ARTIANA | Modern and Contemporary South Asian Art | Online Auction |13-17 October, 2016 | Sale 1602

MODERN AND CONTEMPORARY SOUTH ASIAN ART ONLINE AUCTION 13 -17 OCTOBER 2016 1602

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MODERN AND CONTEMPORARY SOU TH ASIAN AR T

ONLINE AUC TION (NO BUYER’S PREMIUM) 13 -17 OCTOBER 2016

MODERN AND CONTEMPORARY SOU TH ASIAN AR T ONLINE AUC TION (NO BUYER’S PREMIUM)

MODERN AND CONTEMPORARY SOUTH ASIAN ART SALE NUMBER: 1602 ONLINE AUCTION OCTOBER 13 - 17, 2016 No Buyer’s Premium ‘What You Bid Is What You Pay’

Auction Opening October 13, 2016 6:00 p.m. onwards UAE Standard Time

Auction Closing October 17, 2016 7:00 to 9:00 p.m.

UAE Standard Time

Viewings October 1-12, 2016 11:00 a.m. - 7:00 p.m.

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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, 2016

Front Cover: Lot 28 Inside Front Cover: Lot 10 (detail) Page 2-3: Lot 11 (detail) Page 4: Lot 30 (detail)

Page 139: Lot 41 (detail) Inside Back Cover: Lot 28 (detail) Back Cover: Lot 20

CONTENTS SALE GUIDE 9 MODERN AND CONTEMPORARY SOUTH ASIAN ART: LOTS 1- 60 115 IT’S EASY TO BUY AT ARTIANA 116 AUCTION CLOSING SCHEDULE 117 WRIT TEN / ABSENTEE BID FORM 118 BIDDING INCREMENTS 119 BUYING AT ARTIANA 122 CONDITIONS OF SALE 127 ARTIANA GUARANTEE 128 STORAGE AND COLLECTION 129 ARTIST PROFILES AND INDEX

LOTS 1 - 10

LOT 1

K. LAXMA GOUD (b. 1940) Untitled (Krishna) acrylic on canvas 60 x 48 in. (152.4 x 121.9 cm.) painted in 2016 Signed and dated in Telugu (lower centre right)

US$ 30,000 - 50,000 PROVENANCE Acquired directly from the artist.

Property of a private collection based in Dubai.

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MODERN AND CONTEMPORARY SOUTH ASIAN ART

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LOT 2

MAQBOOL FIDA HUSAIN (1913 - 2011) Untitled (Nursery Cartoon) mixed media on paper pasted on board 10 x 15 in. (25.4 x 38.1 cm.) painted in 1943 Signed and dated ‘Husain ‘43’ (lower right)

US$ 10,000 - 15,000

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PROVENANCE Bagash Art Gallery, Dubai.

Acquired from the above by the present owner, based in Dubai.

LOT 3

SYED HAIDER RAZA (1922-2016) Tree acrylic on canvas 11.75 x 11.75 in. (30 x 30 cm.) painted in 2007

US$ 15,000 - 25,000

Signed and dated ‘Raza ‘07’ (lower centre left) Further initialed, signed, titled, dated and inscribed ‘Raza / “Tree” / 2007 / 30 x 30 cm. / acrylic on canvas’ (on the reverse) PROVENANCE Acquired directly from the artist by the present owner.

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LOT 4

BADRI NARAYAN (1929 - 2013) Kukkuta Jataka watercolour on paper 11 x 11 in. (27.9 x 27.9 cm.) painted in 1985

US$ 3,000 - 5,000

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Initialed in Hindi (lower right) Signed twice, titled twice, dated and inscribed ‘Badri Narayan / Kukkuta Jataka / 1985 / Watercolour’ (on the reverse) Bearing Pundole Art Gallery label (on the back of frame) PROVENANCE Pundole Art Gallery, Mumbai

LOT 5

B. PRABHA (1933 - 2001) Untitled oil on canvas 30 x 25 in. (76.2 x 63.5 cm.) painted in 1982 Signed and dated in Hindi (lower centre right edge)

US$ 15,000 - 25,000

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LOT 6

RAM KUMAR (b. 1924) Untitled ink and pastel on paper 22.25 x 28.5 in. (56.5 x 72.4 cm.) executed in 1966 Signed and dated ‘Ram Kumar ‘66’ (on the reverse).

US$ 15,000 - 25,000

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PROVENANCE Christie’s / Sale # 2183 / Lot 133 / Southeast Asian and Modern Indian Painting / Hong Kong / May 2005

LOT 7

JOGEN CHOWDHURY (b.1939) Flower Vase ink and pastel on paper 19.6 x 27.5 in. (50 x 70 cm.) painted in 2007

US$ 8,000 - 12,000

Signed ‘Jogen’ (lower right) Dated ‘2007’ (lower left) Initialed in Bengali (upper left) Further signed, titled, dated and inscribed ‘Jogen Chowdhury / ‘Flower Vase’ / 2007 / Santiniketan / 50 x 70 cm. / Ink with brush & pastel (on the reverse) Further inscribed with the artist’s code ‘173 / 2007’ (on the reverse) PROVENANCE Acquired directly from the artist by the present owner.

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LOT 8

AKBAR PADAMSEE (b. 1928) Untitled watercolour on paper 15 x 11 in. (38.1 x 27.9 cm.) painted in 2002 Signed and dated ‘Padamsee 2002’ (lower left)

US$ 6,000 - 8,000

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PROVENANCE The Guild Art Gallery, Mumbai.

Acquired from the above by the present owner based in Dubai.

LOT 9

K. LAXMA GOUD (B. 1940) Untitled watercolour on paper 10 x 6 in. (25.4 x 15.2 cm.) painted in 2006

US$ 2,500 - 3,500

Signed and dated in Telugu (upper left) Bearing The Guild Art Gallery label (on the back of frame) PROVENANCE The Guild Art Gallery, Mumbai.

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“To be liberated from the shackles of academic realism and to be able to experiment with the plasticity of form with only the canvas as the frame was a revolutionary step. All the more for Maqbool Fida Husain, who has his early training in representational art. In moving from accurate depictions of reality to the unending possibilities opened up by the painterly image was akin to leaping across several centuries. And in doing so, he was to become a legend in his lifetime [...] He was, at the same time, involved with language, with the formulation of modernity and with its rootedness in India.� (Yashodhara Dalmia, The Making of Modern Indian Art: The Progressives, Oxford, New Delhi, 2001, p. 100)

LOT 10

MAQBOOL FIDA HUSAIN (1913 - 2011) Untitled (Wedding Chariot) oil on canvas 24.4 x 56.2 in. (62 x 143 cm.) painted in 1971 Signed in Hindi and Urdu (lower right) Further signed in Urdu, dated and inscribed ‘To Kamal & Pasha 14 June 1971’ (on the reverse) Bearing partial label of Gallery Gita. (on the reverse)

US$ 150,000 - 250,000

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PROVENANCE Gallery Gita, New Delhi Christie’s / Sale # 2686 / Lot 78 / South Asian Modern and Contemporary Art / New York / March 2013

M.F. Husian’s repertoire undoubtedly shows that the artist holds a deep appreciation for the classical arts and traditions of India. The cross-disciplinary facets of music, dance, painting, sculpture and film have left a significant mark in his approach to art. This aspect is evident in Husain’s aesthetic through the Wedding Chariot, where three-dimensional sculptures have been transformed into two-dimensional surface-figures. The figures are pronounced and their postures have been clearly borrowed from the classical tribhanga stance.

From his travels across India, Husain was inspired to express, through his works, the diverse stories and artistic traditions of the sub-continent. The golden yellow in this painting, is reminiscent of the turmeric that abounds in every Indian wedding. Forms are structured on flat surfaces and minimal use of colour is harmonious. The viewer feels the movement and exuberance of the wedding procession. Conceptually and in their modelling, the figures emanate lyricism.

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LOTS 11 - 20

LOT 11

A. RAMACHANDRAN (b. 1935) Untitled (Lotus Pond) oil on canvas 44 x 36 in. (111.8 x 91.4 cm.) painted in 1998

US$ 70,000 - 90,000

Signed and dated ‘Ramachandran 1998’ (centre right edge) Bearing artist’s stamp (centre right edge) PROVENANCE Christie’s / Sale # 1763 / Lot 130 / Modern and Contemporary Indian Art / New York / September 2006

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LOT 12

PARITOSH SEN (1918 - 2008) Portrait of Rabindranath Tagore pencil and ink on paper 20 x 15 in. (50.8 x 38.1 cm.) executed in 1999 Signed and dated ‘Paritosh Sen ‘99’ (lower right)

US$ 5,000 - 7,000

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PROVENANCE Commissioned by Mr. Arup Dutta, Kolkata.

Private collection, Dubai.

PUBLISHED Mrinal Ghosh, Paritosh Sen: IX th Decade, Neovision, New Delhi, 2006, p. 184 (illustrated)

LOT 13

JOGEN CHOWDHURY (b.1939) Untitled ink, pastel and pencil on paper 9.8 x 12.7 in. (25 x 32.5 cm.) painted in 2011

US$ 15,000 - 25,000

Signed and dated ‘Jogen 2011’ (lower right) Dated in Bengali (upper right) Initialed in Bengali (lower left) Further signed, titled, dated and inscribed ‘Jogen Chowdhury / ‘Untitled’ / 2011 / Santiniketan / 25 x 32.5 cm. / Ink & pastel /Pencil (on the back of frame) Further inscribed with the artist's code ‘30/2011’ (on the back of frame) PROVENANCE Acquired directly from the artist.

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LOT 14

MAQBOOL FIDA HUSAIN (1913 - 2011) Untitled (Gaja Gamini) watercolour on paper 42.5 x 12 in. (107.9 x 30.5 cm.) circa 2000s Signed ‘Husain’ (lower right)

US$ 20,000 - 30,000

PROVENANCE Pundole Art Gallery, Mumbai Acquired from the above by the present owner.

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LOT 15

KRISHEN KHANNA (B.1925) Untitled (Supper at Emmaus) pencil on paper 26.25 x 19 in. (66.6 x 48.2 cm.) executed in 1998 Signed, dated twice and inscribed ‘K.Khanna / 27 Apr ‘98 / Be the day / 1998’ (lower right)

US$ 5,000 - 7,000

PROVENANCE The Guild Art Gallery, Mumbai.

Property of a private collection based in Dubai.

This work is a detailed pencil drawing from the Emmaus series of the resurrected Christ, where Jesus Christ reveals himself to two of his apostles, Judas and Peter. This is a recurring theme in Khanna’s repertoire - a moment in time when the divine enters everyday life, thus reaffirming and strengthening faith.

