ARTIANA | South Asian Art | Online Auction | No Buyer's Premium | 26-30 October, 2017 | Sale 1702

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

26 - 30 OCTOBER 2017

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South Asian Art | Classical, Modern AND Contemporary

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

South Asian Art | Classical, Modern AND Contemporary

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South Asian Art Classical, Modern AND ContemporarY SALE NUMBER: 1702 ONLINE AUCTION OCTOBER 26 - 30, 2017 No Buyer’s Premium ‘What You Bid Is What You Pay’

Auction Opening October 26, 2017 6:00 p.m. onwards UAE Standard Time

Auction Closing October 30, 2017 6:30 p.m. to 9:00 p.m.

UAE Standard Time

Viewings October 15-25, 2017 11:00 a.m. - 6:00 p.m.

By appointment 903|The Metropolis Business Bay Dubai | UAE +971 55 815 3030 +971 55 825 3030 auction@artiana.com

SPECIALIST AND SERVICES ARTIANA P.O. Box 112646 Dubai | UAE Sale Number: 1702 Specialist

Lavesh Jagasia +971 50 796 3030 lavesh@artiana.com Services Artiana Help Desk +971 55 815 3030 +971 55 825 3030 Registration and Written Bids auction@artiana.com Payment, Collection and Other Services info@artiana.com It’s Easy to Buy at Artiana Additional information on the buying process is available on page 133.

Conditions of Sale This auction is conducted under the Conditions of Sale as stipulated in the catalogue on page 140.

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, 2017

Front Cover: Lot 31 Inside Front Cover: Lot 55 (detail) Page 2-3: Lot 40 (detail) Page 4: Lot 51 (detail)

Page 132: Lot 14 (detail) Inside Back Cover: Lot 50 (detail) Back Cover: Lot 2

CONTENTS SALE GUIDE 9 Classical SOUTH ASIAN ART LOTS 1 - 10 27 MODERN AND CONTEMPORARY SOUTH ASIAN ART LOTS 11 - 60 133 IT’S EASY TO BUY AT ARTIANA 134 AUCTION CLOSING SCHEDULE 135 WRITTEN / ABSENTEE BID FORM 136 BIDDING INCREMENTS 137 BUYING AT ARTIANA 140 CONDITIONS OF SALE 145 ARTIANA GUARANTEE 146 COLLECTION AND STORAGE 147 ARTIST PROFILES AND INDEX

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Classical South Asian Art lots 1 - 10

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

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

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lots 1 - 10

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LOT 1

Maharana Sarup Singh of Mewar riding opaque pigments and gold on paper folio 44.4 x 32.2 cm painting 38.9 x 26.6 cm., within a yellow margin Mewar, 1850-60

US$ 2,500 - 3,500 PROVENANCE Private collection, USA

Maharana Sarup Singh of Mewar (reg. 1842-61) rides in a howdah on the gorgeously caparisoned state elephant accompanied by his attendants holding various insignia – chowries before and after him on the elephant and on foot from right to left: wrapped up rifles (replacing swords in earlier centuries), suntar-bardars (silver-stick bearers), chobdar (mace bearer), palm frond bearers and standard and parasol bearers, the two circular standards bearing the solar emblem of Mewar and the Sisodiya dynasty. Another dynastic emblem serves as an elephant adornment, the two lions bearing images of the sun on top of the elephant’s head. The procession is heading through a totally blank green ground with just massed clouds in blue at the top of the painting.

The painting is similar in composition to others painted by the artist Tara, who was the principal artist in Udaipur in the reign of Sarup Singh, and under whom the royal studio was revived. See A. Topsfield, Court Painting at Udaipur: Art under the Patronage of the Maharanas of Mewar, Artibus Asiae, Zurich, 2002, ch. 9.

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The subject comes from a Rukmini-harana series, expanding an episode from the Bhagavata Purana when the princess of Vidarbha Rukmini has fallen in love with Krishna, but she is destined by her father and brother to marry another, King Shishupala.

She entreats Krishna to save her from an unwanted marriage. Krishna abducts her from the temple just before the wedding and carries her off, but is stopped by her brother Rukma who comes prepared to fight.

Rukmini is here in the chariot beseeching Krishna to save her brother’s life.

The major Pahari Rukmini-harana series painted almost certainly by Nainsukh’s third son Nikka for the court of Chamba c. 1790 (see V.C. Ohri, ‘Nikka and Ranjha at the court of Raja Raj Singh of Chamba’, in Ohri, V.C., and Craven, R., ed., Painters of the Pahari Schools, Marg Publications, Bombay, 1998, pp. 98-114) was copied in other schools. Our Kangra version copies Nikka’s wellknown dramatic painting of this episode when Rukma with his horses and chariot down springs at Krishna ready to slay him, but Rukmini with bowed head beseeches Krishna to spare her brother. Krishna is caught for a moment in a dramatic pose between the two but of course recovers himself, defeats Rukma and spares his life.

LOT 2

Rukma attacks Krishna opaque pigments and gold on paper folio 20.2 x 24.6 cm. painting 17.8 x 22.4 cm., within a dark blue margin with floral scroll Kangra, c. 1830

US$ 2,000 - 3,000

PROVENANCE Private collection, USA

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LOT 3

The Emperor Akbar II opaque pigments and gold on paper folio 21.7 x 14.5 cm painting 14.2 x 8 cm., with a dark blue border with gold floral scroll and buff surround with gold arabesques interspersed with dark blue cartouches Delhi, c. 1830 Inscribed in the sky in nasta’liq: Muhammad Akbar Shah Padshah

US$ 1,000 - 1,500 PROVENANCE Private collection, USA

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The Emperor Akbar II (reg. 1806-37) sits on an elaborate gilt wood chair facing right, a young attendant standing behind him with a morchhal. They are placed on a carpet on a terrace in front of a pavilion with a wall behind and a garden.

The artists Ghulam Murtaza Khan and Khairallah early in the reign of Akbar II around 1810 were establishing the ground rules for imperial portraiture in his reign and the formats that they established were copied during the next fifty years. See J.P. Losty and M. Roy, Mughal India: Art, Culture and Empire – Manuscripts and Paintings in the British Library, British Library, London, 2012, figs. 149-50, and W. Dalrymple and Y. Sharma, Princes and Painters in Mughal Delhi, 1707-1857, Asia Society, New York, 2012, nos. 30-32.

LOT 4

A reclining Mughal prince, perhaps Dara Shikoh, observing the women in his garden opaque pigments and gold on paper painting 18.2 x 29.8 cm. southern Rajasthan or Gujarat, 18th century Inscribed on the verso in nagari: Shah Jaho di Dara Bagas che

US$ 2,500 - 3,500 PROVENANCE Private collection, USA

The inscription confuses two of the sons of Shah Jahan, the eldest Dara Shikoh and the youngest Murad Bakhsh. The prince’s features more resemble those of the youngest son, but he is still probably intended for the eldest son, as he is nimbate, as is the principal woman in the garden who is perhaps intended for his sister Jahanara.

He lies on a bed looking back at her as she talks sternly to two other women. A carpeted terrace extends the width of the painting with behind a screen of jalis and pavilions and a garden full of colourful trees beyond. The way the trees are depicted suggests Mewar, but the influence is too general to be more precise than southern Rajasthan or even Gujarat.

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LOT 5

A prince entertained by music opaque pigments and gold on paper folio 20.3 x 14.4 cm painting 16.8 x 12 cm Nurpur, c. 1760

US$ 2,000 - 3,000 PROVENANCE Private collection, USA

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A prince here intended for Krishna sits in a pavilion listening to a girl play the tambura and presumably singing. The colour combination is unusual, he is wearing a golden yellow jama placed against a hot orange bolster before a pink wall painted with flowers, while she has the same orange for her skirt combined with a green bodice and a lighter orange veil pushed well back on her head. They are seated on a terrace spread with a light summer carpet in a diapered floral pattern in front of the pavilion. The ground is solid yellow rising to a narrow band of white scallopped clouds and a blue sky.

The high forehead with a large forehead jewel and the pushed back veil is typical of Nurpur women in the first half of the 18th century, but her seated posture with vertically raised thigh and skirt cascading over it falling in folds to the ground had only just been invented in Guler in the 1750s. Here it has been borrowed but is still treated less fluently and more conceptually. The view of the roof of the pavilion from this viewpoint is also somewhat unusual, but see W.G. Archer, Indian Paintings from the Punjab Hills, Sotheby Parke Bernet, London and New York, Oxford University Press, Delhi, 1973, Nurpur no. 51 for a similar viewpoint.

LOT 6

A lady holding out a garland to a child opaque pigments and gold on paper folio 20.8 x 14 cm. painting 18.3 x 12 cm. within a broad red surround Bilaspur, c. 1700-20

US$ 2,500 - 3,500 PROVENANCE Private collection, USA

A lady dressed in a lilac skirt, ochre bodice and transparent orhni with a three-dot diaper pattern stands holding out a jasmine garland to a small boy standing before her and looking up at her. He has bouncy curly hair, wears a short white jama sprigged with flowers and holds a wind toy of some kind. They stand on a dark green ground delineated by rippling hillocks under a tree entwined by creepers. The sage green background leads up to a sky with tangled white clouds.

The lady is typical of Bilaspur depictions of raginis around 1700 with her long face, large nose and slightly upcurving eye (see W.G. Archer, Indian Paintings from the Punjab Hills, Sotheby Parke Bernet, London and New York, Oxford University Press, Delhi, 1973, Kahlur 8-42). The colour scheme of varied sage greens and the details of the tree with its semi-naturalistic trunk and individually depicted leaves shows the influence from the Deccan on the style of Bilaspur and other Pahari styles in the later 17th century, an influence which does not seem to have been direct but channelled through the mixed Mewar-Deccani style found in Udaipur in the 1650 and 1660s (see the Kishkindha kanda of the Mewar Ramayana done for Jagat Singh of Mewar in this style published in J.P. Losty, The Ramayana: Love and Valour in India’s Great Epic – the Mewar Ramayana Manuscripts, British Library, London, 2008).

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LOT 7

A nobleman at a hunt opaque pigments and gold on paper painting 32 x 42.5 cm.

Deccan, late 18th century

US$ 3,000 - 5,000 PROVENANCE Private collection, USA

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A nobleman is proceeding to a hunt in his howdah on the back of his lavishly caparisoned elephant, while an attendant waves a morchhal over him. Retainers precede and follow him with lances and staffs, while further back two falconers clad in green have launched one falcon which is bringing down a bird while another waits its turn. The scene is set in open green countryside bisected by little ridges decorated with flowering plants, while the horizon is marked by a line of sombre trees.

