based on size and materials

Local Deliveries (With fine art cool truck, soft wrapping and accompanied by a fine art handler)

Within UAE (Excluding Designated Free Zones)

5% Customs duty on Low Estimate & Customs Documentation Fee USD 95 per invoice (on applicable Lots) 5% VAT on Artiana’s commission Handling Fee: USD 40 per Lot plus Transit Insurance, if desired Art Handler(s): USD 40 per art handler Local Delivery: Offered without any charge within Dubai Delivery To: Sharjah USD 200; Ajman USD 250; Abu Dhabi USD 300; Other Emirates USD 350

Same as above for Bubble and Soft wrap Wooden crates (artworks wrapped in soft wrap and placed inside the crates) chargeable depending on size

International Deliveries (Based on confirmed shipping instructions from buyers)

Within GCC Countries (Excluding Designated Free Zones)

5% Customs duty on Low Estimate & Customs Documentation Fee USD 95 per invoice (on applicable Lots) 5% VAT on Artiana’s commission Handling Fee: USD 40 per Lot plus Transit Insurance, if desired Airfreight depending on weight and destination Insurance Coverage, if desired

Wooden crates packing is mandatory (artworks wrapped in soft wrap and placed inside the crates) chargeable depending on size

Outside GCC Countries and Designated Free Zones

As above but Customs duty and VAT exempt

As above

Important Information • All Lots will be stored free of charge for 15 days from the auction closing date either at Artiana’s viewing gallery or at our art storage facility.

• After 15 days from the closing date of the auction, Lots shall be subject to a daily storage charge of USD 4 per Lot plus an administrative fee of USD 50 payable to Artiana.

• As set out in the Conditions of Sale, risk and responsibility for the sold Lots (including frames or glass where relevant) passes to the Buyer at the Auction Closing Time. Artiana provides insurance coverage for sold Lots for seven days after the auction. Buyers are reminded that it is their responsibility to arrange adequate insurance for purchased Lots thereafter.

• Lots sold at auction may be subject to import restrictions/taxes of foreign countries. It is the buyer’s sole responsibility to obtain any relevant import license into the buyer’s own country of residence and settle any taxes and destination clearance charges due.

• Shipments can only be made once all outstanding charges dut to Artiana are settled and full payment of all shipping charges is received by the logistics service provider.

• 5% VAT on Artiana’s commission is calculated as per the Profit Margin Scheme. This is applicable on Artiana’s commission component (20%) of the Sale Price (Winning Bid).

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ARTIST PROFILES AND INDEX Bajaj, Sujata (b. 1958) Born in Jaipur, Sujata Bajaj received her Master’s degree in painting in Pune and later received her Ph.D from there. In 1988 she received a scholarship from the French government to study at the Ecole Nationale des Beaux Arts, Paris. She has also worked at Studio Claude Viseux, Paris. She is the recipient of several awards including the Bombay Art Society Award and the Maharashtra State Art Award. She has had shows in India, the UK, France, Norway including the ones with Saffronart and The Guild Gallery, Mumbai, 2004.

Sujata Bajaj spends her time between Pune, Norway and Paris.

Lot 43

Burman, Sakti (b. 1935)

Lot 16

Lot 38

Lot 41

Born in Kolkata, Sakti Bur-man graduated from the Government College of Arts and Crafts, Kolkata, in 1956 and then went on to study at the Ecole Nationale Superieure des Beaux Arts in Paris, where, in 1956, he won the Prix des Etrangers. Some of the most recent solo shows of his work include a retrospective at the Lalit Kala Akademi, New Delhi, Jehangir Art Gallery, Mumbai, Victoria Memorial Hall, Kolkata, and DakshinaChitra, Chennai, in 2012; at Apparao Galleries, Chennai in 2011; Pundole Art 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, in 2008. Burman’s works have also been featured at Saffronart’s exhibitions in Los Angeles in 2001 and in New York in 2002; at the Rand Palais, Paris, in 1975 and 1994; and at the French Biennales in 1963, 1965 and 1967. The artist lives and works in Paris.