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K.G. SUBRAMANYAN (1924 - 2016) Kalapathy Ganapathy Subramanyan, fondly referred to as ‘Mani-da’, was a student at the Presidency College. He grew up under the influence of the Indian nationalist movement that was sweeping through much of British India. A Gandhian at heart, he participated in the Quit India Movement. Having learnt that Rabindranath Tagore’s Santiniketan was a destination of sorts for nationalists and artistes alike, Subrahmanyan began his artistic journey at the Visvabharati’s Kala Bhavan, where he had the distinct privilege of training under stalwarts like Nandalal Bose, Ramkinkar Baij and Benode Behari Mukherjee.

Subramanyan tended to view art integrally and did not restrict him self to any particular artistic tradition. He worked on children’s illustrations, toy-making, wood-cut printing, terracotta reliefs and glass painting; he also developed a deep understanding of the mural traditions in India while apprenticing under Benode Behari Mukherjee.

Subramanyan’s approach, similar to his contemporaries, was influenced by European modernism; but his art practice which was very individualistic and progressive, based on his deep understanding of folk and rustic cultures in India. His style encompassed the formal contours of modernism, Santinikentan’s narrative tradition and the visual skill of Indian folk traditions. He engaged with complex images that were steeped in myth and narrative and improvised through various levels including technique, practice and skill. His search for pure meaning was evident in his work; in this effort, nothing was excluded — contrasting elements of life, including conflict and serenity, love and disdain, truth and denial, had their place in his constructions.

In this was included irony, a certain sense of revisionism and a freedom from defined genres. In his own words, he says: “My work, so to say, deconstructs an old concept and sees its similarities with others.”

Subramanyan was also an accomplished writer and would often elaborate on his creative themes through his essays and stories. This quality of Manida being a storyteller was infused in his work very significantly.

His legacy was unparalleled both as an artist and teacher that served to inspire an entire generation of Indian artists after him. K. G. Subrahmanyan’s passing away has created a vacuum in Indian art - not just of an extraordinary artist, but of a writer, teacher and philosopher. His contribution stands in many shades and isn’t likely to fade in our memory.

An extremely versatile artist, respected teacher and an avid writer, Subramanyan developed his repertoire with inspiration from Indian traditional arts and crafts. His experiments with reverse paintings began around the late 1970’s, thereby exposing him to many possibilities.

These works stressed on elaborate visual narratives and are charged with humour, surprise and the inexplicable. “I doodle constantly, based on the images I see and their transformations. Their mental extensions and changes of identity. I want my painting to be as quick and direct as my doodles, and the final stages of most paintings try to have their spontaneity. They often alter, even reverse, the original logic. In the way I do reverse paintings, all changes and improvisations pertain to the early stages where I use water colours.

Here I can change, even wipe out images, introduce new details. In the later stage, where I back or lock the water-colour image with oil colours, my improvisations are confined to the use of colour. While painting with gouache colours or oils, I can improvise at every stage [‌] I try to give my reverse paintings an iconic character. I have used informal sketchiness only in a few of them. (K.G. Subramanyan in conversation with R. Siva Kumar, New Works: K.G. Subramanyan 2014, Seagull Foundation for the Arts, Exhibition Catalogue, Calcutta, 2014, p. 7 & 8)

LOT 16

K.G. SUBRAMANYAN (1924 - 2016) Peacock Throne reverse painting in gouache and oil on acrylic sheet.

11.75 x 8.25 in. (30 x 21 cm.) painted in 2002 Initialled in Malayalam (lower centre right) Signed, titled, dated and inscribed ‘K.G. Subramanyan / ‘Peacock Throne’ / 2002 / Reverse painting on plastic sheet / ‘Please keep this paper in place as it protects the paint surface.’ (on the reverse)

US$ 3,000 - 5,000

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PROVENANCE Gallery Sumukha, Bengaluru EXHIBITED AND PUBLISHED: K.G. Subramanyan: A Retrospective, National Gallery of Modern Art, New Delhi, 2003, p. 85 (illustrated)

LOT 17

K.G. SUBRAMANYAN (1924 - 2016) Ragini Vibhas reverse painting in gouache and oil on acrylic sheet.

11.75 x 8.25 in. (30 x 21 cm.) painted in 2003

US$ 3,000 - 5,000

Initialled in Malayalam (lower centre left) Signed, titled, dated and inscribed ‘K.G. Subramanyan / ’Ragini Vibhas’ / 2003 / Reverse painting in plastic sheet in gouache and oils / ‘Keep this paper in place; it protects the painting surface’. (on the reverse) PROVENANCE The Guild Art Gallery, Mumbai.

EXHIBITED AND PUBLISHED K.G. Subramanyan: Recent Works, The Guild Art Gallery, Mumbai, 2003

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Sakti Burman’s art celebrates spirituality in every way. Influenced by different cultures, Burman presents a confluence of diverse histories, with an intention to transcend boundaries and emphasize on spiritual and human oneness of all systems. Universal Mother holds a symbolic significance. While this painting evokes a sense of peace and joy, it signifies the artist’s conscious and repeated effort to bring together two different spiritual themes. And in doing so, he celebrates this religious integration. Mother Mary cradling baby Ganesha in a mother’s grasp, at once, depicts the essence of motherhood and divinity - two expressions that are universal across time and geography. The coming together of two pivotal religious icons of the west and east in this union of mother and child, underscores the catholicity of these themes.

Speaking about the artist’s work, Rosa Maria Falvo states, “Borrowing frequently from Hindu and European mythology, Sakti Burman manipulates as much as the visual space allows, creating an interiorised atmosphere […]

Drawing on his cultural affiliations with Bengal and a convivial appreciation for people, Burman orchestrates a charming interplay between imagination and experience. The artist’s visual language fuses his storytellers with the metaphysical modalities of history. Its seduction lies in its originality of perspective. However symbolic or figurative, he is utterly personal. And his figures appear as independent entities […] His culturally kaleidoscopic approach - quite literally inspired by its Greek etymology (‘observing beautiful forms’) - is afforded by the fact that he migrated to France as a young man and was adopted through study and marriage into a foreign culture. So his work tumbles the viewer into a series of multiple and hybrid experiences. Like a palimpsest, Burman’s choice of content, often reliant on daydreams or memories, is erased, re-written, and superimposed on ancient motifs and the promise of fresh ideas. This kind of augmented reality, melding and layering people and places, makes for his unique style of representation.

And it is not by chance that his artistic curiosity lured him through the wonders of classicism, the Medieval, the Renaissance, and Modernism, with frequent visits to Italy early in his career.” (B.N. Goswamy and Rosa Maria Falvo, Sakti Burman: A Private Universe, Skira, Milan, 2014, p. 11 & 12)

LOT 18

SAKTI BURMAN (B. 1935) Universal Mother oil on canvas 36.25 x 28.75 in. (92 x 73 cm.) painted in 2016 Signed ‘Sakti Burman’ (lower centre right) Further signed, titled, dated and inscribed ‘Sakti Burman / “Universal Mother” / 2016 / 92 x 73 cm.’ (on the reverse)

US$ 30,000 - 50,000

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PROVENANCE Acquired directly from the artist.

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LOT 19

KRISHEN KHANNA (B.1925) Untitled (Bandwallah) oil on canvas 36 x 18 in. (91.4 x 45.7 cm.) circa 2000s Signed ‘KKhanna’ (lower right)

US$ 20,000 - 30,000

PROVENANCE Private collection, New Delhi.

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Syed Haider Raza (1922 - 2016) A dot marks an end in script. However, when speaking of Syed Haider Raza, a special legend it led to new beginnings, both in his early years and later in his art journey. Raza was a restless young man with an unbridled mind. While at school, his teacher drew a dot on a wall, trying to make him focus on it with the intention of calming his wandering mind. Raza recollected this incident as formative in his approach to art and even life.

A visual depiction of the sacred through the modern idiom invokes only one name in Indian art – Raza. His early years by the Narmada valley shaped his perspectives on culture, tradition, religion and their broader interpretations through art. His deep meditations on these subjects, all through his artistic journey, resulted in the emergence of a unique motif in Indian contemporary art - the ‘bindu’.

Raza’s art was nothing short of an obsession. This obsession wasn’t limited to a certain theme, but was a quality of mind that pursued everything it touched – whether it be geometry, theology or natural phenomena – with an encompassing intensity. His fascination and love for poetry, nature, and the elements at large inspired him. His exposure and training in Paris were ideal in shaping this enthusiasm. Raza’s landscapes were therefore strong, vibrant and even his ‘Bindu’ was derived from the intimacy he maintained with his themes. He reflects on this in his own words: “Painting is something alive as human beings in its different manifestations… It is a vital process of becoming. Just imagine how fascinating it is that the seed contains the total inherent forces of a plant, of animal life, and so on and so forth. And that could be the same process in form too!”

Raza will be remembered as an indispensable force that energised the modern art movement in India. His emergence as a modern artist was at a time when the genre was struggling to find its unique language in the country and his was an influence that catalysed this seminal art movement.

At 94, Raza left behind a verse from the Bhagavad Gita in his personal diary: Hidden in Nature, which is Mine own, I emanate forth again and again All these multitudes of being necessarily by the force of nature.

Bhagvad Gita, IX, 8.

Raza found and met art at the source of his being; the beauty of this encounter is that it is one that continues to flourish, in the minds of all those who seek from it, even in times that know him no more.

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Raza’s work almost always holds deep spiritual undertones. In Duvidha, the black bindu, or the cosmic egg stands out prominently in the composition. The bindu, in this painting, serves as the main reference point from which the entire work gathers its meaning. This positions the circle as a centre or focal-point to a larger living portrayal. According to the artist, the dark circle is like a dark nothingness, charged with a certain power that radiates energy in the form of colour. The bindu, claimed Raza, “became [my] very backbone, supporting my body of work”. The images that emerge from the bindu are not recognizable in shape; yet, fluency of paint and its vibrant movement on the surface is maintained. This juxtaposition between the abstract and the discernible, the nebulous and the structured, underscores a living unity that ties the myriad aspect of creation together.

“It was the search for the intangible. My quest to create the tangible altered during the seventies. I tried to find ways to capture the moods of places and people. I had a preoccupation with evoking the essence of emotions and moods more than a visual sight. Elementary experiences of night and day, joy and anguish, summer and winter became my subjects for the fact that they were felt more than seen. From that gestural period of tones and expression, I moved to a new period in the eighties.

The language of your painting changes when you start listening to silence. Within the silence of solitude, the inner landscape of the human mind moves into another pathway. I learnt to understand polarities - the co-existence of opposites that complement even as they exist. Life and death, man and woman, black and whiteeverything has a different rhythm. I realised how poetry can contain few words and say so much. Painting became the metaphor of life itself.” (Artist Statement, Ashok Vajpeyi, A life in Art: Raza, Art Alive Gallery, New Delhi, 2007, p. 345) From the 1970’s onwards, Raza’s personal sense of self - his Indian identity and sensibilities of life, extended clearly into his art. In Vedic philosophy, the cosmic egg is a popular refrain - the primordial center from which all creation extends. The artist conveys the bindu in a similar sense; he paints it in black which, according to him, is the “mother colour” from which all other colours are born. A study of Raza’s work around this time reveals that the bindu remained a constant theme in his repertoire.