The sky is divided in two: a lower blue portion is edged by a stylised line of clouds in grey and gold, while above the upper portion is white with little lines of clouds in grey and orange.

The painting seems something of a throwback to an earlier time judging by the turbans and gowns, but the handling of the landscape and sky is typical of ithe Deccan in the late 18th century (cf. M. Zebrowski, Deccani Painting, Sotheby Publications, University of California Press, London and Los Angeles, 1983, figs. 221, 230, 247).

LOT 8

A princess seated on a terrace with a parrot and listening to music opaque pigments with gold and silver on paper folio 29.4 x 22 cm. painting 22.2 x 15.6 cm. ascribed to Kasam son of Ahmad Bikaner, c. 1750 Inscribed on the verso in nagari: majlas janani ki Ahmad Qasam rai betai ko vi samvat 1823 miti Chaitra sudh 12 (‘as assembly of women, the daughters of Ahmad Kasam, on the 12th day of the bright half of the month Chaitra in the year 1823 [AD1776]’)

US$ 2,500 - 3,500 PROVENANCE Private collection, USA

A princess is seated in a silver chair on a terrace examining a parrot which is standing on her extended arm after leaving the cage held by an attendant. Two women behind the princess’s chair hold a morchhal and a chowrie, while in front of her stand two female musicians with vina and clappers. An elderly harem guard stands off to the side. Beyond the terrace is an extensive garden.

Kasam son of Ahmad was a known artist in the Umrani genealogy of artists from Bikaner (see N. Krishna, ‘The Umarani Usta Master-Painters of Bikaner and their Genealogy’ in Court Painting in Rajasthan, ed. A. Topsfield, Marg, Bombay, 2000, pp.

57-64). He was the artist of a Rasikapriya set dated 1749 with a signed specimen in the Brooklyn Museum (see Amy G. Poster et al., Realms of Heroism: Indian Paintings at the Brooklyn Museum, New York, 1994, no. 120). His style in that set is rather heavy and densely coloured, but his picture of Lord Krishna dancing on a lotus formerly in the Motichand Khajanchi collection of Bikaner paintings is much lighter in style and more akin to ours (see Saffronart sale, Mumbai, 9 March 2017, no. 1), so that our painting can be attributed to him.

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LOT 9

Raja Chitter Sen watercolour with gold, within black ruled margins in a plain album page folio 26.8 x 16.4 cm. painting 18 x 11.8 cm.

Mushidabad, c. 1790 Inscribed above in nasta’liq: Raja Chittar Sen maqam-i Bardvan and Burdwan Raja Chitter Sain

US$ 1,000 - 1,500 PROVENANCE Private collection, USA

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The Raja dressed all in white and cream save for a brocade patka and turban-band sits on a rug on a terrace holding a flower. He is supported by cream cushions and a cream and red bolster embroidered with flowers. His spittoon and pan box are placed before him. Chittar Sen was raja of Burdwan in western Bengal 1740-44 when Alivardi Khan was Nawab 1740-56. Burdwan had long been a zamindar holding, but Chittar Sen was awarded the title of Raja by the emperor Muhammd Shah.

The pale watercolour appearance of the portrait conforms to a strain in Murshidabad painting in the late 18th century, of which the prime example is an album in the British Library from around 1790 which contains portraits in similar style of all the principal actors in the affairs of Bengal in the period 1740 to 1760 during the transition from Mughal to East India Company control. See Mildred Archer, Company Drawings in the India Office Library, HMSO, London, 1972, no. 39, and pl. 19.

LOT 10

Nawab Husayn Quli Khan opaque pigments, watercolour with gold, within black ruled margins in a plain album folio 26.8 x 16.7 cm. painting 18 x 11.8 cm.

Mushidabad, c. 1790 Inscribed above in nasta’liq: Navab Husayn Quli Khan and below: Nuwab Khussein Kauli Khan

US$ 1,000 - 1,500 PROVENANCE Private collection, USA

The Nawab dressed all in white save for a brocade patka and turban-band sits on a rug on a terrace holding a flower. He is supported by blue cushions and a blue and red bolster. His sword, shield, spittoon, and pan box as well as a book are placed around him. Husain Quli Khan was deputy to Nawab Shahamat Jang, nephew and son-in-law to Nawab Alivardi Khan of Bengal (reg.

1740-56) and naib nazim of Dhaka. Husayn Quli Khan was the reputed lover of Ghaseti Begum, Alivardi Khan’s eldest daughter and wife to Shahamat Jang, and having offended the young Siraj al-Daula, Alivardi’s heir, was murdered by him in 1755.

The pale watercolour appearance of the portrait conforms to a strain in Murshidabad painting in the late 18th century, of which the prime example is an album in the British Library from around 1790 which contains portraits in similar style of all the principal actors in the affairs of Bengal in the period 1740 to 1760 during the transition from Mughal to East India Company control. See Mildred Archer, Company Drawings in the India Office Library, HMSO, London, 1972, no. 39, and also pl. 19 which is a very similar portrait of Husain Quli Khan.

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MODERN AND CONTEMPORARY South Asian Art lots 11 - 60

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lots 11 - 20

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LOT 11

Maqbool Fida Husain (1915 - 2011) Untitled (Ganesha) acrylic on canvas 36 x 24 in. (91.4 x 60.9 cm.) painted in 2004 Signed ‘Husain’ (upper left)

US$ 45,000 - 65,000

PROVENANCE Acquired directly from the artist Private collection, Singapore

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LOT 12

Syed Haider Raza (1922 - 2016) Earth acrylic on canvas 23.5 x 23.5 in. (60 x 60 cm.) painted in 2005

US$ 70,000 - 100,000

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Signed and dated ‘RAZA ‘05’ (lower right) Further signed, initialed, titled, dated and inscribed ‘RAZA / “Earth” / 2005 / 60 x 60 cm. / acrylic on canvas’ (on the reverse) PROVENANCE Acquired directly from the artist PUBLISHED Alain Bonfand, Raza, Paris, 2008, p. 234 (illustrated)

LOT 13

Francis Newton Souza (1924 - 2002) Spanish Landscape oil on canvas 20.5 x 24.25 in. (52 x 61.5 cm.) painted in 1961 Signed and dated ‘Souza 61’ (upper left) Further signed, titled, dated and inscribed ‘F.N. Souza / ‘Spanish Landscape’ / 1961 / 20 2/3 x 24 1/8”’ (on the reverse)

US$ 70,000 - 100,000

PROVENANCE Saffronart / Lot 48 / The Ties that Bind: South Asian Modern and Contemporary Art / Online auction / November 2016

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LOT 14

Jogen Chowdhury (b. 1939) Untitled (Queen) ink and mixed media on paper 13.75 x 9.75 in. (34.9 x 24.8 cm.) painted in 1999

US$ 14,000 - 20,000

Signed and dated ‘Jogen ‘99’ (upper right) Signed and dated in Bengali (upper left) PROVENANCE Sakshi Gallery, Mumbai

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‘’Sakti is a pilgrim of complex allegiances: in his deceptively buoyant and pleasurable paintings, we may discern the perennial, the ongoing, the never-to-be-resolved but immensely productive dialogue of Here and There, Was and Not-yet, Self and Other.

Indeed, these categories break down in the face of his work, because Sakti does not treat any identity as static: his protagonists define themselves in the flux of their engagement with one another [...] What the pilgrim proposes, for us, is the image of a universe that is churning with contradictions, ambivalences, multiplicities - a universe that is never still, that is never assured of that stillness beyond change which, the idealist philosophers insist, lies beyond the agitation of appearance.’ (Ranjit Hoskote, Sakti Burman: Recent Work, Exhibition catalogue, Pundole Art Gallery / Apparao Galleries, 2006) 38

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LOT 15

Sakti Burman (b. 1935) In the Church Garden oil on canvas 23.5 x 19.5 in. (59.6 x 49.5 cm.) painted in 2001

US$ 20,000 - 30,000

Signed ‘SAKTI BURMAN’ (lower centre right) Titled and dated ‘”IN THE CHURCH GARDEN” / 2001’ (on the reverse) PROVENANCE Private collection, Singapore

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LOT 16

Paritosh Sen (1918 - 2008) Tsunami acrylic on paper board 24.5 x 29.5 in. (62.2 x 74.9 cm.) painted in 2005 Signed and dated ‘Paritosh Sen ‘05’ (lower right)

US$ 8,000 - 12,000

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PROVENANCE Acquired directly from the artist PUBLISHED Mrinal Ghosh, Paritosh Sen: IX th Decade, Neovision, New Delhi, 2006, p. 212 (illustrated)

LOT 17

Badri Narayan (1929 - 2013) The Chhadanta and the Queen’s Portrait watercolour on paper 11.75 x 16.5 in. (29.8 x 41.9 cm.) painted in 2001

US$ 4,000 - 6,000

Initialed in Hindi (lower right) Signed, titled, dated and inscribed ‘Badri Narayan / “The Chhadanta and the Queen’s Portrait” / 17 th April 2001 / Watercolour, Pencil / Dharwad’ (on the reverse) PROVENANCE Private collection, Singapore

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LOT 18

Akbar Padamsee (b. 1928) Untitled watercolour on paper 14.75 x 11 in. (37.4 x 27.9 cm.) painted in 2002 Signed and dated ‘PADAMSEE 2002’ (upper left)

US$ 6,000 - 8,000

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PROVENANCE Private collection, Dubai

LOT 19

B. Prabha (1933 - 2001) Untitled (Feeding Birds) oil on canvas 25 x 30 in. (63.3 x 76.2 cm.) painted in 1964

US$ 15,000 - 25,000

Signed and dated ‘b.prabha 1964’ (lower centre right edge) Bearing Pundole Art Gallery label (on the back of frame) PROVENANCE Bonhams / Lot 317 / Islamic & Indian Art including Contemporary Indian and Pakistani Paintings / London / October 2005

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LOT 20

Jamil Naqsh (b. 1938) Pigeon Holed II oil on canvas 36 x 72 in. (91.4 x 183 cm.) painted in 2012 Signed ‘Jamil Naqsh’ (lower left edge) Further signed ‘Jamil Naqsh’ (on the reverse)

US$ 40,000 - 60,000

PROVENANCE Albemarle Gallery, London EXHIBITED AND PUBLISHED Jamil Naqsh: Memories of Doves & Pigeons, Albemarle Gallery, London, 2012, p. 34 (illustrated)

