ARTIANA | South Asian Art | Online Auction | No Buyer's Premium | 12-16 March, 2020 | Sale 2001

South Asian Art | Modern AND Contemporary

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ARTIANA

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

South Asian Art | Modern AND Contemporary

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South Asian Art Modern AND ContemporarY SALE NUMBER: 2001 ONLINE AUCTION MARCH 12 - 16, 2020 No Buyer’s Premium ‘What You Bid is What You Pay’ FlexiPay ‘Bid Now Pay Later’ Auction Opening March 12, 2020 6:00 p.m. onwards UAE Standard Time

Auction Closing March 16, 2020 7:30 p.m. to 9:00 p.m.

UAE Standard Time

Viewings March 7-12, 2020 11:00 a.m. - 6:00 p.m.

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SPECIALIST AND SERVICES ARTIANA P.O. Box 112646 Dubai | UAE Sale Number: 2001 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 91 FlexiPay Additional information on the FlexiPay scheme is available on page 98 Conditions of Sale This auction is conducted under the Conditions of Sale as stipulated in the catalogue on page 100 Copyright Notice No part of this catalogue may be reproduced, stored in a retrieval system or transmitted by any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of Artiana. Š Copyright, Artiana, 2019 Front Cover: Lot 30 Inside Front Cover: Lot 11 & Lot 12 (detail) Page 2-3: Lot 9 (detail) Page 4: Lot 19 (detail) Page 10-11: Lot 7 (detail)

Page 26-27: Lot 16 (detail) Page 48-49: Lot 27 (detail) Page 66-67: Lot 37 (detail) Page 90: Lot 4 (detail) Inside Back Cover: Lot 13 & Lot 14 Back Cover: Lot 20

CONTENTS SALE GUIDE 10 MODERN AND CONTEMPORARY South Asian Art LOTS 1 - 40 91 IT’S EASY TO BUY AT ARTIANA 92 AUCTION CLOSING SCHEDULE 93 WRITTEN / ABSENTEE BID FORM 94 BIDDING INCREMENTS 95 BUYING AT ARTIANA 98 FINANCE AT ARTIANA 100 CONDITIONS OF SALE 106 ARTIANA GUARANTEE 107 COLLECTION AND STORAGE 108 ARTIST PROFILES AND INDEX

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lots 1 - 10

South Asian Art | Modern AND Contemporary

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Beyond the imitation of a particular style, the great artist worked out the notion of perspective beyond the conventional limits of naturalism to achieve harmonious balance and delightful dynamism in his landscapes. “He combines the intensity of chromatic brilliance with the free-flowing character of the brush strokes creating vistas that throb with light. The visible is certainly not discarded and is neither so subjected to design that nature submits to the pure pictorial pattern. Rather, the chromatic and the natural often play a complementary tune, one supportive of the other, such that of a patch go yellow against another of blue, need not stand in oppositional contradiction to their simultaneous descriptive identity as fields and distant trees or mountains, picked out by the rays of the sun.”1 But these landscapes are beyond just post-impressionistic color exercises, “viewed in the context of the entire oeuvre of an artist like Jamini Roy, such re-enactments do not restrict themselves merely to the art-school students regular attempts for copying, but tie-up with his efforts to evolve that personal mode of statement, which no matter how conscious or subliminal at the stage of the exercise, is part of a larger vision and intent.” 2 Text References: 1 Sanjoy Kumar Malik, Jamini Roy (1887-1972), Rajya Charukala Parshad (Charukala Bhavan Museum), Kolkata, March 2014, p. 45 2 Ibid, pg. 47 12

ARTIANA

LOT 1

Jamini Roy (1887 - 1972) Untitled (Sunset over the Hooghly River) tempera on board 16 x 21.75 in. (40.6 x 55.2 cm.) painted circa 1930’s

US$ 12,000 - 18,000

Signed J.R. (lower right) PROVENANCE Private collection, Dubai

South Asian Art | Modern AND Contemporary

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LOT 2

Mahadev Vishwanath Dhurandhar (1867 - 1944) Untitled watercolor on paper 6.25 x 11 in. (16 x 28 cm.) painted in 1908

US$ 3,000 - 5,000

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Signed and dated ‘Dhurandar / 6-08’ PROVENANCE Private collection, Dubai

Signed ‘Sakti Burman’ (lower right)

LOT 3

Sakti Burman (b. 1935) Untitled watercolor on paper 19 x 25.5 in. (48.3 x 64.8 cm.) painted circa late 1970s

US$ 2,500 - 3,500

PROVENANCE Aakriti Art Gallery, Kolkata Private collection EXHIBITED Sakti Burman: 60’s - 80’s, Aakriti Art Gallery, Delhi, 7-28 August 2015, Kolkata, 6-21 November 2015 PUBLISHED Sakti Burman: 60’s - 80’s, Sale Catalogue, Aakriti Art Gallery, Kolkata, 2015, pg. 24 (illustrated))

South Asian Art | Modern AND Contemporary

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LOT 4

Anjolie Ela Menon (b. 1940) Untitled (Brahmin Man) oil on board 24 x 16 in. (61 x 40.6 cm.) painted in 2016

US$ 16,000 - 24,000

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Signed ‘Anjolie Ela Menon’ (upper left) PROVENANCE Dhoomimal Art Gallery, New Delhi Private collection

LOT 5

Thota Vaikuntam (b. 1942) Untitled (Ganesha) acrylic on canvas 36 x 24 in. (91.4 x 61 cm.) painted in 2017

US$ 15,000 - 25,000

Signed in Telugu (lower right) PROVENANCE Acquired directly from the artist by the present owner

South Asian Art | Modern AND Contemporary

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South Asian Art | Modern AND Contemporary

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LOT 6

Ram Kumar (1924 - 2018) Untitled acrylic on paper 23 x 36 in. (58.4 x 91.4 cm.) painted in 1992

US$ 9,000 - 13,000

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Signed and dated ‘Ram Kumar 92’ (on the reverse) PROVENANCE Acquired directly from the artist by the present owner PUBLISHED Meera Menezes, Ram Kumar: Traversing the Landscape of the Mind, Saffronart, Mumbai, 2016, pg. 125 (illustrated)

LOT 7

Ram Kumar (1924 - 2018) Untitled (Varanasi) oil on canvas 24 x 36 in. (61 x 91.5 cm.) painted in 2016 Signed and dated ‘Ram Kumar 2016’ (on the reverse)

US$ 40,000 - 60,000

PROVENANCE Acquired directly from the artist by the present owner EXHIBITED Remembering Ram Kumar: An Exhibition, Saffronart, New Delhi, 2-17 February 2019 PUBLISHED Remembering Ram Kumar: An Exhibition, Exhibition Catalogue, Saffronart, New Delhi, 2019, pg. 95 (illustrated)

South Asian Art | Modern AND Contemporary

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LOT 8

Arpita Singh (b. 1937) Counting Pots watercolor on paper 20 x 14 in. (50.8 x 35.6 cm.) painted in 1996

US$ 16,000 - 24,000

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Signed and dated ‘ARPITA SINGH 96’ (lower right) Titled ‘Counting Pots’ (lower left) PROVENANCE CIMA Gallery, Kolkata Private collection, Kolkata Galerie 88, Kolkata

Signed and dated ‘Jogen / 2001’ (lower left) Initialed and dated in Bengali (lower right)

LOT 9

Jogen Chowdhury (b. 1939) Woman Reclining pen, ink and pastels on paper 22 x 28 in. (56.2 x 71 cm.) painted in 2001

US$ 70,000 - 100,000

Further signed, titled, dated and inscribed ‘Artist: Jogen Chowdhury / Title: Woman Reclining / Size: 56.2 x 71 cm. / Medium: pen and ink with pastels / Year: painted in 2001 (Santiniketan/West Bengal)’ (on the reverse) PROVENANCE The Saffronart & Pundole Modern Indian Art Exhibition, The Metropolitan Pavilion, New York, May 2001 Private collection, Delhi Private collection, Dubai EXHIBITED The Saffronart & Pundole Modern Indian Art Exhibition, The Metropolitan Pavilion, New York, 12-16 May 2001

South Asian Art | Modern AND Contemporary

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Sayed Haider Raza first painted the Bindu in the late 1970s as a single solid black dot that lay unmoving at the center of a field of colors. Through the years, however, this circle or bindu manifested itself in various forms in his works and took on several different meanings, as zero, drop, or seed. It became less of a graphical component and more as the focal point on which Raza structured his canvases.