The painting’s imagery also reveals Raza’s influences from the passionate colours of the Jain and Rajasthan miniatures.

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LOT 20

Signed and dated ‘Raza ‘99’ (lower left)

SYED HAIDER RAZA

Further signed, titled twice in Hindi and English, dated and inscribed ‘Raza / “Duvidha” / 1999 / acrylic on canvas / 100 x 100 cm’ (on the reverse)

(1922-2016) Duvidha acrylic on canvas 39.25 x 39.25 in (100 x 100 cm.) painted in 1999

US$ 150,000 - 250,000

PROVENANCE Acquired directly from the artist.

PUBLISHED Ashok Vajpeyi, A life in Art: Raza, Art Alive Gallery, New Delhi, 2007 p. 257 (illustrated)

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LOTS 21 - 30

LOT 21

SAKTI BURMAN (b. 1935) Affection oil on canvas 11 x 9 in. (28 x 23 cm.) painted in 2014

US$ 10,000 - 15,000

Signed ‘Sakti Burman’ (lower right) Further signed, titled and dated ‘Sakti Burman / “Affection” / 2014’ (on the reverse) PROVENANCE Acquired directly from the artist.

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LOT 22

AKKITHAM NARAYANAN (b. 1939) Untitled oil on canvas 23.6 x 23.6 in. (60 x 60 cm.) circa late 1990s Signed (lower right)

US$ 1,500 - 2,500

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LOT 23

K.H. ARA (1914 - 1985) Untitled mixed media on paper 14 x 18 in. (35.5 x 45.7 cm.)

Signed ‘Ara’ (lower right)

US$ 5,000 - 7,000

PROVENANCE Sakshi Gallery, Mumbai.

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LOT 24

BADRI NARAYAN (1929 – 2013)

Initialed in Hindi (lower centre right)

Shri Ganeshji with tatooed Hands watercolour on paper 14.5 x 10 in. (36.8 x 25.4 cm.) painted in 2011

Signed, titled, dated and inscribed ‘Badri Narayan / ‘Shri Ganeshji with tatooed Hands’ / June 2011 / Bangalore’ (on the reverse)

US$ 2,000 - 3,000

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PROVENANCE Acquired directly from the artist.

LOT 25

JERAM PATEL (1930 - 2016) Untitled chinese ink on paper 22 x 30 in. (55.8 x 76.2 cm.) painted in 2007 Signed and dated ‘Jeram Patel ‘07’ (lower right)

US$ 5,000 - 7,000

PROVENANCE Art Room, New Delhi EXHIBITED Mapping Baroda, Art Room, New Delhi (2007)

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A persistent quality in Ram Kumar’s approach to art is its quest for ‘purity’. The indefinable aspect of the landscape in contrast with the definiteness of the human form is the idiom in which Ram Kumar explores his understanding of the pure - the pure being, untamed, of-the-moment and uncultivated. It is interesting to note that the artist has been deeply influenced by the aesthetics of Hindustani music, which is in essence a creature of the artist's instinct. Ram Kumar’s art similarly manifests this quality - the abstract landscape allowed him to shed the restrictions of a structure and walk in the spontaneity of things.

Having grown up in the scenic environment of the lower Himalaya’s, Ram Kumar’s emphasis on the landscape can also be attributed to a sense of nostalgia. The silent expanse of nature certainly appealed to the artist, to the extent that it provided a deep source of inspiration for his works.

LOT 26

RAM KUMAR (B. 1924) Untitled oil on canvas 24 x 18 in. (60.9 cm x 45.7) painted in 1997 Signed and dated ‘Ram Kumar 1997’ (on the reverse)

US$ 20,000 - 30,000

PROVENANCE Pundole Art Gallery, Mumbai.

Acquired from the above by the present owner.

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“He is a painter of the human body but Jogen does not construct his figures like a builder with lumps of flesh or hew it out like carver all in one piece. Like women crocheting apparels, he knits them into shape squiggle by squiggle, and turns the body of interlocked squiggles into quivering, heaving, criss-crossed flesh. Doodled into existence with almost indolent casualness his bodies - soft, extensive, amorphous - are regulated by myriad inner and outer energies and evoke the asymmetrical forms and rhythms of the vegetal world we collectively call nature.” (R. Siva Kumar, ‘Jogen Chowdhury - Lyric and Enigmatic Visions’, Retrospective: Jogen Chowdhury, Kala Bhavana, exhibition catalogue, Shantiniketan, 2013, pg. 5) Jogen’s visual language is derived from his early years in eastern Bengal. Having travelled through the state as a young man and the impressions he gathered - the wet paddy fields, water bodies and creepers - explains his distinctive stylistic development.

His works are complex creations of highly dramatic figures, characterized by strong, plasmic and effortlessly controlled lines. Usually painted against a stark background, his characters seem like creatures of evocative detail, breathing with a life that is their own. His unique crosshatching technique only facilitates in transforming his images to theatrical figurations.

LOT 27

JOGEN CHOWDHURY (b.1939) Woman (exposing her teeth) ink and mixed media on paper 13.75 x 19.75 in. (35 x 50 cm.) painted in 2007 Signed and dated ‘Jogen / 2007’ (upper left) Initialed in Bengali and dated ‘2007’ (lower left) Further signed, titled, dated and inscribed ‘Jogen Chowdhury / ‘Woman (exposing her teeth)’ / 2007 / Santiniketan / 35 x 50 cm. / Ink & mixed media’ (on the reverse) Further inscribed with the artist’s code ‘172/2007’ (on the reverse)

US$ 30,000 - 50,000 PROVENANCE Acquired directly from the artist.

Private collection, Dubai.

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Inspired from his iconic Metascapes series, Padamsee’s Mirror Images draws on the elements - earth, water, fire, air - to present a new series of reflection.

In Mirror Images, the dual aspects of every event in nature is emphasised on two separate canvasses, one representing the apparent and the other, its inverse.

To Padamsee, the chasm, that separates opposites such as exhalation and inhalation, the conscious and the unconscious, is manifest even in the compliments of colour, form and space.

LOT 28

AKBAR PADAMSEE (b. 1928) Untitled (Mirror Image) oil on canvas 48 x 96 in. (121.9 x 243.8 cm.) diptych each panel 48 x 48 in. (121.9 x 121.9 cm.) painted in 2003 Signed and dated ‘Padamsee 2003’ (upper left)

US$ 600,000 - 800,000 PROVENANCE The Guild Art Gallery, Mumbai.

Acquired from the above by the present owner, based in Dubai.

This series features Padamsee’s well-known fascination for ideas of duality and iteration and their depiction on the picture-plane. In Mirror Images, the artist has relied on two halves to form a complete image; in each half, forms are not mirrored but echoed in the other, thus forming dual representations of similar realities. “These works bring together the artist’s philosophical interests with his formal interests in color […] Dualities seem to define the career of Akbar Padamsee; an Indian who uses European forms, a colorist who paints monochrome works, who uses oil as much as he relies on ink and deploys both line and stain, a figurative painter who paints sublime landscapes, and an artist who is intuitive as he is intellectual.” (Amrita Jhaveri, A Guide to 101 Modern and Contemporary Indian Artists, Mumbai, 2005, pg. 60).

“Space-cognition and time-cognition depend on a compound duality, insideoutside, expansion-contraction, exhalation-inhalation, the round and the square.

We inhale, the trees exhale, we exhale, the trees inhale, a mirrored symbiosis.

Expression must contain its dialectical opposite, the conscious and unconscious on the same psychic plane. I have two eyes, two retinas, but the mind compounds the two images into one […] Colours expand and contract, colours reach out of their skins to invade each other’s territories, the blue goes in search of its complementary counterpart yellow or orange. The further away from each other I place them the greater the space and the voyage.” (Artist quote, Mirror Images, exhibition catalogue, Pundole Art Gallery, Mumbai, 1994, unpaginated).

MODERN AND CONTEMPORARY SOUTH ASIAN ART

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MODERN AND CONTEMPORARY SOUTH ASIAN ART

65

LOT 29

LAXMAN SHRESTHA (B.1939) Untitled mixed media on paper 22.5 x 30 in. (57.2 x 76.2 cm.) painted in 2004 Signed and dated ‘Laxman 2004’ (lower right)

US$ 8,000 - 12,000

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PROVENANCE The Guild Art Gallery, Mumbai.

Acquired from the above by the present owner.

LOT 30

FRANCIS NEWTON SOUZA (1924 - 2002) Flowers and leaves acrylic on board 28 x 23 in. (71.1 x 58.4 cm.) painted in 1984 Signed and dated ‘Souza ‘84’ (upper left) Further Signed, dated and inscribed ‘F.N Souza / Flowers and leaves / 1984 / Acrylic on board / 28 x 23 / 0052’ (on the reverse)

US$ 40,000 - 60,000

PROVENANCE Sakshi Gallery, Mumbai.

Acquired from the above by the present owner.

EXHIBITED Art Exchange, Sakshi Gallery (Mumbai, 2015).

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LOTS 31 - 40

The philosophical and mystic traditions of India are replete with stories and symbols. The ease and clarity with which these convey the deeper narratives and connotations intended from them, appeal powerfully to the artistic eye. The number ‘three’ is very significant in the philosophical symbolism of the Shaiva and Advaita traditions. Shiva is considered to be the singular principle of all existence, the Brahman.

He manifests Himself as the One Conciseness that illumines the three states of experience: the waking, dreaming and deep sleep states. He is also considered the pervader of all three worlds — heaven, earth and hell — and the ground on which the past, present and future are conjoin to form the progression of time.

“In this painting Subramanyan uses the colours of the earth, images of animal skins and the trees to create a dense visual field. The Visitor seems to refer to the iconography of Shiva who appears here with the three faces of a trimukha, a snake, suspended from his right shoulder.

The fact that the face is rendered like a mask adds to the piquant quality of the painting. Shiva’s conventional seat, the hide of the spotted deer appears in different parts of the painting. This work is typical of Subramanyan’s involvement with myth, his ability to rework it for his own purposes. It also demonstrates what he calls the bahurupee or disguise in play ‘mixing the normal with the hieratic’, the human with the mythic, the world of play and the imagination” (Gayatri Sinha, Jiva – Life: Contemporary Indian Art, Bodhi Art exhibition catalogue, Singapore, 2004, p.46).