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lots 21 - 30

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LOT 21

Syed Haider Raza (1922 - 2016) Bindu Visarg acrylic on canvas 39.5 x 39.5 in. (100.3 x 100.3 cm.) painted in 2005 Signed and dated ‘RAZA ‘05’ (lower right)

US$ 100,000 - 150,000

PROVENANCE Saffronart, New York Bodhi Art, Singapore EXHIBITED AND PUBLISHED S.H. Raza: Saffronart Gallery, New York, July, 2005 S.H. Raza: Berkeley Square Gallery, London, June, 2005

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LOT 22

Maqbool Fida Husain (1915 - 2011) Untitled oil on canvas 27.5 x 39.5 in. (69.8 x 100.3 cm.) painted in 1959 Signed and dated in Hindi (lower left)

US$ 150,000 - 250,000

PROVENANCE Formerly in the collection of Bal Chhabda Saffronart / Lot 29 / Modern Evening Sale / New Delhi / September / 2014

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LOT 23

Francis Newton Souza (1924 - 2002) Head oil on board 30 x 24 in. (76.2 x 60.9 cm.) painted in 1961 Signed and dated ‘Souza ‘61’ (upper centre left)

US$ 80,000 - 120,000

PROVENANCE Formerly in the collection of Aziz Kurtha Acquired from the above by the present owner PUBLISHED Francis Newton Souza: Bridging Western and Indian Modern Art, Aziz Kurtha, Mapin Publishing, Ahmedabad, 2006, p. 166 (illustrated) LITERATURE Francis Newton Souza: Bridging Western and Indian Modern Art, Aziz Kurtha, Mapin Publishing, Ahmedabad, 2006, p. 166

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LOT 24

Jogen Chowdhury (b. 1939) Couple dry pastel on canvas 18 x 24 in. (45.5 x 60.8 cm.) painted in 2014

US$ 15,000 - 25,000

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Signed and dated ‘Jogen / 2014’ (upper left) Dated in Bengali (lower left) Initialed in Bengali (lower right) Further signed, titled, dated and inscribed ‘Jogen Chowdhury / ‘Couple’ / 2014 / Santiniketan / 45.5 x 60.8 cm. / Dry pastel on canvas (on the reverse) Further inscribed with the artist’s code ‘13/2014’ (on the reverse) PROVENANCE Acquired directly from the artist

LOT 25

Ram Kumar (b. 1924) Untitled (Varanasi) acrylic on paper 19.5 x 29.5 in. (49.5 x 74.9 cm.) painted in 2005 Signed and dated ‘Ram Kumar ‘05’ (on the reverse)

US$ 9,000 - 11,000

PROVENANCE Saffronart / Lot 45 / Modern Evening Sale / Online auction / February / 2015

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LOT 26

Thota Vaikuntam (b. 1942) Untitled acrylic on board 20 x 12.5 in. (31.7 x 50.8 cm.) painted in 1998 Signed and dated in Telugu (lower right)

US$ 7,000 - 10,000

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PROVENANCE Sakshi Gallery, Mumbai

LOT 27

Lalu Prasad Shaw (b. 1937) Untitled tempera on board 24 x 19 in. (60.9 x 48.2 cm.) painted in 2014 Signed and dated in Bengali (lower right)

US$ 7,000 - 9,000

PROVENANCE Acquired directly from the artist

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LOT 28

Sakti Burman (b. 1935) Untitled watercolour on paper 19 x 25 in. (48.2 x 63.5 cm.)

Signed ‘SAKTI BURMAN’ (lower right)

US$ 4,000 - 6,000

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LOT 29

K.G. Subramanyan (1924 - 2016) Leela gouache on board 24 x 24 in. (61 x 61 cm.) painted in 2011 Signed in Tamil (lower centre)

US$ 15,000 - 25,000

PROVENANCE Acquired directly from the artist Private collection, Dubai

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‘Broota is one of the most demanding artists living in India today. He is one of the very few who forces the viewer to dig deep in order to answer the question why. Why does a successful portrait artist start to paint politically powerful satirical images? Why does he abandon the relative ease of the paintbrush for the excruciatingly painstaking discipline of the razor blade? Why does he choose to confront the viewer with powerful sinewy male nudes? Why does he juxtapose the organic with harsh architectural forms? Why does he abandon colour to focus on a monochromatic palette? Why does he choose to spend 6-18 months on massive canvases the size of murals that contain no discernible image? Why does he devote so much of his time in the later stages of his career to photography? Why, in short, does he so often change direction and choose the most difficult path? Why does this mild-mannered, devoted family man, who lives a simple quiet life, behave like a revolutionary and break every single artistic convention?’ (Kito De Boer, Rameshwar Broota: Interrogating the Male Body, Kiran Nadar Museum of Art, New Delhi, 2015)

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LOT 30

Rameshwar Broota (b. 1941) Man (14th) oil on canvas 49.75 x 69.5 in. (126.3 x 176.5 cm.) painted in 1983 Signed, titled, dated and inscribed ‘R.Broota / MAN (14th) / ‘83 / R.BROOTA / Triveni Kala Sangam / 205, Tansen Marg / New Delhi - 110001 / INDIA’ (on the reverse)

US$ 120,000 - 180,000

PROVENANCE Christie’s / Lot 45 / South Asian Modern & Contemporary Art / London / June / 2015 Acquired from the above by the present owner

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lots 31 - 40

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MF Husain at The Lost Continent exhibition with The Last Supper painting in the background 72

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LOT 31

Maqbool Fida Husain (1915 - 2011) The Last Supper oil on canvas 72 x 90 in. (182.9 x 228.6 cm.) painted in 2005 Signed and dated ‘Husain 2005’ (lower right)

US$ 700,000 - 1,000,000

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PROVENANCE Acquired directly from the artist EXHIBITED AND PUBLISHED ’The Lost Continent’, The Arts House, Old Parliament Building, Singapore, October, 2005 ‘The Lost Continent’, The Gamble Room, Victoria and Albert Museum, London, July, 2005

Maqbool Fida Husain was born in Pandharpur, Maharashtra, on September 17, 1915. He moved to Madhya Pradesh and spent much of his growing years in the city of Indore. Husain lived to be one of the most admired painters in the history of contemporary India – also, one of the most controversial – and earned enormous international fame for his works.

Francis Newton Souza, in 1947, had invited Husain to join the Progressive Artists’ Group. The organisation that celebrated modernism and encouraged a deviation from traditional styles of painting. This invitation was a recognition of Husain’s personal idiom, his appreciation of contemporary art and eagerness to not be situated in traditional moulds, however old and pervasive they may be. In subsequent years, Husain’s professional life accompanied crucial events that were unfolding across the world. The stark deterioration of human values he witnessed in this period stirred and saddened him and he expressed these sentiments in the famous 21-part series of paintings, called ‘The Lost Continent’.

‘The Last Supper’ is the pivotal feature of The Lost Continent series. Painted in July 2005 in London, the series offers a peak into Husain’s sense of humanity and moral values. It sold for $2 million in 2005 and, at the time, bore the record of the highest sum ever paid for a work of modern art from India.

Christ sits by a table, haloed, with a book open before him. His torso is shaped in the form of a dove. The table, roughly cut is lifted at one end by the devil and by an angel at the other. A woman, garbed in robes and wearing a head gear, cups a candle in her palms. She is seen standing by Christ, on his left-hand side; on his right is an elderly bearded man and an imposing frame of an African lady. The fulcrum of this entire scene is an empty bowl at the centre of the table. The bowl signifies famine and the arresting presence of Africa, a region languishing in hunger and starvation, and serves as the artist’s statement on the global politics surrounding food.

Husain had also commented at one point that “the empty bowl signifies betrayal”.

Through a career that spanned decades, Husain has become a name that is both celebrated and authoritative in Indian art. He was a witness to a tumultuous period in human history where human values were in rapid deterioration across the world. His art mirrored his sense of the times and the loss he felt spilt out into The Lost Continent series. A colourful yet profound expression of an iconic Biblical scene, The Last Supper is one of the most unique offerings in the series. It was conceived after several years of search and dedication towards a telling idea: “the agony of a performer and the pain of the spectator”. The painting premiered in the Gamble Room of The Victoria and Albert Museum in London and exhibited in other august venues, serves as a statement of Husain’s aesthetic regarding loss and the human condition.

LOT 32

Syed Haider Raza (1922 - 2016) Rajasthan acrylic on paper 25.5 x 19.75 in. (65 x 50 cm.) painted in 1977

US$ 40,000 - 60,000

76

ARTIANA

Signed and dated ‘RAZA ‘77’ (lower left) Further signed, titled, dated and inscribed ‘RAZA / “Rajasthan” / 1977 / acrylic on paper / 65 x 50 cm’ (on the reverse) Initialed twice and further titled in Hindi (on the reverse) PROVENANCE Acquired directly from the artist PUBLISHED Alain Bonfand, Raza, Paris, 2008, p. 100 (illustrated)

LOT 33

Syed Haider Raza (1922 - 2016) Rajasthan acrylic on paper 25.5 x 19.75 in. (65 x 50 cm.) painted in 1977

US$ 40,000 - 60,000

Signed and dated ‘RAZA ‘77’ (lower right) Further signed, titled, dated and inscribed ‘RAZA / “Rajasthan” / 1977 / acrylic on paper / 65 x 50 cm’ (on the reverse) Initialed twice and further titled in Hindi (on the reverse) PROVENANCE Acquired directly from the artist PUBLISHED Alain Bonfand, Raza, Paris, 2008, p. 101 (illustrated)

South Asian Art | Classical, Modern AND Contemporary

77

78

ARTIANA

South Asian Art | Classical, Modern AND Contemporary

79

LOT 34

Thota Vaikuntam (b.1942) Untitled acrylic on canvas 15.75 x 11.75 in. (40 x 29.8 cm.) painted in 2003

US$ 5,500 - 7,500

80

ARTIANA

Signed and dated in Telugu (lower right) PROVENANCE Acquired directly from the artist by the present owner PUBLISHED This painting has been reproduced in a limited edition portfolio of offset prints

LOT 35

Thota Vaikuntam (b.1942) Untitled acrylic on canvas 15.75 x 11.75 in. (40 x 29.8 cm.) painted in 2003

US$ 5,500 - 7,500

Signed and dated in Telugu (lower left) PROVENANCE Acquired directly from the artist by the present owner PUBLISHED This painting has been reproduced in a limited edition portfolio of offset prints

South Asian Art | Classical, Modern AND Contemporary

81

LOT 36

Akbar Padamsee (b.1928) Untitled oil on canvas 36 x 24 in. (91.4 x 60.9 cm.) painted in 2004

US$ 20,000 - 30,000

82

ARTIANA

Signed and dated ‘PADAMSEE 2004’ (lower left) PROVENANCE The Guild Art Gallery, Mumbai Private collection, Dubai

LOT 37

Krishen Khanna (b.1925) Bandwallas oil on canvas 32 x 13.25 in. (81 x 33.3 cm.)