Here, the artist has turned to yet another interpretation of the bindu, executed in an almost abstinent palette of white and grays. Titled, Shanti Bindu, the rings that radiate from the spherical white core of the painting transmits outward spreading tranquility and calmness. Once again, the bindu was transformed, from a pulsing black orb to a gentler quality, emitting an image of ethereal stillness and peace.

Likening his monochromatic works to his spiritual journey, Raza posited: “I have found a divine quest in me to come to the essentials. Less is more. And I thought, that to express my aspirations to the divine, I would use fewer colors, to create a sacred feel.�

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PROVENANCE The Saffronart & Pundole Modern Indian Art Exhibition, The Metropolitan Pavilion, New York, May 2001

LOT 10

Sayed Haider Raza (1922 - 2016) Shanti-Bindu acrylic on canvas 47.25 x 47.25 in. (120 x 120 cm.) painted in 2000

Aspects of Modern Indian Painting Exhibition, Saffronart and Pundole Art Gallery, New York, September 2002 Pundole’s / Sale # M0021 / Lot 69 / The Fine Art Sale / Mumbai / 22 November 2018 EXHIBITED The Saffronart & Pundole Modern Indian Art Exhibition, The Metropolitan Pavilion, New York, 12-16 May 2001

Signed and dated ‘Raza 2000’ (lower right)

Aspects of Modern Indian Painting Exhibition, Saffronart and Pundole Art Gallery, New York, 28 September - 1 October 2002

Further signed, titled, dated and inscribed ‘RAZA / “SHANTI - BINDU” / 120 x 120 cm / 2000 / Acrylic on Canvas’ (on the reverse))

Outside the Lines: Secular Vision in South Asian Modernism, Aicon Gallery, New York, 18 January - 22 February 20202

US$ 120,000 - 180,000

South Asian Art | Modern AND Contemporary

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lots 11 - 20

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M.F. Husain’s vision was deeply entrenched in Indian sensibility from the outset of his career. He incorporated local traditions and juxtaposed diverse folk elements, plying numerous sources to present a wide range of themes in his works. In them, he covered the profound and the mundane, but returned time and again to his cultural roots.

As a conscious artist, Husain looked closely at Indian literature and represented them in his paintings, reconfiguring and recontextualizing them to suit the needs of his time. He borrowed their classical themes and depicted them into his unique visual vocabulary, evolving his art and making it culturally comprehensive in the process.

Premise on the series on lovers, the current group of work highlights both traditional and contemporary literature featuring well-known characters and beloved stories juxtaposed with modern elements that seem out of place yet pushed the narrative for the artist.

Like a still from a movie, a young lover can be seen driving in a Vespa in the first picture. The man sporting an Errol Flynn mustache is an ode to old Hollywood films that Husain was deeply fond of, and to young love.

The second one shows Cupid, the Roman God of love, above lovers amid war. The woman is seen waving the white flag of surrender while the man is riding on to battle. Interestingly, Cupid is depicted in blue - alluding to Lord Krishna - the god of compassion, tenderness, and love in Hinduism.

The third picture depicts the great philosopher Confucius falling in love. Featuring oriental themes to frame the narrative, Confucius is seen reaching out to his love, presumably Qiguan, his wife.

The last one is based on the tale of Laila Majnun or Laila’s Crazy Lover. The story dubbed as the ‘Romeo and Juliet of the East’ was passed from Arabic to several other languages and has been represented in varied artistic traditions throughout history like this one. In the frame, Husain depicted Majnu deep in his madness, unkempt and wandering the deserts pining for his love.

In these reinterpretations, the artist used bright jewel-toned colors, even coarse lines, and postures from Indian classical sculptures in depicting the characters. These demotic stylistics, folk elements, and vibrant colors have come to characterize Husain’s signature style.

Attempting to communicate the essence of these stories in simplistic compositions, Husain transformed his protagonists into archetypal figures and depicted them with featureless faces.

He stretched their personas and used the immense narrative of the story to convey deeper meaning more than the explicit imagery. By placing them in an abstracted context, they become ambivalent, their purpose extending from straight-forward representation to a more metaphorical suggestion, and thus allowing for pluralistic readings. Ultimately, however, the correct interpretation is of less importance than the characteristic ambiguity of the works.

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South Asian Art | Modern AND Contemporary

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LOT 11

Maqbool Fida Husain (1915 - 2011)

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

It has to be an Italian invention of Vespa scooters to make lovers embrace each other acrylic on canvas 30 x 20 in. (76.2 x 50.8 cm.) painted in 1989

A copy of the page illustrating the painting and title from this book accompanies the lot.

US$ 50,000 - 70,000

Property of an esteemed art collector

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PROVENANCE Acquired directly from the artist by the present owner

LOT 12

Maqbool Fida Husain (1915 - 2011) The Cupid acrylic on canvas 30 x 20 in. (76.2 x 50.8 cm.) painted in 1989

US$ 50,000 - 70,000

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

A copy of the page illustrating the painting and title from this book accompanies the lot.

PROVENANCE Acquired directly from the artist by the present owner Property of an esteemed art collector

South Asian Art | Modern AND Contemporary

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LOT 13

Signed ‘Husain’ (upper left)

Maqbool Fida Husain

Titled in the artist’s handwriting in a book cataloging the owner’s collection of M.F. Husain’s works.

(1915 - 2011) Laila Majnu acrylic on canvas 30 x 20 in. (76.2 x 50.8 cm.) painted in 1989

US$ 50,000 - 70,000

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A copy of the page illustrating the painting and title from this book accompanies the lot.

PROVENANCE Acquired directly from the artist by the present owner Property of an esteemed art collector

LOT 14

Maqbool Fida Husain (1915 - 2011)

Signed ‘Husain’ (lower right) Titled in the artist’s handwriting in a book cataloging the owner’s collection of M.F. Husain’s works.

Cherry Blossoms as Chinese Philosopher Confucius Falls in Love acrylic on canvas 30 x 20 in. (76.2 x 50.8 cm.) painted in 1989

A copy of the page illustrating the painting and title from this book accompanies the lot.

US$ 50,000 - 70,000

Property of an esteemed art collector

PROVENANCE Acquired directly from the artist by the present owner

South Asian Art | Modern AND Contemporary

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LOT 15

Inscribed and dated ‘Mc Bull New York ‘83’ (lower right)

Maqbool Fida Husain

Bearing Vadehra Art label (on back of the frame)

(1915 - 2011)

PROVENANCE Christie’s / Sale # 12174 / Lot 655 / South Asian Modern and Contemporary Art / New York / September 2016

Untitled watercolor and ink on paper 30 x 40 in. (76.2 x 101.6 cm.) painted in 1983

US$ 25,000 - 35,000

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Artiana / Sale # 1701 / Lot 48 / South Asian Art Classical, Modern and Contemporary / Dubai / March 2017

LOT 16

Francis Newton Souza (1924 - 2002) Still Life with Lamps oil on canvas 24 x 30 in. (61 x 76.2 cm.) painted in 1993

US$ 40,000 - 60,000

Signed and dated ‘Souza 93’ (lower right) Further signed, titled, dated and inscribed ‘F.N. SOUZA / STILL LIFE WITH LAMPS / 1993 / OIL ON CANVAS / 24 x 30’ (on the reverse) PROVENANCE Dhoomimal Art Gallery, New Delhi Private Collection

South Asian Art | Modern AND Contemporary

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South Asian Art | Modern AND Contemporary

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LOT 17

Krishen Khanna (b. 1925) Untitled (Bandwallah) oil on canvas 16 x 12 in. (40.6 x 30.5 cm.) painted in 2012

US$ 5,000 - 7,000

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Signed ‘KKhanna’ (lower right) Further signed and inscribed ‘KKhanna / Oil on Canvas’ (on the reverse) PROVENANCE Acquired directly from the artist by the present owner

LOT 18

Krishen Khanna (b. 1925) Untitled (Bandwallah) oil on canvas 32 x 13 in. (81.3 x 33 cm.) painted in 2018

US$ 15,000 - 25,000 Signed ‘KKhanna’ (lower right) Further signed and dated ‘KKhanna / 25th April 2018’ (on the reverse) PROVENANCE Acquired directly from the artist by the present owner

South Asian Art | Modern AND Contemporary

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South Asian Art | Modern AND Contemporary

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“Toi, tu prends forme, moi, je serais sans cesse: tous deux à la poursuite de l’union.