Chakravarty, Jayashree (b. 1956) Born in 1956, Jayashree Chakravarty was educated at Santiniketan and graduated in Fine Arts from the Viswa Bharati University, Santiniketan, in 1978. She obtained a post graduate diploma from M.S. University, Baroda, in 1980, receiving a Canadian grant in 1982 to study art. She later migrated to France and married a French flautist. Chakravarty’s ink on paper sketches are an exercise in transition, and transforming personal experience into mystical truth. She positions herself in the image of a spontaneous, instinctive woman who is a muse and eternal child rolled into one. In her works, she uses super imposed forms, quite like the sketches that cave painters worked on before they mapped them on the walls of caves. Her imagery, because of her fluid and transparent images, reflects the present mood of the world, which is fluid in itself. At a mere Lot 49 conventional and figurative level, her works reflect the unity of man with nature. Chakravarty has exhibited across India and Sweden and her works can be seen in the National Gallery of Modern Art, New Delhi and in Chandigarh Museum. She won an award in 1988 in the II Bharat Bhavan Bienniale Bhopal. She lives and works out of Paris.

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Chowdhury, Jogen (b. 1939) 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 Lot 25 2008; Vadehra Art Gallery, New Delhi, in 2007; the Centre of International Lot 11 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.

Goud, K. Laxma (b. 1940) Born in Andhra Pradesh, Laxma Goud studied at the College of Fine Arts and Architecture in Hyderabad and at the Faculty of Fine Arts of M.S. University in Baroda. Goud has exhibited widely, both within and outside India. His solo shows include ones held at Art Alive Gallery, New Delhi in 2012; Art Musings, Mumbai in 2011; the Aicon Gallery, London, in 2009; Gallerie 88, Kolkata, in 2009; Indian Contemporary Art (ICA), Jaipur, in 2008; Gallery Space, Hyderabad, in 2008, and the Guild Art Gallery, Mumbai, 2006 and 2003. His works have been part of group exhibitions including those held at Sakshi Gallery, Mumbai in 2012; Aicon 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 Lot 34 (CIMA), Kolkata, and the National Gallery of Modern Art (NGMA), New Delhi, 1993; ‘Festival of India’, Geneva, 1987; and Worcester Art Museum, 1986. Goud received the Andhra Pradesh State Lalit Kala Academy awards in 1962, 1966 and 1971. The artist lives and works in Hyderabad.

Hashmi, Zarina (b. 1937)

Lot 46

Lot 47

Lot 48

Born in Aligarh, Uttar Pradesh, in 1937, Zarina Hashmi received a Bachelor’s degree in Science with Honours from Aligarh Muslim University in 1958, before she turned to the study of print making in India and abroad. Between 1963 and 67 she studied printmaking with S.W. Hayter and Krishna Reddy at Atelier 17, Paris, and in 1974, studied woodblock printing at Toshi Yoshido’s studio in Tokyo on a Japan Foundation Fellowship. Her solo shows and retrospectives include ‘Zarina Paper Like Skin’ at the Chicago Art Institute, the Solomon R. Guggenheim Museum, New York, and the Hammer Museum, Los Angeles, in 2012-13; ‘Noor’ at Galerie Jaeger Boucher, Paris, in 2011; ‘Recent Works’ and ‘Kagaz Ke Ghar’ at Gallery Espace, New Delhi, in 2011 and 2007 respectively; ‘The Ten Thousand Things’ at Luhring Augustine, New York, in 2009; ‘Weaving Memory 1990-2006’ at Bodhi Art, Mumbai, in 2007; ‘Silent Soliloquy’ at Bodhi Art, Singapore, in 2006; ‘Counting 1977-2005’ Bose Pacia, New York in 2005; ‘Cities Countries and Borders’ at Chemould Gallery, Mumbai, and Chawkandi Gallery, Karachi, in 2004; and ‘House with Four Walls’ at the Bronx Museum of the Arts, New York, in 1992. In addition, her work has been featured in several group shows and is part of the permanent collections of the Museum of Modern Art, New York, the Victoria & Albert Museum, London, and the Bibliotheque Nationale, Paris. Hashmi has been awarded residencies at Art-Omi and at the Women’s Studio Workshop, both in New York, where she eventually settled. In 1985 and in 1990 Hashmi was awarded the New York Fine Art Fellowship in the printmaking category. In addition Hashmi has taught at Bennington College, Cornell University and the University of California in Santa Cruz.