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LOT 31

K.G. SUBRAMANYAN (1924 - 2016) The Visitor acrylic on canvas 54 x 54 in (137.2 x 137.2 cm) painted in 1994 Initialled in Malayalam (lower left) Inscribed and dated (on the reverse)

US$ 50,000 - 70,000

PROVENANCE Saffronart / Lot 30 / Spring Online Auction / March 2009 EXHIBITED AND PUBLISHED Jiva - Life: Contemporary Indian Painting, Bodhi Art (Singapore, 2004) K.G. Subramanyan: A Retrospective, National Gallery of Modern Art, New Delhi, 2003, p. 176 (illustrated)

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LOT 32

FRANCIS NEWTON SOUZA (1924 - 2002) Untitled mixed media on paper 8.25 x 12.5 in (20.9 x 31.1 cm.) executed in 1960 Signed, dated and inscribed ‘Souza / 1960 / Rome’ (lower left)

US$ 2,000 - 3,000

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PROVENANCE The Guild Art Gallery, Mumbai.

LOT 33

FRANCIS NEWTON SOUZA (1924 - 2002) Untitled mixed media on paper 9.25 x 12.75 in (23.5 x 32.3 cm.) executed in 1960 Signed and dated ‘Souza 1960’ (lower right)

US$ 3,000 - 5,000

PROVENANCE The Guild Art Gallery, Mumbai.

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LOT 34

TH OTA VAIKU NTAM (B. 1942) Untitled acrylic on board 20 x 12.25 in. (50.8 x 31.2 cm.) painted in 1994 Signed and dated in Telugu (lower right)

US$ 4,000 - 6,000

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LOT 35

PA R I T O S H S E N (1918 - 2008) Untitled mixed media on paper 24 x 20 in. (60.9 x 50.8 cm.) painted in 2004

PUBLISHED Mrinal Ghosh, Paritosh Sen: IX th Decade, Neovision, New Delhi, 2006, p. 141 (illustrated)

Signed and dated ‘Paritosh Sen 2004’ (lower left)

US$ 7,000 - 9,000

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“Sujata reveals a direct perception of form and colour in a very personal concept. To my mind, her work is an important and original contribution to contemporary Indian art.

A more secretive part of her work is a vast collection of Ganapati drawings made over the years. I do not miss any opportunity to see these drawings whenever I visit Sujata in her studio.

They always inspire me. I have also seen her experiment with the form in different mediums.

The result is overwhelming. I have a strong wish to see Sujata one day exhibiting these works.�

(S.H. Raza, Paris, 2006)

LOT 36

S U J ATA B A J A J (B.1958) Ganapati mixed media on paper 36.25 x 22.5 in (92 x 57 cm) Signed in Hindi and English ‘Sujata’ (lower centre) Further signed, titled and inscribed ‘Sujata Bajaj / “Ganapati” / Mixed Media / 92 x 57 cm’ (on the reverse)

US$ 8,000 - 12,000

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LOT 37

SENAKA SENANAYAKE (b. 1951) Untitled oil on canvas 36 x 36 in. (91.4 x 91.4 cm.) painted in 2016 Signed and dated ‘Senaka Senanayake 2016’ (lower left)

US$ 12,000 - 18,000

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LOT 38

SAKTI BURMAN (b. 1935) Untitled watercolour on paper 25.5 x 19.75 in. (65 x 50 cm.)

Signed ‘Sakti Burman’ (lower centre right)

US$ 3,000 - 5,000

MODERN AND CONTEMPORARY SOUTH ASIAN ART

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LOT 39

RAM KUMAR (b. 1924) Untitled acrylic on paper 18 x 23 in. (45.7 x 58.4 cm.) painted in 1993 Signed and dated ‘Ram Kumar / June ‘93’ (on the reverse)

US$ 10,000 - 15,000

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PROVENANCE Private collection, Mumbai.

LOT 40

RAM KUMAR (b. 1924) Untitled acrylic on paper 18 x 23 in. (45.7 x 58.4 cm.) painted in 2004 Signed and dated ‘Ram Kumar ‘04’ (on the reverse)

US$ 8,000 - 12,000

PROVENANCE Sothebys / Sale # L15500 / Lot 106 / Modern and Contemporary South Asian Art / London / October 2015.

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LOTS 41 - 50

LOT 41

JAMIL NAQSH (b. 1938) Untitled (Woman and Pigeon) oil on canvas 48 x 36 in. (121.9 x 91.4 cm.) painted in 2006

US$ 30,000 - 50,000

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PROVENANCE Acquired directly from the artist by the present owner, based in Dubai.

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LOT 42

SYED HAIDER RAZA (1922 - 2016) Untitled acrylic on canvas 5 x 4 in. (12.7 x 10.1 cm.) painted in 2003

US$ 3,000 - 5,000

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Signed and dated ‘Raza ‘03’ (lower right) Further signed, titled, dated and inscribed ‘Raza / “Heart” / 2003 / 12.7 x 10.1 cm.’ (on the reverse) Further inscribed in Hindi. (on the reverse)

LOT 43

SYED HAIDER RAZA (1922 - 2016) Cycle Shop gouache on paper 12.75 x 13 in (32.4 x 33 cm) circa 1950s

US$ 20,000 - 30,000

Signed in English ‘S.H. Raza’ (lower left) Titled and inscribed ‘Cycle Shop / Basant Bagh / 59’ PROVENANCE Saffronart / Online Auction / Lot 67 / December 2001.

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LOT 44

THOTA VAIKUNTAM (B. 1942) Untitled acrylic on canvas 10 x 8 in. (25.4 x 20.3 cm.) painted in 2002 Signed and dated in Telugu (lower right)

US$ 4,000 - 6,000

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PROVENANCE Acquired directly from the artist.

LOT 45

KRISHEN KHANNA (B.1925) Untitled (Bandwallahs) oil on canvas 20 x 16 in. (50.8 x 40.6 cm.) painted in 2013 Signed ‘KKhanna’ (lower right) Bearing The Guild Art Gallery label (on the reverse)

US$ 15,000 - 20,000

PROVENANCE The Guild Art Gallery, Mumbai.

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LOT 46

GANESH HALOI (B. 1936) Untitled (Graphical quality of a cultivated land) gouache on nepalese paper pasted on canvas 40 x 41.5 in (101.6 x 105.4 cm.) painted in 2005

US$ 12,000 - 18,000

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PROVENANCE The Guild Art Gallery, Mumbai.

LOT 47

ANUPAM SUD (B.1944) Paper Boat oil on canvas 22.25 x 22.25 in. (56.5 x 56.5 cm.) painted in 2001 Signed and dated ‘Anupam Sud 2001’ (lower right) Titled, dated and inscribed ‘Paper Boat / 2001 / Ms. Anupam Sud’ (on the reverse)

US$ 7,000 - 9,000

PROVENANCE The Guild Art Gallery, Mumbai.

EXHIBITED AND PUBLISHED Mohini Maya: Anupam Sud, The Guild Art Gallery, Exhibition Catalogue, (Mumbai, 2002).

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LOT 48

PARESH MAITY (B. 1965) Meditative Light watercolour on paper 20 x 40 in. (50.8 x 101.6) painted in 2007 Signed and dated ‘Paresh Maity ‘07’ (lower left)

US$ 15,000 - 25,000

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PROVENANCE Acquired directly from the artist by the present owner.

LOT 49

A. RAMACHANDRAN (B. 1935) Untitled oil on canvas 18 x 18 in. (45.7 x 45.7cm.) painted in 2007 Signed and dated ‘Ramachandran 2007’ (lower right)

US$ 10,000 - 15,000

PROVENANCE The Guild Art Gallery, Mumbai.

MODERN AND CONTEMPORARY SOUTH ASIAN ART

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LOT 50

SENAKA SENANAYAKE (B. 1951) Untitled (Butterflies) oil on canvas 48 x 60 in. (121.9 x 152.4 cm.) painted in 2015 Signed and dated ‘Senaka Senanayake 2015’ (lower right)

US$ 30,000 - 50,000

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MODERN AND CONTEMPORARY SOUTH ASIAN ART

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LOTS 51 - 60

LOT 51

T.V. SANTHOSH (B. 1968) Untitled oil on canvas 36 x 24 in. (91.4 x 60.9 cm.) painted in 2006 Signed, dated and inscribed ‘T.V. Santosh / ‘05 / T.V. Santosh / A’ (on the reverse)

US$ 15,000 - 25,000

PROVENANCE Private collection, Dubai.

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LOT 52

CHITTROVANU MAZUMDAR (B. 1956) Untitled acrylic on canvas 70 x 48 in. (177.8 x 121.9 cm.)

Signed twice and inscribed ‘Chittrovanu Mazumdar / Mazumdar / Acrylic on canvas’ (on the reverse)

US$ 12,000 - 18,000

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EXHIBITED AND PUBLISHED Words and Images, The Guild Art Gallery, Exhibition Catalogue, (Mumbai, 2002).

LOT 53

SURENDRAN NAIR (B. 1956) Untitled (Corollory Mythologies) charcoal, acrylic and watercolour on paper 59 x 44 in. (150 x 112 cm.) painted in 1996

PUBLISHED Ranjit Hoskote, Itinerant Mythologies: Surendran Nair, Sakshi Gallery, Mumbai, p. 106

US$ 10,000 - 15,000 MODERN AND CONTEMPORARY SOUTH ASIAN ART

105

LOT 54

G.R. IRANNA (B. 1970) Untitled oil on canvas 66 x 66 in. (167.6 x 167.6 cm.) painted in 2002 Signed and dated ‘Iranna ‘02’ (on the reverse)

US$ 12,000 - 18,000

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PROVENANCE The Guild Art Gallery, Mumbai.

Private collection, Dubai.

LOT 55

NAVJOT ALTAF (B. 1949) Untitled oil on canvas 71.75 x 48 in. (182.2 x 121.9 cm.) painted in 1992 Signed, dated and inscribed ‘Navjot / ‘92 / Tribute to a painter I admire’ (upper left)

US$ 10,000 - 15,000

PROVENANCE The Guild Art Gallery, Mumbai.

Private collection, Dubai

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LOT 56

RIYAS KOMU (B. 1971) Tragic Day Optimist-15 oil and enamel on canvas 24 x 48 in. (60.9 x 121.9 cm.) painted in 2003 diptych Signed, titled, dated and inscribed ‘Riyas Komu / “Tragic Day Optimist-15” / 2003 / Oil and enamel on canvas / 4 x 2’ (on the reverse)

US$ 10,000 - 15,000

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LOT 57

K. LAXMA GOUD (B. 1940) Untitled bronze (patinated) height - 21 in. (53.3 cm.) width - 15.75 in. (40 cm.) depth - 3.5 in. (8.9 cm.)

US$ 5,000 - 7,000

Signed in Telugu and numbered ‘4/7’ (centre) The sculpture is mounted on a wooden board measuring 26 x 20 in. (66 x 50.8 cm.)