Ma joie, ton corps tes délices, ma presence.

Je te donne visage, tu me rends l’infinie.

Nous deux, un seul corps Un nouvel être est né le toi-moi, le moi-toi.

Entre nous plus de difference moi toi, toi Tuka.”

- Santo Tukaram One of the many subjects Sayed Haider Raza pondered in his canvases was man’s relationship with the divine, borrowing inspiration from ancient teachings and philosophers in this quest.

One of whom was Sant Tukaram, a 17th-century Indian poet and sant of the Bhakti Movement, best known for his devotional poetry (abhang).

Tukaram made over 4,609 poems in his lifetime; the present work titled Toi-Moi, as written by Raza on the reverse of the canvas alludes to one of them.

The devotional poem speaks of man’s desire to be close and in union with the divine. Raza employs two bindus side by side to signify the meeting of these forces - being the sacred symbols of the cosmos unmanifested - the beginning of creation and the point of unity. The bindus not only pervades the work but also accentuates and explains it. The dominant color blue, on the other hand, portrays a peaceful and vast nothingness, like the primordial waters of the cosmic ocean.

Similar to Tukaram’s poems - which made use of simple verses composed of vernacular language, the artist devoid the canvas of any unnecessary elements to attain simplicity and portray the purest form of nature.

The easel was not a place for convention for Raza but a space that encompasses a wide range of human experiences, resulting in a body of work that encapsulates an inner experience as much as a visual one. His mandalas and bindus stir as it delights the senses, weaving together the strands of art and spirituality and leading anyone who contemplates it in unity with the divine, like the abhang of Sant Tukaram.

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LOT 19

Sayed Haider Raza (1922 - 2016) Toi-moi acrylic on cavas 47.25 x 23.75 in. (120 x 60 cm.) painted in 2004

US$ 80,000 - 120,000 Signed and dated ‘Raza 04’ (lower right) Further signed, dated, titled, and inscribed ‘Raza / 2004 / TOI-MOI / 120 x 60 / Acrylic on Canvas’ (on the reverse) PROVENANCE Acquired directly from the artist by the present owner Private collection, Dubai PUBLISHED Alain Bonfand, Raza, Editions de La Différence, Paris, 2008, pg. 229 (illustrated) Ashok Vajpeyi, A Life in Art: Raza, Art Alive Gallery, New Delhi, 2007, pg. 199 (illustrated)

South Asian Art | Modern AND Contemporary

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Signed ‘Husain’ (lower right)

LOT 20

Maqbool Fida Husain (1915 - 2011) Untitled (Battle of Karbala) acrylic on canvas 44 x 66 in. (111.8 x 167.6 cm.) painted in 1990

US$ 180,000 - 220,000

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PROVENANCE Acquired directly from the artist by the present owner EXHIBITED Legends & Icons: M.F. Husain, The Fine Art Advisory, Dubai, 22 March 2014 PUBLISHED Legends & Icons: M.F. Husain, Exhibition Catalogue, The Fine Art Advisory, Dubai, 2014, pg. 4 (illustrated)

Abbas Al-Musavi, Battle of Karbala, late 19th to early 20th century, Oil on canvas, 68.5 × 133 in. (174 × 337.8 cm), Brooklyn Museum

The ‘Battle of Karbala’ has held existential importance in a wide variety of cultural spheres in which Muslims participate.

As a single most significant historic event in the lives of millions of Muslims, Karbala has left an indelible symbolic mark on devotional practices, on the transmissions of Islamic history, and subsequent developments in aesthetics, mysticism, and reform movements throughout the Muslim world.1 Consequently, it made a significant impact on the development of young M.F. Husain and helped mold his consciousness, beliefs, and outlook both in his art and personal life as a Shia Muslim.

The historic battle was fought between the Ummayad caliph Yazid 1 and Husayn ibn Ali, the youngest of the Prophet’s (PBUH) grandsons, in 680 CE over the crisis of succession in the caliphate. Yazid’s appointment as successor was widely contested and deemed unjust, leading to the battle as depicted by the artist here.

Arrows are seen volleying between two horses engaged in a heated battle - representative of the two combatant forces. The powerful beasts, shown without hooves as part of Husain’s visual language, are poised in a duel across the center of the frame. Husain used coarse lines reflecting movement, energy, and giving the overall composition a dynamic quality. He also used a somber palette of brown and grays - evocative to the grimness of war and the ensuing mayhem and turmoil it brings, a testament to the artist’s virtuosity in skill and vision. Also present in the picture are the mudra and the legendary sword Zulfiquar which Imam Husayn acquired from his father and fought with.

The aftermath of the fateful battle changed the course of Islamic history; Husayn was martyred in the plains of Karbala, along with most of his family and followers.

Once a year during Muharram, the religious commemorate this martyrdom and would carry tazias or effigies of Husayn’s faithful horse in a procession through the streets. An event the artist witnessed when he was merely fifteen and would give him the biggest inspiration in portraying the equine figure throughout his artistic career. “[...] He was to remain loyal to that icon; it never strayed far from his imagination in his subsequent paintings.”2 Text References: 1 S. A. Hyder, Reliving Karbala: Martyrdom in South Asian Memory, Oxford University Press, New York, 2006, pg. 3 2 R. Bartholemew & S. Kapur, Husain, Abrams Inc., New York, 1971, pg. 32

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lots 21 - 30

South Asian Art | Modern AND Contemporary

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South Asian Art | Modern AND Contemporary

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“Sakti Burman’s tableaux came to life only because he has organized personal narratives, chance events, archival borrowings, and iconographical references into a coherent pattern for our delectation. He is a storyteller who invigorates our imagination by reminding us that we are not simply made of muscle, nerve, and bone - but that we are also made up fo the words and images, the poems and stories that we inherit from countless previous generations with our genetic code.”

More than the particularity of the stories they hold, Burman’s paintings excites the imagination and fascinates onlooker by giving us a peep into his personal life. His favorite protagonists are his own family, especially his grandchildren who would often be accompanied by figures culled from the artist’s fecund imagination.

Here, plumed birds are set amongst playful children in pointed caps and animated gestures.

Harlequin sits on a stuffed chair wearing a colorful costume and a checkered hat. He wears a withdrawn look on his face, lost to the merriment around him.

Embedded in the current narrative are alter egos Harlequin and Pierrot, the best-known characters from the repertoire of the commedia dell’arte and the pantomime. Presented as opposites, Harlequin and Pierrot can be considered twin aspects of the same personality manifesting against itself. Wearing a somber look on his face that exposes the sadness the colorful costume concealed, Harlequin borrows Pierrot’s melancholic outlook showing a version of Sakti’s multifaceted brand of portraiture - as an artist who participates and witness and as an actor and an observer to his creation.

