ARTIANA | South Asian Art | Online Auction | No Buyer's Premium | 13-17 June, 2019 | Sale 1902

South Asian Art | Modern AND Contemporary

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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: 1902 ONLINE AUCTION JUNE 13 - 17, 2019 No Buyer’s Premium ‘What You Bid is What You Pay’ FlexiPay ‘Bid Now Pay Later’ Auction Opening June 13, 2019 6:00 p.m. onwards UAE Standard Time

Auction Closing June 17, 2019 7:00 p.m. to 9:00 p.m.

UAE Standard Time

Viewings June 8-13, 2019 11:00 a.m. - 6:00 p.m.

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SPECIALIST AND SERVICES ARTIANA P.O. Box 112646 Dubai | UAE Sale Number: 1902 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 99 FlexiPay Additional information on the FlexiPay scheme is available on page 106 Conditions of Sale This auction is conducted under the Conditions of Sale as stipulated in the catalogue on page 108 Copyright Notice No part of this catalogue may be reproduced, stored in a retrieval system or transmitted by any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of Artiana. Š Copyright, Artiana, 2019 Front Cover: Lot 30 Inside Front Cover: Lot 10 (detail) Page 2-3: Lot 19 (detail) Page 4: Lot 7 (detail)

Page 98: Lot 15 (detail) Inside Back Cover: Lot 40 (detail) Back Cover: Lot 31

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

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lots 1 - 10

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LOT 1

Badri Narayan (1929 - 2013) Shiva and Parvati ink and watercolour on paper 11.5 x 16 in. (29 x 41 cm.) painted in 2001

US$ 4,000 - 6,000

Initialed in Hindi (centre right) Further signed, titled, dated and inscribed ‘Shiva and Parvati / by Badri Narayan / watercolour / 8th, 9th April 2001 / Dharwad’ (on the reverse) PROVENANCE Private collection, Dubai

South Asian Art | Modern AND Contemporary

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LOT 2

K. Laxma Goud (b. 1940) Untitled ink on paper 3 x 7 in. (7.3 x 18.2 cm.) painted in 1963

US$ 1,000 - 1,500

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Dated ‘1963’ (upper right) Signed and dated ‘Laxmagoud 1963’ (lower centre right) PROVENANCE The Guild Art Gallery, Mumbai Private collection, Dubai

LOT 3

Jogen Chowdhury (b. 1939) Flower Vase ink and pastel on paper 9.75 x 7 in. (24.8 x 17.8 cm.) painted in 2002

US$ 1,500 - 2,000

Signed and dated ‘Jogen’ (upper left) / ‘2002’ (upper right) Initialed in Bengali and dated ‘2002’ (lower right) PROVENANCE Synergy Art Foundation, Mumbai Private collection, Singapore

South Asian Art | Modern AND Contemporary

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LOT 4

Jogen Chowdhury (b. 1939) Face of a Man mixed media on paper 9.75 x 7.75 in. (25 x 20 cm.) painted in 2012

US$ 7,000 - 10,000

Signed and dated in English ‘Jogen 2012’ and initialed in Bengali (lower edge) PROVENANCE Art Alive Gallery, New Delhi Acquired from the above by the present owner

South Asian Art | Modern AND Contemporary

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LOT 5

Sakti Burman (b. 1935) Untitled watercolour on paper 19.75 x 25.5 in. (50 x 65 cm.) painted circa 1990s

US$ 6,000 - 9,000

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Signed ‘Sakti Burman’ (lower right) PROVENANCE Private collection, Dubai

LOT 6

Sayed Haider Raza (1922 - 2016) Composition oil on canvas 16 x 10.5 in. (40.6 x 26.7 cm.) painted in 1974

US$ 14,000 - 20,000

Signed and dated ‘Raza 74’ (lower right) Further signed, dated, and inscribed ‘Raza / 1974 / 6P’ (on the reverse) Bearing Bodhi Art label (on the reverse) Bearing Artcurial label (on back of the frame) PROVENANCE Artcurial / Lot 451 / Contemporary Art 2 / 4 April 2007 / Paris Private collection, Singapore

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By the early 1970s, Khanna had emerged as a significant painter of Indian street figures. He oscillates between genre and allegory treating the subject as a distinct subculture. “Through the combination of the vestige of empire and its visual pomp, folkloric and popular music, they represent a kind of reverse Orientalism. Arguably, the bandwallahs stand at the intersection of numerous strains of Indian public spectacle. Their performance, such as it is, exists in the ephemera of immediate gratification and a claim of public space, if only in passing. At the same time, they are released from the bondage of memory and tradition, to become emblematic of a new popular culture, one that draws from the past as it looks in the future.