Edition 4 of 7

MODERN AND CONTEMPORARY SOUTH ASIAN ART

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LOT 58

JOGEN CHOWDHURY (B. 1939) Untitled bronze height - 6.5 in. (16.5 cm.) width - 3.5 in. (8.9 cm.) depth - 5.5 in. (14 cm.) casted in 2007 Initialled in English and Bengali and dated ‘07 (on the base)

US$ 2,500 - 3,500

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PROVENANCE Acquired directly from the artist.

LOT 59

HIMMAT SHAH (B. 1933) Untitled bronze height - 21.5 in. (54.6 cm.) width - 8 in. (20.3 cm.) depth - 11 in. (27.9 cm.)

Signed and numbered ‘Himmat / 5/9’ (lower back)

US$ 10,000 - 15,000

PROVENANCE The Guild Art Gallery, Mumbai.

Private collection, Dubai.

MODERN AND CONTEMPORARY SOUTH ASIAN ART

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LOT 60

HIMMAT SHAH (B. 1933) Untitled ceramic with gold leaf height - 23.5 in. (59.7 cm.) width - 10.5 in. (26.6 cm.) depth - 10.5 in. (26.6 cm.) executed in 1982 Signed, dated and numbered ‘Himmat / ‘82 / 35’ (Inside) Inscribed in Gujarati (Inside)

US$ 10,000 - 15,000 PROVENANCE Acquired directly from the artist by the present owner.

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END OF SALE

IT’S EASY TO BUY AT ARTIANA Read this simple guide to buying at our auction. If you have more questions, information can be found in the ‘Buying at Artiana’ and ‘Conditions of Sale’ sections in this catalogue, or you can call us to inquire.

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Before Bidding, Clients are welcome to Browse through our Lots and see what we have to offer. Artiana offers a variety of ways to discover more about our Lots, so make the most of your browsing: Auction Catalogue Our catalogues are available on our website, mobile app, as well as in print form, and are a great way for clients to browse through upcoming sales. Our catalogues contain the following: ?

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AUCTION CLOSING SCHEDULE For your convenience, particularly if you are bidding on more than one lot, predetermined groups of Lots are scheduled to close at 20 minute time intervals during the Auction.

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

Lots have been allotted into groups, and the closing schedule for the various Lot Groups are as follows: CLOSING TIMES LOT NUMBERS

UAE UTC +4:00

INDIA SRI LANKA UTC +5:30

US EASTERN UTC -4:00

US PACIFIC UTC -7:00

UK UTC +1:00

WEST AFRICA UTC +1:00

EAST AFRICA UTC +3:00

HONG KONG SINGAPORE UTC +8:00

1 - 10

7.20 p.m.

8.50 p.m.

11.20 a.m.

8.20 a.m.

4.20 p.m.

4.20 p.m.

6.20 p.m.

11.20 p.m

11 - 20

7.40 p.m.

9.10 p.m.

11.40 a.m.

8.40 a.m.

4.40 p.m.

4.40 p.m.

6.40 p.m.

11.40 p.m.

21 - 30

8.00 p.m.

9.30 p.m.

12.00 p.m.

9.00 a.m.

5.00 p.m.

5.00 p.m.

7.00 p.m.

12.00 a.m.

(March 22)

31 - 40

8.20 p.m.

9.50 p.m.

12.20 p.m.

9.20 a.m.

5.20 p.m.

5.20 p.m.

7.20 p.m.

12.20 a.m.

(March 22)

41 - 50

8.40 p.m.

10.10 p.m.

12.40 p.m.

9.40 a.m.

5.40 p.m.

5.40 p.m.

7.40 p.m.

12.40 a.m.

(March 22)

51 - 60

9.00 p.m.

10.30 p.m.

1.00 p.m.

10.00 a.m.

6.00 p.m.

6.00 p.m.

8.00 p.m.

1.00 a.m.

(March 22)

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WRIT TEN / ABSENTEE BIDS FORM MODERN AND CONTEMPORARY SOUTH ASIAN ART, OCTOBER 13 - 17, 2016

SALE NUMBER: 1602

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Country

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MODERN AND CONTEMPORARY SOUTH ASIAN ART

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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 1,000 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

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BUYING AT ARTIANA Estimates ?

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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 20 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 ?

All Bids are placed in US Dollars (USD). ?

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. ?

After the sale, the Buyer, as invoiced, is required to pay the amount in full (including the hammer price 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.

Our account details are as follows Account Name: Artiana Limited Bank: Emirates NBD Branch: Business Bay Branch, Dubai, UAE USD Account No.: 1025213528602 SWIFT: EBILAEAD IBAN: AE970260001025213528602 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.

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?

Artiana offers free delivery in Dubai and can recommend our affiliated shipping company for deliveries outside the UAE. For more information,

please refer to the ‘Storage and Collection’ page in this catalogue. ?

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

Buyers who have not completed payment formalities and have not taken delivery of their art works from Artiana within fifteen days of the

auction closing date, 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

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CONDITIONS OF SALE 1. DEFINITIONS Artiana: Refers to Artiana Limited, a company duly incorporated in Dubai International Financial Centre, bearing DIFC Registered Number 2249. Artiana acts as a representative of either itself, any of its affiliates, assigns or any of its Sellers.

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).

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.

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

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.

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

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

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

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

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

For Precious Objects: Any other features or characteristics of the Property mentioned in the Auction Catalogue.

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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, ? granting Bidding access to a Bidder, ? recording, rejecting or accepting Bids, and ? deciding which Bid constitutes the Winning Bid, if any.

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

2.4. Closing Times For the convenience of Bidders, particularly those who are placing Bids on more than one Lot, Lot Groups are scheduled to close at 20 minute time intervals during the Auction.

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

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

The Website and Mobile Application shall contain: ?

The Bid history for each Lot, being the last 5 Bid amounts that have been recorded until and including the current highest Bid; and ?

A countdown clock indicating the amount of time available for placing Bids before the Closing Time.

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

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

Due to the nature of internet and/or mobile traffic, there may be an unpredictable time lag between a Bidder placing a Bid, and that Bid being received by Artiana. Therefore, although a Bidder may have placed his/her Bid prior to Closing Time, Artiana may receive the Bid after the Closing Time for the Lot with respect to which the Bid has been placed and shall, in such an event, be rejected. In order to prevent Bids being rejected in such a manner, Bidders may set Proxy Bids/Maximum Bids for Lots on which they wish to Bid. Written/Absentee Bids may be recorded with Artiana 12 hours prior to the first Closing Time, subject to the other provisions of these Conditions of Sale, including any limits imposed by Artiana on the number of Bids that might be placed by a Bidder.

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

2.7. Artiana reserves the right to withdraw any Property(ies) before, during or after the Auction, if it has reason to believe that the authenticity of the Property(ies) or the accuracy of the Description is in doubt, or if there is a breach of the Terms of Business, or if Artiana otherwise believes, at its sole discretion, that it would be improper to include the Property(ies) in the Auction.

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

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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 (Hammer Price/Winning Bid Price) and any additional charges that may be incurred by Artiana or are applicable on the sale, including shipping and handling of the Property.

2.10. The title to the Properties purchased shall pass to the Buyer at the Closing Time for those Properties 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 1,000 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 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.

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

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

2.15. Non payment The Winning Bidder shall ensure that invoices provided by Artiana are paid in full and all remittance of amounts due under said invoice is made within seven business days from the date of the invoice. In the case that payments are not received within such period, it shall be treated as a breach of contract of sale by the Buyer and, in such an event, Artiana is authorised at its sole discretion to cancel the sale

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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 date of collection of the Property/Lot. 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 collection of the artwork, it is proved by the Buyer, to the reasonable satisfaction of Artiana, that the item was not authentic and if, in Artiana’s opinion, this would have significantly impacted the Winning Bid for the item, Artiana shall be entitled to rescind the sale. In such an event, the Seller will be liable to refund the payment for the item to the Buyer, through Artiana. The item in question will subsequently be returned to the Seller.

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

4.2. The above guarantee given in clause 4.1 shall be subject to the following conditions: ?

The claim is made by the Buyer as registered with Artiana (the benefit of the claim is not assignable to any subsequent owners or others who may acquire or have an interest in any of the Properties) ?

The Property is returned in the same condition that it was in at the time of delivery of the Property to the Buyer ?

The Property was indisputably purchased through Artiana 4.3. In the case of Properties which have been categorised by Artiana as Precious Objects, Artiana provides an assurance, on behalf of the Seller, that each piece shall comply with characteristics or features mentioned in the Description of the Property in the Auction Catalogue for as long as the Property is in the possession of Artiana.

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

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

by Artiana.

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4.4. 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.

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

5 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.

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.

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.

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.

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.

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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STORAGE AND COLLECTION STORAGE Please note that Lots in storage can be collected only by prior appointment from the Freight Systems Co. Ltd. LLC warehouse, Plot no. M00539, 732C Street, Jebel Ali Free Zone (JAFZA).

Preeti Suri: +971 50 655 1667 Office Hours: 8.00 am - 4.00 pm

Method

COLLECTION Lots will only be released from the Freight Systems Co. Ltd. LLC warehouse upon presenting a collection order issued by Artiana. Lots will not be released until all outstanding charges due to Artiana and Freight Systems Co. Ltd. LLC are settled.

Where

Charges Due

CONTACT ARTIANA Help Desk: +971 55 815 3030 +971 55 825 3030 T: +971 4 429 0077 F: +971 4 428 6677 E: info@artiana.com Office Hours: 10.00 am - 6.00 pm Packing / Costs

Onsite Delivery & Local Delivery in Dubai

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) Art Handler(s): USD 40 per art handler (if required) Local Delivery: Offered without any charge within Dubai

Bubble wrap provided complimentary

Collection of Lots (By prior appointment)

Freight Systems Co. Ltd. LLC Plot no: M00539 732C Street Jebel Ali Free Zone (JAFZA) Dubai, UAE

5% Customs duty on Low Estimate & Customs Documentation Fee USD 95 per invoice (on applicable Lots) 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)

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) Handling Fee: USD 40 per Lot plus Transit Insurance, if desired Art Handler(s): USD 40 per art handler Delivery To: Dubai USD 150 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

5% Customs duty on Low Estimate & Customs Documentation Fee USD 95 per invoice (on applicable Lots) 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

As above but 5% Customs duty exempt

As above

Important Information

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All Lots will be stored free of charge for 15 days from the auction closing date either at Artiana’s viewing gallery or at the shipper’s warehouse at Jebel Ali Free Zone (JAFZA).

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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.

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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 full payment of all shipping charges is received by the logistics service provider.