Text Reference: Ranjit Hoskote, In the Presence of Another Sky: The Confluential Art of Sakti Burman, Art Musings, Mumbai, 2017, pg. 35

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Signed ‘Sakti Burman’ (lower right)

LOT 21

Sakti Burman (b. 1935) In The Balcony oil on canvas 28.75 x 36.25 in. (73 x 92 cm.) painted in 2015

US$ 60,000 - 90,000

PROVENANCE Art Alive Gallery, New Delhi Private collection, Dubai EXHIBITED Sakti Burman: A Private Universe, Art Alive Gallery, New Delhi, 13 February - 30 April 2015 PUBLISHED Sakti Burman: A Private Universe, Exhibition Catalogue, Art Alive Gallery, New Delhi, pg. 54 (illustrated)

South Asian Art | Modern AND Contemporary

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LOT 22

Maqbool Fida Husain (1915 - 2011) Untitled (Lady in Prayer) acrylic on canvas 30 x 24 in. (76.2 x 61 cm.) painted in 1998 Signed, dated, and inscribed ‘Husain / 6 Sept. 98 / DXB’ (lower right)

US$ 50,000 - 70,000

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PROVENANCE Acquired directly from the artist by the present owner EXHIBITED Legends & Icons: M.F. Husain, The Fine Art Advisory, Dubai, 22 March 2014 PUBLISHED Legends & Icons: M.F. Husain, Exhibition Catalogue, The Fine Art Advisory, Dubai, 2014, pg. 9 (illustrated)

Signed and dated ‘Souza 93’ (upper left) Further signed, titled, dated and inscribed ‘F.N. Souza / Psychiatrist & wife / 1993 / oil on canvas’ (on the reverse)

LOT 23

Francis Newton Souza (1924 - 2002) Psychiatrist and Wife oil on canvas 34 x 44.25 in. (85.9 x 113.8 cm.) painted in 1993

US$ 50,000 - 70,000

PROVENANCE Christie’s / Sale # 1492 / Lot 244 / Indian and Southeast Asian Art including Modern Art / New York / 31 March 2005 Private collection PUBLISHED Aziz Kurtha, Francis Newton Souza 1924-2002: Bridging Western and Indian Modern Art, Mapin Publishing, 2006, pg. 131 (illustrated)

South Asian Art | Modern AND Contemporary

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LOT 24

K. Laxma Goud (b. 1940) Untitled reverse painting in acrylic on acrylic sheet 10.25 x 9.25 in. (26 x 23.5 cm.) painted in 1996

US$ 3,000 - 5,000

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

LOT 25

Lalu Prasad Shaw (b. 1937) Untitled tempera on board 22.5 x 15 in. (57.2 x 38 cm.) painted in 2010

US$ 5,000 - 7,000

Signed and dated in Bengali twice (lower center left and lower right) PROVENANCE Aakriti Art Gallery, Kolkata PUBLISHED Masterpieces 2016: Private Sale Catalogue, Aakriti Art Gallery, 2016, pg. 35 (illustrated)

South Asian Art | Modern AND Contemporary

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LOT 26

A. Ramachandran (b. 1935) Untitled watercolor on paper 14.5 x 10.5 in. (36.8 x 26.7 cm.) painted in 2005

US$ 6,000 - 8,000

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Signed and dated ‘Ramachandran 2005’ (lower left) Bearing artist’s stamp (lower left) PROVENANCE Private collection, Dubaii

LOT 27

Sakti Burman (b. 1935) Untitled (Owl) oil on canvas 8.5 x 10.5 in. (21.6 x 26.7 cm.) painted circa 1990s

US$ 8,000 - 12,000

Signed ‘Sakti Burman’ (lower center) PROVENANCE Private Collection, Switzerland

South Asian Art | Modern AND Contemporary

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South Asian Art | Modern AND Contemporary

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LOT 28

Jogen Chowdhury (b. 1939) Untitled ink and pastel on paper 19.75 x 27.5 in. (50 x 70 cm.) painted in 2007

US$ 8,000 - 12,000

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Initialed and dated ‘J 2007’ (lower right) Further initialed in Bengali (lower right) and dated ‘2007’ (upper left) PROVENANCE Private collection, Dubai

LOT 29

Jogen Chowdhury (b. 1939) Face of a Man I ink and pastel on paper 10 x 8 in. (25.4 x 20.3 cm.) painted in 2014

US$ 7,000 - 10,000

Signed, titled, inscribed and dated ‘Jogen Chowdhury / Face of a Man I / ink & mixed media / 9 1/4 x 7 1/2 inches / 2014 (Santiniketan)’ (on the reverse) Further inscribed ‘ST 2 / 2014’ (on the reverse) PROVENANCE Saffronart / Lot 33 / Summer Online Auction / June 2017

South Asian Art | Modern AND Contemporary

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LOT 30

Maqbool Fida Husain (1915 - 2011)

Signed and dated ‘Husain / 8.8.89’ (upper right) Titled in the artist’s handwriting in a book cataloging the owner’s collection of M.F. Husain’s works.

Perhaps these three horses are like three cheers for my Knighthood acrylic on canvas 40 x 60 in. (101.6 x 152.4 cm.) painted in 1989

A copy of the page illustrating the painting and title from this book accompanies the lot.

US$ 250,000 - 350,000

Property of an esteemed art collector

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PROVENANCE Acquired directly from the artist by the present owner

“My horses are classical because I see them as ageless and immortal. They draw chariots in the great epics, they stand proudly in the poorest stables, they are embodiments of strength like the dragon of China. I don’t show their hooves because there’s no need to. My eyes stops at the color, I don’t have to paint the details because details are superfluous. Art is not in the painting, art is in the artist. He relives life through his painting.” - M.F. Husain M.F. Husain encountered and portrayed the equine figure throughout his artistic career; this fascination later took him to various continents and cultures. He acknowledged the influence of terracotta horses from the Qin dynasty, the hundreds of galloping horse paintings he studied during his travels to China, along with the equine sculptures of the Italian sculptor Marino Marini (1901- 1980) in his works, among others. Yet he considers the tazias (effigies) of Imam Husayn’s faithful horse during Muharram processions of his boyhood as the core inspiration in his quest to represent the form.

The muscular bodies of the horses are carefully interwoven in this composition, galloping and rampant beside one another, portraying energy and dynamism. Their necks are elegantly arched, their strong heads held high as if caught while braying.

Their mouths, as seen here, resemble that of a dragon’s - masculine and feral - while their hinds are distinctly feminine, making them a perfect combination of strength and grace. Husain paid particular attention to the palette using blocks of vivid and sharp colors, reminiscent of the Basholi period and one of his favorite artistic devices, to accentuate movement in the picture and lend the entire composition depth and lyricism. Titled ‘Perhaps these three horses are like three cheers for my Knighthood’ and dated 1989, the current lot refers to the conferment of Husain’s third civilian honor from the Government of India - the Padma Vibhushan Award on the same year and which he referred to as his knighthood. He previously received the Padma Shri and the Padma Bhushan in 1955 and 1973, respectively.

Making use of a wide range of cultural inspiration as wells as personal experiences, Husain bestowed his horses with a potent and evocative presence, representing his captivation and fascination with the equine figure throughout different stages of his career.