Equally, it is one that compels a transition from the grand historical objective of triumph embodied in the band, to the petty personalized pleasures of the street. Their abbreviated careers then represent the spurious state of hired pleasure.� (Gayatri Sinha, Krishen Khanna: Images in my Time, Mapin Publishing, 2007, p. 34 & 35) The bandwallahs, as seen here, appears to be playing on their instruments belting out a popular tune. In painting these unknown and unnamed men, Khanna documented subjective identities of people he had known to a generic figure, with an indeterminate part and unmapped future, and in which they read in terms of occupation. This deep engagement to the subject serves as a rite of passage to the multiple places the bandwallahs occupy; between the public and the private, the popular and the not, and in the 20 histories ARTIANA shared they traverse.

LOT 7

Krishen Khanna (b. 1925) Untitled (Bandwallahs) oil on canvas 36 x 24 in. (91.4 x 61 cm.) painted in 2018

US$ 30,000 - 50,000

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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LOT 8

Paritosh Sen (1918 - 2008) Girl with a Sling acrylic on paper 30 x 20 in. (76.2 x 50.8 cm.) painted in 2004 Signed ‘Paritosh Sen 04’ (upper left) PROVENANCE Acquired directly from the artist Private collection, Dubai

US$ 6,000 - 9,000

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PUBLISHED Mrinal Ghosh, Paritosh Sen: IXth Decade, Neovision, New Delhi, 2006, p.127 (illustrated)

LOT 9

Ram Kumar (1924 - 2018) Untitled oil on canvas 36 x 24 in. (91.4 x 61 cm.) painted in 2008

US$ 30,000 - 50,000

Signed, dated and inscribed ‘Ram Kumar 08 / 3 x 2’ (on the reverse) Bearing Vadehra Art Gallery label (on the reverse) PROVENANCE Vadehra Art Gallery, New Delhi

South Asian Art | Modern AND Contemporary

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Films had long been a part of M.F. Husain’s preoccupation as an artist and one of the main sources of material and inspiration for his works.

His exposure to cinema had started early in his career after getting his start in painting cinema hoardings.

This has influenced his art in the same manner as his experiences with literature and mythology did. Even the technique of depicting different scenes and symbology or juxtaposing apparently unconnected or even contrary elements in a single frame can be attributed to this influence to some extent.

The current lot titled ‘Mera Piya Ghar Aaya Ho Ramji’ was painted in 1996, based on scenes from the hit song ‘Mera Piya Ghar Aaya’ in the Bollywood film ‘Yaraana,’ released in 1995. The film starring actress Madhuri Dixit became popular for this hit song, which was inspired by a Punjabi song of the same title written by 18-century poet Baba Bulleh Shah.

In this painting, Husain presumably depicts Madhuri and another woman dancing to the same song, while Lord Ganesha, patron of arts joins them.

Madhuri is one of Husain’s muses; his fascination with the actress started after watching her performance in the film, ‘Hum Aapke Hain Koun!’

(1994) which the artist watched for a total of 67 times. His fondness for Madhuri led him to create a series of painting based on her and her films, including the present lot. In 2000, Husain debuted ‘Gaja Gamini’ starring the actress which was intended as a tribute to womanhood and to Dixit herself.

Husain’s gift of celebrating both the profound and the banal encompassed varied art forms including popular cinema. Aside from ‘Gaja Gamini’, Husain also directed the experimental film ‘Through the Eyes of a Painter’ (1967) and ‘Meenaxi: A Tale of Three Cities’ (2004). His obsession with cinema was palpable and continued until his death in 2011.

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LOT 10

Maqbool Fida Husain (1915 - 2011) Mera Piya Ghar Aaya Ho Ramji acrylic on canvas 32 x 43 in. (81.3 x 109.2 cm.) painted in 1996

US$ 60,000 - 90,000

Signed and dated ‘Husain 96’ (lower right) PROVENANCE Acquired directly from the artist Private collection, New Delhi

South Asian Art | Modern AND Contemporary

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lots 11 - 20

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LOT 11

Gulam Mohammed Sheikh (b. 1937) Vasl (Meeting of the Lovers) Collaborative work with Nilima Sheikh watercolour on paper 49 x 47 in. (124.5 x 119.38 cm.) painted in 1999

US$ 12,000 - 18,000

Signed and dated by Gulam Mohammed Sheikh in Gujarati (lower right) Initialed and dated by Nilima Sheikh in Hindi (lower left) PROVENANCE Art Today Gallery, New Delhi Acquired from the above by the present owner