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ARTIST PROFILES AND INDEX Altaf, Navjot (b. 1949) Navjot was born in 1949 in Meerut and moved to Mumbai in 1969. She studied at the Sir J. J. School of Art in Mumbai, and completed her diploma in 1972. She has held a number of solo shows including ‘Touch IV’ at Talwar Gallery, New Delhi, in 2010; ‘Bombay Shots’ at the Guild Gallery, Mumbai in 2008; ‘Jagar’ at Sakshi Gallery, Mumbai, in 2006; ‘Water Weaving’ at Talwar Gallery, New York, in 2006; ‘Junctions’ at the Guild Gallery, Mumbai, in 2006; and ‘Mumbai Meri Jaan’ at Sakshi Art Gallery, Mumbai, in 2005. The recent group shows her work has been featured in include, ‘Transient Poise’ at Bodhi Art, Mumbai, in 2009; ‘Bapu’ at Saffronart, Mumbai, in 2009; ‘Shifting Terrains, Altered Realities’ at the Shrine Gallery, New Delhi, in 2008; ‘India Art Now: Between Continuity and Transformation’, Milan, in 2007-08; ‘Tiger by the Tail!’ at Brandeis University, Massachusetts, in 2007; and ‘Public Places, Private Spaces’ at the Newark Museum, New Jersey, in 2007. Navjot has also initiated several collaborative projects with artists from the villages of Chattisgarh, which Lot 55 culminated in exhibitions including ‘Interventions/Interrogations: Modes of Parallel Practice, Ways of World Making’ at Sakshi Gallery, Mumbai, in 2003. The artist lives and works in Mumbai.

Ara, K.H. (1914 - 1985) Born in 1914, in Andhra Pradesh, K.H. Ara for the most part, was a self-taught artist. He was a part of the Progressive Artists' Group in Bombay and was a founder of the Artists’ Centre in Mumbai. Ara hosted his first solo show at the Chetana Restaurant in Bombay in 1942, which was a runaway success. Since then, he has had several other one man and group shows, including many with the Progressive Artists’ Group from 1948 to 1955 in Mumbai, Ahmedabad, Baroda and Calcutta. He had three more solo exhibitions in Mumbai in 1952, 1954 and 1960, and took part in the inaugural show of the Pundole Art Gallery in 1963. In the same year, he exhibited his Black Nude series in Mumbai. In 1955, Ara held shows of his work in Romania, Hungary and Bulgaria. His paintings have also been shown in galleries in West Germany, Russia and Japan. Lot 23 In 1944, the artist received the Governor’s Award for Painting. He went on to win the Bombay Art Society’s Gold Medal in 1952. Some of Ara’s significant works are part of the family collections of Cowasji Jehangir and Rudi von Leyden. Ara passed away in 1985.

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 36

Burman, Sakti (b. 1935) Born in Kolkata, Sakti Burman graduated from the Government College of Arts and Crafts, Kolkata, in 1956 and then went on to study at the Ecole Nationale Superieure des Beaux Arts in Paris, where, in 1956, he won the Prix des Etrangers. Some of the most recent solo shows of his work include a retrospective at the Lalit Kala Akademi, New Delhi, Jehangir Art Gallery, Mumbai, Victoria Memorial Hall, Kolkata, and Lot 38 Lot 21 DakshinaChitra, Chennai, in 2012; at Apparao Galleries, Chennai in Lot 18 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.

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Chowdhury, Jogen (b. 1939)

Lot 7

Lot 13

Lot 27

Born in 1939 in erstwhile Bengal, now Bangladesh, Jogen Chowdhury studied at Government College of Arts and Crafts, Kolkata, the Studio Academy of Fine Arts, Kolkata, and the Ecole Nationale Superieure des Beaux-Arts, Paris. His most recent solo exhibitions include ‘Jogen Chowdhury: Formative to Recent’, Centre of International Modern Art (CIMA), Kolkata, in 2014; ‘Lignes de Meditation’, Gallery Veda, Chennai, in 2012-13; ‘A Calligraphy of Touch and Gaze’ by Kalakriti Art Gallery at ICIA, Mumbai, in 2008; Vadehra Art Gallery, New Delhi, in 2007; the Centre of International Modern Art (CIMA), Kolkata, in 2006; and Bose Pacia, New York, in 2002. Chowdhury’s works have been exhibited in several group shows including ‘Ideas of the Sublime’, presented by Vadehra Art Gallery at Lalit Kala Akademi, New Delhi, in 2013; ‘Figure / Landscape: Part Two’, Aicon Gallery, London, in 2010-11; ‘Dali’s Elephant’, Aicon Gallery, London, ‘Paper Trails’, Vadehra Art Gallery, New Delhi, ‘Pretty Ugly’, Bose Pacia, Kolkata, ‘Image and Symbol: Painters Perception’, Aakrit Art Gallery, Kolkata, Lot 58 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 Lot 57 Lot 1 Lot 9 Guild Art Gallery, Mumbai, 2006 and 2003. His works have been part of group exhibitions including those held at Sakshi Gallery, Mumbai in 2012; Aicon Gallery, New York in 2011-12; Art Musings at Jehangir Art Gallery, Mumbai, in 2008; Galerie 88 Kolkata, in 2007; Priyasri Art Gallery, Mumbai, in 2006; by Saffronart and Apparao Galleries, Los Angeles, 2001; Saffronart Hong Kong 2001, Saffronart and Pundole Art Gallery, New York, 2001 and 2002; Centre of International Modern Art (CIMA), Kolkata, and the National Gallery of Modern Art (NGMA), New Delhi, 1993; ‘Festival of India’, Geneva, 1987; and Worcester Art Museum, 1986.

Goud received the Andhra Pradesh State Lalit Kala Academy awards in 1962, 1966 and 1971. The artist lives and works in Hyderabad.

Haloi, Ganesh (b. 1936) Born in erstwhile Bengal in 1936, Ganesh Haloi moved to Kolkata in 1950 following the partition of India. In 1956, he graduated from the Government College of Arts and Crafts, Kolkata, and went on to work there as a teacher. He has exhibited widely, in Kolkata in 1962, Melbourne in 1991 and at Bose Pacia Modern, New York, in 1995. In 2002, his work was featured in an exhibition curated by Manjit Bawa at the Societe Asiatique, Gurgaon, and in 2003, at the Chitrakoot Art Gallery, Kolkata. Haloi received the gold medal from the Academy of Fine Arts, Kolkata in 1963-64 and again, in 1970.

In 1970, he was also conferred the Rabindra Bharati Award, Kolkata, and in 1991, he was the recipient of the Shiromani Puraskar, conferred by the Government of India.

Ganesh Haloi lives and works in Kolkata.

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Lot 46

Husain, Maqbool Fida (1913 - 2011)

Lot 2

Lot 10

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 Ratna by the Lalit Kala Akademi, New Delhi. Husian passed Lot 14 away in London in 2011.

Iranna, G.R. (b. 1970) G.R. Iranna acquired his Bachelor of Fine Arts degree from the College of Visual Art, in Gulbarga in 1992. Two years later, he completed his Master’s degree in painting from the College of Art, New Delhi. Between 1999 and 2000 he acted as artist-in-residence at Wimbledon School of Art, London. Iranna’s first one-man show was held in 1992 at the College of Visual Art, Gulbarga. Since then, he has shown at: Delhi Art Gallery and Jehangir Art Gallery, Mumbai in 1995; Gallery Espace, New Delhi in 1998; ‘In the Shadow of Buddha’ at Gallery Martini, Hong Kong in 1999; Wimbledon School of Art, London in 2000; Maulana Azad Centre for Indian Culture, Cairo in 2000 and The British Council & The Guild Art Gallery in 2001. Iranna has also participated in several group shows including at the Chitra Kala Parishad, Bangalore in 1990; Schoo’s Gallery, Lot 54 Amsterdam, Holland in 1995; Vedanta Art Gallery, Chicago, U.S.A. in 1998; ‘Icons of the Millennium’ at Gallery Lakeeren, Mumbai in 1999 and ‘Black & White’ at Art Today, New Delhi in 2000. Iranna has received national and international recognition throughout his career. His awards include those at the All India Exhibition in Mysore and the College of Visual Art, New Delhi in 1991-92, the Bansi Parmimu Memorial Committee, New Delhi and the Delhi College of Art in 1993. In the same year, he won the M.F. Husain and Ram Kumar selection award at ‘In Search of Talent’ by Vadehra Art Gallery, New Delhi. He has also been honoured in 1997 with a National Award from the Lalit Kala Academy and the AIFACS Award, at the show ‘50 years of Art in independent India’ in New Delhi.

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 1962-63 Khanna received a fellowship from the Rockefeller Council, New York and was artist-in-residence at the American University, Washington DC. In 2010, Saffronart hosted a retrospective of his work at the Lalit Kala Akademi, New Delhi. His other solo Lot 19 Lot 45 exhibitions include those held by Saffronart in association with Osborne Samuel Lot 15 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.

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Komu, Riyas (b. 1971) Riyas Komu was born in Kerala, and moved to Mumbai in 1992 to study Literature. Dropping out during his final year, Komu eventually obtained his Bachelors and Masters degrees in Fine Arts from the Sir J.J. School of Art in 1997 and 1999 respectively. Since his graduation, Komu has been constantly asserting and pushing himself with a strong body of work. Some of Komu’s recent solo shows include ones of his photographic works at the Guild Gallery, Mumbai, in 2008 and 2005, and two exhibitions held at Sakshi Gallery, Mumbai in 2005 and 2002. His works have also been featured in group exhibitions held at Saffronart and the Guild Gallery, Mumbai, in Lot 56 2004; the Harmony Show, Mumbai, in 2003, where he won the ‘Excellence Award for Emerging Artist of the Year’; the Fine Art Company, Mumbai, in 2002, the Guild Gallery, Mumbai, in 2001 and 2002; Lakeeren and Tao Art Gallery, Mumbai, in 2000; and the National Gallery of Modern Art annual shows in 1999 and 2000. In 1997, Komu received the two-year-long K.K. Hebbar Foundation Society Scholarship, and has also been honoured with the Bombay Art Society Award in 1996 and the Maharashtra State Art Prize in 1995. The artist lives and works in Mumbai.

Kumar, Ram (b. 1924)

Lot 6

Lot 26

Lot 39

Born in Simla in 1924, Ram Kumar studied art while working on a Master’s degree in Economics from St. Stephens College, New Delhi. In 1949 he left for Paris to study painting under Andre Lhote and in 1950 he joined Atelier Fernand Leger, returning to India three years later. In 1970 he received the J.D. Rockefeller III Fund Fellowship. Since 1949, Ram Kumar has exhibited regularly in India and internationally. Some of his solo shows include those at Aicon Gallery, New York, in 2013; Chemould Prescott Road, Mumbai in 2008;Vadehra Art Gallery, New Delhi in 2012, 2010-11, ’09, ’08, ’06, ’05, ’03, ’01, ’00, 1993 and ’92; Aicon Gallery, New York in 2013 and 2007, Pundole Art Gallery, Mumbai in 2005, 1999, ’92, ’90, ’86, ’84, ’83, ’78, ’76, ’73 and ’71; Arks Gallery, London in 1997; and Grosvenor Gallery, London in 1966. In 2002, Saffronart and Pundole Art Gallery organised a show of his work in Mumbai, New Delhi, San Francisco and New York. Other retrospectives of his work have been held at the National Gallery of Modern Art, New Delhi in 1994 and Lot 40 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 lives and works in New Delhi.