Signed ‘KKhanna’ (lower right)

US$ 15,000 - 20,000 PROVENANCE Acquired directly from the artist

South Asian Art | Classical, Modern AND Contemporary

83

LOT 38

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

84

ARTIANA

Signed and dated ‘Ramachandran 2006’ (lower right Further signed, dated and inscribed ‘Ramachandran / 2006 / Studies from Rajasthan’ (on the reverse) PROVENANCE The Guild Art Gallery, Mumbai Private collection, Dubai

LOT 39

Sakti Burman (b.1935) Untitled mixed media on canvas 23.5 x 19 in. (59.7 x 48.3 cm.) circa 1970’s

US$ 25,000 - 30,000

Signed ‘SAKTI BURMAN’ (lower centre left) PROVENANCE Saffronart / Lot 39 / Modern Evening Sale / Online auction / February / 2015

South Asian Art | Classical, Modern AND Contemporary

85

LOT 40

Maqbool Fida Husain (1915 - 2011) Untitled (Krishna and Radha) acrylic on canvas 30 x 36 in. (76.2 x 91.4 cm.) painted in 2004 Signed ‘Husain’ (centre left)

US$ 50,000 - 70,000

PROVENANCE Acquired directly from the artist Private collection, Singapore

88

ARTIANA

lots 41 - 50

South Asian Art | Classical, Modern AND Contemporary

89

90

ARTIANA

South Asian Art | Classical, Modern AND Contemporary

91

92

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LOT 41

Krishen Khanna (b. 1925) Emmaus oil on canvas 72 x 48 in. (183 x 122 cm.) painted in 2016

US$ 100,000 - 150,000

Signed ‘KKhanna’ (lower right) Further signed, titled, and inscribed ‘KKhanna / “Emmaus” / KRISHEN KHANNA / Oil on canvas’ (on the reverse) PROVENANCE Grosvenor Gallery, London Private collection, Dubai EXHIBITED India Art Fair 2017, Grosvenor Gallery

South Asian Art | Classical, Modern AND Contemporary

93

LOT 42

Manu Parekh (b. 1939) Banaras acrylic on board 30 x 80 in. (76.2 x 203.2 cm.) diptych each panel 30 x 40 in. (76.2 x 101.6 cm.) painted in 2017 Signed and dated in Hindi (lower left)

US$ 15,000 - 25,000

94

ARTIANA

PROVENANCE Acquired directly from the artist Private collection, Dubai

South Asian Art | Classical, Modern AND Contemporary

95

LOT 43

Manjit Bawa (1941 - 2008) Untitled black marker pen on paper 19.25 x 27 in. (48.8 x 68.5 cm.) executed in 1996 Signed and dated ‘Manjit 96’ (lower right)

US$ 4,000 - 6,000

96

ARTIANA

PROVENANCE Private collection, Singapore

LOT 44

K.G. Subramanyan (1924 - 2016) Brown Madonna gouache on board 16 x 16 in. (40.5 x 40.5 cm.) painted in 2011 Signed in Tamil (lower left)

US$ 10,000 - 15,000

PROVENANCE Acquired directly from the artist Private collection, Dubai

South Asian Art | Classical, Modern AND Contemporary

97

98

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South Asian Art | Classical, Modern AND Contemporary

99

Sheikh Rashid bin Saeed al Maktoum (1912-1990), the father of modern Dubai 100

ARTIANA

LOT 45

Francis Newton Souza (1924 - 2002) The Emir of Dubai oil on board 23.75 x 19.75 in. (60.3 x 50.1 cm.) painted in 1976 Signed and dated ‘Souza ‘76’ (upper left)

US$ 40,000 - 60,000

PROVENANCE Formerly in the collection of Kito de Boer Private collection

South Asian Art | Classical, Modern AND Contemporary

101

Dubai Creek, 1976

102

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South Asian Art | Classical, Modern AND Contemporary

103

104

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LOT 46

Maqbool Fida Husain (1915 - 2011) Untitled (Portrait of Ibn Zainab) acrylic on canvas 33.5 x 43.5 in. (85.3 x 110.4 cm.) painted circa late 1970’s Signed ‘Husain’ (lower centre)

US$ 100,000 - 150,000

Painted in the late 1970’s, this work forms a part of M.F. Husain’s Ibn Zainab series.

PROVENANCE Bagash Art Gallery, Dubai Private collection

South Asian Art | Classical, Modern AND Contemporary

105

LOT 47

A. Ramachandran (b. 1935) Untitled watercolour on paper 14.75 x 10.75 in. (37.4 x 27.3 cm.) painted in 2004

US$ 6,000 - 8,000

106

ARTIANA

Signed and dated ‘Ramachandran 2004’ (lower right) Bearing artist’s stamp (lower right) PROVENANCE Private collection, Dubai

LOT 48

Jamil Naqsh (b. 1938) Looking East oil on canvas 48 x 36 in. (121.9 x 91.4 cm.) painted in 2012

US$ 30,000 - 50,000

PROVENANCE Albemarle Gallery, London EXHIBITED AND PUBLISHED Jamil Naqsh: Homage to Picasso, Albemarle Gallery, London, 2012, p. 45 (illustrated)

South Asian Art | Classical, Modern AND Contemporary

107

108

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South Asian Art | Classical, Modern AND Contemporary

109

LOT 49

Anjolie Ela Menon (b. 1940) Landscape oil on canvas 26 x 20 in. (66.5 x 51 cm.) painted in 2013

US$ 20,000 - 30,000

110

ARTIANA

Signed ‘Anjolie Ela Menon’ (upper left) Bearing Grosvenor Vadehra and Vadehra Art Gallery labels (on the reverse) PROVENANCE Grosvenor Vadehra, London EXHIBITED Anjolie Ela Menon: Recent Paintings, Grosvenor Vadehra, London, June, 2013

LOT 50

Senaka Senanayake (b. 1951) Mara Yudhaya oil on canvas 35 x 59 in. (88.9 x 149.8 cm.) painted in 1998 Signed and dated ‘Senaka Senanayake 1998’ (lower left)

US$ 25,000 - 35,000

South Asian Art | Classical, Modern AND Contemporary

111

lots 51 - 60

114

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South Asian Art | Classical, Modern AND Contemporary

115

“My work is a continuous process that takes up almost all my waking hours. Even when I sleep, I have experienced visions in my dreams that are related to my painting activities. Often, a stubborn problem regarding space or color that refuses to be solved no matter how much I try to sort it out during the day finds amazingly apt answers in my subconscious as I sleep. Much like a musician who has to work constantly perfecting his musical notes or ‘ragas’ and ‘swaras’ so also an artist must practice religiously to better and improve his artistic technique. You can never practice enough.”

- Manjit Bawa

‘Unmistakable red - In conversation with Ina Puri’ ARTIANA: How has Manjit Bawa’s art evolved in light of his exposure to silk screen printing?

INA PURI: He studied silk screen printing in the London years in the 60’s and it definitely affected the way he painted when he returned to India — when he was grappling with his form, with his style and working on his iconography. Silk screen printing played a very important role because of the flat background. He worked on the wet-on-wet process. Flat background became an integral part his painting and the way he worked and the images that he created in the later years. The floating figures and his typical iconography, always had a flat background. He did not like a background that was cluttered. It was just this stark beautiful colour feel that was in these colours and this was something that he did even with the miniature paintings — Basohli yellows, the bright pink reds. He did not use colours out of a tube - there would be so many different colours going into the making of a red. What appears to be an Indian red or a madder, is actually different shades that he mixed to come to this kind of a background. There were maybe fifty different shades of reds that came into the making of his works.

ARTIANA: Could you share something about his animals and what made them so special?

INA PURI: He was first of all a very compassionate human being and someone who was an animal lover. This I have seen myself, the fact that he was extremely fond of animals and had a way with animals, which perhaps came from the time he was born. Manjit was born in a gaushala. So right from the time when he was a child he was very familiar with animals. He would go off, he told me, as a child, riding on the back of a buffalo. This little adolescent boy on the back of a buffalo playing a flute could very well be Manjit himself. When it came to his painting in his later years, one could see a coexistence clearly. He would paint for instance a goat and a lion because he believed in coexistence. He believed as a sufi and felt that that there should be peace and harmony. The animal figures were a part of his entire iconography, and it also had to do with the fact that Abani Sen, his guruji, taught him how to paint. Anatomy was extremely important. The structure of a figure was very very important.

His homework was to go to a stable and sketch horses, goats and other animals. These practices were a part of his art lessons and these instructions he received from Abani Sen, whom he considered his guru. So right from the beginning we see the influence and therefore his interest in animals. He cared very deeply about animals. When he paints the animals, they become Manjit’s creatures, in a sense. They have their own way, and their own eccentricities. You see a goat looking very perky and flirtatious. They have all these very interesting characteristics that you see in human beings - now appearing in animals.

Their expressions are absolutely so beautiful and so Manjit. He was someone who really enjoyed working with animals, especially the goat or the cow and they appeared in different avatars; different kinds of compositions where the animals played the most important role, with or without the human figure. Because of distortion, the animals aren’t figurative creatures.

They are not real or not life-like. They are not realistically painted or drawn. But they have their characteristics — the long flowing lines from the tail to the torso, the way the form almost meld and merge is very Manjit. Something that you recognize as a goat, or a cow or a bull, but it has unmistakable lines and a flow that make it Manjit’s creatures.

This is how he was working towards the end of his life. He went very young, when he was 61 years old and without any indication. He would be totally lost in these images. He enjoyed creating these images. These are Manjit’s images and compositions. The unmistakable red. In his travels, he would take photographs of all goats and when asked why he was doing so as they all look alike, he would say “the goats think the same about us!” He is not grappling anymore. He is not struggling.

He is the master of his form, of his art and he loved these images. These were his people. These people, creatures, fellow beings that he loved. There is no violence anywhere. He was drawn to red. Red was his signature. It was his favorite color and he perfected the shade. He used it in the most audacious way. Red has always been his favorite colour.