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Husain, Maqbool Fida (1913 - 2011)

Lot 14

Lot 21

Lot 32

Born in Pandharpur, Maharashtra, in 1913, Husain moved to Mumbai in 1937 where he sustained himself by painting cinema hoardings and designing furniture and toys. A self-taught artist, Husain was invited to join the Progressive Artists Group in 1947 by F.N. Souza after his first public exhibition of paintings. Most recently, his work has been featured in solo shows including ‘M.F. Husain: Early Masterpieces 1950s-1970s at the David Winton Bell Gallery, Providence in 2010; ‘Epic India’ at the peabody Essex Museum, Salem, in 2006-07; and ‘Early Masterpieces 1950-70s, at Asia House Gallery, London, in 2006. Husain was nominated to the Rajya Sabha, India’s Upper House of Parliament in 1986-92, during which he pictorially recorded its events, which were then published in 1994. The Government of India awarded him with a Padma Shri in 1966, a Padma Bhushan in 1973 and Padma Vibhushan in 1991, all high civilian honours. In 1971, Husain was invited to exhibit as a special invitee with Pablo Picasso at the Sao Paulo Biennale, Brazil. In 2004, he was awarded the Lalit Kala Lot 37 Ratna by the Lalit Kala Akademi, New Delhi. Husian passed away in London in 2011.

Kallat, Jitish (b. 1974) Born in 1974 in Mumbai, Jitish Kallat received his Bachelor’s degree in painting from the Sir J. J. School of Art, Mumbai in 1996. His solo shows include ‘Epilogue’, The San Jose Museum of Art, San Jose, CA, in 2013-14; The Hour of the Day of the Month of the Season;, Galerie Daniel Templon, Paris, in 2013; ‘Chlorophyll Park’, Nature Morte, New Delhi, in 2012; ‘Stations of a Pause’, Chemould Prescott Road, Mumbai, in 2011; ‘Public Notice 3’ at the Art Institute of Chicago, Chicago, in 2010; ‘Likewise’ at Arndt and Partner, Berlin, in 2010; ‘The Astronomy of the Subway’ at Haunch of Venison, London, in 2010; ‘Aquasaurus’ at Sherman Contemporary Art Foundation, Lot 50 Sydney, in 2008’ ‘Public Notice 2’ at Bodhi Art, Singapore, in 2008; ‘Skinside Outside’ at Arario Gallery, Seoul, in 2008; ‘Universal Recipient’ at Haunch of Venison, Zurich, in 2008; ‘Unclaimed Baggage’ at Albion, London, in 2007, and ‘Sweatopia’ at Bodhi Art and Chemould Prescott Road, Mumbai, in 2007. He has participated in numerous group exhibitions including ‘Ideas of the Sublime’, presented by Vadehra Art Gallery at Lalit Kala Akademi, New Delhi, in 2013; ‘2 + 2 = 5’. The Palette Art Gallery, New Delhi, ‘Mapmakers The Evolution of Contemporary Indian Art’, Aicon Gallery, New York, in 2012; ‘Pause A Collection,’ Sakshi Gallery, Mumbai. ‘I Don’t Need Your Money Honey All I Need is Love’, from The Farook Collection at Traffic, Gallery II, Dubai, in 2011; ‘Monumental’ at Walsh Gallery, Chicago, in 2010-11; ‘Now Through a Glass Darkly’ at Arario Gallery, New York, in 2010; ‘Changing The World’ and ‘A Long Way From Home’ at Arndt & Partner, Berlin, in 2010; ‘The Empire Strikes Back: Indian Art Today’ at the Saatchi Gallery, London, in 2010; ‘All That Is Solid Melts Into Air’ at Lakeeren, Mumbai, in 2009-10; ‘Indian Summer’ at Galerie Christian Hosp., Berlin, in 2009; ‘Architectonica’ at Seven Art Limited and Gallery Nature Morte, New Delhi, in 2009; and ‘India Contemporary’ at the GEM Museum of Contemporary Art, the Hague, in 2009. The artist lives and works in Mumbai.

Khanna, Krishen (b. 1925) Born in 1925, in Lahore, Krishen Khanna worked as a banker while he studied painting as a part-time programme at the Mayo School of Art. A job transfer brought him in close proximity with the members of the Progressive Artists’ Group in Mumbai, where he chose to pursue a full-time career as an artist. In 196263 Khanna received a fellow-ship from the Rockefeller Council, New York and was artist-in- Lot 17

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residence at the American University, Washington DC. In 2010, Saffronart hosted a retrospective of his work at the Lalit Kala Akademi, New Delhi.