South Asian Art | Modern AND Contemporary

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LOT 12

Gulam Mohammed Sheikh (b. 1937) Tree charcoal on paper 21 x 29.5 in. (53.3 x 74.9 cm.) executed in 1991

US$ 3,000 - 5,000

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Signed and dated in Gujarati (lower right) Further signed, dated and inscribed ‘Gulam Mohammed Sheikh / Drawing / Charcoal on paper / 1991’ (on the reverse) PROVENANCE The Fine Art Resource, Mumbai Private collection, Singapore

LOT 13

Gulam Mohammed Sheikh (b. 1937) Untitled watercolour and gouache on paper 14.75 x 18 in. (37.5 x 45.7 cm.) painted in 1994

US$ 7,000 - 10,000

Signed in Gujarati and dated ‘94’ (lower centre) PROVENANCE Sotheby’s / Lot 133 / Modern and Contemporary Indian Paintings / 10 October 1997 / Lot 133 / New York Private collection Bonhams / Lot 47 / Modern and Contemporary South Asian Art / 27 May 2016 / London Private collection, Dubai

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Ram Kumar looked at nature for inspiration and sought out to transform his contemplation of the landscape into an irregular patchwork of color. “There was no longer any attempt to portray a realistic representation of what he observed. Instead, the outer landscape would transform itself into the inner mindscape, which in turn would manifest itself on canvas and paper.

The mood and sensations that were evoked in him by his meditation on the outer world would play out as colors and textures. In the unique style of planar abstraction that he developed, slabs of color show jagged edges and lines are more subservient to the planes. Top angle views offer large and sweeping vistas that accentuate the movement of these horizontal bars.�

(Meera Menezes, Ram Kumar: Traversing the Landscapes of the Mind, Saffronart, December 2016, p. 13) The variegated colors and irregular planes are suggestive of bodies of water and land, of rocky mountains, flat fields, of barren and parched earth.

These topographical elements were transmitted through the color and the brushstrokes. Ochres, rust, white, black and blue were orchestrated together to produce complex symphonies of color, inducing both movement andARTIANA stillness.

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LOT 14

Ram Kumar (1924 - 2018) Untitled acrylic on paper 22 x 30 in. (55.8 x 76.2 cm.) painted in 1990

US$ 9,000 - 13,000

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Signed and dated ‘Ram Kumar 1990’ (on the reverse) PROVENANCE Acquired directly from the artist Private collection, New Delhi

LOT 15

Maqbool Fida Husain (1915 - 2011) Untitled acrylic on canvas 36 x 24 in. (91.4 x 61 cm.) painted in 2005

US$ 50,000 - 70,000

Signed ‘Husain’ (upper left) PROVENANCE Acquired directly from the artist Private collection, Dubai

South Asian Art | Modern AND Contemporary

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LOT 16

Laxman Shreshtha (b. 1939) Untitled mixed media on paper 22 x 29 in. (56 x 75 cm.) painted in 1994

US$ 6,000 - 9,000

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Signed and dated ‘Laxman 94’ (lower right) PROVENANCE The Guild Art Gallery, Mumbai Private collection, Dubai

LOT 17

K. K. Hebbar (1911 - 1996) Untitled (Fish) oil on canvas 30 x 40 in. (76.5 x 101.9 cm.) painted in 1990

US$ 20,000 - 30,000

Signed and dated ‘Hebbar 90’ (lower left) PROVENANCE Acquired directly from the artist by the present owner

South Asian Art | Modern AND Contemporary

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LOT 18

Prabhakar Barwe (1936 - 1995) Three Possibilities watercolour and ink on paper 12 x 19 in. (30.5 x 48.3 cm.) painted in 1992

US$ 5,000 - 7,000

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Signed and dated in Hindi ‘P. Barwe 1992’ (lower right) Further signed, titled, dated and inscribed ‘Three Possibilities / 1992 / 12” x 19” / Barwe (lower left) Bearing Bodhi Art label (on back of the frame) PROVENANCE Christie’s / Lot 17 / Modern and Contemporary Indian Art / 30 March 2006 / New York Private collection, Singapore

LOT 19

Ram Kumar (1924 - 2018) Untitled acrylic on canvas 33 x 52 in. (84 x 132 cm.)