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LOT 51

Manjit Bawa (1941 - 2008) Untitled (Goat) oil on canvas 30 x 24 in. (76.2 x 60.9 cm.) painted in 2001

US$ 100,000 - 150,000

Signed and dated ‘Manjit 2001’ (on the reverse) PROVENANCE Formerly in a well known North Indian collection Acquired from the above by the present owner

South Asian Art | Classical, Modern AND Contemporary

117

118

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LOT 52

K. Laxma Goud (b. 1940) Untitled (Krishna) acrylic on canvas 60 x 48 in. (152.4 x 121.9 cm.) painted in 2017

US$ 30,000 - 50,000

Signed and dated in Telugu (upper right) Further signed and dated in Telugu (on the reverse) PROVENANCE Acquired directly from the artist Property of a private collection based in Dubai

South Asian Art | Classical, Modern AND Contemporary

119

LOT 53

Paritosh Sen (1918 - 2008) Girl eating a maize acrylic on canvas 23.75 x 17.75 in. (45 x 60.3 cm.) painted in 1996

US$ 5,000 - 7,000

120

ARTIANA

Signed and dated ‘Paritosh Sen ‘96’ (lower left) Further signed, titled, dated and inscribed ‘By Paritosh Sen / Girl eating a maize / 1996 / Acrylic’ (on the reverse) PROVENANCE Acquired directly from the artist

LOT 54

Jogen Chowdhury (b. 1939) Untitled ink and pastel on paper 19.75 x 27.5 in. (50.1 x 69.8 cm.) painted in 2007

US$ 8,000 - 12,000

Signed and dated ‘Jogen 2007’ (upper right) Initialed in Bengali (lower right) PROVENANCE Private collection, Dubai

South Asian Art | Classical, Modern AND Contemporary

121

122

ARTIANA

LOT 55

Ram Kumar (b. 1924) Untitled (Varanasi) oil on canvas 36 x 48 in. (91.4 x 121.9 cm.) painted in 2015

US$ 80,000 - 120,000

Signed, dated and inscribed ‘Ram Kumar / 2015 / 48” x 36”’ (on the reverse) PROVENANCE Acquired directly from the artist Private collection, Dubai

South Asian Art | Classical, Modern AND Contemporary

123

124

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South Asian Art | Classical, Modern AND Contemporary

125

LOT 56

Bose Krishnamachari (b. 1963) Untitled acrylic on canvas 48 x 78 in. (121.9 x 198.1 cm.) painted in 2005

US$ 10,000 - 15,000

126

ARTIANA

Signed and dated ‘Bose Krishnamachari 2005’ (on the reverse) PROVENANCE Private collection, Dubai

LOT 57

Laxman Shreshtha (b. 1939) Untitled mixed media on paper 21.5 x 29.5 in. (54.6 x 74.9 cm.) painted in 2005 Signed and dated ‘Laxman 2005’ (lower right)

US$ 40,000 - 60,000

PROVENANCE Private collection, Dubai

South Asian Art | Classical, Modern AND Contemporary

127

LOT 58

Sujata Bajaj (b.1958) Fragments acrylic on canvas 19.75 x 19.75 in. (50 x 50 cm.)

US$ 4,000 - 6,000

128

ARTIANA

Signed in Hindi and English (lower right) Further signed in Hindi and English (on the reverse) Titled and inscribed ‘Sujata Bajaj / “Fragments” / acrylic on canvas / 50 x 50 cm’ (on the reverse)

LOT 59

Syed Haider Raza (1922 - 2016) Akela acrylic on canvas 24 x 19.75 in. (60.9 x 49.9 cm.) painted in 2007

US$ 30,000 - 50,000

Signed and dated ‘RAZA ‘07’ (lower right) Further signed, titled in Hindi, dated and inscribed ‘RAZA / 2007 / acrylic on canvas / 60 x 50 cm’ (on the reverse) Initialed and further inscribed in Hindi (on the reverse) PROVENANCE Acquired directly from the artist

South Asian Art | Classical, Modern AND Contemporary

129

130

ARTIANA

LOT 60

Senaka Senanayake (b. 1951) The Way of The Buddha oil on canvas 36 x 24 in. (91.4 x 60.9 cm.) painted in 2007

US$ 12,000 - 18,000

Signed and dated ‘Senaka Senanayake 2007’ (lower right) PROVENANCE Acquired directly from the artist Private collection, Dubai

South Asian Art | Classical, Modern AND Contemporary

131

END OF SALE

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

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INDIA UAE SRI LANKA UTC +4:00 UTC +5:30

US EASTERN UTC -5:00

US PACIFIC UTC -8:00

UK UTC +1:00

WEST AFRICA UTC +1:00

EAST AFRICA UTC +3:00

HONG KONG SINGAPORE UTC +8:00

EASTERN AUSTRALIA UTC +11:00

1 - 10

6:30 p.m.

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(October 31)

11 - 20

7:00 p.m.

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7:00 a.m.

4:00 p.m.

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21 - 30

7:30 p.m.

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31 - 40

8:00 p.m.

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5:00 p.m.

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(October 31)

3:00 a.m.

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41 - 50

8:30 p.m.

10:00 p.m. 11:30 p.m.

8:30 a.m.

5:30 p.m.

5:30 p.m.

7:30 p.m

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(October 31)

3:30 a.m.

(October 31)

51 - 60

9:00 p.m.

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9:00 a.m.

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WRITTEN / ABSENTEE BIDS FORM SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY, OCTOBER 26 - 30, 2017

SALE NUMBER: 1702

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by USD 100

USD 2,000 to 4,000

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USD 4,000 to 10,000

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USD 10,000 to 20,000

by USD 1,000

USD 20,000 to 40,000

by USD 2,000

USD 40,000 to 100,000

by USD 5,000

USD 100,000 to 200,000

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USD 200,000 to 400,000

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USD 400,000 to 1,000,000

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

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

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

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

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

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

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

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

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

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

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

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

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

Customs Duty, Buyer’s Premium, Service Tax & Sales Tax / 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 such as Service Tax, Sales Tax or Value Added Tax are applicable on any Winning Bid, as Artiana is based in UAE, where such taxes are not levied.

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.

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

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

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

• Bank Transfer:You may electronically transfer funds to our account in US dollars. When doing so, please quote the sale details along with the Lot number and invoice number as the reference.

Our account details are as follows Account Name: Artiana Limited Bank: Emirates NBD Branch: Business Bay Branch, Dubai, UAE SWIFT: EBILAEAD USD Account No.: 1025213528602 USD IBAN: AE970260001025213528602 AED Account No.: 1015213528601 AED IBAN: AE890260001015213528601 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.

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

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

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

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

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

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

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

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

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

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

Artiana Server: The system(s) that provides computer devices with access to resources shared on computer networks, including Artiana data, application files and printers.

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

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 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.

Description: All the details of a Property as set out in the Auction Catalogue and may include, without limitation, the name of the artist, designer or manufacturer, the title of the Property, and the following additional details: • For Artworks: The signature of the artist/date of the Property (if any), the surface, medium, edition number (wherever applicable) and dimensions of the Property.

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eCatalogue: An electronic reproduction of the Print Auction Catalogue that may be made available on the Website for certain auctions.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

2.7. Artiana reserves the right to withdraw any Property before, during or after the Auction, if it has reason to believe that the authenticity of the Property or the accuracy of the Description is in doubt, or if there is a breach of the Terms of Business, or in the case of error or dispute, or if Artiana otherwise believes, at its sole discretion, that it would be improper to include the Property in the Auction, and can during or after the Auction continue the bidding, determine the successful Bidder, cancel the sale of the Lot, or re-offer and resell any Lot.

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

2.10. The title to the Properties purchased in an Auction shall pass to the Buyer at the Closing Time subject to the conditions in clause 2.7 for those Properties where a Buyer holds the Winning Bid and said Buyer assumes full risk and responsibilities for the Properties thereafter. Properties purchased will not be released or shipped out to the Buyer or his representative until the Buyer has fulfilled his payment and other obligations as described in these Conditions of Sale. Artiana may exercise a lien on the Properties under the conditions described in Clause 2.17.

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

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

by USD 100

by USD 200

by USD 500

by USD 1,000

by USD 2,000

by USD 5,000

by USD 10,000

by USD 20,000

by USD 50,000

by USD 100,000

2.12. The Auction is conducted in United States Dollars (USD) and, for any transaction in other currencies, the exchange rate will be calculated as per the sheet rate of the bank specified by Artiana on the date of either receiving the funds from the Buyer or remitting the funds to the Seller. In the case of payments for purchases being made in UAE Dirhams (AED), a standard conversion rate of 1USD = 3.675 AED will apply.

2.13. All Bidders are required to provide complete and accurate invoicing details to Artiana at the time of registration for the Auction.

Invoicing details, once registered, will not be changed. The Bidder shall be invoiced based on details provided at the time of registering for the Auction.

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

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

2.15. Non payment The Winning Bidder shall ensure that invoices provided by Artiana are paid in full and all remittance of amounts due under said invoice

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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.

• 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

2.23. Artiana employees may Bid in charity auctions that are held on the Artiana Auction platform.

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.

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

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

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

2.27. Technical Downtime In the unlikely event that the Website is inaccessible to Bidders worldwide due to Technical Downtime within the half hour prior to the scheduled Closing Time for any of the Lot Groups, the Closing Time of that Lot group and subsequent Lot Groups will be extended by the duration of the Technical Downtime. In case the Technical Downtime extends beyond the Closing Time for a particular Lot Group, the Website shall, after the Technical Downtime, show the Auction for the particular Lot Group as closed. However, the Closing Time for such Lot Group and subsequent Lot Groups shall be extended by the duration of the Technical Downtime and appropriate details of the extension shall be published on the Website shortly after recovery from the Technical Downtime. Note that any malfunction in the Mobile Application does not constitute Technical Downtime. In the event of such malfunction, Bidders should use the Website to place Bids.

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

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

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

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

3.3. The Buyer undertakes: • to inspect and satisfy himself prior to the Auction as to the condition and description of the Property(ies);

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

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

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

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be applicable where the Property is being shipped to the Buyer

by Artiana.