His other solo exhibitions include those held by Saffronart in association with Osborne Samuel and Berkeley Square Gallery at the Royal Academy, London, in 2007; Saffronart and Berkeley Square Gallery, London, in 2005; Pundole Art Gallery, Mumbai 2004;Vadehra Art Gallery, New Delhi, 1994; and Kumar Art Gallery, New Delhi, 2001, 1966, ’64, ’60, ’59 and ’58. His works were also included in exhibitions held by Saffronart and Pundole Art Gallery, New York, in 2001 and 2002. In 2011, the Government of India awarded him with the Padma Bhushan; in 2004 he received the Lalit Kala Ratna from the President of India; and in 1997 he received the Kala Ratna from the All India Fine Arts and Crafts Society, New Delhi. Khanna lives and works in New Delhi.

Kumar, Ram (1924 - 2018) Born in Simla in 1924, Ram Kumar studied art while working on a Master’s degree in Economics from St. Stephens College, New Delhi. In 1949 he left for Paris to study painting under Andre Lhote and in 1950 he joined Atelier Fernand Leger, returning to India three years later. In 1970 he received the J.D. Rockefeller III Fund Fellowship. Since 1949, Ram Kumar has exhibited regularly in India and internationally. Some of his solo shows include those at Aicon Gallery, New York, in 2013; Chemould Prescott Road, Mumbai in 2008; Vadehra Art Gallery, New Delhi in 2012, 2010-11, ’09, ’08, ’06, ’05, ’03, ’01, ’00, Lot 12 Lot 19 1993 and ’92; Aicon Gallery, New York in 2013 and 2007, Pundole Art Gallery, Mumbai in 2005, 1999, ’92, ’90, ’86, ’84, ’83, ’78, ’76, ’73 and ’71; Arks Gallery, London in 1997; and Grosvenor Gallery, London in 1966. In 2002, Saffronart and Pundole Art Gallery organised a show of his work in Mumbai, New Delhi, San Francisco and New York. Other retrospectives of his work have been held at the National Gallery of Modern Art, New Delhi in 1994 and 1993; Jehangir Art Gallery, Mumbai in 1993; and the Birla Museum, Kolkata in 1980. In 1972 the Government of India awarded him with the Padma Shri, one of its highest Civilian honours. The Madhya Pradesh State Government awarded him with the Kalidas Samman in 1985, and for his writing, he received the Uttar Pradesh State Government award in 1975. Ram Kumar lived and worked in New Delhi, till he passed away in April 2018.

Maity, Paresh (b. 1965) Born in 1965, he studied at the Government College of Arts & Crafts, Kolkata, and the College of Art, New Delhi. A very skilled artist, he wields a rugged palette, and is extremely versatile in his treatment of colour and texture. He has held many solo shows, including exhibitions at Jehangir Art Gallery in Mumbai, Gallerie Ganesha in New Delhi and Gallery Katayun in Kolkata.

He has participated in various group shows like the National Art Exhibition in Jaipur, Kala Mela, Lalit Kala Academy in New Delhi, and the Citibank Group Show in Mumbai.

Besides other accolades, he has also received the National Scholarship from the Government of India and the All India Mini Sculpture Exhibition Lot 44 Award from AIFACS. He gradually moved from atmospheric scenery to representations of the human form. His more recent paintings are bold and graphic, with a strong color and unusual cropping. His works are in a number of collections, including the British Museum, and the National Gallery of Modern Art, New Delhi. In early years he did many watercolors of different locations.

Menon, Anjolie Ela (b. 1940) Born in West Bengal, Menon received her art education at the Sir J. J. School of Art, Mumbai and later at the Ecole Nationale Superieure des Beaux Arts, Paris. Some of her solo shows include those held at the Institute of Contemporary Indian Art, Mumbai, in 2013; Vadehra Art Gallery, New Delhi in 2010, 2003, 2002 and 1996; Dhoomimal Gallery, New Delhi in 2007; Gallery Arts India West, Palo Alto in 2006 and 2005; and at The Gallery, New York in 1989. Retrospectives of her work have been held at the National Gallery of Modern Art, Mumbai in 2002, and Jehangir Art Gallery, Mumbai in 1988. She has also participated in the Paris Biennal, 1980, and the international Triennale of the Lalit Kala Akademi, New Delhi, 1975, 71 and 68. Some of the group exhibitions featuring her work include those held by Gallery Threshold, New Delhi, in 2009-10 and 2008; Aicon Gallery, New York, 2009; Gallery Arts India, New York, in 2005; Saffronart and Apparao Galleries, Los Angeles in 2001; and Saffronart, Hong Kong, in 2001. She was given the Dayawati Modi Award in 2013 and in Lot 13 2000 the Government of India awarded her the Padma Shri. Menon lives and works in New Delhi.