US$ 50,000 - 70,000

Signed and inscribed ‘Ram Kumar / 33 x 52’ (on the reverse) PROVENANCE Acquired directly from the artist Private collection, New Delhi

South Asian Art | Modern AND Contemporary

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LOT 20

Maqbool Fida Husain (1915 - 2011) Untitled oil on canvas 17 x 37.25 in. (43.2 x 94.9 cm.) painted circa mid 1960s

US$ 60,000 - 90,000

Signed in Hindi and Urdu (lower right) PROVENANCE Dhoomimal Gallery, New Delhi Acquired from the above by the previous owner in circa 1967 while working in New Delhi for the United States Agency for International Development (USAID) Christie’s / Lot 69 / South Asian Modern + Contemporary Art / 11 June 2014 / London Private collection, Dubai

South Asian Art | Modern AND Contemporary

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lots 21 - 30

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LOT 21

V. S. Gaitonde (1924 - 2001) Untitled lithograph on paper (set of 2) 11.5 x 8.5 in. (29.2 x 21.6 cm.) each executed in 2000

US$ 7,000 - 10,000

Each signed in Devanagari (lower right) Each numbered ‘5/25’ (lower left) Each bearing Bodhi Art label (on back of the frame) Edition 5 of 25 PROVENANCE Saffronart, Mumbai Bodhi Art, Singapore Acquired from the above by the present owner EXHIBITED V. S. Gaitonde: Works from Private Collections, Saffronart, 21 January - 4 February 2011, New Delhi

South Asian Art | Modern AND Contemporary

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LOT 22

Jogen Chowdhury (b. 1939) Face of a Woman Lying in Bed ink and pastel on paper 6.5 x 10 in. (16.5 x 25.4 cm.) painted in 2016

US$ 7,000 - 10,000

Signed and dated in English ‘Jogen 2016’ (lower right) Initialed in Bengali (upper right) Further signed, titled, and inscribed ‘Jogen Chowdhury / “Face of a Woman Lying in Bed” / 6 1/2” x 10” (approx) / Ink (crosshatch) and pastels / 2017 (Santiniketan)’ (on the reverse) PROVENANCE Priyasri Art Gallery, Mumbai Private collection

South Asian Art | Modern AND Contemporary

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LOT 23

Ram Kumar (1924 - 2018) Untitled acrylic on paper 23.5 x 18 in. (59.9 x 45.7 cm.) painted in 2008

US$ 7,000 - 10,000

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Unsigned Bearing Bodhi Art label (on back of the frame) PROVENANCE Synergy Art Foundation, Mumbai Bodhi Art, Singapore

LOT 24

Sayed Haider Raza (1922 - 2016) Kundalini acrylic on canvas 15.75 x 15.75 in. (40 x 40 cm.) painted in 2002

US$ 25,000 - 35,000

Signed and dated ‘Raza 02’ (lower right) Further signed, titled twice in Hindi and English, dated and inscribed ‘RAZA / 2002 / 40 x 40 cm. / “Kundalini”/ Acrylic on Canvas’ (on the reverse) PROVENANCE Aryan Art Gallery, New Delhi Private collection This painting will be included in the forthcoming catalogue raisonne of the artist currently being prepared by A. Macklin

South Asian Art | Modern AND Contemporary

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LOT 25

Thota Vaikuntam (b. 1942) Mother and Child acrylic on paper 22 x 18 in. (55.9 x 45.7 cm.) painted in 1999

US$ 8,000 - 12,000

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Signed in Telugu (lower left) PROVENANCE Art Alive Gallery, New Delhi Acquired directly from the artist by the present owner

LOT 26

Sakti Burman (b. 1935) A Spanish Village oil on canvas 28.75 x 23.5 in. (73 x 60 cm.) painted in 2002

US$ 30,000 - 50,000

Signed ‘Sakti Burman’ (lower right) PROVENANCE Pundole Art Gallery, Mumbai Private collection, Dubai EXHIBITED AND PUBLISHED Aspects of Modern Indian Painting, Saffronart & Pundole Art Gallery, New York, 2002

South Asian Art | Modern AND Contemporary

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LOT 27

K. Laxma Goud (b. 1940) Untitled mixed media on paper 7.75 x 6.25 in. (20 x 16 cm.) painted in 2003

US$ 3,000 - 5,000

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Signed and dated in Telugu (lower left) PROVENANCE The Guild Art Gallery, Mumbai Private collection, Dubai

LOT 28

A. Ramachandran (b. 1935) Untitled oil on canvas 18 x 18 in. (45.7 x 45.7 cm.) painted in 2005

US$ 10,000 - 15,000

Signed and dated ‘Ramachandran 2005’ (lower right) PROVENANCE The Guild Art Gallery, Mumbai Private collection, Dubai

