ARTIANA | South Asian Art | Online Auction | No Buyer's Premium | 24-28 September, 2020 | Sale 2004

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

24 - 28 SEPTEMBER 2020

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

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SOUTH ASIAN ART MODERN AND CONTEMPORARY SALE NUMBER: 2004 ONLINE AUCTION SEPTEMBER 24 - 28, 2020

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auction@artiana.com info@artiana.com Additional information on the buying process is available on page 85 Additional information on the FlexiPay scheme is available on page 92 This auction is conducted under the Conditions of Sale as stipulated in the catalogue on page 94 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, 2020 Front Cover: Lot 30 Inside Front Cover: Lot 6 & Lot 40 (detail) Page 3-4: Lot 10 (detail) Page 6: Lot 11 (detail)

Page 84: Lot 26 (detail) Inside Back Cover: Lot 3 & Lot 15 Back Cover: Lot 20

CONTENTS SALE GUIDE 10 MODERN AND CONTEMPORARY SOUTH ASIAN ART LOTS 1 - 50 85 IT’S EASY TO BUY AT ARTIANA 86 AUCTION CLOSING SCHEDULE 87 WRITTEN / ABSENTEE BID FORM 88 BIDDING INCREMENTS 89 BUYING AT ARTIANA 92 FINANCE AT ARTIANA 94 CONDITIONS OF SALE 99 ARTIANA GUARANTEE 101 COLLECTION AND STORAGE 102 ARTIST PROFILES AND INDEX

LOT 1

JAMINI ROY

(1887 - 1972) Untitled tempera on cloth 26.25 x 33.5 in. (67 x 85.5 cm.)

US$ 16,000 - 24,000

Unsigned

PROVENANCE Private collection, Dubai

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

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LOT 2

MAQBOOL FIDA HUSAIN (1915 - 2011)

Signed and dated 'Husain / 20-3-90' (lower left) Untitled (Mother Teresa) watercolor on paper 21.25 x 29 in. (54 x 73.7 cm.) painted in 1990

US$ 10,000 - 15,000

PROVENANCE Private collection, Dubai (A Certificate of Authenticity signed by the artist, and a photograph of the artist signing the certificate for the present owner accompanies the lot.)

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LOT 3

RAM KUMAR (1924 - 2018)

Untitled (Benares) oil on canvas 36 x 24 in. (91.4 x 61 cm.) painted in 1982

US$ 35,000 - 50,000

Signed, dated and inscribed 'Ram Kumar 82 / 36 x 24' (on the reverse)

PROVENANCE Sotheby's / Sale # N08889/ Lot 41 / Modern & Contemporary South Asian Art /New York / 19 March 2012 Private collection, Asia Sotheby's / Sale # L17500 / Lot 69 / Modern & Contemporary South Asian Art / London / 25 October 2017 Private collection, Dubai

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

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LOT 4

KRISHEN KHANNA (B. 1925)

Signed 'Kkhanna' (lower right) Further signed and inscribed 'Kkhanna / oil on canvas' (on the reverse)

Untitled (Bandwallas) oil on canvas 24 x 36 in. (60.8 x 91.3 cm.)

PROVENANCE

US$ 30,000 - 50,000

Saffronart / Lot 14 / Winter Online Auction / New York, New Delhi & Mumbai / 9-10 December 2019 Dhoomimal Gallery, New Delhi

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LOT 5

K.LAXMA GOUD (B.1940)

Untitled (Couple) mixed media on paper 6.75 x 7.25 in. (17.1 x 18.4 cm.) painted in 2002

US$ 3,000 - 5,000

Signed and dated in Telugu (lower right)

PROVENANCE Acquired directly from the artist Private collection, Dubai

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

19

The nude has been a recurring theme in Akbar Padamsee's work starting from the 1950s. The stylistic evolution from the sharply defined figures to the almost abstracted figures of his later compositions on the subject provides a fascinating insight into the development of his visual language and creative process of the prominent artist.

Throughout his career, the artist has been enthralled with mapping the human form and capturing its emotive qualities using portraits and heads to experiment. His portraitures, however, are portrayed vaguely with a deep focus on the construction of the form rather than in the details of representation. In the picture, the central character is portrayed in a hazy dream-like scenario, almost as if the viewer is intruding into a private moment.

The bold red color of the background juxtaposed with the nude sets the emotive tone in the image while the ingenious use of texture gives the body sculptural presence and dimensionality.

Clearly, Padamsee's artistic concerns do not lie in the realist depiction but instead on the overall structure of the picture. Curiously, despite the detached treatment of the theme, Padamsee was able to maintain a sense of sensitivity to the lived experience of his subjects.

'Sensitivity to the human presence has been Akbar Padamsee's obsession, inspiration, and purpose of his art.

Direct in a nearly-tactile way, but also sublimated and universalized, his heads and nudes initially exude a feeling of almost real persons. Gradually, however, they reveal themselves as distanced and generalized. Sometimes strong, even harsh in their impact, and sometimes indistinct and ethereal. Padamsee's images are never portraits of identifiable people. In fact, they resemble a residual vision after an encounter. An aura is left by a presence transposed in the memory. They come through like quick notations of transitory meetings, the heads and bodies deeply attuned to what is experienced within them, while also absorbing the proximity of their surroundings, especially other human presences. The background becomes a part of the human situation imprinting it character and compulsions on people, and in turn, being influenced by them - the process both violent and soothing.'

(Marta Jakimowicz, Tracing Shadows of the Sublime, Akbar Padamsee Works on Paper - Critical Boundaries, Pundole Art Gallery, Mumbai, 2004)

LOT 6

AKBAR PADAMSEE (1928 - 2020)

Nude oil on canvas 54 x 36 in. (137 x 91.5 cm.) painted in 1992

US$ 70,000 - 100,000

Signed and dated 'Padamsee 92' (upper right)

PROVENANCE Sotheby's / Sale # N08222 / Lot 150 / Indian Art Including Miniatures & Modern Indian Paintings / New York / 19 September 2006 Corporate collection, India Saffronart / Lot 50 / Modern Evening Sale / Mumbai / 15 February 2014 Private collection, Singapore

PUBLISHED The Making of Modern Indian Art: The Progressives, Oxford University Press, New Delhi, 2001, pg. 141 (illustrated) Akbar Padamsee: Work in Language, Marg Publications in association with Pundole Art Gallery, Mumbai, 2010, pg. 89 (illustrated)

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LOT 7

SAKTI BURMAN (B. 1935)

Les Magiciens oil in canvas 29 x 23.5 in. (73.7 x 59.7 cm.)

US$ 35,000 - 55,000

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ARTIANA

Signed 'Sakti Burman' (lower right)

PROVENANCE Private collection, London

LOT 8

BADRI NARAYAN (1929 - 2013)

Welcoming The Six Tusked Elephant watercolor on paper 19.5 x 27 in. (49.5 x 68.6 cm.) painted in 2005

US$ 8,000 - 12,000

Titled, signed, dated, and inscribed 'Welcoming The 6-tusked Elephant /

by Badri Narayan / watercolor / 29th Dec. 2005 / Bangalore' (on the reverse)

PROVENANCE Private collection, Mumbai

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LOT 9

PARESH MAITY (B. 1965)

Untitled oil on canvas 44.5 x 43.5 in. (113 x 110.5 cm.) painted in 1997

US$ 12,000 - 18,000

Signed and dated 'Paresh Maity '97' (lower center) Further signed and dated 'Paresh Maity '97' (on the reverse)

PROVENANCE Private collection, Dubai

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25

Producing works that are rooted in Indian sensibility, Maqbool Fida Husain made use of his country's deep repertory of symbols by depicting them into his works and cultivating a visual vocabulary ripe with metaphor and meaning. His symbolism ranged from the literal representation of cultural icons like Mother Teresa and Gandhi, allegorical masterpieces with narrative borrowed from the great epics, the cinema, and traditional folk elements. He made use of these remarkably common symbols and employed them profoundly, oftentimes bordering on the mystical.

Here, Husain uses one of his recurring motifs of animals. Portrayed in dynamic and energetic strokes and teeming with associated meaning and a plethora of references. Depicting the figures in sharp lines, the animal forms appear frenzied, exuding palpable power and movement. The hand gesturing a mudra gives corporeality to an otherwise intangible presence while consequently asserting Husain's very own brand of symbolism.

A brilliant colorist, Husain devised a unique color scheme heightening the imagery and lending depth and vibrance to his work. The deliberate use of bold, thick lines provides his figures motion and potency while emphasizing the economy of his lines as an integral part of his genius. The artist posits: "Line is a virile force with keen latent mobility, which despite being imperceptible in nature, is constantly striving to assert itself." (As quoted in Yashodhara Dalmia, The Making of Modern Indian Art: The Progressives).