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Naqsh, Jamil (b. 1939) Born in 1939, in Kairana in Uttar Pradesh, India, Jamil Naqsh moved to Karachi in Pakistan following the partition of the sub-continent in 1947. In 1953, he enrolled at the National College of Arts (then Mayo College) in Lahore, but did not complete his education there, leaving after two years to study art on his own. Naqsh’s mature style is a blend of cubism—in the way he treats form and texture – tempered with fluidity and a subtle use of colour. Naqsh has painted the female form in many of his canvases replete with poise and grace. In another series of paintings, he pairs pigeons and doves with the female form, symbolic of love, peace and gentleness. One more series is inspired by the Italian sculptor Mario Marini, who captured the beauty of the horse in his work, combining the elegance of the nude female with the sturdy grace of the equine figure. Naqsh’s work has been exhibited extensively in Pakistan, India, the UK and the UAE. Between 1960 and 1968, he served as Co-Editor of Seep, an Urdu literary magazine, and between 1970 and 1973, as President of the Pakistan Lot 29 Painters Guild. Among the artist’s many honours are medals and awards from the Pakistan Art Council, Karachi; the Ministry of Culture, Pakistan; and the Arts Council of Pakistan. In 2009, Naqsh was awarded the Sitara-e-Imtiaz by the Government of Pakistan, and in 2003, a retrospective of his work was held at the Mohatta Palace Museum in Karachi, a rare honour for a living artist. Naqsh lives and works in London, and is considered the only living modern artist from Pakistan.

Narayan, Badri (1929 - 2013) Born in Hyderabad, Badri Narayan is a self-taught artist. He has held over fifty solo exhibitions in various cities in India and internationally, the most recent being at the Viewing Room, Mumbai, in 2012; Mon Art Gallerie, Kolkata, in 2007-08; Pundole Art Gallery, Mumbai, in 2006, 2004, and 2002 and Galerie 88, Kolkata in 2002. Narayan has also represented India at the Bharat Bhavan Biennale, Bhopal, in 1992; the VII and II International Triennials, New Delhi, 1991 and 1971 respectively; the Festival of India, Moscow, in 1987; the V Biennale of Prints, Tokyo, in 1966; and the II Paris Biennale in 1961. He has exhibited with Saffronart in Hong Kong in 2001. He has written and illustrated several books since 1977, and taught art to school children. Narayan was awarded the Padma Shri by the Government of India in 1987; a Senior Fellowship for Outstanding Artists from the Government of India in 1984-86, and the National Award from Lot 15 the Lalit Kala Akademi, New Delhi, in 1965. Badri Narayan passed away in Bangalore in 2013.

Padamsee, Akbar (b. 1928) Born in Mumbai, Padamsee received a Diploma in Fine Arts from the Sir J.J. School of Art in 1951 and moved to Paris the same year. In 1965 he received the J.D. Rockefeller III Fund Fellowship and worked as artist-in-residence at the Stout State University, Wisconsin. His most recent solo shows include those held at the Priyasri Art Gallery, Mumbai, 2013; the Loft, Mumbai, in 2010; Pundole Art Gallery, Mumbai in 2010, ’03, ’02, 1999, ’97, ’96, ’94, ’93, ’86 ’75, ’74 and ’72; Galerie Helene Lamarque, Paris, in 2008; Aicon Gallery, New York and Palo Alto, in 2006-07; and the Guild Art Gallery, Mumbai, 2006. Retrospective exhibitions of his works were organized by Pundole Art Gallery, Mumbai, in 2004 and Art Heritage, New Delhi and Mumbai, in 1980. His group shows include those held at Sovereign FZE, Dubai, in 2013; Art Alive Gallery, New Delhi; Vadehra Art Gallery, New Delhi, in 2012; Grosvenor Gallery, London; Aicon Gallery, New York and London, in 2010-11; The Museum of Fine Art, Boston, in 2009; Grosvenor Gallery, London, in 2009; Nehru Center, London, in 2005; and Saffronart Lot 18 and Pundole Art Gallery New York, in 2001 and 2002. In 1969-70, Padamsee was awarded the prestigious Jawaharlal Nehru Fellowship and made four short films. In 2004 he was awarded the Lalit Kala Ratna by the Lalit Kala Akademi, New Delhi, and in 1997-98, he received the Kalidas Samman from the Madhya Pradesh State Government, Padamsee lives and works in Mumbai.