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

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

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

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

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

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

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

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

6. Copyright All content of the Print Auction Catalogue, eCatalogue and on the Website and Mobile Application are copyright protected in favour of Artiana. All trademarks, names, brand names, etc. used in the Print

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

7. Legal Notices, Language, Third Party

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

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

7.3. The notices and contract language shall be English.

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

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

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

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

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

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

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

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

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

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

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

3. The Property was indisputably purchased through Artiana.

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

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

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

Method

Where

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

CONTACT ARTIANA Help Desk: +971 55 815 3030 T: +971 4 429 0077 F: +971 4 428 6677 E: info@artiana.com Office Hours: 10.30 am - 6.30 pm

Charges Due

Packing / Costs

Onsite Delivery

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

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

Bubble wrap provided complimentary

Collection of Lots (By prior appointment)

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

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

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

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

Within UAE

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

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

International Deliveries (Based on confirmed shipping instructions from buyers)

Within GCC Countries

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

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

Outside GCC Countries

As above but 5% Customs duty exempt

As above

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

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

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

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

• Shipments can only be made once full payment of all shipping charges is received by the logistics service provider.

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

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

Lot 58

Bawa, Manjit (1941 - 2008) Born in 1941, in Punjab, Bawa studied at the College of Art, New Delhi, and then at the London School of Printing. During his stay abroad, from 1967 to 1971, he held his first solo exhibition in London and Spain. His last solo shows include those at the Nehru Centre and Air Gallery, London, organized by Sakshi Art Gallery, Mumbai, Gallery Maya, London, in 2005; Palette Art Gallery, New Delhi, in 2005, Sakshi Art Gallery, Mumbai, Indian Contemporary, Hong Kong, in 2002; and Bose Pacia, New York, in 2000. Bawa’s Lot 51 works have also been part of many group shows including ‘Freedom 2008’ at the Lot 43 Centre for International Modern Art (CIMA), Kolkata, in 2008; ‘In Transit III’ presented by Sakshi Art Gallery at Alexander Ochs Galleries, Berlin, in 2005; ‘The Margi and the Desi’ at Gallery Espace, New Delhi, in 2004; ‘Four Contemporary Artists’ at Gallery Espace, New Delhi in 1998; ‘Wounds’ at CIMA, Kolkata and the National Gallery of Modern Art (NGMA), New Delhi, in 1993; the Grey Art Gallery, New York, in 1985; the Royal Academy, London, in 1982; and the Hirshhorn Museum, Washington DC, in 1982. Exhibitions that have included his work posthumously include ‘Kalpana: Figurative Art in India’ presented by the Indian Council for Cultural Relations (ICCR) at Aicon Gallery, London; ‘Tracing Time’ at Bodhi Art, Mumbai’ and ‘In Memorium’ at the National Gallery of Modern Art (NGMA), New Delhi, all in 2009. Bawa lived and worked in New Delhi, till he passed away in 2008.

Broota, Rameshwar (b. 1941) Born in 1941, Broota graduated from New Delhi College of Art and Later became a faculty member there. Since 1967, he has been heading Triveni Kala Sangam in New Delhi. Broota’s recent solo shows include those held at 1 x 1 Art Gallery, Dubai, in 2011; Vadehra Art Gallery, New Delhi, in 2011 and 2009; Sakshi Art Gallery, Mumbai, in 2008;Vadehra Art Gallery at Shridharani Gallery, New Delhi, in 2007; the National Gallery of Modern Art, Mumbai and Galerie 88, Kolkata, in 2004-05. Some of the group shows that Broota’s works have been a part of include ‘Ideas of the Sublime’ presented by Vadehra Art Gallery at Lalit Kala Akademi, New Delhi, in 2013; ‘Progressive to Altemodern’ at Grosvenor Vadehra, London, in 2009; ‘Still Moving Image’ at the Devi Art Foundation, New Delhi, in 2008; ‘Contemporary Art of India’, at the Peabody Essex Museum, Salem, Lot 30 1999; and those at the Taka Oka Municipal Museum of Art and Merguro Museum of Art, Japan, in 1988. In 1982, Broota’s works were exhibited at the Museum of Art and Merguro Museum of Art, Japan, in 1988. In 1982, Broota’s works were exhibited at the Museum of Modern Art in Oxford, the Hirschorn Museum in Washington DC, and the Damstadt Museum in Germany. He has been honoured with the National Award by the Lalit Kala Akademi in 1980, 1981 and 1984. The Artist lives and works in New Delhi.

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Burman, Sakti (b. 1935) Born in Kolkata, Sakti Burman graduated from the Government College of Arts and Crafts, Kolkata, in 1956 and then went on to study at the Ecole Nationale Superieure des Beaux Arts in Paris, where, in 1956, he won the Prix des Etrangers.

Some of the most recent Lot 28 Lot 39 solo shows of his work include a retrospective at Lot 15 the Lalit Kala Akademi, New Delhi, Jehangir Art Gallery, Mumbai, Victoria Memorial Hall, Kolkata, and DakshinaChitra, Chennai, in 2012; at Apparao Galleries, Chennai in 2011; Pundole Art Gallery, Mumbai, in 2011, 2006, 2001, 1990, 1988, 1977, 1970 and 1967; Aicon Gallery, London and New York, in 2009; Art Musings, Mumbai, in 2009; and Maison de I’Unesco, in 2008. Burman’s works have also been featured at Saffronart’s exhibitions in Los Angeles in 2001 and in New York in 2002; at the Rand Palais, Paris, in 1975 and 1994; and at the French Biennales in 1963, 1965 and 1967. The artist lives and works in Paris.

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 BeauxArts, Paris. His most recent solo exhibitions include ‘Jogen Chowdhury: Formative to Recent’, Centre of International Modern Art (CIMA), Kolkata, in 2014; ‘Lignes de Meditation’, Gallery Veda, Chennai, in 201213; ‘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 Lot 14 Lot 24 2006; and Bose Pacia, New York, in 2002. Chowdhury’s works have been exhibited in several group shows including ‘Ideas of the Sublime’, presented by Vadehra Art Gallery at Lalit Kala Akademi, New Delhi, in 2013; ‘Figure / Landscape: Part Two’, Aicon Gallery, London, in 2010-11; ‘Dali’s Elephant’, Aicon Gallery, London, ‘Paper Trails’, Vadehra Art Gallery, New Delhi, ‘Pretty Ugly’, Bose Pacia, Kolkata, ‘Image and Symbol: Painters Perception’, Aakrit Art Gallery, Kolkata, in 2010; ‘Modern Continuous’, Galerie 88, Kolkata, in 2009; ‘Inverting, Inventing, Traditions’, Grosvenor Vadehra, London, in 2007; Drawing Show an Act of Art II’, Priyasri Art Gallery, Mumbai, in 2006; those by Saffronart and Pundole Art Gallery, New York, in 2002 and 2001; the ‘Festival of India’ Geneva, in 1989; the II Havana Biennale, in 1986; and the Sao Paulo Biennale, in 1979. He was awarded the Kalidas Samman by the Madhya Pradesh State Government in 2001, the Shiromani Award, Kolkata, in 1997, and the Prix le France de la Jeune Peinture in 1966. The artist lives and works in Shantiniketan, West Bengal.

Lot 54

Goud, K. Laxma (b. 1940) Born in Andhra Pradesh, Laxma Goud studied at the College of Fine Arts and Architecture in Hyderabad and at the Faculty of Fine Arts of M.S. University in Baroda. Goud has exhibited widely, both within and outside India. His solo shows include ones held at Art Alive Gallery, New Delhi in 2012; Art Musings, Mumbai in 2011; the Aicon Gallery, London, in 2009; Gallerie 88, Kolkata, in 2009; Indian Contemporary Art (ICA), Jaipur, in 2008; Gallery Space, Hyderabad, in 2008, and the Guild Art Gallery, Mumbai, 2006 and 2003. His works have been part of group exhibitions including those held at Sakshi Gallery, Mumbai in 2012; Aicon Gallery, New York in 2011-12; Art Musings at Jehangir Art Gallery, Mumbai, in 2008; Galerie 88 Kolkata, in 2007; Priyasri Art Gallery, Mumbai, in 2006; by Saffronart and Apparao Galleries, Los Angeles, 2001; Saffronart Hong Kong 2001, Saffronart and Pundole Art Gallery, New York, 2001 and 2002; Centre of International Modern Art (CIMA), Kolkata, and the National Gallery of Modern Art (NGMA), New Delhi, Lot 52 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.

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Husain, Maqbool Fida (1913 - 2011)

Lot 11

Lot 22

Lot 31

Born in Pandharpur, Maharashtra, in 1913, Husain moved to Mumbai in 1937 where he sustained himself by painting cinema hoardings and designing furniture and toys. A self-taught artist, Husain was invited to join the Progressive Artists Group in 1947 by F.N. Souza after his first public exhibition of paintings. Most recently, his work has been featured in solo shows including ‘M.F. Husain: Early Masterpieces 1950s-1970s at the David Winton Bell Gallery, Providence in 2010; ‘Epic India’ at the peabody Essex Museum, Salem, in 2006-07; and ‘Early Masterpieces 1950-70s, at Asia House Gallery, London, in 2006.

Husain was nominated to the Rajya Sabha, India’s Upper House Lot 46 of Parliament in 1986-92, during which he pictorially recorded its Lot 40 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.

Khanna, Krishen (b. 1925) Born in 1925, in Lahore, Krishen Khanna worked as a banker while he studied painting as a part-time programme at the Mayo School of Art. A job transfer brought him in close proximity with the members of the Progressive Artists’ Group in Mumbai, where he chose to pursue a full-time career as an artist. In 1962-63 Khanna received a fellow-ship from the Rockefeller Council, New York and was artist-in-residence at the American University, Washington DC. In 2010, Saffronart hosted a retrospective of his work at the Lalit Kala Akademi, New Delhi. His other solo exhibitions include those held by Saffronart in association with Osborne Samuel and Berkeley Square Gallery at the Royal Academy, London, in 2007; Saffronart and Berkeley Square Gallery, London, in 2005; Pundole Art Gallery, Mumbai 2004;Vadehra Art Gallery, New Delhi, 1994; and Lot 41 Kumar Art Gallery, New Delhi, 2001, 1966, ’64, ’60, ’59 and ’58. His works were also included in exhibitions Lot 37 held by Saffronart and Pundole Art Gallery, New York, in 2001 and 2002. In 2011, the Government of India awarded him with the Padma Bhushan; in 2004 he received the Lalit Kala Ratna from the President of India; and in 1997 he received the Kala Ratna from the All India Fine Arts and Crafts Society, New Delhi. Khanna lives and works in New Delhi.

Krishnamachari, Bose (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 recipient of the Kerala Lalitha Kala Academi Award, Bombay Art Society Prize, Mid America Arts Alliance Award, First Runner up at Bose Pacia Lot 56 Modern Biannual, New York, besides others.