LOT 10

MAQBOOL FIDA HUSAIN (1915 - 2011)

Untitled (Two Horses with Elephant) acrylic on canvas 40.5 x 60 in. (102.9 x 152.4 cm.) painted circa 1970s

US$ 160,000 - 240,000

Signed in English and Devanagari (on the reverse) Inscribed '101 x 152' (on the reverse) Bearing 'Hamish Dewar Fine Art Conservation' label (on the stretcher)

PROVENANCE Acquired directly from the artist Private collection, Italy Saffronart / Lot 9 / Summer Online Auction / 10-11 June 2015 Private collection, London

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LOT 11

MAQBOOL FIDA HUSAIN (1915 - 2011)

Untitled (Laxmi) acrylic on canvas 54.5 x 34.75 in. (136 x 88 cm.) painted in 1998

Signed and dated 'Husain '98' (upper left)

PROVENANCE

US$ 200,000 - 300,000

Acquired directly from the artist by the present owner

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LOT 12

B. PRABHA

(1933 - 2001) Untitled oil on canvas 48 x 60 in. (121.9 x 152.4 cm.) painted in 1983

US$ 50,000 - 70,000

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ARTIANA

Signed and dated 'B Prabha 83' (center right)

PROVENANCE Private collection, Kolkata Private collection, Dubai

LOT 13

GANESH PYNE (1937 - 2013)

Vulture tempera on canvas 21.25 x 15.75 in. (54 x 39.9 cm.) painted in 1982

US$ 80,000 - 120,000

Signed and dated in Bengali (lower left) Further signed and dated in Bengali (on the reverse)

PROVENANCE Private collection, Mumbai Vadehra Art Gallery, New Delhi Saffronart / Lot 61 / Modern Indian Art / Online Auction / 5-6 December 2018 Private collection, Dubai

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LOT 14

AKBAR PADAMSEE (1928 - 2020)

Signed and dated 'Padamsee '07' (lower right)

PROVENANCE Untitled oil on canvas 36 x 24 in. (91.4 x 60.9 cm.) painted in 2007

US$ 30,000 - 50,000

32

ARTIANA

Guild Art Gallery, Mumbai.

Private collection, Dubai Artiana / Sale 1601 / Lot 14 / South Asian Art Modern and Contemporary / Dubai / 17-21 March 2016 Acquired from the above

LOT 15

RAM KUMAR (1924 - 2018)

Untitled (Landscape) oil on canvas 36 x 22 in. (91.5 x 56 cm.) painted in 1998

US$ 30,000 - 50,000

Signed and dated 'Ram Kumar 98' (on the reverse) Inscribed '36 x 22' (on the back of the frame)

PROVENANCE Vadehra Art Gallery, New Delhi Private collection, Germany Sotheby's / Sale # L17500 / Lot 70 / Modern & Contemporary South Asian Art / London / 25 October 2017 Private collection, Dubai

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The idea of nature remained ingrained prominently to S.H. Raza's works through the ages. He posited that man is intrinsically linked to his surroundings and has a keen awareness of his environment and the element that constitute it, hence, the inspiration of the Indian and French landscape into his works; and prominent use of the colors of nature.

Despite leaving India for France in 1950, Raza maintained a deep bond with the landscape of his native country. The compilation of memories from his childhood and his numerous visits after would later manifest themselves in various forms in his canvases as he continued to address this subject during his long illustrious career.

One of several paintings of the same name that evoke memories of the artist's homeland, the current lot Rajasthan, seen here, is painted in 1998.

The style represents Raza's more mature phase mark by the return to his source and borrowing inspiration from Rajasthan miniatures not just on the composition but also the palette. The flaming colors pulsate across the canvas depicting the rhythms of nature while evoking the vibrancy and spirit of both the Indian landscape and its people.

"Rajasthan becomes a metaphor for the colors of India: of vibrant greens and vermilion and ochres, as also blacks. Rajasthan is the mapping out of a metaphorical space in the mind which is then enclosed with a broad border in vermilion... The image becomes thus enshrined as an icon, as sacred geography." (G. Sen, Bindu: Space and Time in Raza's Vision, New Delhi, 1997, p. 98.)

LOT 16

SAYED HAIDER RAZA (1922 - 2016)

Rajasthan acrylic on canvas 39.25 x 39.25 in. (100 x 100 cm.) painted in 1998

US$ 100,000 - 150,000 PROVENANCE Private collection, Dubai Signed and dated 'Raza '98' (lower center left) Further signed, dated, inscribed and titled 'Raza / 1998 / 100 x 100 cm / "Rajasthan" / Acrylic on canvas' (on the reverse) Further signed in Hindi (on the reverse)

PUBLISHED Alain Bonfand, Raza, Editions de La Différence, Paris, 2008, pg. 175 (illustrated)

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LOT 17

G. R. SANTOSH (1929 - 1997)

Untitled oil on canvas 20 x 16 in. (51.1 x 40.7 cm.) painted in 1973

US$ 10,000 - 15,000

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ARTIANA

Signed in Devanagari (on the reverse) Further signed and dated '73/ SANTOSH' (on the reverse)

PROVENANCE Gallery Chanakya, New Delhi Sotheby's / Sale # L15500 / Lot 65 / Modern and Contemporary South Asian Art / London / 6 October 2015 Private collection, Singapore

LOT 18

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

US$ 35,000 - 55,000

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)

PROVENANCE Acquired directly from the artist Private collection, Dubai Artiana / Sale 1602 / Lot 27 / South Asian Art - Modern & Contemporary / Dubai / 13-17 October 2016 Acquired from the above

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LOT 19

SAKTI BURMAN (B. 1935)

Untitled watercolor on paper 19.5 x 25.5 in. (50 x 65 cm.) painted circa mid 1960s

US$ 3,000 - 5,000

38

ARTIANA

Signed 'Sakti Burman' (lower right)

PROVENANCE Acquired directly from the artist Atypiczone, Paris

LOT 20

SAYED HAIDER RAZA (1922 - 2016)

Prakriti acrylic on canvas 39.25 x 39.25 in. (100 x 100 cm.) painted in 2006

US$ 200,000 - 300,000

Signed and dated 'Raza 06' (lower right) Further signed, dated, titled and inscribed 'Raza / 2006 / 100 x 100 cm. / "Prakriti" / acrylic on canvas (on the reverse) Further titled in Hindi (on the reverse)

PROVENANCE Tao Art Gallery, Mumbai Private collection, USA

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LOT 21

THOTA VAIKUNTAM (B. 1942)

Untitled (Ganesha) acrylic on canvas 60 x 48 in. (152.4 x 121.9 cm.) painted in 2012

US$ 50,000 - 70,000

Signed in Telugu (lower left)

PROVENANCE Acquired directly from the artist by the present owner

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LOT 22

Signed and dated in Bengali (lower left)

LALU PRASAD SHAW

PROVENANCE

(B. 1937)

Untitled tempera on board 21 x 14.5 in. (53.3 x 36.8 cm.) painted in 2015

US$ 7,000 - 9,000

42

ARTIANA

Private collection, Dubai

EXHIBITED Lalu Prasad Shaw: A Dual Discourse, The Fine Art Advisory, Dubai, 25 April - 24 May 2015

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

LOT 23

KRISHEN KHANNA (B.1925)

Untitled (Ganesha) oil on canvas 16 x 20 in. (40.6 x 50.8 cm.)

US$ 7,000 - 10,000

Signed and inscribed 'Krishen Khanna / For Nitin in friendship' (on the reverse)

PROVENANCE Acquired directly from the artist Private collection, Mumbai

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LOT 24

MAQBOOL FIDA HUSAIN (1915 - 2011)

Equus Nine watercolor on paper 21.5 x 15.5 in. (54.6 x 39.4 cm.)

US$ 20,000 - 30,000

44

ARTIANA

Signed 'Husain' (lower right) Titled 'Equus nine' (lower left)

PROVENANCE Gallery 10, Vienna Private collection, Dubai

EXHIBITED Gallery 10, Vienna (The artist in the exhibition with this painting in the background.)