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lots 31 - 40

South Asian Art | Modern AND Contemporary

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LOT 31

Jamil Naqsh (1939 - 2019) Angel III oil on canvas 60 x 40 in. (152 x 102 cm.) painted in 2013

EXHIBITED Jamil Naqsh: ‘The Painted Word’, Albemarle Gallery, London, 4 July - 31 August 2013

Signed ‘Jamil Naqsh’ (lower right)

PUBLISHED Edward Lucie-Smith, Jamil Naqsh: The Painted Word, Exhibition Catalogue, Albemarle Gallery, London, 2013, pg. 250 (illustrated)

PROVENANCE Albemarle Gallery, London Private collection, London

Jamil Naqsh and the Eternal Feminine, Exhibition Catalogue, Pontone Gallery, London, 2017, unpaginated (illustrated)

US$ 40,000 - 60,000

South Asian Art | Modern AND Contemporary

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LOT 32

Jamil Naqsh (1939 - 2019) Untitled (Woman and Pigeon) oil on canvas 40 x 30 in. (101.6 x 76.2 cm.) painted in 2005

US$ 25,000 - 35,000

Signed and dated ‘Jamil Naqsh 05’ (lower left) PROVENANCE Private Collection, Dubai

South Asian Art | Modern AND Contemporary

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Signed ‘Jamil Naqsh’ (lower left)

LOT 33

(Lot Note: From a set of 50 calligraphy paintings from the series ‘Verses in Praise of God’)

Jamil Naqsh

PROVENANCE Pontone Gallery, London

(1939 - 2019) Plate 259 oil on canvas 10 x 12 in. (25 x 30 cm.) painted in 2013

US$ 3,000 - 5,000

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EXHIBITED Jamil Naqsh ‘The Painted Word’, Albemarle Gallery, London, 4 July 2013 - 31 August 2013 PUBLISHED Edward Lucie-Smith, Jamil Naqsh: The Painted Word, Albemarle Gallery, London, 2013, pg. 168 (illustrated)

Signed ‘Jamil Naqsh’ (lower left)

LOT 34

(Lot Note: From a set of 100 calligraphy paintings from the series ‘Allah and the 99 names of God’)

Jamil Naqsh

PROVENANCE Pontone Gallery, London

(1939 - 2019) Al-Quddus, The Holy oil on canvas 10 x 12 in. (25 x 30 cm.) painted in 2013

US$ 3,000 - 5,000

EXHIBITED Jamil Naqsh: ‘The Painted Word’, Albemarle Gallery, London, 4 July 2013 - 31 August 2013 PUBLISHED Edward Lucie-Smith, Jamil Naqsh: The Painted Word, Albemarle Gallery, London, 2013, pg. 199 (illustrated)

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Ismail Gulgee is known for his abstract works inspired by Islamic calligraphy and gestural abstraction movement of the 1950s and 1960s. Using the confluence of abstract and gestural interpretations of Arabic and Urdu letters, he explored Islamic design elements and placed a high value on the unity and movement within his images. “My work is the externalizations of my inner journey.

Through it, I communicate with the pulse of life. The calligraphic form and movement that emerges are not premeditated or cerebral, it is intuitive and articulates something deep inside me. It is important that no thought of how people will react to my work intrudes, as they would destroy the thread and take the truth away. I am enchanted

by Islamic calligraphy and feel close to the Sufi mystics. At the mystic level, barriers melt away and religious experience whether Buddhist, Hindu or Muslim become one. One could call it the human experience of the ineffable.�

Text Reference: Annemarie Schimmel, M. Ismaili, Gulgee, Ferozesons, 2000, unpaginated

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LOT 35

Ismail Gulgee (1926 - 2007) Untitled oil on canvas 34 x 44 in. (86.4 x 111.8 cm.) painted in 2007

US$ 15,000 - 25,000

Signed and dated ‘07’ (lower right) PROVENANCE Acquired directly from the artist by the present owner

South Asian Art | Modern AND Contemporary

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LOT 36

Manu Parekh (b. 1939) Banaras in Moonlight acrylic on canvas 36 x 72 in. (91.4 x 182.9 cm.) painted in 2016

US$ 18,000 - 24,000

Signed in Hindi and dated ‘16’ (lower right) PROVENANCE Private collection, Dubai

South Asian Art | Modern AND Contemporary

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LOT 37

Paresh Maity (b. 1965) Bridal Ceremony oil on canvas 51 x 79 in. (129.5 x 200.7 cm.) painted in 2001

US$ 40,000 - 60,000

Signed and dated ‘Paresh Maity 2001’ (lower center) Further titled, signed, dated and inscribed ‘Bridal Ceremony / Paresh Maity / 2001 / Oil on Canvas / 51” x 79”’ (on the reverse) PROVENANCE Gallerie Aspekte, Germany Private collection, Dubai

South Asian Art | Modern AND Contemporary

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LOT 38

Sayed Haider Raza (1922 - 2016) L’amour acrylic on canvas 11.75 x 11.75 in. (30 x 30 cm.) painted in 2006

US$ 7,000 - 10,000

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Signed and dated ‘Raza 06’ (lower left) Further signed, dated, inscribed and titled ‘Raza / 2006 / 30 x 30 cm. / acrylic on canvas / L’amour’ (on the reverse) PROVENANCE Acquired directly from the artist by the present owner Private collection, Dubai

LOT 39

K. Laxma Goud (b. 1940) Untitled mixed media on paper 7.5 x 7.5 in. (19 x 19 cm.) painted in 2002

US$ 3,000 - 5,000

Signed and dated in Telugu (upper right) Inscribed ‘Studio 724’ (lower right) PROVENANCE Acquired directly from the artist by the present owner Private collection, Dubai

South Asian Art | Modern AND Contemporary

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LOT 40

Maqbool Fida Husain (1915 - 2011) A Newborn Child Held Gently by a Falling Leaf oil on canvas 72 x 90 in. (182.9 x 228.6 cm.) painted in 2005 Signed and dated ‘Husain 005’ (lower right) PROVENANCE Acquired directly from the artist by the present owner

US$ 200,000 - 300,000

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EXHIBITED ’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 PUBLISHED M.F. Husain: The Lost Continent, Exhibition Catalogue, UBS and Galerie 88, 2005 (illustrated) K. Bikram Singh, Maqbool Fida Husain, Rahul & Art, New Delhi, 2008, pg. 374 (illustrated)

India has had a long-standing tradition of reverence for motherly figures, and the concept of the mythological mother and child has remained a constant source of fascination throughout the centuries. ‘Yashoda and Lord Krishna’ or ‘Mother Mary with Jesus’ as ideals of motherhood has been an enduring theme in art, both in India and abroad.1 For M.F. Husain who had lost his mother from an early age, the theme was a compulsion.

He revisited it through the years and sought this image in every feminine form, as seen here.

Aptly titled ‘A New Born Child Held Gently By a Fallen Leaf,’ the current lot features an image of baby Krishna atop a golden leaf, separated from the featureless face of a mother, seen in the background. He forgoes depiction of any features of her face, concentrating instead on a blue bindu on her forehead, signifying his lifelong search for a maternal figure. Husain explained, “As I do not recall my mother’s visage, most of my female figures have no face details.”

In Husain’s female form, there seems to be an invisible veil between the viewer and her presence so that the simplicity of the figure is countered by the inaccessibility. This propensity can be attributed to his childhood in a Muslim household, where the feminine presence alternates between the secretive and the visible, or to his suppressed yearning for a motherly figure that left him permanently bereft. Consequently, he depicted his women vaguely, like apparitions that refuse to disappear or fully appear in his canvases.2 As is typical of Husain’s works, colors were used emotively amid strong outlines and sharp angular lines, casting into motion his pictorial spaces. The brilliant colors with its symbolic and expressive values combined with his distinct human forms transform the narrative on the painting surface into an intimate experience of poetry.

Text Reference: 1 Aishwarya Kirit, The ‘Mother and Child’ in Modern Indian Art, Sahapedia.org, 27 July 2019 2 Yashodhara Dalmia, M.F. Husain: A Tribute, Vadehra Art Gallery, New Delhi, 2012, pg. 15

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.

1. Browsing

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

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

Our Specialists We have in-house auction specialists who will always be happy to discuss an item in greater detail. Just contact our Auction Help Desk at +971 55 815 3030| +971 55 825 3030 | auction@artiana.com Viewing Gallery Artiana is a click-and-mortar hybrid and has a viewing gallery located in Dubai, UAE and we would always recommend coming to the auction viewings and looking at an item for yourself.

2. Bidding

3. Paying and Taking It Home

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

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

Visit www.artiana.com to find out more.

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

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

For more information, please refer to the Written/ Absentee Bids form in this catalogue or contact our Auction Help Desk at +971 55 815 3030 | +971 55 825 3030 | auction@artiana.com

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

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

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

Refer to the ‘Buying at Artiana’ guide in this catalogue for more details. If you have any further questions please contact our Help Desk at +971 55 815 3030 | +971 55 825 3030 | info@artiana.com Storage Purchased Lots will initially be held for collection either at Artiana’s viewing gallery or at the shipper’s warehouse for 15 business days at no charge, after which a daily storage charge will be imposed.