South Asian Art | Modern AND Contemporary

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LOT 29

Bikash Bhattacharjee (1940 - 2006) Santu the Penciler oil on canvas 48 x 48 in. (122 x 122 cm.) painted in 1984 Signed and dated ‘Bikash 84’ (lower left) Further signed and inscribed ‘Santu the Penciler (Satta) / Artist - Bikash Bhattacharjee / Address - 2D Nabo Kumar Raha Lane Calcutta - 700004 / No. 66’ (on the reverse) Inscribed ‘M/s. Bennett Coleman & Co. Ltd., Mumbai [Bombay] S. No. 66’ (on the reverse) Bearing Vadehra Art Gallery, Christie’s, and Bonhams label (on the stretcher)

US$ 30,000 - 50,000

PROVENANCE Bennett, Coleman & Company Ltd. Private collection, Mumbai Christie’s / Lot 98 / Twentieth Century Indian Art / 2 June 1998 / London Private collection, London Bonhams / Lot 50 / Modern and Contemporary South Asian Art / 27 May 2016 / London PUBLISHED Marta Jakimowicz-Karle, Bikash Bhattacharjee, Kala Yatra, Bangalore, 1991, p. 16-17

South Asian Art | Modern AND Contemporary

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LOT 30

Maqbool Fida Husain (1915 - 2011) Kathak Dance Performance at the Maharaja Darbar acrylic on canvas 40 x 60 in. (101 x 152.4 cm.) painted in 1989

US$ 350,000 - 550,000

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

A copy of this page signed by the collector accompanies the lot.

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

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lots 31 - 40

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Jamil Naqsh (25 December 1939 - 16 May 2019) Everlasting Strokes “After painting over Six decades, Jamil Naqsh finally puts his brush down and leaves his palette with all the colours he knew.

After creating innumerous masterpieces in this world, he returns back to his Creator and leaves behind an illustrious career in the field of Fine Arts, by redefining Abstract, Still-Life, Calligraphy and many other genres.

He shall not only be remembered by his family alone, but also goes down in History as a Relentless Painter who opted reclusiveness to focus on his work over the other joys of life.

We can not thank him enough to reintroduce Fine Arts to this world and leaving a visual saga for us all to cherish till the rest of our lives.�

Najmi Sura South Asian Art | Modern AND Contemporary

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As an artist, Jamil Naqsh believes that all responsible artists eventually return to the core of their cultural traditions; while adding something new to them.

This explains Jamil’s single-minded exploration of a personal idiom based on both the Mughal miniature tradition and ghazal.

Part of the Eternal Feminine series, the current lot depicts a close-up portrait of a beautiful young woman accompanied by a pigeon, two of Naqsh’s favorite subjects. Here, the bird serves the role of a messenger while also signifying longing, isolation, and love. Sentiments that are pervasive in ghazal poetry and serves as the main motif of his work. The warm sepia monochrome he used lends the picture a tranquil and meditative quality. This imagery also reflects on Jamil’s own personal metaphor. Art critic and historian Edward Lucie-Smith posits, “the work offers a touching footnote to the culture from which the painter comes but which he has now left behind, to live in near isolation within the boundaries of a very different cultural situation.” (Jamil Naqsh - and the Eternal Feminine, Exhibition Catalogue, Pontone Gallery, London, 2017, unpaginated) 64

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LOT 31

Jamil Naqsh (1939 - 2019)

Signed ‘Jamil Naqsh’ (lower left)

Expectation oil on canvas 40 x 30 in. (101.3 x 76 cm.) painted in 2017

PROVENANCE Albemarle Gallery, London

US$ 25,000 - 35,000

EXHIBITED AND PUBLISHED Jamil Naqsh and the eternal feminine, Pontone Gallery, London, 2017, p. 49 (illustrated)

South Asian Art | Modern AND Contemporary

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Allah and the 99 Names of God “The tradition of the ‘99 Names’ is, of course more complicated and (perhaps intentionally) more ambiguous than it would seem to be at first sight.

The Prophet invoked Allah by a number of descriptive names, which attribute different functions and qualities to the Supreme Being, without excluding others.[...] Therefore the 99 Names are also, paradoxically, often more than that number. The word Allah encompasses them all, however, the descriptions also have a function. Memorizing and reciting them enables the devotee to focus on the nature of the Divine, facet by facet, when it is impossible to encompass all aspects of divinity at once. The worshipper uses the recitation to attempt to grasp what is ungraspable. The names are therefore tools, in addition to being descriptions.” (Edward Lucie-Smith, Jamil Naqsh ‘The Painted Word’, Albermarle Gallery, London, 2013, pg.195)

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Verses in Praise of God “They speak of Allah, but their function is to praise, rather than simply to name. That is, the basis of the image is a dynamic response to the name of God, where the sacred name is placed in a context. The context is a sura, or a fragment of a sura taken from the Qu’ran.