LOT 25

G. R. SANTOSH (1929 - 1997)

Untitled oil on canvas 34.25 x 24 in. (87 x 61 cm.) painted in 1969

US$ 8,000 - 12,000

Signed and dated 'G.R. Santosh '69' (on the reverse)

PROVENANCE Dhoomimal Art Centre, New Delhi Private collection, Singapore

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LOT 26

JOGEN CHOWDHURY (B. 1939)

Kamalakshi 9.75 x 6.75 in. (24.9 x 17.5 cm.) pen, ink, and pastel on paper painted in 2018

US$ 10,000 - 15,000

46

ARTIANA

Signed in English 'Jogen' (upper left) Initialed in Bengali (upper right) Dated '2018' (lower right)

PROVENANCE Sanchit Art, New Delhi Private collection, Dubai

LOT 27

A.RAMACHANDRAN (B. 1935)

Papudi Chote Banja watercolor and ink on paper 15 x 11 in. (38 x 28 cm.) painted in 2000

US$ 6,000 - 8,000

Signed, dated and inscribed 'Papudi Chote Banja / 27.11.2000 / Ramachandran' (lower right) Bearing the artist's stamp (lower right)

PROVENANCE The Guild Art Gallery, Mumbai Private collection, Dubai

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LOT 28

FRANCIS NEWTON SOUZA (1924 - 2002)

Head oil on linen laid on canvas 30 x 19.25 in. (76.5 x 49 cm.) painted in 1963

US$ 60,000 - 90,000

Signed and dated 'Souza 63' (upper right) PROVENANCE Sotheby's / Lot 23 / Indian and Southeast Asian Art / 29 March 2006 Artiana / Sale 1801 / Lot 41 / South Asian Art - Classical, Modern and Contemporary / Dubai / 10-14 May 2018 Acquired from the above

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"Abandoning his stringent-abstractionist persona, Ram Kumar declares himself an amorist of the landscape. The true object of his art is not to render the landscape, but to love it: the true subject of his art is the landscape as Beloved." (Ranjit Hoskote, Ram Kumar: Selected Works 1950-2010, Vadehra Art Gallery, 2010, unpaginated) Kumar had given his own interpretation of India's topography in his abstract landscapes, affirming the harmony and the power of nature in its subtlety. His poetic and elevating use of line offers a glimpse of semi-representational forms that gives meaning to the overall composition. He depicted figure of trees rising and rupturing the abstract vista with colors flowing naturally around it. Warm autumn hues lie embedded in the color fields, interrupted by the sporadic pink and blues, that signifies a break in the landscape and a change in the physical features of the land.

The lyrical mix of colors and patterns lend the picture the desired spontaneity.

LOT 29

RAM KUMAR (1924 - 2018)

Signed and inscribed 'Ram Kumar / 33 x 52' (on the reverse)

Untitled acrylic on canvas 33 x 52 in. (84 x 132 cm.)

PROVENANCE

US$ 50,000 - 70,000

Acquired directly from the artist Private collection, New Delhi

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Much like his predecessors and peers, M.F. Husain was drawn to the subject of India's colonial past. He started working on a series of Raj theme paintings that embody his take on this period of Indian history by the 1980s. Dubbed originally as the 'Images of the Raj' when the artist first started producing them, their themes and motifs would subsequently spill over to Husain's succeeding series until the later part of his life. But compared to other artist's serious treatment of the subject, Husain's Raj bordered on the satirical, combining elements of history and witty commentary on the effects of Raj on society and oftentimes juxtaposing contrasting subjects in the painting to illustrated the opposing dynamics present, 'each subtly absorbing the identity of the other and each equally subtly resisting that absorption.' (D. Herwitz, Husain, 1988, p. 19.)

Arguably one of Husain's more popular series, the period of British colonial rule or most commonly referred to as the Raj, resulted in some of the sharpest, perceptive, and also most spirited, of works that he produced throughout his prolific career. "These works are densely packed with objects and people (British and native, high and low, male and female) and some animals as well, brought together in narrative action enormously revealing of the anxieties of imperial rule in India, even as their absurdities elicit a chuckle or smile from the viewer."

(Sumathi Ramaswamy, Husain's Raj, The Marg Foundation, June 2016, pg. 12) Titled 'Afternoon Tea after the Kill,' Husain depicts two of the most British tradition during the era, tea time and tiger hunting. With the sport referred to as 'colonial hunt.' The picture alludes to the defeat of the tiger, the conquest of India, and the eventual lengthy crown rule that follows. But aside from the obvious interpretation, the fallen animal was depicted resembling 'Tipu's Tiger,' a mechanical tiger savaging a British soldier commissioned for Tipu Sultan, ruler of Mysore, and one of the fiercest and implacable enemies of the British. He was, however, defeated and killed in 1799. While the 'colonial hunt' represented domination of nature and natives, it also became the point of contention within the elite due to the perceived connection between hunting, power, and privilege, as hunting came to be regulated by laws by the 1900s.

Like his other paintings, his figures are intentionally obscure with vague references to historical figures that are often intentionally fictionalized. Here, the featureless Western lady wears a sleeveless dress with a sunhat, her companion is draped in his hunting garb while his counterpart is dressed in the majestic garb of a Maharaja. The tiger is placed most prominently in the center, reminiscent of photographs of British royalty photographed aside dead tiger carcasses from the same period. The Shikars, the traditional Indian hunters turned guide, is seen atop the elephant almost blending with the background.

Husain's recall of the Raj is intensely personal but also fiercely political, a painter for the people, he immortalized each period of Indian history in his canvases, celebrating and informing his audience of the amalgamation of periods that gave rise to the composite culture of the present. By choosing to cast his eyes back to this particular period, he produced powerful works charge with nationalism and humor that are global in its form yet deeply Indian in its content.

LOT 30

MAQBOOL FIDA HUSAIN (1915 - 2011)

Signed 'Husain' (upper left) Titled in the artist's handwriting in a book cataloging the owner's collection of M.F. Husain's works.

PROVENANCE Afternoon Tea After the Kill acrylic on canvas 40 x 60 in. (101.6 x 152.4 cm.) painted in 1989

US$ 250,000 - 350,000

Acquired directly from the artist by the present owner (The paintings of the present owner were catalogued by the artist in a book, a copy of the page illustrating the painting and title from this book accompanies the lot.)

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LOT 31

SAKTI BURMAN (B. 1935)

Untitled oil on canvas 36 x 29 in. (91.4 x 73.7 cm.) painted in 2009

US$ 50,000 - 70,000

Signed 'Sakti Burman' (lower right) Further signed, dated and inscribed 'Sakti Burman / 2009 / SKBN / MAR10 / CEX / 02 / Size 36 x 29'

PROVENANCE Acquired directly from the artist Atypiczone, Paris

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LOT 32

MANU PAREKH (B. 1939)

Moonlight Prayer in Banaras acrylic on canvas 48 x 120 in. (121.9 x 304.8 cm.) diptych 48 x 60 in. (121.9 x 152.4 cm.) each panel painted in 2018

US$ 50,000 - 70,000

Signed in Hindi and dated 18' (lower left)

PROVENANCE Private collection, Dubai

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LOT 33

FRANCIS NEWTON SOUZA (1924 - 2002)

Untitled (Nude) oil on canvas 32.25 x 21.25 in. (82.2 x 54.3 cm.) painted in 1965

US$ 100,000 - 150,000

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ARTIANA

Signed and dated 'F.N. SOUZA 1965' (on the reverse) Inscribed '32 1/2 x 22' (on the reverse)

PROVENANCE Christie's / Sale # 3486 / Lot 69 / Francis Newton and Maria Souza: A Life Partnership in Art, The Shelley Souza Collection / New York / 18 March 2014 Private collection, New Delhi Saffronart / Lot 47 / Modern & Contemporary Indian Art / Summer Online Auction / 10-11 June 2015 Private collection, Dubai

LOT 34

JOGEN CHOWDHURY (B. 1939)

Nude ink and pastel on paper 23 x 35 in. (58.5 x 89 cm.) painted in 2007

US$ 7,000 - 10,000

Signed and dated 'Jogen / 2007' (lower center left) Initialed an dated in Bengali (lower left) Further initialed 'J' (lower right)

PROVENANCE Acquired directly from the artist Private collection, Dubai

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LOT 35

PARITOSH SEN (1939 - 2008)

Budding Artist acrylic on paper 30 x 24 in. (76.2 x 61 cm.) painted in 2003

US$ 3,000 - 5,000

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ARTIANA

Signed and dated 'Paritosh Sen 2003' (lower left)

PROVENANCE Private collection, Dubai

PUBLISHED Mrinal Ghosh, Paritosh Sen: IXth Decade, Neovision, New Delhi, 2006, p. 120 (illustrated)

LOT 36

A.RAMACHANDRAN (B. 1935)

Untitled oil on canvas 18 x 18 in. (45.7 x 45.7 cm.) painted in 2006

US$ 10,000 - 15,000

Signed and dated 'Ramachandran 2006' (lower right)