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

Please refer to the ‘Storage and collection’ page in this catalogue or contact our Help Desk on +971 55 815 3030 | +971 55 825 3030 | info@artiana.com

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

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

Lots have been allotted into groups, and the closing schedule for the various Lot Groups are as follows: CLOSING TIMES INDIA UAE LOT SRI LANKA NUMBERS UTC +4:00 UTC +5:30

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US EASTERN UTC -4:00

US PACIFIC UTC -7:00

UK UTC +1:00

WEST AFRICA UTC +1:00

EAST AFRICA UTC +3:00

HONG KONG SINGAPORE UTC +8:00

EASTERN AUSTRALIA UTC +10:00

1-10

7:30 p.m.

9:00 p.m.

11:30 a.m.

8:30 a.m.

4:30 p.m.

4:30 p.m.

6:30 p.m.

11:30 p.m.

1:30 a.m.

(March 17)

11-20

8:00 p.m.

9:30 p.m.

12:00 p.m.

9:00 a.m.

5:00 p.m.

5:00 p.m.

7:00 p.m.

12:00 a.m.

(March 17)

2:00 a.m.

(March 17)

21-30

8:30 p.m.

10:00 p.m. 12:30 p.m.

9:30 a.m.

5:30 p.m.

5:30 p.m.

7:30 p.m.

12:30 a.m.

(March 17)

2:30 a.m.

(March 17)

31-40

9:00 p.m.

10:30 p.m.

10:00 a.m.

6:00 p.m.

6:00 p.m.

8:00 p.m

1:00 a.m.

(March 17)

3:00 a.m.

(March 17)

ARTIANA

1:00 p.m.

WRITTEN / ABSENTEE BIDS FORM SOUTH ASIAN ART | MODERN AND CONTEMPORARY, MARCH 12 - 16, 2020

SALE NUMBER: 2001

To enter Written / Absentee Bids, please sign the completed form and email it to auction@artiana.com at least 12 hours before the first closing time of the auction. For additional information, please refer to the ‘It’s Easy to Buy at Artiana’ and ‘Buying at Artiana’ sections in this catalogue or the ‘Frequently Asked Questions’ (FAQ’s) page on our website www.artiana.com.

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

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

Lot No.

Artist / Description

Name

Maximum Bid Amount in USD

Email

Address

City

Postcode

Tel (mobile)

Tel (landline)

Country

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

Signature

Place & Date

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

USD 100 to 2,000

by USD 100

USD 2,000 to 4,000

by USD 200

USD 4,000 to 10,000

by USD 500

USD 10,000 to 20,000

by USD 1,000

USD 20,000 to 40,000

by USD 2,000

USD 40,000 to 100,000

by USD 5,000

USD 100,000 to 200,000

by USD 10,000

USD 200,000 and upwards

by USD 20,000

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

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

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

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

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

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

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

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

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

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

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

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

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

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

These Lots will be identified in the catalogue accordingly.

• Artiana does not charge any Buyer’s Premium.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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finance at artiana What is Artiana Fine Art Finance?

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

What services does Artiana Fine Art Finance provide?

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

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

What is the tenor and charges for the FlexiPay scheme?

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

Why finance or borrow against art?

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

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

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

What is the artwork evaluation process for external art collateral?

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

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

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

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

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

How long does the disbursal take?

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

Do our clients retain possession of their art?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

2.12. The Auction is conducted in United States Dollars (USD) and, for any transaction in other currencies, the exchange rate will be USD 100 to 2,000

by USD 100

USD 2,000 to 4,000

by USD 200

USD 4,000 to 10,000

by USD 500

USD 10,000 to 20,000

by USD 1,000

USD 20,000 to 40,000

by USD 2,000

USD 40,000 to 100,000

by USD 5,000

USD 100,000 to 200,000

by USD 10,000

USD 200,000 and upwards

by USD 20,000

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

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funds to the Seller. In the case of payments for purchases being made in UAE Dirhams (AED), a standard conversion rate of 1USD = 3.675 AED will apply.

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

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

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

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

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

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

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

2.19. The Buyer acknowledges that Artiana will abide by any export restrictions that may apply in the countries from where specific

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

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

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

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

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

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

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

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

place Bids.

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

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

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

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

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

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

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

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

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

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

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

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

by Artiana.

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

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

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

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

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

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

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

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

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

7. Legal Notices, Language, Third Party

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

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

7.3. The notices and contract language shall be English.

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

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

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

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

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

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

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

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

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

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

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

3. The Property was indisputably purchased through Artiana.

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

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

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

Where

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

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

Onsite Delivery

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

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

Bubble wrap provided complimentary

Collection of Lots (By prior appointment)

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

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

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

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

Within UAE (Excluding Designated Free Zones)

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

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

International Deliveries (Based on confirmed shipping instructions from buyers)

Within GCC Countries (Excluding Designated Free Zones)

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

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

Outside GCC Countries and Designated Free Zones

As above but Customs duty and VAT exempt

As above

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

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

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

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

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

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ARTIST PROFILES AND INDEX Burman, Sakti (b. 1935)

Lot 3

Lot 21

Lot 27

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

Lot 9

Lot 28

Lot 29

Born in 1939 in erstwhile Bengal, now Bangladesh, Jogen Chowdhury studied at Government College of Arts and Crafts, Kolkata, the Studio Academy of Fine Arts, Kolkata, and the Ecole Nationale Superieure des Beaux-Arts, Paris. His most recent solo exhibitions include ‘Jogen Chowdhury: Formative to Recent’, Centre of International Modern Art (CIMA), Kolkata, in 2014; ‘Lignes de Meditation’, Gallery Veda, Chennai, in 2012-13; ‘A Calligraphy of Touch and Gaze’ by Kalakriti Art Gallery at ICIA, Mumbai, in 2008; Vadehra Art Gallery, New Delhi, in 2007; the Centre of International Modern Art (CIMA), Kolkata, in 2006; and Bose Pacia, New York, in 2002. Chowdhury’s works have been exhibited in several group shows including ‘Ideas of the Sublime’, presented by Vadehra Art Gallery at Lalit Kala Akademi, New Delhi, in 2013; ‘Figure / Landscape: Part Two’, Aicon Gallery, London, in 2010-11; ‘Dali’s Elephant’, Aicon Gallery, London, ‘Paper Trails’,Vadehra Art Gallery, New Delhi, ‘Pretty Ugly’, Bose Pacia, Kolkata, ‘Image and Symbol: Painters Perception’, Aakrit Art Gallery, Kolkata, in 2010; ‘Modern Continuous’, Galerie 88, Kolkata, in 2009; ‘Inverting, Inventing,Traditions’, Grosvenor Vadehra, London, in 2007; Drawing Show an Act of Art II’, Priyasri Art Gallery, Mumbai, in 2006; those by Saffronart and Pundole Art Gallery, New York, in 2002 and 2001; the ‘Festival of India’ Geneva, in 1989; the II Havana Biennale, in 1986; and the Sao Paulo Biennale, in 1979. He was awarded the Kalidas Samman by the Madhya Pradesh State Government in 2001, the Shiromani Award, Kolkata, in 1997, and the Prix le France de la Jeune Peinture in 1966. The artist lives and works in Shantiniketan, West Bengal.

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Dhurandhar, Mahadev Vishwanath (1867 - 1944) Born in 1867, in Kolhapur, Maharashtra, M.V. Dhurandhar studied under John Griffiths at the Sir J.J. School of Art, Mumbai. He was exposed to the works of the European and British artists since the entire faculty at the school was from Britain. Unlike Eastern cultures, where art was oriented towards line drawing, in the West it was pictorial heavy. Fascinated by this form of art, Indian students too began emulating the European Academic Art form. His famous painting, ‘Women At Work’, got him a British Government Award in 1892, while still a student. Yet another black and white illustration, ‘Marriage Ceremony’ won him a gold medal in 1908.