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Kumar, Ram (b. 1924) 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 Lot 55 III Fund Fellowship. Since 1949, Ram Kumar has exhibited Lot 25 regularly in India and internationally. Some of his solo shows include those at Aicon Gallery, New York, in 2013; Chemould Prescott Road, Mumbai in 2008; Vadehra Art Gallery, New Delhi in 2012, 2010-11, ’09, ’08, ’06, ’05, ’03, ’01, ’00, 1993 and ’92; Aicon Gallery, New York in 2013 and 2007, Pundole Art Gallery, Mumbai in 2005, 1999, ’92, ’90, ’86, ’84, ’83, ’78, ’76, ’73 and ’71; Arks Gallery, London in 1997; and Grosvenor Gallery, London in 1966. In 2002, Saffronart and Pundole Art Gallery organised a show of his work in Mumbai, New Delhi, San Francisco and New York. Other retrospectives of his work have been held at the National Gallery of Modern Art, New Delhi in 1994 and 1993; Jehangir Art Gallery, Mumbai in 1993; and the Birla Museum, Kolkata in 1980. In 1972 the Government of India awarded him with the Padma Shri, one of its highest Civilian honours. The Madhya Pradesh State Government awarded him with the Kalidas Samman in 1985, and for his writing, he received the Uttar Pradesh State Government award in 1975. Ram Kumar lives and works in New Delhi.

Menon, Anjolie Ela (b. 1940) Born in West Bengal, Menon received her art education at the Sir J. J. School of Art, Mumbai and later at the Ecole Nationale Superieure des Beaux Arts, Paris. Some of her solo shows include those held at the Institute of Contemporary Indian Art, Mumbai, in 2013; Vadehra Art Gallery, New Delhi in 2010, 2003, 2002 and 1996; Dhoomimal Gallery, New Delhi in 2007; Gallery Arts India West, Palo Alto in 2006 and 2005; and at The Gallery, New York in 1989. Retrospectives of her work have been held at the National Gallery of Modern Art, Mumbai in 2002, and Jehangir Art Gallery, Mumbai in 1988. She has also participated in the Paris Biennal, 1980, and the international Triennale of the Lalit Kala Akademi, New Delhi, 1975, 71 and 68. Some of the group exhibitions featuring her work include those held by Gallery Threshold, New Delhi, in 2009-10 and 2008; Aicon Gallery, New York, 2009; Gallery Arts India, New York, in 2005; Saffronart and Apparao Galleries, Los Angeles in 2001; and Saffronart, Hong Kong, in 2001. She was given the Dayawati Modi Award in 2013 and Lot 49 in 2000 the Government of India awarded her the Padma Shri. Menon lives and works in New Delhi.

Naqsh, Jamil (b. 1939) Born in 1939, in Kairana in Uttar Pradesh, India, Jamil Naqsh moved to Karachi in Pakistan following the partition of the sub-continent in 1947. In 1953, he enrolled at the National College of Arts (then Mayo College) in Lahore, but did not complete his education there, leaving after two years to study art on his own. Naqsh’s mature style is Lot 48 a blend of cubism – in the way he treats form and texture – Lot 20 tempered with fluidity and a subtle use of colour. Naqsh has painted the female form in many of his canvases replete with poise and grace. In another series of paintings, he pairs pigeons and doves with the female form, symbolic of love, peace and gentleness. One more series is inspired by the Italian sculptor Mario Marini, who captured the beauty of the horse in his work, combining the elegance of the nude female with the sturdy grace of the equine figure. Naqsh’s work has been exhibited extensively in Pakistan, India, the UK and the UAE. Between 1960 and 1968, he served as Co-Editor of Seep, an Urdu literary magazine, and between 1970 and 1973, as President of the Pakistan Painters Guild. Among the artist’s many honours are medals and awards from the Pakistan Art Council, Karachi; the Ministry of Culture, Pakistan; and the Arts Council of Pakistan. In 2009, Naqsh was awarded the Sitara-e-Imtiaz by the Government of Pakistan, and in 2003, a retrospective of his work was held at the Mohatta Palace Museum in Karachi, a rare honour for a living artist. Naqsh lives and works in London, and is considered the only living modern artist from Pakistan.

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Narayan, Badri (1929 - 2013) Born in Hyderabad, Badri Narayan is a self-taught artist. He has held over fifty solo exhibitions in various cities in India and internationally, the most recent being at the Viewing Room, Mumbai, in 2012; Mon Art Gallerie, Kolkata, in 2007-08; Pundole Art Gallery, Mumbai, in 2006, 2004, and 2002 and Galerie 88, Kolkata in 2002.

Narayan has also represented India at the Bharat Bhavan Biennale, Bhopal, in 1992; the VII and II International Triennials, New Delhi, 1991 and 1971 respectively; the Festival of India, Moscow, in 1987; the V Biennale of Prints, Tokyo, in 1966; and the II Paris Biennale in 1961. He has exhibited with Saffronart in Hong Kong in 2001. He has written and illustrated several books since 1977, and taught art to school children. Narayan was awarded the Padma Shri by the Government of Lot 17 India in 1987; a Senior Fellowship for Outstanding Artists from the Government of India in 1984-86, and the National Award from the Lalit Kala Akademi, New Delhi, in 1965. Badri Narayan passed away in Bangalore in 2013.

Padamsee, Akbar (b. 1928) Born in Mumbai, Padamsee received a Diploma in Fine Arts from the Sir J.J. School of Art in 1951 and moved to Paris the same year. In 1965 he received the J.D. Rockefeller III Fund Fellowship and worked as artist-inresidence at the Stout State University, Wisconsin. His most recent solo shows include those held at the Priyasri Art Gallery, Mumbai, 2013; the Loft, Mumbai, in 2010; Pundole Art Gallery, Mumbai in 2010, ’03, ’02, 1999, ’97, ’96, ’94, ’93, ’86 ’75, ’74 and ’72; Galerie Helene Lamarque, Paris, in 2008; Aicon Gallery, New York and Palo Alto, in 2006-07; and the Guild Art Gallery, Mumbai, 2006. Retrospective exhibitions of his works were organized by Pundole Art Gallery, Mumbai, in 2004 and Art Heritage, New Delhi and Mumbai, in 1980. His group shows include those held at Sovereign FZE, Dubai, in 2013; Art Lot 18 Lot 36 Alive Gallery, New Delhi; Vadehra Art Gallery, New Delhi, in 2012; Grosvenor Gallery, London; Aicon Gallery, New York and London, in 201011; The Museum of Fine Art, Boston, in 2009; Grosvenor Gallery, London, in 2009; Nehru Center, London, in 2005; and Saffronart and Pundole Art Gallery New York, in 2001 and 2002. In 1969-70, Padamsee was awarded the prestigious Jawaharlal Nehru Fellowship and made four short films. In 2004 he was awarded the Lalit Kala Ratna by the Lalit Kala Akademi, New Delhi, and in 1997-98, he received the Kalidas Samman from the Madhya Pradesh State Government, Padamsee lives and works in Mumbai.

Parekh, Manu (b.1939) Born in Gujarat, Manu Parekh studied at the Sir J.J. School of Art, Mumbai. He has been exhibiting since 1967 and his most recent solo shows include those held at Art Alive Gallery, Gurgaon 2012;Tao Art Gallery, Mumbai, in 2010 and ‘09; Berkeley Square Gallery, London, in 2006; Vadehra Art Gallery, New Delhi, in 2004, 1994 and 1991; Jehangir Art Gallery and Tao Art Gallery, Mumbai, in 2003; Sakshi Gallery, Bangalore, in 1999; ARKS Gallery, London, in 1997; Bose Pacia, New York, in 1996; and Dhoomimal Art Lot 42 Gallery, New Delhi, in 1988, ’85, ’81, ’76, ’75 and ’74. A retrospective of his work was held in 1992 in Kolkata, New Delhi and Mumbai. His works have also been featured in several group shows including those held at Art Alive Gallery, Gurgaon in 2012; Gallery Threshold, New Delhi, in 2011 and ’10; Tao Art Gallery, Mumbai, 2010, ’09 and ’08; Nature Morte, New Delhi, in 2004; Saffronart, Hong Kong, in 2001 and Lakeeren Art Gallery, Mumbai, in 1977. He has also participated in the III and IV Triennales of New Delhi, in 1975 and 1978.The Government of India awarded him the Padma Shri in 1990. He received the National Award from the Lalit Kala Akademi, New Delhi, in 1982, and the President of India’s Silver Plaque in 1972. Manu Parekh lives and works in New Delhi.

Prabha, B (1933 - 2001) Born in Nagpur, Maharashtra, Prabha studied at the Sir J.J. School of Art, Mumbai. In 1956, she had her first exhibition together with her husband and fellow artist, B.Vithal.

Since then, she has held about fifty exhibitions in India and internationally, including ‘Shradhanjali’, dedicated to Vithal, Mumbai, in 1993; and exhibitions at Kumar Gallery, New Delhi, in 1961 and 1959. Since her death in 2001, her work has been featured posthumously in several group shows, including ‘Winter Moderns’, at Aicon Gallery, New York in 2008; and ‘Pot Pourri’ at Gallery Beyond, Mumbai, in 2008. Prabha won the first prize at the Bombay State Art Exhibition in 1958, and also received the All India Fine Arts and Crafts Society (AIFACS) Award, New Delhi.

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Ramachandran, A. (b. 1935) Born in Kochi, Kerala, Ramachandran graduated with a Degree in Malayalam Literature from Kerala University before going on to study art at Viswa Bharati University at Santiniketan. His most recent shows include ‘Dhyanachitra’ and ‘Bahurupi’ at Vadehra Art Gallery, New Delhi, in 2012 and 2009 respectively; and those held by Vadehra Art Gallery, New Delhi, at Jehangir Art Gallery, in 2008; Grosvenor Vadehra Gallery, London in 2008; the Guild Art Gallery, Mumbai and New York, 2007-08; Vadehra Art Gallery, New Delhi, 2006, 2005, and 2001; Nami Island, South Korea, 2005; Art Heritage, New Delhi, 2002; and Sridharani Gallery, New Delhi 1998. He has participated in numerous group exhibitions, including those hosted Lot 38 Lot 47

by Saffronart, Hong Kong and Los Angeles, 2001; the Museum of Modern Art, Oxford, 1982; the Royal Academy of Arts, London, 1982; and the Lalit Kala Akademi, New Delhi, 1977. He was honoured with a Padma Bhushan from the Government of India, in 2005, and has also received the Nama Conquers Award in 1980 and 1978, for the children’s books he wrote and illustrated. Ramachandran lives and works in New Delhi and Kochi.