PROVENANCE The Guild Art Gallery, Mumbai Private collection, Dubai

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LOT 37

SAKTI BURMAN (B. 1935)

PROVENANCE Acquired directly from the artist Atypiczone, Paris

EXHIBITED Through The Eyes of Memory watercolor on paper 22 x 30 in. (56 x 76 cm.) painted in 1986

US$ 3,000 - 5,000 Signed 'Sakti Burman' (lower center)

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ARTIANA

Sakti Burman: Now and Then, World Heritage Center (UNESCO), Paris, 2008

PUBLISHED Sakti Burman: Now and Then, Exhibition Catalogue, UNESCO & Art Alive Gallery, Paris, 2008, pg. 78 (illustrated) Sakti Burman: A Private Universe, Skira & Art Alive Gallery, Italy, 2014, pg. 78 (illustrated) Sakti Burman: The Wonder of it All, Pundole Art Gallery & Apparao Galleries, New Delhi, 2012, pg. 253 (illustrated)

LOT 38

SAKTI BURMAN (B. 1935)

Flutist and the Dancers watercolor on paper 19.75 x 25.5 in. (50 x 65 cm.) painted in 1977

US$ 3,000 - 5,000 Signed 'Sakti Burman' (lower center)

PROVENANCE Acquired directly from the artist Atypiczone, Paris

EXHIBITED Sakti Burman: Now and Then, World Heritage Center (UNESCO), Paris, 2008

PUBLISHED Sakti Burman: Now and Then, Exhibition Catalogue, UNESCO & Art Alive Gallery, Paris, 2008, pg. 75 (illustrated)

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LOT 39

SAKTI BURMAN (B. 1935)

Still Life with Flowers oil on canvas 39.25 x 29.5 (100 x 75 cm.) painted in 1969

US$ 30,000 - 50,000

Signed 'Sakti Burman' (lower right)

PROVENANCE Freeman's / Auction # 1428 / Lot 65 / Modern and Contemporary Works of Art / Philadelphia / May 2012 Private collection, Dubai

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LOT 41

JAMIL NAQSH (1939 - 2019)

Untitled (Lady with a Pigeon) oil on canvas 48 x 36 in. (121.9 x 91.4 cm.) painted in 2006

US$ 55,000 - 75,000

Signed and dated 'Jamil Naqsh '06' (lower left)

PROVENANCE Acquired directly from the artist Private collection, London

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LOT 42

JAMIL NAQSH (1939 - 2019)

Untitled (Six Pigeons) oil on canvas 30 x 39.75 in. (76.2 x 101 cm.) painted in 2017

US$ 40,000 - 60,000

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Signed 'Jamil Naqsh' (center right) Further signed 'Jamil Naqsh' (on the reverse)

PROVENANCE Acquired directly from the artist Private collection, Dubai

LOT 43

ISMAIL GULGEE (1929 - 2007)

Nathiq oil on canvas 36 x 30 in. ( 91.4 x 76.2 cm.) painted in 1998

US$ 25,000 - 35,000

Signed and dated '98' (lower centre) Signed, titled and dated 'Gulgee / "Nathiq" / 1998' (on the reverse)

PROVENANCE Bonham's / Auction # 20834 / Lot 412 / Islamic and India Art / London / June 2013 Private collection, Dubai

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LOT 44

SAYED HAIDER RAZA (1922 - 2016)

Untitled acrylic on board 8.75 x 6 in. (22 x 15 cm.) painted in 2004

Signed 'Raza 04' (lower right) Further signed, dated, and inscribed 'Raza / 2004 / 22 x 15 cm / acrylic on board' (on the reverse)

PROVENANCE

US$ 5,000 - 7,000

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Private collection, Dubai

LOT 45

BOSE KRISHNAMACHARI (B. 1963)

Stretched Bodies acrylic on canvas 36 x 60 in. (91.4 x 152.4 cm.)

US$ 8,000 - 12,000

Signed and titled 'Bose Krishnamachari / Stretched Bodies' (on the reverse)

PROVENANCE Crayon Art Gallery, New Delhi Private collection, Singapore

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LOT 46

SOHAN QADRI (1932 - 2011)

Signed and dated in English (on the reverse)

Untitled ink and dye pasted on board 24.5 x 18.5 in. (62.2 x 46.9 cm.) executed in 1998

PROVENANCE

US$ 2,000 - 3,000

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Saffronart / Lot 106 / 24 Hour Online Auction: Works on Paper / 26-27 March 2014 StoryLTD / Lot 36 / Absolute Auction of Modern and Contemporary Indian Art / 20-21 August 2014 Private collection, Singapore

LOT 47

ZARINA HASHMI (1937 - 2020)

By The Mango Tree etching on paper 19.5 x 14.5 in. (50 x 37 cm.) each sheet executed in 1988

US$ 12,000 - 18,000

Inscribed 'A/P', titled 'By The Mango Tree', signed and dated 'Zarina '88' (lower edge) each Edition 9 of 25 (Lot Note: Artist's proof from an edition of 25)

PROVENANCE Espace Gallery, New Delhi

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LOT 48

AKBAR PADAMSEE (1928 - 2020)

Untitled bronze (patinated) height - 14 in. (35.5 cm.) width - 9 in. (22.8 cm.) depth - 11 in. ( 27.9 cm.)

US$ 14,000 - 20,000

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Marked 'AP / II / 3/5' (lower back of the head) Edition 3 of 5

PROVENANCE Artiana / Sale 1601 / Lot 58 / South Asian Art - Modern and Contemporary / Dubai / 17-21 March 2016 Acquired from the above

LOT 49

HIMMAT SHAH (B.1933)

Untitled bronze height - 18 in. (46 cm.) width - 9 in. (22.8 cm.) depth - 6.5 in. (16.5 cm.) casted in 2006

US$ 10,000 - 15,000

Signed and numbered 'Himmat / 4/9' (lower centre) Edition 4 of 9

PROVENANCE Artiana / Sale 1601 / Lot 60 / South Asian Art - Modern and Contemporary / Dubai / 17-21 March 2016 Acquired from the above

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LOT 50

HIMMAT SHAH (B.1933)

Head bronze height - 16 in. (41.5 cm.) width - 5 in. ( 13 cm.) depth - 7.25 in. (18.5 cm.) casted in 2014

US$ 12,000 - 18,000

Signed, inscribed, and dated 'Himmat / A/P / 2013' (lower left) (Lot Note: Artist's proof from a limited edition of five)

PROVENANCE Saffronart / Lot 41 / Kochi-Muziris Biennale Fundraiser Auction / Mumbai / 31 October 2017 Private collection, Dubai

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END OF SALE

IT’S EASY TO BUY AT ARTIANA

1. BROWSING

Before Bidding, Clients are welcome to browse through our Lots and see what we have to offer.Artiana offers a variety of ways to discover more about our Lots, so make the most of your browsing: Auction Catalogue Our catalogues are available on our website, mobile app, as well as in print form, and are a great way for clients to browse through upcoming sales. Our catalogues contain the following: • Images of the work • Descriptions of the Lot, including size, date and age, medium, type, attribution, quantity, etc.

• Estimates, which are given for all Lots are based on prices recently paid at auction or average market value for comparable property.They take into account rarity, condition, quality and provenance Condition Reports Condition Reports supplement the catalogue description and provide guidance on the item’s condition.These are available upon request.

Our Specialists We have in-house auction specialists who will always be happy to discuss an item in greater detail. Just contact our Auction Help Desk at +971 55 815 3030| auction@artiana.com Viewing Gallery Artiana is a click-and-mortar hybrid and has a viewing gallery located in Dubai, UAE and we would always recommend coming to the auction viewings and looking at an item for yourself.

2. BIDDING

3. PAYING AND TAKING IT HOME

In order to Bid, users must first register on our website, Sign In with their Artiana ID, and request Bidding access for the sale in which they are interested. Once their request has been approved, users can proceed to Bid.Artiana offers you ease and flexibility by providing three ways to Bid on a desired Lot: Online Bids Online Bidding allows you to directly participate in the auction through the Artiana website or mobile app in real time and from anywhere in the world.All you have to do is click to Bid wherever you may be.

You will be able to track your Bids through the website and will be alerted if you have been outbid.

Visit www.artiana.com to find out more.

Proxy/Maximum Bids These are suitable for those Bidders who are not available to follow the Bidding process, or would simply like to reserve a maximum Bid on a Lot. To make a Proxy Bid, you must enter the Maximum amount that you would like to Bid on a Lot, and our auction software will Bid on your behalf up to this amount. If you are the only person to Bid on the selected Lot, then you will purchase it at the lowest possible price (the Reserve Price).