In 1896, Dhurandhar was invited by the Sir J. J. School of Art to join the institute as a teacher. In 1910, he was appointed the Principal, and Lot 2 in 1930, became the first Indian to be appointed director of the Art School. His works became popular among the classes and the masses. His works include more than 5,000 paintings and 50,000 illustrations. He won more than five gold medals and several silver ones during his lifetime. But by 1931, he sought retirement, three years after he was awarded the title of Rao Bahadur by the British government. One of his paintings still hangs at the Buckingham Palace, and another one is in the South Kensington Museum. Royal family palaces and maharaja retreats across India still own several of his works. He has exhibited widely all over India. His popular works include documenting the city of Bombay and its people, as well as painting scenes from Hindu mythology and Omar Khayyam series. He was also the first Indian to be awarded the Gold Medal by Bombay Art Society. M.V. Dhurandhar died in 1944.

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 Lot 24 Lot 39 2011-12; Art Musings at Jehangir Art Gallery, Mumbai, in 2008; Galerie 88 Kolkata, in 2007; Priyasri Art Gallery, Mumbai, in 2006; by Saffronart and Apparao Galleries, Los Angeles, 2001; Saffronart Hong Kong 2001, Saffronart and Pundole Art Gallery, New York, 2001 and 2002; Centre of International Modern Art (CIMA), Kolkata, and the National Gallery of Modern Art (NGMA), New Delhi, 1993; ‘Festival of India’, Geneva, 1987; and Worcester Art Museum, 1986. Goud received the Andhra Pradesh State Lalit Kala Academy awards in 1962, 1966 and 1971. The artist lives and works in Hyderabad.

Gulgee, Ismail (1926 - 2007) One of Pakistan’s renowned artists, Ismail Gulgee was born in Peshawar in 1926.

He was a qualified engineer in the U.S.A self-taught abstract painter, Gulgee was a gifted portraitist and enjoyed regular state patronage and elite commissions throughout his career. His first exhibition was in 1950. In 1957, Afghanistan’s King Zahir Shah commissioned Gulgee to paint his portrait, and subsequently invited him to Kabul to complete another 151 portraits of members of the royal family.

Gulgee received his first extended exposure to abstract expressionism in 1960 through an exhibition in Karachi of American painter Elaine Hamilton. Though Gulgee had a high public profile across the Muslim world, with works in numerous private and state collections, he exhibited infrequently at home, citing a lack of proper exhibition venues for his large-scale work. A rare solo show at Karachi’s Lot 35 Indus Gallery in 1988 was followed six years later by an important retrospective at the National Assembly in Islamabad. Eager to ensure his artistic legacy, in 2000, Gulgee inaugurated the Gulgee Museum near his home in Karachi. For his great contribution to the progress of art in Pakistan, he was awarded with Pride of Performance, Sitara-e-Imtiaz (twice) and Hilal-e-Imtiaz. Ismail Guljee passed away in December 2007.

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Husain, Maqbool Fida (1915 - 2011)

Lot 11

Lot 15

Lot 12

Lot 20

Lot 13

Lot 14

Lot 22

Born in Pandharpur, Maharashtra, in 1915, Husain moved to Mumbai in 1937 where he sustained himself by painting cinema hoardings and designing furniture and toys. A self-taught artist, Husain was invited to join the Progressive Artists Group in 1947 by F.N. Souza after his first public exhibition of paintings. Most recently, his work has been featured in solo shows including ‘M.F. Husain: Early Masterpieces 1950s-1970s at the David Winton Bell Gallery, Providence in 2010; ‘Epic India’ at the peabody Essex Museum, Salem, in 2006-07; and ‘Early Masterpieces 1950-70s, at Asia House Gallery, London, in 2006. Husain Lot 40 Lot 30 was nominated to the Rajya Sabha, India’s Upper House of Parliament in 1986-92, during which he pictorially recorded its events, which were then published in 1994. The Government of India awarded him with a Padma Shri in 1966, a Padma Bhushan in 1973 and Padma Vibhushan in 1991, all high civilian honours. In 1971, Husain was invited to exhibit as a special invitee with Pablo Picasso at the Sao Paulo Biennale, Brazil. In 2004, he was awarded the Lalit Kala Ratna by the Lalit Kala Akademi, New Delhi. Husian passed away in London in 2011.

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 Kumar Art Gallery, New Delhi, 2001, 1966, ’64, ’60, ’59 and ’58. His works were also Lot 17 Lot 18 included in exhibitions held by Saffronart and Pundole Art Gallery, New York, in 2001 and 2002. In 2011, the Government of India awarded him with the Padma Bhushan; in 2004 he received the Lalit Kala Ratna from the President of India; and in 1997 he received the Kala Ratna from the All India Fine Arts and Crafts Society, New Delhi. Khanna lives and works in New Delhi.

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Kumar, Ram (1924 - 2018)

Lot 6

Lot 7

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

In 1970 he received the J.D. Rockefeller III Fund Fellowship. Since 1949, Ram Kumar has exhibited regularly in India and internationally.

Some of his solo shows include those at Aicon Gallery, New York, in 2013; Chemould Prescott Road, Mumbai in 2008; Vadehra Art Gallery, New Delhi in 2012, 2010-11, ’09, ’08, ’06, ’05, ’03, ’01, ’00, 1993 and ’92; Aicon Gallery, New York in 2013 and 2007, Pundole Art Gallery, Mumbai in 2005, 1999, ’92, ’90, ’86, ’84, ’83, ’78, ’76, ’73 and ’71; Arks Gallery, London in 1997; and Grosvenor Gallery, London in 1966. In 2002, Saffronart and Pundole Art Gallery organised a show of his work in Mumbai, New Delhi, San Francisco and New York.

Other retrospectives of his work have been held at the National Gallery of Modern Art, New Delhi in 1994 and 1993; Jehangir Art Gallery, Mumbai in 1993; and the Birla Museum, Kolkata in 1980. In 1972 the Government of India awarded him with the Padma Shri, one of its highest Civilian honours. The Madhya Pradesh State Government awarded him with the Kalidas Samman in 1985, and for his writing, he received the Uttar Pradesh State Government award in 1975. Ram Kumar lived and worked in New Delhi, till he passed away in April 2018.

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

He has participated in various group shows like the National Art Exhibition in Jaipur, Kala Mela, Lalit Kala Academy in New Delhi, and the Citibank Group Show in Mumbai. Besides other accolades, he has also received the National Scholarship from the Government of India and the All India Mini Sculpture Exhibition Award from AIFACS. He gradually moved from atmospheric scenery to representations of the human form. His more recent paintings are Lot 37 bold and graphic, with a strong color and unusual cropping. His works are in a number of collections, including the British Museum, and the National Gallery of Modern Art, New Delhi. In early years he did many watercolors of different locations.

Menon, Anjolie Ela (b. 1940) Born in West Bengal, Menon received her art education at the Sir J. J. School of Art, Mumbai and later at the Ecole Nationale Superieure des Beaux Arts, Paris. Some of her solo shows include those held at the Institute of Contemporary Indian Art, Mumbai, in 2013;Vadehra Art Gallery, New Delhi in 2010, 2003, 2002 and 1996; Dhoomimal Gallery, New Delhi in 2007; Gallery Arts India West, Palo Alto in 2006 and 2005; and at The Gallery, New York in 1989. Retrospectives of her work have been held at the National Gallery of Modern Art, Mumbai in 2002, and Jehangir Art Gallery, Mumbai in 1988. She has also participated in the Paris Biennal, 1980, and the international Triennale of the Lalit Kala Akademi, New Delhi, 1975, 71 and 68.

Some of the group exhibitions featuring her work include those held by Gallery Threshold, New Delhi, in 2009-10 and 2008; Aicon Gallery, New York, 2009; Gallery Arts India, New York, in 2005; Saffronart and Apparao Galleries, Los Angeles in 2001; and Saffronart, Hong Kong, in 2001. She was given the Dayawati Modi Award in 2013 and in 2000 the Government of India awarded her the Padma Shri. Menon lives and Lot 4 works in New Delhi.