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 Lot 56 accolades, he has also received the National Scholarship from the Government of India and the All India Mini Sculpture Exhibition Award from AIFACS. He gradually moved from atmospheric scenery to representations of the human form. His more recent paintings are bold 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 location.

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Mazumdar, Chittrovanu (b. 1956) Born in 1956, Mazumdar graduated from the Government College, Kolkata, in 1981, with a First Class in Painting, and later studied at the Ecole des Beaux Arts in Paris. His most recent solo exhibitions were held at the Harrington Street Arts Center, Kolkata, in 2012; Apparao Galleries, Chennai, in 2010; 1 x 1 Art Gallery, Dubai, in 2009 and 2006; The Royal Academy of Arts, London, presented by Gallery 88, Kolkata, in 2006; Bodhi Art, New Delhi, 2005; the Seagull Foundation, Kolkata, in 2004; and Bose Pacia, New York, in 1997. Mazumdar has also participated in special exhibitions such as ‘Size Matters Or Does It?’ at Latitude 28, New Delhi, in 2010; ‘Recycled’ at Bose Pacia, Kolkata, in 2009; ‘November’ at 1 x 1 Contemporary, Dubai, in 2008, ‘Altered Realities’ at Aicon Gallery, Palo Alto, in 2006; ‘Paths of Progression’, Saffronart and Bodhi Art, Mumbai, New Delhi, New York, Singapore, in 2005; ‘Generation i’, Saffronart and Guild Gallery, Mumbai, in 2004; ‘Confluence Art Camp’ Alliance Francaise, Kolkata, in 1992; ‘Exhibition for the African National Congress’, Kolkata Information Center, Kolkata, in 1988. The artist currently lives and works in Kolkata.

Lot 52

Nair, Surendran (b. 1956) Born in Onkoor, Kerala, Surendran Nair did his BFA (Painting) from the College of Fine Arts, Kerala in 1982 and a Diploma (Printmaking) from M.S.U. Baroda four years later. He has had several solo shows of his work apart from participating in prominent group exhibitions. Among his select shows are Graphic Prints, Lalit Kala Akademi, New Delhi, 1986; India in Switzerland, Center Genevois de Gravure Contemporain, Geneva, 1987; The Labyrinth of Eternal Delight, Campbelltown City Bicentennial Art Gallery, Sydney, and Casula Power House, 1996; The New South, Delphina Studio Gallery, London, 1996; 6th Biennale of Contemporary Art, Bharat Bhavan, Bhopal, 1996; New Shoes for Mercury, Sakshi Gallery, Mumbai 1997; The Search Within, Kloster Pernegg, Graz, Austria, and The National Gallery of Modern Art, Delhi, 1998; The 1st Fukuoka Asian Art Triennale, Fukuoka Asian Art Museum, Japan, 1999; Capital and Karma – Lot 53 Recent Positions in Indian Art, Kunsthalle Wien,Vienna, Austria, 2002. The artist lives and works in Baroda.

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. Lot 41 Between 1960 and 1968, he served as Co-Editor of Seep, an Urdu literary magazine, and between 1970 and 1973, as President of the Pakistan Painters Guild. Among the artist’s many honours are medals and awards from the Pakistan Art Council, Karachi; the Ministry of Culture, Pakistan; and the Arts Council of Pakistan. In 2009, Naqsh was awarded the Sitara-e-Imtiaz by the Government of Pakistan, and in 2003, a retrospective of his work was held at the Mohatta Palace Museum in Karachi, a rare honour for a living artist. Naqsh lives and works in London, and is considered the only living modern artist from Pakistan.

Narayan, Badri (1929 - 2013) Born in Hyderabad, Badri Narayan is a self-taught artist. He has held over fifty solo exhibitions in various cities in India and internationally, the most recent being at the Viewing Room, Mumbai, in 2012; Mon Art Gallerie, Kolkata, in 2007-08; Pundole Art Gallery, Mumbai, in 2006, 2004, and 2002 and Galerie 88, Kolkata in 2002. Narayan has also represented India at the Bharat Bhavan Biennale, Bhopal, in 1992; the VII and II International Triennials, New Delhi, 1991 and 1971 respectively; the Festival of India, Moscow, in 1987; the V Biennale of Prints, Tokyo, in 1966; and the II Paris Biennale in 1961. He has exhibited with Saffronart Lot 4 Lot 24 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 the Lalit Kala Akademi, New Delhi, in 1965. Badri Narayan passed away in Bangalore in 2013.

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Narayanan, Akkitham (b. 1939) Born in 1939 in Kerala, Akkitham Narayanan received a Diploma in Painting from the Government School of Arts and Crafts, Chennai, India. He then studied at the Ecole des Beaux Arts, Paris on a Government scholarship. He has won the Tamil Nadu State Lalit Kala Akademi Award thrice. He is the recipient of the IV International Festival of Painting Award, in Cagnes-sur-Mer, France. Narayanan’s works have been exhibited widely in India and internationally. Akkitham Narayanan was awarded the “K.C.S. Paniker Puraskaram” by Kerala Lalitakala Academy in 2009 “in recognition of his assiduous art practice that has won him and his country international acclaim”. Akkitham Narayanan lives and works in Paris.

Lot 22

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-inresidence at the Stout State University, Wisconsin. His most recent solo shows include those held at the Priyasri Art Gallery, Mumbai, 2013; the Loft, Lot 28 Lot 8 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 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.

Patel, Jeram (1930 - 2016) Jeram Patel was born in 1930 at Sojitra in the Kaira district of Gujarat. He studied drawing and painting at Sir JJ School of Art, Mumbai between 1950 and 1955, and typography and publicity design at Central School of Arts and Craft, London for two years till 1959. Jeram Patel was one of the artists who turned around the Indian art scene and formulated a new visual identity and method of abstraction in the late 1950's and 60's. Alongside NS Bendre and Sankho Chowdhuri, who set up the Baroda School of Art, Patel, with artists like Jagdish Swaminathan, initiated one of the greatest changes in Indian art as a founder member of the short-lived artists' collective “Group 1890”. Patel has held oneman shows in London, New Delhi, Kolkata and Mumbai and has represented Lot 25 India at the Tokyo Biennale of 1963; the Sao Paulo Art Biennale in 1963; the Third World Biennale at Baghdad in 1980 and the Festival of India, London, in 1982. His works are featured in many prestigious collections including those at the National Gallery of Modern Art, New Delhi,the Museum of Chennai Art, Baghdad, Chandigarh University, the Lalit Kala Akademi, New Delhi, the Society of India, the Museum of Fine Arts in Bhopal and the Dhoomimal Gallery in New Delhi. Jeram Patel has been a recipient of the National Award from the Lalit Kala Akademi in 1957, 1963, 1973 and 1984 and National Award for Design in 1976. He has also won a silver medal from the Bombay Art Society in 1960. In 1994, he was awarded the Emeritus Fellowship from the Government of India. The artist passed away in 2016.

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Prabha, B (1933 - 2001) Born in Nagpur, Maharashtra, Prabha studied at the Sir J.J. School of Art, Mumbai. In 1956, she had her first exhibition together with her husband and fellow artist, B. Vithal. Since then, she has held about fifty exhibitions in India and internationally, including ‘Shradhanjali’in Mumbai, dedicated to Vithal in 1993; and exhibitions at Kumar Gallery, New Delhi, in 1961 and 1959.

Since her death in 2001, her work has been featured posthumously in several group shows, including ‘Winter Moderns’, at Aicon Gallery, New York in 2008; and ‘Pot Pourri’ at Gallery Beyond, Mumbai, in 2008. Prabha won the first prize at the Bombay State Art Exhibition in 1958, and also received the All India Fine Arts and Crafts Society (AIFACS) Award, New Delhi.

Lot 5

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 Lot 11 Lot 49 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 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, Syed Haider (1922 - 2016)

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Born in 1922 in Babaria, Madhya Pradesh, Raza graduated from the Nagpur School of Art in 1943 and the Sir J.J. School of Art, Mumbai in 1947.

He was one of the founding members of the Progressive Artists’ Group in 1948. After receiving a French Government Scholarship in 1950 he left for Ecole Nationale des Beaux Arts, Paris, where he was awarded the Prix de la Critique in 1956. In 1962 he served as a visiting lecturer at the University of California in Berkeley, USA. Raza has several solo exhibitions to his credit, including ‘Paysage: Select Works 1950s-1970s’, Dubai, ‘Parikrama: Around Gandhi’, Vadehra Art Gallery, New Delhi, in 2014; ‘Shabd-Bindu’, Akar Prakar, Kolkata, in 2013; ‘Vistaar’, Art Musings and Jehangir Art Gallery, Mumbai, in 2012-13, ‘Bindu Vistaar’, Grosvenor Gallery, London, in 2012; ‘Punarangman’, Vadehra Art Gallery and Lalit Kala Akademi, New Delhi, in 2011; ‘Ones’ at Vadehra Art Gallery, New Delhi, in 2011 and 2010; Tao Art Gallery, Mumbai, 2008 and 2006; and Saffronart and Berkeley Square Gallery, London and New York, 2005. In 2007 Saffronart held a major retrospective of his work in New York. Raza’s work has been exhibited in several group exhibitions including those at Aicon Gallery, New York and London, in 2014, ’13, ’12, ’11 and ’10; the Museum of Fine Art, Boston, in 2009; Grosvenor Gallery, London, Mumbai, 2004; Saffronart and Pundole Art Gallery, New York, 2001 and 2002; and Saffronart, Hong Kong and Los Angeles, 2001 among several others. Raza received a Lalit Kala Ratna from the Lalit Kala Akademi, New Delhi in 2004, and a Padma Bhushan and Padma Shri from the Government of India in 2007 and 1981 respectively. The Madhya Pradesh State Government also awarded him with the Kalidas Samman in 1996-97. Raza lived and worked in Paris and Gorbio, France, till 2011, and moved back to India, where he currently works.