Written/Absentee Bids These are suitable for those Bidders who may not be available during the auction, or would prefer to have an Artiana representative complete the online transaction on their behalf. Once you have completed the Written/Absentee Bids form, we will either Bid online directly or place a ‘Proxy Bid’ on your behalf, allowing our auction software to Bid up to this amount. If you are the only person to Bid on your Lot, then you will purchase it at the lowest possible price (the Reserve Price).

For more information, please refer to the Written/ Absentee Bids form in this catalogue or contact our Auction Help Desk at +971 55 815 3030 | auction@artiana.com

Congratulations! You hold the Winning Bid and are the Successful Bidder. Once you have paid for your purchase, delivery can be arranged.

No Buyer’s Premium Artiana does not charge any Buyer’s Premium over and above the Winning Bid. ‘What You Bid Is What You Pay’.

Payment As the Successful Bidder, you will only pay the Winning bid amount, along with any applicable charges for additional services availed and VAT if applicable. Payments for invoices are required to be completed within a period of seven business days from the receipt of the invoice via email.

Refer to the ‘Buying at Artiana’ guide in this catalogue for more details. If you have any further questions please contact our Help Desk at +971 55 815 3030 | info@artiana.com Storage Purchased Lots will initially be held for collection either at Artiana’s viewing gallery or at the shipper’s warehouse for 15 business days at no charge, after which a daily storage charge will be imposed.

Delivery We can help you with all your delivery and shipping requirements whether local or international freight.

Please refer to the ‘Storage and collection’ page in this catalogue or contact our Help Desk on +971 55 815 3030 | info@artiana.com

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AUCTION CLOSING SCHEDULE For your convenience, particularly if you are bidding on more than one lot, predetermined groups of Lots are scheduled to close at 30-minute time intervals during the Auction.

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

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

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WRIT T EN / ABSENTEE BIDS FORM To enter Written / Absentee Bids, please sign the completed form and email it to auction@artiana.com at least 12 hours before the first closing time of the auction. For additional information, please refer to the ‘It’s Easy to Buy at Artiana’ and ‘Buying at Artiana’ sections in this catalogue or the ‘Frequently Asked Questions’ (FAQ’s) page on our website www.artiana.com.

“I request Artiana, without legal obligation on its part, to Bid on the Lots listed below, up to the Maximum Bid Amount I have specified. I agree that my Bid will be treated as an offer and is subject to the Conditions of Sale listed in the catalogue and on the website www.artiana.com. I understand that Artiana is accepting Written / Absentee Bids for the convenience of clients and I will not hold it liable for failure to record my Bid. I understand that the Maximum Written Bid once recorded cannot be cancelled and can only be increased via email confirmation or by completing another Written / Absentee Bids Form, specifying the higher maximum Bid amount/s.”

Please mention clearly in capital letters the Lot number and the description accurately (artist name, title). Bidders are requested to provide all invoicing details prior to the sale.The Bidder as registered with Artiana will be invoiced, and no invoices will be changed after the sale.

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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.

Upto USD 2,000

USD 100,000 and upwards

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

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

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

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

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

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

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

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

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

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

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

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

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

These Lots will be identified in the catalogue accordingly.

• Artiana does not charge any Buyer’s Premium.

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

• Value Added Tax (VAT) of 5% will be applicable on Artiana’s invoice on any and all purchases from within the UAE, excepting designated VAT exempt free zones.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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FINANCE AT ARTIANA What is Artiana Fine Art Finance?

Artiana Fine Art Finance is our art finance advisory division. Leveraging upon the strength of our auction house platform, we specialize in financing solutions that cater to both—buyers in our auctions as well as others who can borrow against blue-chip Indian art works.

What services does Artiana Fine Art Finance provide?

We provide finance solutions to consignors and FlexiPay options to buyers at our auctions, and arrange advances secured against Indian fine art at competitive interest rates. Our bespoke finance solutions provide financing for fresh acquisitions or existing collections.

What is FlexiPay? Buyers at our auctions can avail of our FlexiPay scheme to pay for the lots won by them subject to eligibility, and securing a pre-approval before the auction. Bidders intending to use FlexiPay to pay for their items should contact the auction desk before the auction with details of the total anticipated amount and specific lot/s that would be required to be covered by the FlexiPay scheme in case the bids are successful.The FlexiPay scheme covers up to 80% of the lower estimate value of the lots excluding any taxes and/or levies, and the balance amount over and above the amount covered by the FlexiPay scheme has to be settled within the regular timeline as mentioned in the invoice.The item/s remain in the custody of Artiana till all amounts due under the scheme and any other incidental charges are cleared in full by the buyer.

What is the tenor and charges for the FlexiPay scheme?

The maximum amount covered by the FlexiPay scheme is up to 80% of lower estimate value of the respective lot, which can be divided into equal payments ranging from 3 to 12 months and the service charges payable for availing the scheme is a flat rate of 12 % p.a. prorated as per the payment tenor.There is no arrangement fee or storage charges applicable whereas insurance charges are billed at actuals to all FlexiPay clients.

Why finance or borrow against art?

By financing their purchases at Artiana auctions, clients can take advantage of opportunity buys and schedule a delayed or installment payment on their acquisitions based on their cash flows. By leveraging existing artworks, our clients optimize the use and enjoyment of their collection, while unlocking equity and allowing further portfolio diversification.

What type of art does Artiana Fine Art Finance accept as collateral?

We will consider individual artworks and collections of blue-chip Indian fine art as collateral.Artworks must be freely marketable and produced by prominent artists with an existing track record in the secondary market.

What is the artwork evaluation process for external art collateral?

We are an auction house, and offer advisory services on a highly confidential basis to evaluate artworks.The individual artwork or collection will be estimated by us as if they are being proposed for auction, and the advance against these item/s will typically be 50% of the lower estimate value offered by us.We will also require an independent inspection by a conservator.

What Loan-To-Value (LTV) does Artiana Fine Art Finance offer against the artworks?

We will typically advance up to 80% of the lower estimate value of artworks purchased at our auctions or up to 60% of the appraised value of the proposed external art collateral.

What are the advance sizes that Artiana Fine Art Finance offers?

We arrange advances starting at USD 50,000 and can assist in securing advances of substantially larger amounts. For buyers at our auctions we can offer a reduced threshold on a case-to-case basis.

How long does the disbursal take?

The approval depends on the location of the artworks and the clients’ art ownership structure. However, our domain expertise and large, liquid balance sheets of our financiers allow us to complete the process more quickly than traditional operators.

Do our clients retain possession of their art?

No, we require that the artwork be held as collateral in our art storage facility till the advance has been fully paid back to our financier.

Will the artworks be insured during the term they are held as collateral in storage?

Throughout the term that the artworks are held as collateral they will be insured at double of the advance amount, to cover the full value of the art asset.The policy will be assigned to us for distributing the amounts as stipulated, between the client and financier.The insurance covers the items right from the time of collection, during storage until the final handover.

Who owns the artworks during the term they are held as collateral in storage?

The artworks remain the clients’ property during the entire storage period.

What are the advantages of Artiana’s Fine Art Finance compared to a traditional bank loan?

Our advances offer flexibility and a variable tenors up to 24 months with a no-charge early exit option. Unlocking equity and receiving liquidity without cumbersome documentation and credit approval process.There is no personal liability, the collateralized artworks are the sole guarantee towards the advance (non recourse).

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What are the early exit options before expiry of the agreed tenor?

Clients can request an early exit before the expiry of the agreed tenor by giving 30 days notice without any exit charges being payable.Any advance service charges collected in such cases will be non-refundable.

What are the charges and costs for the service and advance?

Artiana Fine Art Finance will charge an arrangement fee of 2% of the advance amounts arranged against external art assets, this fee is waived for finance arranged against purchases made in our auctions. Depending on the value, tenor and terms of the advance the charges are calculated at typically 15 % p.a., payable quarterly in advance for fixed maturity payments, and at a flat rate of 12 % p.a. for monthly installment payments.

The charges are set at the start of the facility and fixed for the entire tenor.There are no additional costs for evaluation and storage, insurance cover is procured by Artiana to cover the full value of the asset and billed at actuals to the client.

• FlexiPay scheme for buyers at our auctions • Bespoke solutions for consignors and collectors • Fast decisions and quick disbursals • Flexible tenors and repayment options • No early exit fees payable

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CONDITIONS OF SALE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

2.6. 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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

by Artiana.