This allows for a more elaborate and complex development of visual imagery based on the movements of the artist’s hand.” (Edward Lucie-Smith, Jamil Naqsh ‘The Painted Word’, Albemarle Gallery, London, pg. 166)

LOT 32

Jamil Naqsh (1939 - 2019) Untitled (Verses in Praise of God) oil on canvas (4 paintings) 10 x 12 in. (25 x 30 cm.) painted in 2013

US$ 5,000 - 7,000

Each signed ‘Jamil Naqsh’ (lower left) (Lot Note: From a set of 50 calligraphy paintings from the series ‘Verses in Praise of God’) PROVENANCE Pontone Gallery, London EXHIBITED AND PUBLISHED Jamil Naqsh ‘The Painted Word’, 4 July 2013 - 31 August 2013, Albemarle Gallery, London, pgs. 179, 186, 177, 171 (illustrated)

South Asian Art | Modern AND Contemporary

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LOT 33

Jamil Naqsh (1939 - 2019) Untitled (Verses in Praise of God) oil on canvas (4 paintings) 10 x 12 in. (25 x 30 cm.) painted in 2013

US$ 5,000 - 7,000

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Each signed ‘Jamil Naqsh’ (lower left) (Lot Note: From a set of 50 calligraphy paintings from the series ‘Verses in Praise of God’) PROVENANCE Pontone Gallery, London EXHIBITED AND PUBLISHED Jamil Naqsh ‘The Painted Word’, 4 July 2013 - 31 August 2013, Albemarle Gallery, London, pgs. 168, 174, 184, 189 (illustrated)

Each signed ‘Jamil Naqsh’ (lower left) (Lot Note: From a set of 100 calligraphy paintings from the series ‘Allah and the 99 names of God’)

LOT 34

Jamil Naqsh (1939 - 2019) Allah and the 99 Names of God oil on canvas (4 paintings) 10 x 12 in. (25 x 30 cm.) painted in 2013

US$ 5,000 - 7,000

TITLES Ar-Rahman ‘The Compassionate’ (upper left) Dhul’l-Jalal Wa’l-Ikram ‘The Lord of Majesty and Generosity’ (upper right) Al-Qahhar ‘The Dominant’ (lower left) As-Salam ‘The Source of Peace’ (lower right) PROVENANCE Pontone Gallery, London EXHIBITED AND PUBLISHED Jamil Naqsh ‘The Painted Word’, 4 July 2013 - 31 August 2013, Albemarle Gallery, London, pgs. 198, 240, 205, 200 (illustrated)

South Asian Art | Modern AND Contemporary

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One of India’s greatest modernists, Francis Newton Souza catapulted to fame in postwar London in the 1950s. The present lot, painted in 1955, belongs to this iconic period of the artist’s career expressing his feelings and anxieties of the postwar era and reflecting on his own personal anguish.

The subject matter of La Place Town Square, is rather traditional compared to Souza’s other works, it is a typical French town with rustic buildings and a well depicted in an earthy palette. With hints of cubism and thick dark outlines, the hallmark of his work in this period, the houses appeared boxy while the well in the forefront gives the picture a sense of depth. The barren tree with spines for leaves depicted alongside uninviting windowless houses creates an atmosphere that is desolate, cold and unwelcoming reflecting perhaps the initial reaction to his works when he arrived in London a few years before. Looming above the townscape is Souza’s signature rendering of the sky, brooding and stormy conveying a sense of gloom.

“The graphic power of Souza’s lines produces simplified and bold images, while the thick oil paints applied liberally to the board or canvas, with swift strokes, give his work a sense of vitality and movement...Cityscapes, constructed from fragmented images and memories, are also important subjects and perhaps suggestive of Souza’s cosmopolitan life and frequent traveling.” (FN Souza: Icons of a Modern World, All Too Human, Tate London, 28 February - 27 August 2018, Exhibition Catalogue, p. 20)

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LOT 35

Francis Newton Souza (1924 - 2002) La Place Town Square oil on board 24 x 30 in. (61 x 76.2 cm.) painted in 1955

US$ 150,000 - 250,000

Signed and dated ‘Souza 55’ (upper right) PROVENANCE Private collection, UK Grosvenor Gallery, London Private collection, Dubai

South Asian Art | Modern AND Contemporary

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Manu Parekh’s Banaras is an abstracted essence - his personal response to the particular iconography. As an artist, his sensitivities lie on the sense of the place and the underlying forces that govern and transform it. He depicts the striking colors that define the city, the cycle of life and death while alluding to the throng of people that passed by its sacred walls. In his work, the river Ganga, mighty and revered, serves as the defining feature of the holy place.