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Parekh, Manu (b.1939) Born in Gujarat, Manu Parekh studied at the Sir J.J. School of Art, Mumbai. He has been exhibiting since 1967 and his most recent solo shows include those held at Art Alive Gallery, Gurgaon 2012; Tao Art Gallery, Mumbai, in 2010 and ‘09; Berkeley Square Gallery, London, in 2006; Vadehra Art Gallery, New Delhi, in 2004, 1994 and 1991; Jehangir Art Gallery and Tao Art Gallery, Mumbai, in 2003; Sakshi Gallery, Bangalore, in 1999; ARKS Gallery, London, in 1997; Bose Pacia, New York, in 1996; and Dhoomimal Art Gallery, New Delhi, in 1988, ’85, ’81, ’76, ’75 and ’74. A retrospective of his work was held in 1992 in Kolkata, New Delhi and Mumbai. His works have Lot 30 also been featured in several group shows including those held at Art Alive Gallery, Gurgaon in 2012; Gallery Threshold, New Delhi, in 2011 and ’10; Tao Art Gallery, Mumbai, 2010, ’09 and ’08; Nature Morte, New Delhi, in 2004; Saffronart, Hong Kong, in 2001 and Lakeeren Art Gallery, Mumbai, 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.

Ramachandran, A. (b. 1935) Born in Kochi, Kerala, Ramachandran graduated with a Degree in Malayalam Literature from Kerala University before going on to study art at Viswa Bharati University at Santiniketan. His most recent shows include ‘Dhyanachitra’ and ‘Bahurupi’ at Vadehra Art Gallery, New Delhi, in 2012 and 2009 respectively; and those held by Vadehra Art Gallery, New Delhi, at Jehangir Art Gallery, in 2008; Grosvenor Vadehra Gallery, London in 2008; the Guild Art Gallery, Mumbai and New York, 2007-08; Vadehra Art Gallery, New Delhi, 2006, 2005, and 2001; Nami Island, South Korea, 2005; Art Heritage, New Delhi, 2002; and Sridharani Gallery, New Delhi 1998. He has participated in numerous group exhibitions, including those hosted by Saffronart, Hong Kong and Los Angeles, 2001; the Museum of Modern Art, Oxford, 1982; the Royal Academy of Arts, London, 1982; and the Lalit Kala Akademi, New Delhi, 1977. He was honoured with a Padma Bhushan from the Lot 24 Government of India, in 2005, and has also received the Nama Conquers Award in 1980 and 1978, for the children’s books he wrote and illustrated.

Ramachandran lives and works in New Delhi and Kochi.

Raza, Sayed Haider (1922 - 2016)

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Born in 1922 in Babaria, Madhya Pradesh, Raza graduated from the Nagpur School of Art in 1943 and the Sir J.J. School of Art, Mumbai in 1947. He was one of the founding members of the Progressive Artists’ Group in 1948. After receiving a French Government Scholarship in 1950 he left for Ecole Nationale des Beaux Arts, Paris, where he was awarded the Prix de la Critique in 1956. In 1962 he served as a visiting lecturer at the University of California in Berkeley, USA. Raza has several solo exhibitions to his credit, including ‘Paysage: Select Works 1950s-1970s’, Dubai, ‘Parikrama: Around Gandhi’, Vadehra Art Gallery, New Delhi, in 2014; ‘Shabd-Bindu’, Akar Prakar, Kolkata, in 2013; ‘Vistaar’, Art Musings and Jehangir Art Gallery, Mumbai, in 2012-13, ‘Bindu Vistaar’, Grosvenor Gallery, London, in 2012; ‘Punarangman’, Vadehra Art Gallery and Lalit Kala Akademi, New Delhi, in 2011; ‘Ones’ at Vadehra Art Gallery, New Delhi, in 2011 and 2010; Tao Art Gallery, Mumbai, 2008 and 2006; and Saffronart and Berkeley Square Gallery, London and New York, 2005. In 2007 Saffronart held a major retrospective of his work in New York. Raza’s work has been exhibited in several group exhibitions including those at Aicon Lot 42