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

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

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

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

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

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

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

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

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

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

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

7.3. The notices and contract language shall be English.

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

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

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

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

CONDITIONS OF FIXED PRICE SALE

Fixed Price Sale: A Private Sale or Selling Exhibition of Property(ies)/Lot(s) to be conducted by Artiana on www.artiana.com or any other website.

By participating in this Fixed Price Sale, you acknowledge that you are bound by the Conditions of Fixed Price Sale as clarified below and listed above in the Conditions of Sale and on the Website.

Fixed Price: The fixed sale price of the Property offered for immediate sale by Artiana in Private Sale or any Fixed Price Sale.

2.1. If a Fixed Price Sale functionality is offered on any of the Property permitting the Buyer to purchase such a Property at the Fixed Price displayed on the Website, or as communicated to the Buyer in response to their enquiry for that Property, the above listed Conditions of Sale will apply to the sale in the same manner as if the Buyer had been the Winning Bidder in an auction for that Property.

Private Sale: A Fixed Price Sale of Property(ies)/Lot(s) conducted

by Artiana outside of auction confidentially or on www.artiana.com or any other website.

Selling Exhibition: A Fixed Price Sale of Property(ies)/Lot(s) to be conducted by Artiana on www.artiana.com or any other website on the date indicated in the Exhibition Catalogue.

Viewing Room: The web pages on the Website relating to Private Sale, as may be amended from time to time including web pages accessible via the link “Viewing Rooms” (including all pages providing details related to the Property(ies)), as well as additional pages containing details of the Viewing Room accessible via the link “Private Sales.”

2.2. Our Conditions of Fixed Price Sale are applicable on all our Private Sale transactions, including Property offered in any of our Viewing Room or Selling Exhibition, and binding on all participants thereof.

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ARTIANA GUARANTEE

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

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

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

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

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

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

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

3. The Property was indisputably purchased through Artiana.

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

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

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

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

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

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ARTIST PROFILES AND INDEX A. Ramachandran (b. 1935) Born in Kochi, Kerala, Ramachandran graduated with a Degree in Malayalam Literature from Kerala University before going on to study art atViswa 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, Lot 36 2005; Art Heritage, New Delhi, 2002; and Sridharani Gallery, New Delhi 1998. He has Lot 27 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 honored 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.

Akbar Padamsee (1928 - 2020) Born in Mumbai, Padamsee received a Diploma in Fine Arts from the Sir J. J. School of Art in 1951 and moved to Paris the same year. In 1965 he received the J.D. Rockefeller III Fund Fellowship and worked as artist-in-residence at Stout State University, Wisconsin. His most recent solo shows include those held at the Priyasri Art Gallery, Mumbai, 2013; the Loft, Mumbai, in 2010; Pundole Art Gallery, Mumbai in 2010, 03, 02, 1999, 97, 96, 94, 93, 86, 75, 74 Lot 6 Lot 14 and 72; Galerie Helene Lamarque, Paris, in 2008; Lot 48 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, NewYork, 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 NewYork, 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 passed away on the 6th of January 2020 at the age of 91, in Tamil Nadu.

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

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

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Badri Narayan (1929 - 2013) Born in Hyderabad, Badri Narayan is a self-taught artist. He has held over fifty solo exhibitions in various cities in India and internationally, the most recent being at the Viewing Room, Mumbai, in 2012; Mon Art Gallerie, Kolkata, in 2007-08; Pundole Art Gallery, Mumbai, in 2006, 2004, and 2002 and Galerie 88, Kolkata in 2002. Narayan has also represented India at the Bharat Bhavan Biennale, Bhopal, in 1992; the VII and II International Triennials, New Delhi, 1991 and 1971 respectively; the Festival of India, Moscow, in 1987; the V Biennale of Prints, Tokyo, in 1966; and the II Paris Biennale in 1961. He has exhibited with Saffronart in Hong Kong in 2001. He has written and illustrated several books since 1977, and taught art to school children. Narayan was awarded the Padma Shri by the Government of India in 1987; a Senior Fellowship for Outstanding Artists Lot 8 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.

Bose Krishnamachari (b. 1963) Born in 1963 in Kerala, Bose completed his B.F.A from Sir J.J.School of Art, Mumbai and received the Charles Wallace India Trust Award to complete his Masters at Goldsmiths College, London in 1990-2000. Bose has participated in numerous group shows including Persistence of Memory [1997], NGMA’s 50 Years of Indian Art [1999], Mutations – ‘Rumor City’ (curated

by Hans Ulrich Obrist) in Tokyo [2001], Vanitas Vanitatum (curated by Peter Nagy) [2004], Paths of Progression [2005], and Ghost/ Transmemoir at Lille 3000 [France-2006], Masters 2007 Dubai,Art Amsterdam 2007, Poea body essex museum 2007 U.S, among several others. He has received many accolades and is a Lot 45 recipient of the Kerala Lalitha Kala Academi Award, Bombay Art Society Prize, Mid America Arts Alliance Award, First Runner up at Bose Pacia Modern Biannual, New York, besides others.

Chowdhury, Jogen (b. 1939) Born in 1939 in erstwhile Bengal, now Bangladesh, Jogen Chowdhury studied at Government College of Arts and Crafts, Kolkata, the Studio Academy of Fine Arts, Kolkata, and the Ecole Nationale Superieure des Beaux-Arts, Paris. His most recent solo exhibitions include ‘Jogen Chowdhury: Formative to Recent’, Centre of International Modern Lot 18 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 byVadehra Art Gallery at Lalit Kala Akademi, New Delhi, in 2013; ‘Figure / Lot 26 Landscape: Part Two’,Aicon Gallery, London, in 2010-11;‘Dali’s Elephant’, Lot 34 Aicon Gallery, London, ‘Paper Trails’,Vadehra Art Gallery, New Delhi, ‘Pretty Ugly’, Bose Pacia, Kolkata, ‘Image and symbol: Painters Perception’, Aakrit Art Gallery, Kolkata, in 2010;‘Modern Continuous’, Galerie 88, Kolkata, in 2009;‘Inverting, Inventing,Traditions’, GrosvenorVadehra, London, in 2007; Drawing Show an Act of Art II’, Priyasri Art Gallery, Mumbai, in 2006; those by Saffronart and Pundole Art Gallery, New York, in 2002 and 2001; the ‘Festival of India’ Geneva, in 1989; the II Havana Biennale, in 1986; and the Sao Paulo Biennale, in 1979. He was awarded the Kalidas Samman by the Madhya Pradesh State Government in 2001, the Shiromani Award, Kolkata, in 1997, and the Prix le France de la Jeune Peinture in 1966.The artist lives and works in Shantiniketan,West Bengal.

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Francis Newton Souza (1924 - 2002) Born in 1924 in Saligao, Goa, Souza was expelled from the Sir J.J. School of Art, Mumbai, in 1942 for taking part in the ‘Quit India’ freedom movement. He went on to found the Progressive Artist’s Group in 1948, before leaving for London a year later. In 1955 Souza held a one-man show at Gallery One in London and also had his autobiographical essay ‘Nirvana of a Maggot’ published. He was awarded the John Moore Prize at the Walker Art Gallery, Liverpool in 1957 and received an Italian Government Scholarship in 1960. In 1959 a collection of his autobiographical essays,‘Words and Lines’, was published, and in 1962 a monograph on his work by Edwin Mullins was published as well. In 1967 Souza migrated to New York where he received the Guggenheim International Award. Two retrospectives of his work were organized by Art Heritage, New Delhi, in 1986 and 1996. Souza also participated in a work-live Lot 28 Lot 33 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, NewYork, in 2008;‘F.N. Souza: Religion & Erotica’ at Tate Britain, London, in 2005-06;‘SelfPortrait: 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.

Ganesh Pyne (1937 - 2013) Born in Kolkata, Pyne graduated from the Government College of Arts and Crafts in 1959. Some of his recent solo shows include those at Galerie 88, Kolkata, in 2005 and 1990; the National Gallery of Modern Art, Mumbai, in 2000; and Village Gallery, New Delhi, in 1994 and 1991. Pyne has also had retrospective exhibitions organized by Galerie 88 in Mumbai, in 2005 and 2000; and by the Center of International Modern Art (CIMA), Kolkata, in 1998. He has participated in the International Festival of Art, Cagnes-sur-Mer, in 1975; the Paris Biennale, in 1970; ‘Exhibition in Aid of the Menuhin School of Music’ at the Royal Academy of Arts, London, 1970; and the Indian International Triennale, New Delhi, in 1968-71. His work has been featured in several group shows, including ‘Bharat Ratna!’ at the Museum of Fine Art, Boston, in 2009; ‘Progressive to Altermodern’ at Grosvenor Gallery, London, in 2009;‘Image Beyond Image’ at the National Gallery of Modern Art, New Delhi and Mumbai, and Karnataka Chitrakala Parishad, Bangalore, in 1997; ‘Wounds’ at CIMA, Kolkata, in 1993; the Hirschorn Museum,Washington D.C., in 1982; and ‘Festival of India’ at the Royal Academy of Arts, London, in 1982. The Government of West Bengal awarded him the Abainindra Puraskar in 2004. Pyne passed away in Kolkata in 2013.