Raza, Syed Haider (1922 - 2016) Born in 1922 in Babaria, Madhya Pradesh, Raza graduated from the Nagpur School of Art in 1943 and the Sir J.J. School of Art, Mumbai in 1947. He was one of the founding members of the Progressive Artists’ Group in 1948. After receiving a French Government Scholarship in 1950 he left for Ecole Nationale des Beaux Arts, Paris, where he was awarded the Prix de la Critique in 1956.

In 1962 he served as a visiting lecturer at the University of California in Berkeley, USA. Raza has several solo exhibitions to his credit, including ‘Paysage: Select Works 1950s-1970s’, Dubai, ‘Parikrama: Around Gandhi’, Vadehra Art Gallery, New Delhi, Lot 12 Lot 21 in 2014; ‘Shabd-Bindu’, Akar Prakar, Kolkata, in 2013; ‘Vistaar’, Art Musings and Jehangir Art Gallery, Mumbai, in 2012-13, ‘Bindu Vistaar’, Grosvenor Gallery, London, in 2012; ‘Punarangman’, Vadehra Art Gallery and Lalit Kala Akademi, New Delhi, in 2011; ‘Ones’ at Vadehra Art Gallery, New Delhi, in 2011 and 2010; Tao Art Gallery, Mumbai, 2008 and 2006; and Saffronart and Berkeley Square Gallery, London and New York, 2005. In 2007 Saffronart held a major retrospective of his work in New York. Raza’s work has been exhibited in several group exhibitions including those at Aicon Gallery, New York and London, in 2014, ’13, ’12, ’11 and ’10; the Museum of Fine Art, Boston, in 2009; Grosvenor Gallery, London, Mumbai, 2004; Saffronart and Pundole Art Lot 32 Lot 33 Lot 59 Gallery, New York, 2001 and 2002; and Saffronart, Hong Kong and Los Angeles, 2001 among several others. Raza received a Lalit Kala Ratna from the Lalit Kala Akademi, New Delhi in 2004, and a Padma Bhushan and Padma Shri from the Government of India in 2007 and 1981 respectively. The Madhya Pradesh State Government also awarded him with the Kalidas Samman in 1996-97. Raza lived and worked in Paris and Gorbio, France, till 2011, and moved back to India, where he currently works.

Sen, Paritosh (1918 - 2008) Paritosh Sen was born in 1918 in Dhaka. After completing his diploma in Fine Arts from the Government College of Arts and Crafts, Chennai, he moved to Calcutta in 1942, where he and a group of friends formed the Calcutta Group, an association of artists that sought to incorporate contemporary values in Indian art. In 1949, he left for Paris to study further, attending, among other institutes, the Ecole des Beaux Arts.

He received a Fellowship from the John D. Rockefeller III Fund for 1970-71. A prolific writer, Sen has published many works in both Bengali and in English, including a series of autobiographical vignettes titled Jindabahar Lane. His works have been exhibited in India and internationally, in Paris, London, Germany, Tokyo and in USA. Sen passed away in October 2008. Lot 16

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Lot 53

Senanayake, Senaka (b. 1951) A Sri Lankan by origin, Senaka attained fame early in life as a prodigy for his works of art.

He held his first international solo exhibition at the age of ten, in New York. Although he painted copiously and held many shows both in his native country as well as abroad, it was only after he went to Yale school for graduation in Art and Architecture did he realize that his true calling lay in the field of art. For the past decade, Senanayake has concentrated his art as a Lot 60 medium for environmental advocacy: depicting beautiful scenes from the Lot 50 rainforest to promote public awareness of environmental degradation in his native Sri Lanka and around the world. Senanayake’s work shows a fervent passion for nature’s beauty and a great knowledge of the flora and fauna of the rainforest. His work has been shown at most parts of Europe and South Asia with critical acclaim. Till date he has more than 100 solo shows to his credit, and numerous group shows in the countries of Europe, China, Australia, Japan, Singapore, Czechoslovakia, Korea and Egypt to name a few. His work has been documented by Metro Goldwyn, British Movietone News, BBC TV, London, Yeo Soo TV, South Korea, TV Austria, and Star TV, India. Various journals, magazines and newspapers such as The New York Sunday Times, Washington Post, London Times, Weser Kurier, Germany, UNESCO Features, Paris, National Geographic Magazine, Asia Week and many others, have devoted their mediums to document Senaka’s work. He lives and works in Sri Lanka.

Shaw, Lalu Prasad (b. 1937) Born in 1937, in erstwhile Bengal, Lalu Prasad Shaw received a Diploma in painting from the Government College of Arts and Crafts, Kolkata, in 1959. He has exhibited extensively in India and abroad since 1956, and some of his most recent solo shows include ‘Looking in’ at Galerie 88, Kolkata, in 2011-12; ‘Graceful Silence’ and ‘Sepia Notes’ at Art Musings, Mumbai, in 2011 and 2007; ‘The Myriad Minded Artist’ at Gallery Sanskriti, Kolkata, in 2008; and ‘Painting’ at the Centre for International Modern Art (CIMA), Kolkata, in 1995. His work has also been featured in several group shows, and he has participated in art festivals and fairs all over the world since 1956. Shaw has received many awards, including the West Bengal State Lalit Kala Akademi Award in 1959, and the Birla Academy Award, Kolkata, in 1975-78. The artist lives and works in Kolkata.

Lot 27

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

His debut exhibition took place at Mumbai’s Taj Art Gallery (1963), which led to several shows in India and internationally. Among his selected solo exhibit are the ones at Jehangir Art Gallery, Mumbai (2008, 2003, 1994); ‘Elaborations’, Recent works in Black and White, Pundole Art Gallery, Mumbai (2007); ‘Inaugural Show’, Prithvi Lot 57 Art Gallery, Mumbai (1994); Gallery Chemould, Mumbai (1968); and a show at Tribhuwan College, Kathmandu, Nepal almost five decades ago.

His selected group shows are ‘Aqua’, Gallery Beyond, Mumbai, ‘One Eye Sees, the Other Feels’, The Viewing Room, Mumbai (both in 2012); ‘Point and Line to Plane VI’, Gallery Beyond (2008); ‘Tribute to Picasso’, Guild Art Gallery, Mumbai (2002); ‘Aspects of Modern Indian painting’, courtesy Saffronart and Pundole, Metropolitan Pavilion, New York (2002, 2001); ‘Ideas and Images – Part IV’, NGMA, Mumbai (2002); ‘The Search’, Apparao-Wallace Galleries, New York (1997); ‘Image Beyond Image’, Glenbarra Art Museum Collection, Japan, NGMA (1997); ‘50 Years of Freedom of Expression’, Jehangir Gallery (1997); 25 Years of Indian Art, Rabindra Bhavan, Delhi (1972); Baltimore and San Francisco (1971); Maisons des Beaux Arts, Paris (1966); Salle de la Presse, French Foreign Ministry, Paris (1966); and ‘Inaugural Exhibition’, Gallery Chemould (1963). Shreshtha’s abstract works are both sensuous and meditative in their shifts and balances of colour. Though abstract, his paintings have a sense of intrigue in them, that leaves the observer, and Shreshtha himself, as he confesses, trying to understand the shades of meaning they present. The artist lives and works in Mumbai.

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Souza, Francis Newton (1924 - 2002) Born in 1924 in Saligao, Goa, Souza was expelled from the Sir J.J. School of Art, Mumbai, in 1942 for taking part in the ‘Quit India’ freedom movement.

He went on to found the Progressive Artist’s Group in 1948, before leaving for London a year later. In 1955 Souza held a one-man show at Gallery Lot 23 Lot 45 One in London and also had his autobiographical essay Lot 13 ‘Nirvana of a Maggot’ published. He was awarded the John Moore Prize at the Walker Art Gallery, Liverpool in 1957 and received an Italian Government Scholarship in 1960. In 1959 a collection of his autobiographical essays, ‘Words and Lines’, was published, and in 1962 a monograph on his work by Edwin Mullins was published as well. In 1967 Souza migrated to New York where he received the Guggenheim International Award. Two retrospectives of his work were organized by Art Heritage, New Delhi, in 1986 and 1996. Souza also participated in a work-live programme in Los Angeles, hosted by Saffronart in 2001. Souza passed away in Mumbai 2002. Some important posthumous exhibition of his work include, ‘F.N. Souza’ at Saffronart and Grosvenor Gallery, New York, in 2008; ‘F.N. Souza: Religion & Erotica’ at Tate Britain, London, in 2005-06; ‘Self-Portrait: Renaissance to Contemporary’ at the National Portrait Gallery, London, in 2005; and ‘Francis Newton Souza’ at Saffronart and Grosvenor Gallery, New York and London, in 2005.

Subramanyan, K.G. (1924 - 2016) Born in Kerala in 1924, Subramanyan received his art education at Kala Bhavan, Santiniketan, and the Slade School of Art, London. He continued painting and teaching over the next few decades, and was appointed a fellow of the National Lalit Kala Akademi in 1985, and a Christensen Fellow at St. Catherine’s College, Oxford, in 1987-88. Subramanyan also served as Dean at the Faculty of Fine Arts, M.S. University, Baroda, and in 1989 was appointed Professor Emeritus at Santiniketan. He has had numerous solo and group exhibitions, and participated in several major Biennales and Triennales. A retrospective exhibition of his work Lot 29 Lot 44 was held in 2003 at the National Gallery of Modern Art, New Delhi and Mumbai. Subramanyan was awarded the Padma Bhushan by the Government of India in 2006. In recognition of his varied contributions to the development of Indian art he was awarded the Shiromani Kala Puraskar by the Government of India in 1994. In 1966 Subramanyan was awarded the John D. Rockfeller III Fund Fellowship. Subramanyan lives and works in Baroda.

Vaikuntam, Thota (b. 1942) Vaikuntam was born in 1942 in Andhra Pradesh. He studied at the College of Fine Arts and Architecture in Hyderabad. In 1971, he won the Lalit Kala Akademi Fellowship to study at the M.S. University, Baroda. He has had several solo and group shows internationally and in India, including New Delhi, Mumbai and cities in South India. His recent solo shows include the 2011 ‘Metamorphosis: The Changing World of Thota Vaikuntam’ at the Art Alive Gallery in New Delhi, as well as the 2011 ‘Memoire du passe 1979Lot 34 Lot 35 1999’ at the Latitude 28 gallery, New Delhi. His works have also been exhibited Lot 26 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.

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