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Gallery, New York and London, in 2014, ’13, ’12, ’11 and ’10; the Museum of Fine Art, Boston, in 2009; Grosvenor Gallery, London, Mumbai, 2004; Saffronart and Pundole Art Gallery, New York, 2001 and 2002; and Saffronart, Hong Kong and Los Angeles, 2001 among several others. Raza received a Lalit Kala Ratna from the Lalit Kala Akademi, New Delhi in 2004, and a Padma Bhushan and Padma Shri from the Government of India in 2007 and 1981 respectively.The Madhya Pradesh State Government also awarded him with the Kalidas Samman in 1996-97. Raza lived and worked in Paris and Gorbio, France, till 2011, and moved back to India, where he currently works.

Reddy, Krishna (1925 - 2018) Born in 1925 in Nandanoor, Andra Pradesh, Reddy is an Indian printmaker, sculptor and teacher.

He is considered a master intaglio printer and known for viscosity printing. Reddy studied at VisvaBharati University’s Kala Bhavana (Institute of Fine Arts) with Nandalal Bose, from 1941 to 1946, and graduated with a degree in fine arts. From 1947–1949, Reddy was head of the art section at Kalakshetra Foundation and was also teaching art at the Montessori Teachers’ Training Centre in Madras. He took interest in sculpture and painting during this time in his studies. In 1949 he moved to London, and continued his sculpture studies with Henry Moore at the Slade School of Fine Arts, which is part of the University of London. In 1950, Reddy moved to Paris and met artist Constantin Brâncu?i and through him, he is introduced to cafe discussions on art and meets many famous artists during studio visits. It was here in Paris that he studied sculpture under Ossip Zadkine and is introduced to Stanley William Hayter in order to study engraving. In 1957, he later travelled to study with Marino Marini Lot 45 at Academia Di Belle Arti Di Brera (Brera Academy) in Milan. Reddy’s technique and style have distinguished him as an important printmaker.

Reddy’s prints are abstract, created with subtle grid-like designs on plates with intricate texturisations.The myriad complex colour that he introduces in prints are marked by a contemplative approach to the infinite mysteries of nature. While working at Atelier 17, Krishna Reddy was instrumental in developing a new printing process to produce multi-colored prints from a single printing matrix by exploiting the viscosity and tackiness of the inks, subsequently named viscosity printing. Reddy received the Padma Shri award in 1972, in recognition of his distinguished contributions to art.

He passed away last August 2018 in the USA.

Sen, Paritosh (1918 - 2008) Paritosh Sen was born in 1918 in Dhaka. After completing his diploma in Fine Arts from the Government College of Arts and Crafts, Chennai, he moved to Calcutta in 1942, where he and a group of friends formed the Calcutta Group, an association of artists that sought to incorporate contemporary values in Indian art. In 1949, he left for Paris to study further, attending, among other institutes, the Ecole des Beaux Arts. He received a Fellowship from the John D. Rockefeller III Fund for 1970-71. A prolific writer, Sen has published many works in both Bengali and in English, including a series of autobiographical vignettes titled Jindabahar Lane.

His works have been exhibited in India and internationally, in Paris, London, Germany, Tokyo and in USA. Sen passed away in October 2008.

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Senanayake, Senaka (b. 1951) A Sri Lankan by origin, Senaka attained fame early in life as a prodigy for his works of art. He held his first international solo exhibition at the age of ten, in New York. Although he painted copiously and held many shows both in his native country as well as abroad, it was only after he went to Yale school for graduation in Art and Architecture did he realize that his true calling lay in the field of art. For the past decade, Senanayake has concentrated his art as a medium for environmental advocacy: depicting beautiful scenes from the rainforest to promote public awareness of environmental degradation in his native Sri Lanka and around the world.