Lot 13

G. R. Santosh (1929 - 1997) Ghulam Rasool Santosh was born in Srinagar, and studied at the Faculty of Fine Arts, M.S. University, Baroda, from 1954 to 1956. He has had solo shows in leading galleries in New York, Los Angeles, Chicago, Mumbai and New Delhi, and has participated in several group shows including ‘Modern Indian Paintings’ at the Hirschhron Museum and Sculpture Garden, Washington DC, in 1982; ‘Contemporary Indian Art’ at the Royal Academy of Art, London, in 1982;, Contemporary Indian Art, at the National Gallery of Modern Art, Japan, in 1979-80; ‘Contemporary Indian Painting’, Washington DC, in 1973; the Sao Paulo Biennale in 1969-71; the first Triennale in India in 1968; and the Indian Art Exhibition in Eastern Europe in 1956.The Government of India honoured him with the Padma Shri in 1997, the year he passed away.

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Himmat Shah (b. 1933) Born in Gujarat, Shah initially began his education at the Sir J. J. School of Art, Mumbai but then moved to the Faculty of Fine Arts, Baroda. In 1966-'67 he studied etching under S.W. Hayter and Krishna Reddy at Atelier 17 in Paris. Shah has had several solo exhibitions of his works since 1965, the most recent one being held at Jehangir Nicholson Gallery, Mumbai, in 2007; and Berkeley Square Gallery and Saffronart, London, in 2007. Other exhibitions include those held at Anant Art Gallery, New Delhi, in 2005; Art Heritage Gallery, New Delhi, in 2002; Sakshi Gallery, Mumbai, 1994; Dhoomimal Art Gallery, New Delhi, in 1979; and Gallery Chemould, New Delhi and Mumbai, in 1966. Shah’s works have also been selected to represent India in many international exhibitions, including ‘Rediscovering the Roots’ at the Lot 49 Lot 50 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.

Ismail Gulgee (1926 - 2007) One of Pakistan’s renowned artists, Ismail Gulgee was born in Peshawar in 1926. He was a qualified engineer in the U.S.A self-taught abstract painter, Gulgee was a gifted portraitist and enjoyed regular state patronage and elite commissions throughout his career. His first exhibition was in 1950. In 1957, Afghanistan’s King Zahir Shah commissioned Gulgee to paint his portrait, and subsequently invited him to Kabul to complete another 151 portraits of members of the royal family. Gulgee received his first extended exposure to abstract expressionism in 1960 through an exhibition in Karachi of American painter Elaine Hamilton. Though Gulgee had a high public profile across the Muslim world, with works in numerous private and state collections, he exhibited infrequently at home, citing a lack of proper exhibition venues for his large-scale work.A rare solo show at Karachi’s Indus Gallery in 1988 was followed six years later by an important retrospective at the National Assembly in Islamabad. Eager to ensure his artistic legacy, in Lot 43 2000, Gulgee inaugurated the Gulgee Museum near his home in Karachi. For his great contribution to the progress of art in Pakistan, he was awarded with Pride of Performance, Sitara-e-Imtiaz (twice) and Hilal-e-Imtiaz. Ismail Guljee passed away in December 2007.

Jamil Naqsh (1939 -2019) Born in 1939, in Kairana in Uttar Pradesh, India, Jamil Naqsh moved to Karachi in Pakistan following the partition of the subcontinent in 1947. In 1953, he enrolled at the National College Art (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 Lot 42 colour. Naqsh has painted the female form in many of his canvases Lot 41 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 of works, inspired by the Italian sculptor Mario Marini, who captured the beauty of the horse in his work, combines the elegance of the nude female with the sturdy grace of the equine figure. Naqsh’s work has been exhibited extensively in Pakistan, India, the UK and the UAE. Between 1960 and 68 he served as Co-Editor of Seep, an Urdu literary magazine, and between 1970 and 73 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 passed away on May 16, 2019 after a sudden and brief illness, at St. Mary's hospital in London. He is recognized as one of the most important painters from Pakistan.

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Jamini Roy (1887 - 1972) Born in India, Jamini Roy is touted as the “Father of Indian Modern Art” by M. F. Husain. He continues to be one of the most respected artists in India to date. Roy was born to a middle-class family of land-owners in Bankura, West Bengal, in 1887. Growing up surrounded by fervent nationalism and a need to turn to the indigenous arts and crafts, Roy’s works in the 1920s reflected these sentiments. His initial source of inspiration, the Kalighat style of painting, soon gave to an urge to return to his roots, and he turned to the village patuas. His deliberate rejection of the accepted standards of what constituted art marked a turning point in the history of modern art. Some of his iconic works include the “Mother and Child” series, “Gopinis”, the figure of Christ, all with his signature flat colours and simplified brushstrokes which make his art highly accessible. Roy was awarded the Padma Bhushan, the third highest civilian award, for his artistic endeavours in 1955.The artist passed away in 1972.

Lot 1

K. Laxma Goud (b. 1940) Born in Andhra Pradesh, Laxma Goud studied at the College of Fine Arts and Architecture in Hyderabad and at the Faculty of Fine Arts of M.S. University in Baroda. Goud has exhibited widely, both within and outside India. His solo shows include ones held at Art Alive Gallery, New Delhi in 2012;Art Musings, Mumbai in 2011; the Aicon Gallery, London, in 2009; Gallerie 88, Kolkata, in 2009; Indian Contemporary Art (ICA), Jaipur, in 2008; Gallery Space, Hyderabad, in 2008, and the Guild Art Gallery, Mumbai, 2006 and 2003. His works have been part of group exhibitions including those held at Sakshi Gallery, Mumbai in 2012; Aicon Gallery, New York in 201112; 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.

Lot 5

Krishen Khanna (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, Lot 4 Lot 23 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 exhibitions include those held by Saffronart in association with Osborne Samuel and Berkeley Square Gallery at the Royal Academy, London, in 2007; Saffronart and Berkeley Square Gallery, London, in 2005; Pundole Art Gallery, Mumbai 2004;Vadehra Art Gallery, New Delhi, 1994; and Kumar Art Gallery, New Delhi, 2001, 1966, 64, 60, 59 and 58. His works were also included in exhibitions held by Saffronart and Pundole Art Gallery, NewYork, 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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Lalu Prasad Shaw (b. 1937) Born in 1937, in erstwhile Bengal, Lalu Prasad Shaw received a Diploma in painting from the Government College of Arts and Crafts, Kolkata, in 1959. He has exhibited extensively in India and abroad since 1956, and some of his most recent solo shows include ‘Looking in’ at Galerie 88, Kolkata, in 2011-12; ‘Graceful Silence’ and ‘Sepia Notes’ at Art Musings, Mumbai, in 2011 and 2007; ‘The Myriad Minded Artist’ at Gallery Sanskriti, Kolkata, in 2008; and ‘Painting’ at the Centre for International Modern Art (CIMA), Kolkata, in 1995.

His work has also been featured in several group shows, and he has participated in art festivals and fairs all over the world since 1956. Shaw has received many awards, including the West Bengal State Lalit Kala Akademi Award in 1959, and the Birla Academy Award, Kolkata, in 1975-78.The artist lives and works in Kolkata.

Lot 22

Manu Parekh (b. 1939) Born in Gujarat, Manu Parekh studied at Sir J. J. School of Art, Mumbai. He has been exhibiting since 1967 and his most recent solo shows include those held at Art Alive Gallery, Gurgaon 2012; Tao Art Gallery, Mumbai, in 2010 and '09; Berkeley Square Gallery, London, in 2006;Vadehra Art Gallery, New Delhi, in 2004, 1994 and 1991; Jehangir Art Gallery and Tao Art Gallery, Mumbai, in 2003; Sakshi Lot 32 Gallery, Bangalore, in 1999;ARKS Gallery, London, in 1997; Bose Pacia, NewYork, in 1996; and Dhoomimal Art Gallery, New Delhi, in 1988, '85, '81, '76, '75 and '74.A retrospective of his work was held in 1992 in Kolkata, New Delhi and Mumbai. His works have also been featured in several group shows including those held at Art Alive Gallery, Gurgaon in 2012; Gallery Threshold, New Delhi, in 2011, '10;Tao Art Gallery, Mumbai, 2010, '09 and '08; Nature Morte, New Delhi, in 2004; Saffronart, Hong Kong, in 2001 and Lakeeren Art Gallery, Mumbai, in 1977. He has also participated in the III and IV Triennales of New Delhi, in 1975 and 1978. The Government of India awarded him the Padma Shri in 1990. He received the National Award from the Lalit Kala Akademi, New Delhi, in 1982, and the President of India’s Silver Plaque in 1972. Manu Parekh lives and works in New Delhi.