Characteristically, Parekh evokes the essence of the place, its soul and spirit, in a few spontaneously expressionistic brushstrokes; but in his work, the autonomy of color and form do not go hand and hand. “The form of an object, its contours and surface composition such as a boat or a building remain true to natural reality, although often extravagantly distorted.

There is a structured, often monochromatic framework onto which he juxtaposes complementary contrast of strong color.� (Peter Osborne, Painting Banaras, Manu Parekh: New Paintings, Exhibition catalogue, Berkeley Square Gallery, July 2007, unpaginated) South Asian Art | Modern AND Contemporary

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LOT 36

Manu Parekh (b. 1939) Moonlight - Temples at Banaras acrylic on canvas 48 x 96 in. (121.9 x 243.8 cm.) painted in 2017

US$ 30,000 - 50,000

Signed in Hindi and dated ‘17’ (lower left) Further signed, titled, dated and inscribed ‘Manu Parekh ‘17 / Moonlight - Temples at Banaras / 2017 / 4’ x 8’ - (48” x 96”) / Acrylic on canvas (on the reverse)

South Asian Art | Modern AND Contemporary

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LOT 37

Maqbool Fida Husain (1915 - 2011) Untitled oil on canvas 34.5 x 18 in. (87.6 x 45.7 cm.)

US$ 60,000 - 90,000

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Signed ‘Husain’ (upper left) PROVENANCE Private collection, India Saffronart / Lot 4 / Modern and Contemporary Indian Art / Summer Online Auction / 19-20 June 2012 Private collection, Dubai

LOT 38

Senaka Senanayake (b. 1951) Untitled oil on canvas 60 x 36 in. (150 x 91 cm.) painted in 1997

US$ 15,000 - 25,000

Signed and dated ‘Senaka Senanayake 1997’ (lower right) PROVENANCE Private collection, Germany

South Asian Art | Modern AND Contemporary

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“An image easily outlasts the object it represents. The curious mix that Sakti Burman has been able to achieve, of the cultural heritage of India and European Art in his long artistic career, is what sets him apart.”(Arun Ghose, Myth, Reality and Beyond in the Art of Sakti Burman, 2006) In his unique, almost surrealistic style of painting, Burman is known for using a marbling technique that he has developed after years of experimentation and creating fresco-like works. The artist creates his own dreamlike, private world in his artworks which are characterized by the conflation of imageries that pay tribute to the two different cultures and geographies that he has belonged to. “His practice references the traditions, art, and aesthetics of Bengal, the region of his birth and at the same time draws extensively from European mythology, his experiences and his memories of a life lived outside of the country of his origin. It is these multiplicities of influences and subject matter that makes his work recognizable and relatable to audiences in India and internationally.” (Ranjit Hoskote, Sakti Burman: At Home in the World, 2017) 78

ARTIANA

LOT 39

Sakti Burman (b. 1935) L’espoir, Korishna ou l’amour (Hope, Krishna or Love) oil on canvas 19.75 x 23.5 in. (50 x 60 cm.) painted circa 1990s

US$ 30,000 - 50,000

Signed ‘Sakti Burman’ (lower centre) PROVENANCE Private collection, Paris Millon / Lot 340 / Petites Oeuvres De Grands Maîtres Ateliers D’Artiste Jean-Marie & Thora Creuzeau / 18 December 2018 / Paris Private collection

South Asian Art | Modern AND Contemporary

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Signed and dated ‘Husain 2005’ (lower centre left)

LOT 40

Maqbool Fida Husain (1915 - 2011) Andy Warhol versus Marilyn Monroe oil on canvas 72 x 90 in. ( 182.9 x 228.6 cm.) painted in 2005

US$ 250,000 - 350,000

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PROVENANCE Acquired directly from the artist EXHIBITED AND PUBLISHED ’The Lost Continent’, The Arts House, Old Parliament Building, Singapore, October, 2005 ‘The Lost Continent’, The Gamble Room, Victoria and Albert Museum, London, July, 2005 M.F Husain: The Lost Continent, Exhibition catalogue, UBS and Galerie 88, 2005

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lots 41 - 50

South Asian Art | Modern AND Contemporary

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LOT 41

Sudhir Patwardhan (b. 1949) An Odd Couple acrylic and oil stick on canvas 26 x 39 in. (66 x 99 cm.) painted in 2015

US$ 15,000 - 25,000

Initialed and dated ‘SP 15’ (lower left) Further signed and dated ‘Sudhir Patwardhan 2015’ (on the reverse) Titled, dated and inscribed ‘Sudhir Patwardhan / ‘An Odd Couple’ / 2015 / Acrylic & oil stick on Canvas’ (sticker on the reverse) PROVENANCE Vadehra Art Gallery, New Delhi EXHIBITED ‘Spectres’ Sudhir Patwardhan, Vadehra Art Gallery, 28 October - 24 November 2017, New Delhi PUBLISHED Sudhir Patwardhan, Vadehra Art Gallery, pg. 50

South Asian Art | Modern AND Contemporary

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Paresh Maity is an instinctive master of watercolor, a notoriously difficult medium.