Senanayake’s work shows a fervent passion for nature’s beauty and a great Lot 23 knowledge of the flora and fauna of the rainforest. His work has been shown at most parts of Europe Lot 22 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.

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Shaw, Lalu Prasad (b. 1937) Born in 1937, in erstwhile Bengal, Lalu Prasad Shaw received a Diploma in painting from the Government College of Arts and Crafts, Kolkata, in 1959. He has exhibited extensively in India and abroad since 1956, and some of his most recent solo shows include ‘Looking in’ at Galerie 88, Kolkata, in 2011-12; ‘Graceful Silence’ and ‘Sepia Notes’ at Art Musings, Mumbai, in 2011 and 2007; ‘The Myriad Minded Artist’ at Gallery Sanskriti, Kolkata, in 2008; and ‘Painting’ at the Centre for International Modern Art (CIMA), Kolkata, in 1995. His work has also been featured in several group shows, and he has participated in art festivals and fairs all over the world since 1956.

Shaw has received many awards, including the West Bengal State Lalit Kala Akademi Award in 1959, and the Birla Academy Award, Kolkata, in 1975-78. The artist lives and works in Kolkata.

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Sheikh, Gulam Mohammed (b. 1937) Born on February 16, 1937 in the Saurashtra region of Gujarat, India, Gulam is a painter, poet and art critic. He completed B. A. in Fine Art in 1959 and M. A. in 1961 from Faculty of Fine Arts, M.S. University, Baroda. He received ARCA from Royal College of Art, London in 1966. In 1960, he joined as a professor of Fine Arts in the Faculty of Fine Arts, M.S. University, Baroda. His teaching positions have included teaching art history in the Faculty of Fine Arts, Baroda (1960–63 and 1967–81) and as Professor of Painting, Faculty of Fine Arts, Baroda (1982–1993). He has been a Visiting Artist at the Art Institute of Chicago in 1987 and 2002, and a Writer/Artist in Residence at Civitella Ranieri Center, Umbertide, Italy (1998), at the University of Pennsylvania (2002), and at Montalvo, California (2005). Sheikh has been a major figure in the world Lot 26 of Indian art for more than four decades. He has participated in major exhibitions all over the world and his works are displayed in private and public collections including the National Gallery of Modern Art in New Delhi,Victoria and Albert Museum in London and the Peabody Essex Museum in Salem, USA. Gulam has been active not merely as an artist but also as a teacher and writer. His collection of Gujarati surrealistic poems, Athwa (1974) won him considerable critical acclaim. He has also written a prose series, Gher Jatan and edited a special issues of Kshitij as well as Vishwamanav and Sayujya magazines. American Chitrakala (1964) is his translated work.

Souza, Francis Newton (1924 - 2002) Born in 1924 in Saligao, Goa, Souza was expelled from the Sir J.J. School of Art, Mumbai, in 1942 for taking part in the ‘Quit India’ freedom movement. He went on to found the Progressive Artist’s Group in 1948, before leaving for London a year later. In 1955 Souza held a one-man show at Gallery One in London and also had his autobiographical essay ‘Nirvana of a Maggot’ published. He was awarded the John Moore Prize at the Walker Art Gallery, Liverpool in 1957 and received an Italian Government Scholarship in 1960. In 1959 a collection of his autobiographical essays, ‘Words and Lines’, was published, and in 1962 a monograph on his work by Edwin Mullins was published as well. In Lot 40 1967 Souza migrated to New York where he received the Guggenheim International Award. Two Lot 31 retrospectives of his work were organized by Art Heritage, New Delhi, in 1986 and 1996. Souza also participated in a work-live programme in Los Angeles, hosted by Saffronart in 2001. Souza passed away in Mumbai 2002. Some important posthumous exhibition of his work include, ‘F.N. Souza’ at Saffronart and Grosvenor Gallery, New York, in 2008; ‘F.N. Souza: Religion & Erotica’ at Tate Britain, London, in 2005-06; ‘Self-Portrait: Renaissance to Contemporary’ at the National Portrait Gallery, London, in 2005; and ‘Francis Newton Souza’ at Saffronart and Grosvenor Gallery, New York and London, in 2005.

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Zarina Hashmi, Golden Route

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F.N. Souza, La Place: Town Square

A sale of classical, modern and contemporary paintings and sculptures from the Indian subcontinent

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