Maqbool Fida Husain (1915-2011)

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Born in Pandharpur, Maharashtra, in 1915, 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 away in London in 2011.

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Paresh Maity (b. 1965) Born in 1965, he studied at the Government College of Arts & Crafts, Kolkata, and the College of Art, New Delhi. A very skilled artist, he wields a rugged palette, and is extremely versatile in his treatment of colour and texture. He has held many solo shows, including exhibitions at Jehangir Art Gallery in Mumbai, Gallerie Ganesha in New Delhi and Gallery Katayun in Kolkata. He has participated in various group shows like the National Art Exhibition in Jaipur, Kala Mela, Lalit Kala Academy in New Delhi, and the Citibank Group Show in Mumbai.

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

Lot 9

Paritosh Sen (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 for 1970-'71 from the John D. Rockefeller III Fund. A prolific writer, Sen has published many works in both Bengali and in English, including a series of autobiographical vignettes titled 'Jindabahar Lane'. His works have been exhibited in India and internationally, in Paris, London, Germany,Tokyo and in the US. Paritosh Sen passed away in October 2008.

Lot 35

Ram Kumar (1924 - 2018)

Born in Simla in 1924, Ram Kumar studied art while working on a Master’s degree in Economics from St. Stephens College, New Delhi. In 1949 he left for Paris to study painting under Andre Lhote and in 1950 he joined Atelier Fernand Leger, returning to India three years later. In 1970 he received the J. D. Rockefeller III Fund Fellowship.

Since 1949, Ram Kumar has exhibited regularly in India and internationally. Some of his solo shows include those at Aicon Gallery, NewYork, 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 organized a show of his work in Mumbai, New Delhi, San Francisco and New York. Other retrospectives of his work have been held at the National Gallery of Modern Art, New Delhi in 1994 and 1993; Jehangir Art Gallery, Mumbai in 1993; and the Birla Museum, Kolkata in 1980. In 1972 the Government of India awarded him with the Padma Shri, one of its highest Civilian honors. The Madhya Pradesh State Government awarded him with the Kalidas Samman in 1985, and for his writing, he received the Uttar Pradesh State Government award in 1975. Ram Kumar lived and worked in New Delhi, till he passed away in April 2018.

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Sakti Burman (1918 - 2008)

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Born in Kolkata, Sakti Burman graduated from the Government College of Arts and Crafts, Kolkata, in 1956 and then went on to study at the Ecole Nationale Superieure des Beaux Arts in Paris, where, in 1956, he won the Prix des Etrangers. Some of the most recent solo shows of his work include a retrospective at the Lalit Kala Akademi, New Delhi, Jehangir Art Gallery, Mumbai,Victoria Memorial Hall, Kolkata, and DakshinaChitra, Chennai, in 2012; at Apparao Galleries, Chennai in 2011; Pundole Art Gallery, Mumbai, in 2011, 2006, 2001, 1990, 1988, 1977, 1970 and 1967; Aicon Lot 38 Gallery, London and New York, in 2009; Art Musings, Mumbai, in Lot 37 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.

Sayed Haider Raza (1922 - 2016) 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 Lot 16 Ecole Nationale des Beaux Arts, Paris, where he was awarded the Prix de la Critique in 1956. In 1962 he served as a visiting lecturer at the University of California in Berkeley, USA. Raza has several solo exhibitions to his credit, including ‘Paysage: Select Works 1950s-1970s’, ‘Parikrama: Around Gandhi’, Vadehra Art Gallery, New Delhi, in 2014; ‘ShabdBindu’, Akar Prakar, Kolkata, in 2013; ‘Vistaar’, Art Musings and Jehangir Art Gallery, Mumbai, in 201213, ‘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; Lot 20 Lot 44 Tao Art Gallery, Mumbai, 2008 and 2006; and Saffronart and Berkeley Square Gallery, London and New York, 2005. In 2007 Saffronart held a major retrospective of his work in New York. Raza’s work has been exhibited in several group exhibitions including those at Aicon Gallery, New York and London, in 2014, 13, 12, 11, 10; the Museum of Fine Art, Boston, in 2009; Grosvenor Gallery, London, Mumbai, 2004; Saffronart and Pundole Art Gallery, New York, 2001 and 2002; and Saffronart, Hong Kong and Los Angeles, 2001 among several others. Raza received a Lalit Kala Ratna from the Lalit Kala Akademi, New Delhi in 2004, and a Padma Bhushan and Padma Shri from the Government of India in 2007 and 1981 respectively.The Madhya Pradesh State Government also awarded him with the Kalidas Samman in 1996-97. Raza lived and worked in Paris and Gorbio, France, till 2011.The artist passed away in New Delhi in July 2016.

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Sohan Qadri (1932 - 2011)

Born in Punjab, Qadri is famed for being the only internationally acclaimed artist with deep spiritual beliefs. He was initiated into yogic practice at the age of seven. He received his MFA from the Government College of Art in Shimla. He began travelling around the world in 1965, to Paris, Zurich, East Africa and North America. His works are the result of years of travelling and imbibing his learnings from Tantric Buddhism.

He has had over a hundred solo and group exhibitions in India and around the world, including the United States, Canada, Switzerland, Denmark, Germany, Sweden,Austria and Poland.The artist passed away in Toronto in 2011.

Lot 46

Thota Vaikuntam (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 ThotaVaikuntam’ at the Art Alive Gallery in New Delhi, as well as the 2011 ‘Memoire du passe 1979-1999’ at the Latitude 28 gallery, New Delhi. His works have also been exhibited in New York, London, Birmingham and Kassel. His work was shown at the VII Triennale, New Delhi, and he has also exhibited with Saffronart in Los Angeles and Hong Kong in 2001.Vaikuntam won the Bharat Bhavan Biennale Award, Bhopal in 1988, as well as the National Award for Painting from the Government of India in 1993.The artist lives and works in Hyderabad.

Lot 21

Thota Vaikuntam (b. 1942)

Born in Aligarh, Uttar Pradesh, in 1937, Zarina Hashmi received a Bachelor’s degree in Science with Honours from Aligarh Muslim University in 1958, before she turned to the study of print making in India and abroad.

Between 1963 and 67 she studied printmaking with S.W. Hayter and Krishna Reddy at Atelier 17, Paris, and in 1974, studied woodblock printing at Toshi Yoshido’s studio in Tokyo on a Japan Foundation Fellowship. Her solo shows and retrospectives include ‘Zarina Paper Like Skin’ at the Chicago Art Institute, the Solomon R. Guggenheim Museum, New York, and the Hammer Museum, Los Angeles, in 2012-13; ‘Noor’ at Galerie Jaeger Boucher, Paris, in 2011; ‘Recent Works’ and ‘Kagaz Ke Ghar’ at Gallery Espace, New Delhi, in 2011 and 2007 respectively; ‘The Ten Thousand Things’ at Lot 47 Luhring Augustine, New York, in 2009; ‘Weaving Memory 1990-2006’ at Bodhi Art, Mumbai, in 2007;‘Silent Soliloquy’ at Bodhi Art, Singapore, in 2006;‘Counting 19772005’ Bose Pacia, New York in 2005; ‘Cities Countries and Borders’ at Chemould Gallery, Mumbai, and Chawkandi Gallery, Karachi, in 2004; and ‘House with Four Walls’ at the Bronx Museum of the Arts, New York, in 1992. In addition, her work has been featured in several group shows and is part of the permanent collections of the Museum of Modern Art, NewYork, theVictoria & Albert Museum, London, and the Bibliotheque Nationale, Paris. Hashmi has been awarded residencies at Art-Omi and at the Women’s Studio Workshop, both in NewYork, where she eventually settled. In 1985 and in 1990 Hashmi was awarded the New York Fine Art Fellowship in the printmaking category. In addition Hashmi has taught at Bennington College, Cornell University and the University of California in Santa Cruz. She passed away on the 25th of April 2020 in London at the age of 82.

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