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Naqsh, Jamil (1939 - 2019)

Lot 31

Lot 32

Lot 33

Born in 1939, in Kairana in Uttar Pradesh, India, Jamil Naqsh moved to Karachi in Pakistan following the partition of the subcontinent in 1947. In 1953, he enrolled at the National College Art (then Mayo College) in Lahore, but did not complete his education there, leaving after two years to study art on his own. Naqsh’s mature style is a blend of cubism – in the way he treats form and texture – tempered with fluidity and a subtle use of 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 of works, inspired by the Italian sculptor Mario Marini, who captured the beauty of the horse in his work, combines the elegance of the nude female with the sturdy grace of the equine figure. Naqsh’s work has been exhibited extensively in Pakistan, India, the UK and the UAE. Between 1960 and 68 he served as Co-Editor of Seep, an Urdu literary magazine, and between 1970 and 73 as President of the Pakistan Painters Guild. Among the artist’s many honours are medals and awards from the Pakistan Art Council, Karachi; the Ministry of Culture, Lot 34 Pakistan; and the Arts Council of Pakistan. In 2009, Naqsh was awarded the Sitara-e Imtiaz by the Government of Pakistan, and in 2003, a retrospective of his work was held at the Mohatta Palace Museum in Karachi, a rare honour for a living artist. Naqsh passed away on May 16, 2019 after a sudden and brief illness, at St. Mary’s hospital in London. He is recognized as one of the most important painters from Pakistan.

Parekh, Manu (b.1939) Born in Gujarat, Manu Parekh studied at the Sir J.J. School of Art, Mumbai. He has been exhibiting since 1967 and his most recent solo shows include those held at Art Alive Gallery, Gurgaon 2012; Tao Art Gallery, Mumbai, in 2010 and ‘09; Berkeley Square Gallery, London, in 2006;Vadehra Art Gallery, New Delhi, in 2004, 1994 and 1991; Jehangir Art Gallery and Tao Art Gallery, Mumbai, in 2003; Sakshi Gallery, Bangalore, in 1999; ARKS Gallery, London, in 1997; Bose Pacia, New York, in 1996; and Dhoomimal Art Gallery, New Delhi, in 1988, ’85, ’81, ’76, ’75 and ’74. A retrospective of his work was held in 1992 in Kolkata, New Delhi and Mumbai. His works have Lot 36 also been featured in several group shows including those held at Art Alive Gallery, Gurgaon in 2012; Gallery Threshold, New Delhi, in 2011 and ’10; Tao Art Gallery, Mumbai, 2010, ’09 and ’08; Nature Morte, New Delhi, in 2004; Saffronart, Hong Kong, in 2001 and Lakeeren Art Gallery, Mumbai, in 1977. He has also participated in the III and IV Triennales of New Delhi, in 1975 and 1978. The Government of India awarded him the Padma Shri in 1990. He received the National Award from the Lalit Kala Akademi, New Delhi, in 1982, and the President of India’s Silver Plaque in 1972. Manu Parekh lives and works in New Delhi.

Ramachandran, A. (b. 1935) Born in Kochi, Kerala, Ramachandran graduated with a Degree in Malayalam Literature from Kerala University before going on to study art at Viswa Bharati University at Santiniketan. His most recent shows include ‘Dhyanachitra’ and ‘Bahurupi’ at Vadehra Art Gallery, New Delhi, in 2012 and 2009 respectively; and those held by Vadehra Art Gallery, New Delhi, at Jehangir Art Gallery, in 2008; Grosvenor Vadehra Gallery, London in 2008; the Guild Art Gallery, Mumbai and New York, 2007-08; Vadehra Art Gallery, New Delhi, 2006, 2005, and 2001; Nami Island, South Korea, 2005; Art Heritage, New Delhi, 2002; and Sridharani Gallery, New Delhi 1998. He has participated in numerous group exhibitions, including those hosted by Saffronart, Hong Kong and Los Angeles, 2001; the Museum of Modern Art, Oxford, 1982; the Royal Academy of Arts, London, 1982; and the Lalit Kala Akademi, New Delhi, 1977. He was honoured with a Padma Bhushan from the Lot 26 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.

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Raza, Sayed 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 Lot 38 in 1956. In 1962 he served as a visiting Lot 10 Lot 19 lecturer at the University of California in Berkeley, USA. Raza has several solo exhibitions to his credit, including ‘Paysage: Select Works 1950s-1970s’, ‘Parikrama: Around Gandhi’,Vadehra Art Gallery, New Delhi, in 2014; ‘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, 10; the Museum of Fine Art, Boston, in 2009; Grosvenor Gallery, London, Mumbai, 2004; Saffronart and Pundole Art Gallery, New York, 2001 and 2002; and Saffronart, Hong Kong and Los Angeles, 2001 among several others. Raza received a Lalit Kala Ratna from the Lalit Kala Akademi, New Delhi in 2004, and a Padma Bhushan and Padma Shri from the Government of India in 2007 and 1981 respectively. The Madhya Pradesh State Government also awarded him with the Kalidas Samman in 1996-97. Raza lived and worked in Paris and Gorbio, France, till 2011. The artist passed away in New Delhi in July 2016.

Roy, Jamini (1887 - 1972) Born in India, Jamini Roy is touted as the “Father of Indian Modern Art” by M. F. Husain. He continues to be one of the most respected artists in India to date.

Roy was born to a middle-class family of land-owners in Bankura, West Bengal, in 1887. Growing up surrounded by fervent nationalism and a need to turn to the indigenous arts and crafts, Roy’s works in the 1920s reflected these sentiments.

His initial source of inspiration, the Kalighat style of painting, soon gave to an urge to return to his roots, and he turned to the village patuas. His deliberate rejection of the accepted standards of what constituted art marked a turning point in the history of modern art. Some of his iconic works include the “Mother and Child” series, “Gopinis”, the figure of Christ, all with his signature flat colours Lot 1 and simplified brushstrokes which make his art highly accessible. Roy was awarded the Padma Bhushan, the third highest civilian award, for his artistic endeavours in 1955. The artist passed away in 1972.

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

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Singh, Arpita (b. 1937) Born in erstwhile Bengal, Arpita Singh trained at the School of Art, New Delhi Polytechnic, from where she graduated in 1959. Some of her solo exhibitions, since first held at the Kunika Chemould Art Center, 1972, include those at DC Moore Gallery, New York, in 2012;Vadehra Art Gallery, New Delhi, and the Museum Gallery, Mumbai, in 2010-11;Vadehra Art Gallery, New Delhi, in 2006 and 1994; Bose Pacia, New York, in 2003; and Schoo’s Gallery (Foundation for Indian Artists), Amsterdam, in 1993. Her works have been exhibited in many groups shows, including ‘The Modernists’ at RL Fine Arts, New York, in 2010, ‘Bharat Ratna!’ at the Museum of Fine Arts, Boston, in 2009; ‘Of Personal Narratives and Journeys’ at Bodhi Art, Gurgaon, in 2008; ‘Fluid Structures: Gender and Abstraction’ at Vadehra Art Gallery, New Delhi, in 2008; ‘India Art Now: Between Continuity and Transformation’, Milan, in 2007-08; ‘Horn Please: Narratives in Contemporary Indian Art’ at the Kunstmuseum, Bern, in 2007; and ‘Women Artists from India’ at Mills College, California, in 1997. Lot 8 Singh was awarded the Kalidas Samman by the Madhya Pradesh State Government in 1998-99, and the Parishad Samman from the Sahitya Kala Parishad in New Delhi. Singh lives and works in New Delhi.

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

He went on to found the Progressive Artist’s Group in 1948, before leaving for London a year later. In 1955 Souza held a one-man show at Gallery One in London and also had his autobiographical essay ‘Nirvana of a Lot 23 Maggot’ published. He was awarded the Lot 16 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.

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

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