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Santhosh, T.V. (b. 1968) Born in Kerala, T.V. Santosh completed his Bachelor’s degree in Fine Arts, specialising in sculpture, from Kalabhavan, Santiniketan, in 1994. He then studied at the Faculty of Fine Arts of M.S. University, Baroda, completing his Master’s degree in the same there in 1997. T.V. Santosh’s first solo show ‘One Hand Clapping/Siren’ was presented by the Guild Art Gallery at Jehangir Art Gallery, Mumbai, in 2003. Santosh has since held several solo shows including ‘Blood and Spit’ at Jack Shainman Gallery, New York, in 2009; ‘Living with a Wound’ at Grosvenor Vadehra, London, in 2009; ‘A Room to Pray’ at Avanthay Contemporary, Zurich, in 2008; ‘Scars of An Ancient Error’ at the Singapore Art Fair in 2006; ‘False Promises’ at Grosvenor Gallery, London, in 2005; and ‘Unsolved Stories’ at Nature Morte, New Delhi, in 2004. Santosh has also participated in group shows like ‘Expressions at Tihar’ at Indira Gandhi National Centre for the Arts, New Delhi, in 2009; ‘Passage to India, Part II: New Indian Art from the Frank Cohen Collection’ at Initial Access, Wolverhampton, in 2009; Lot 51 ‘My little India’ at Marella Gallery, Beijing, in 2009; and ‘Where In The World’ at the Devil Art Foundation, New Delhi, in 2008-09. The artist was awarded Kerala Lalit Kala Academy State Award, a National Scholarship and the Kanoria Scholarship, Ahmedabad, all in 1997. The artist lives and works in Mumbai.

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 197071. 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 Lot 12 internationally, in Paris, London, Germany, Tokyo and in USA. Sen passed away in October 2008.

Lot 35

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: Lot 50 Lot 37 depicting beautiful scenes from the rainforest to promote public awareness of environmental degradation in his native Sri Lanka and around the world. Senanayake’s work shows a fervent passion for nature’s beauty and a great knowledge of the flora and fauna of the rainforest. His work has been shown at most parts of Europe and South Asia with critical acclaim. Till date he has more than 100 solo shows to his credit, and numerous group shows in the countries of Europe, China, Australia, Japan, Singapore, Czechoslovakia, Korea and Egypt to name a few. His work has been documented by Metro Goldwyn, British Movietone News, BBC TV, London, Yeo Soo TV, South Korea, TV Austria, and Star TV, India. Various journals, magazines and newspapers such as The New York Sunday Times, Washington Post, London Times, Weser Kurier, Germany, UNESCO Features, Paris, National Geographic Magazine, Asia Week and many others, have devoted their mediums to document Senaka’s work. He lives and works in Sri Lanka.

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Shah, Himmat (b. 1933) Born in Gujarat in 1933, Shah initially began his education at the Sir J. J. School of Art, Mumbai but then moved to the Faculty of Fine Arts, Baroda. In 1966-67 he studied etching under S.W. Hayter and Krishna Reddy at Atelier 17 in Paris. Shah has had several solo exhibitions of his works since 1965, the most recent one being held at Jehangir Nicholson Gallery, Mumbai, in 2007; and Berkeley Square Gallery and Saffronart, London, in 2007. Other exhibitions include those held at Anant Art Gallery, New Delhi, in 2005; Art Heritage Gallery, New Delhi, in 2002; Sakshi Gallery, Mumbai, 1994; Dhoomimal Art Gallery, New Delhi, in 1979; and Gallery Chemould, New Delhi and Mumbai, in 1966. Shah’s works have also been selected to represent India in many international exhibitions, including Lot 59 Lot 60 ‘Rediscovering the Roots’ at the Museo de la Nacion, Lima, in 1997; ‘Contemporary Indian Art’ at the Ludwig Museum, Budapest, at 1997; ‘Festival of India’, London, in 1982; and ‘Indian Painting Today’, London, in 1965. Shah was honoured with the Kalidas Samman in 2003, the Sahitya Kala Parishad Award, New Delhi, 1988, and the Lalit Kala Akademi National Award for painting in 1959 and 1962. He lives and works in New Delhi and Jaipur.

Shreshtha, Laxman (b. 1939) Laxman Shreshtha was born in Nepal in 1939. After securing a degree at the University of Patna, the aspiring artist moved to Mumbai to join the Sir J.J School of Art where he did a diploma in painting (1957-62). Later he went to Europe to further hone his skills at the Ecole Nationale des Beaux Arts in Paris followed by a stint at London’s Central School of Art (1970). He also studied at the Academie Grande Chaumiere, S.W. Hayter’s Atelier 17, Paris (1964-67) apart from undertaking a study tour to Baltimore and San Francisco in 1971.

His debut exhibition took place at Mumbai’s Taj Art Gallery (1963), which led to several shows in India and internationally. Among his selected solo exhibit are the ones at Jehangir Art Gallery, Mumbai (2008, 2003, 1994); ‘Elaborations’, Lot 29 Recent works in Black and White, Pundole Art Gallery, Mumbai (2007); ‘Inaugural Show’, Prithvi Art Gallery, Mumbai (1994); Gallery Chemould, Mumbai (1968); and a show at Tribhuwan College, Kathmandu, Nepal almost five decades ago. His selected group shows are ‘Aqua’, Gallery Beyond, Mumbai, ‘One Eye Sees, the Other Feels’, The Viewing Room, Mumbai (both in 2012); ‘Point and Line to Plane VI’, Gallery Beyond (2008); ‘Tribute to Picasso’, Guild Art Gallery, Mumbai (2002); ‘Aspects of Modern Indian painting’, courtesy Saffronart and Pundole, Metropolitan Pavilion, New York (2002, 2001); ‘Ideas and Images – Part IV’, NGMA, Mumbai (2002); ‘The Search’, Apparao-Wallace Galleries, New York (1997); ‘Image Beyond Image’, Glenbarra Art Museum Collection, Japan, NGMA (1997); ‘50 Years of Freedom of Expression’, Jehangir Gallery (1997); 25 Years of Indian Art, Rabindra Bhavan, Delhi (1972); Baltimore and San Francisco (1971); Maisons des Beaux Arts, Paris (1966); Salle de la Presse, French Foreign Ministry, Paris (1966); and ‘Inaugural Exhibition’, Gallery Chemould (1963).

Shreshtha’s abstract works are both sensuous and meditative in their shifts and balances of colour. Though abstract, his paintings have a sense of intrigue in them, that leaves the observer, and Shreshtha himself, as he confesses, trying to understand the shades of meaning they present. The artist lives and works in Mumbai.

Souza, Francis Newton (1924 - 2002)

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Born in 1924 in Saligao, Goa, Souza was expelled from the Sir J.J. School of Art, Mumbai, in 1942 for taking part in the ‘Quit India’ freedom movement. He went on to found the Progressive Artist’s Group in 1948, before leaving for London a year later. In 1955 Souza held a one-man show at Gallery One in London and also had his autobiographical essay ‘Nirvana of a Maggot’ published. He was awarded the John Moore Prize at the Walker Art Gallery, Liverpool in 1957 and received an Italian Government Scholarship in 1960. In 1959 a collection of his autobiographical essays, ‘Words and Lines’, was published, and in 1962 a monograph on his work by Edwin Mullins was published as well. In 1967 Souza migrated to New York where he received the Guggenheim International Award. Two retrospectives of his work were 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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Subramanyan, K.G. (1924 - 2016) Born in Kerala in 1924, Subramanyan received his art education at Kala Bhavan, Santiniketan, and the Slade School of Art, London. He continued painting and teaching over the next few decades, and was appointed a fellow of the National Lalit Kala Akademi in 1985, and a Christensen Fellow at St. Catherine’s College, Oxford, in 1987-88. Subramanyan also served as Dean at the Faculty of Fine Arts, M.S. University, Lot 17 Lot 16 Lot 31 Baroda, and in 1989 was appointed Professor Emeritus at Santiniketan. He has had numerous solo and group exhibitions, and participated in several major Biennales and Triennales. A retrospective exhibition of his work was held in 2003 at the National Gallery of Modern Art, New Delhi and Mumbai. Subramanyan was awarded the Padma Bhushan by the Government of India in 2006. In recognition of his varied contributions to the development of Indian art he was awarded the Shiromani Kala Puraskar by the Government of India in 1994. In 1966 Subramanyan was awarded the John D. Rockfeller III Fund Fellowship.

Subramanyan lives and works in Baroda.

Sud, Anupam (b. 1944) Born in 1944, Anupam Sud received a Diploma in Fine Arts from the College of Arts, New Delhi, 1967, studied Printmaking at Slade School, London, 1971-72 and went on a study tour to the USA under the CICA Fellowship, 1990. She engages in socially relevant themes, human impasse and then represents them by fusing various mediums like the intaglio process, lithographs and screen printing. Depiction of architectural forms, limbs and human figures in the mid-1970s to feminist subjects in the late 70’s, her work has evolved in phases. She is one of the finest intaglio print makers in India and one of the founder members of ‘Group 8’, formed in 1968, to promote and sustain printmaking as an independent expressive art form. Anupam has won 19 awards between 1969 to 1985, including the Sahitya Kala Parishad award,1980-84; a Certificate at the Egyptian Lot 47 International Print Biennale, 1994; the President of India’s Silver plaque of 65th and 66th All India Annual Art exhibition, All India Fine Arts & Crafts Society, Special Award, New Delhi,1995; International Print Biennale, Bharat Bhawan, Bhopal, 1995. Her works are in many private collections including NGMA, the Victoria & Albert Museum, London. She lives and works in New Delhi.

Vaikuntam, Thota (b. 1942) Vaikuntam was born in 1942 in Andhra Pradesh. He studied at the College of Fine Arts and Architecture in Hyderabad. In 1971, he won the Lalit Kala Akademi Fellowship to study at the M.S. University, Baroda. He has had several solo and group shows internationally and in India, including New Delhi, Mumbai and cities in South India. His recent solo shows include the 2011 ‘Metamorphosis: The Changing World of Thota Vaikuntam’ at the Art Alive Gallery in New Delhi, as well as the 2011 ‘Memoire du passe 19791999’ at the Latitude 28 gallery, New Delhi. His works have also been exhibited in New York, London, Birmingham and Kassel. His work was shown at the VII Triennale, New Delhi, and he has also exhibited with Lot 34 Lot 44 Saffronart in Los Angeles and Hong Kong in 2001. Vaikuntam won the Bharat Bhavan Biennale Award, Bhopal in 1988, as well as the National Award for Painting from the Government of India in 1993. The artist lives and works in Hyderabad.

We would like to thank Matthew Lazarus Image courtesy S.H. Raza (A Life in Art: Raza, published by Art Alive Gallery) Akbar Padamsee, K.G. Subramanyan, A. Ramachandran (Manisha Gera Baswani)

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MODERN AND CONTEMPORARY SOUTH ASIAN ART INAUGURAL ONLINE AUCTION 17 - 21 MARCH 2016 Inaugural Online Auction Sales US$ 1,058,100 96% of Lower Estimate Value Sold | 80% Lots Sold

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