With his ability to interpret light in terms of pure colors, he progressed from an earlier realism to a more moody, expressionistic and atmospheric style. What has become of paramount importance to Paresh is to capture the moment. He chooses to work directly with nature–on the spot. He said, “If you paint directly from nature, what you have is a direct transformation. You can capture the moment, the emotion, the feeling, the light.”

(Iain Gale, Man on a Voyage, Life, and Works of Paresh Maity: 25 Years, Art Musings, Mumbai, 2001, p. 16)

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LOT 42

Paresh Maity (b. 1965) The Glow watercolour on paper 40 x 60 in. (101.6 x 152.4 cm.) painted in 1999

US$ 20,000 - 30,000

Signed and dated ‘Paresh Maity 99’ (lower left) Further signed, titled, dated and inscribed ‘Paresh Maity / “The Glow” / ‘99 / watercolor on paper / 40” x 60”’ (on the reverse) PROVENANCE Acquired directly from the artist by the present owner

South Asian Art | Modern AND Contemporary

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LOT 43

Lalu Prasad Shaw (b. 1937) Untitled (Face) tempera on paper board (2 paintings) 15 x 10 in. (38.1 x 25.4 cm.) each painted in 2011

US$ 5,000 - 7,000

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Each signed and dated in Bengali (lower left) Each bearing artist’s stamp (lower left) PROVENANCE Private collection, Dubai

LOT 44

Arpana Caur (b. 1954) Memories oil on canvas 54 x 66 in. (137.2 x 167.6 cm.) painted in 1997

US$ 6,000 - 9,000

Signed and dated ‘Arpana Caur 97’ (lower right) Further signed, titled and dated ‘Arpana Caur / Memories / 1997’ (on the reverse) PROVENANCE The Guild Art Gallery, Mumbai Private collection, Dubai

South Asian Art | Modern AND Contemporary

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LOT 45

Bose Krishnamachari (b. 1963) Stretched Bodies acrylic on canvas 48 x 48 in. (121.9 x 121.9 cm.)

US$ 7,000 - 10,000

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Signed twice in Malayalam and English and inscribed ‘Bose Krishnamachari / Stretched Bodies’ (on the reverse) PROVENANCE The Guild Art Gallery, Mumbai Private collection, Dubai

LOT 46

K. Laxma Goud (b. 1940) Untitled tempera on paper 9 x 11.75 in. (23 x 30 cm.) painted in 1991

US$ 2,000 - 3,000

Signed and dated in Telugu (lower left) Bearing gallery label (on back of the frame) PROVENANCE The Guild Art Gallery, Mumbai Private collection, Dubai

South Asian Art | Modern AND Contemporary

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Zarina Hashmi’s work is defined by her adherence to the personal and the essential. An early interest in architecture and mathematics is reflected in her use of geometry and her emphasis on structural purity. While her work tends towards minimalism, its starkness is tempered by its texture and materiality.

Her art poignantly chronicles her life and recurring themes including home, displacement, borders, journey, and memory.

South Asian Art | Modern AND Contemporary

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LOT 47

Zarina Hashmi (b. 1937) The Golden Route etching with gold ink on paper 20 x 16 in. (52 x 41 cm.) executed in 1982

US$ 5,000 - 7,000

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Signed ‘Zarina’ (lower right) Titled ‘The Golden Route’ (lower centre) Numbered ‘14/35’ (lower left) Edition 14 of 35 PROVENANCE Bodhi Art, Singapore EXHIBITED AND PUBLISHED Zarina ‘Paper Houses’, Gallery Espace, New Delhi, 13 January - 3 February 2007, pg. 55

LOT 48

Zarina Hashmi (b. 1937) Displaced People/Displaced Homes stacked and cut prints, cord (set of 68) 4 x 2.5 x 2 in. (10.2 x 6.4 x 5 cm.) each executed in 1999

US$ 20,000 - 30,000

PROVENANCE Bodhi Art, Singapore EXHIBITED AND PUBLISHED Zarina ‘Paper Houses’, Gallery Espace, New Delhi, 13 January - 3 February 2007, pg. 31

South Asian Art | Modern AND Contemporary

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LOT 49

K. Laxma Goud (b. 1940) bronze (patinated) height - 15.75 in. (40 cm.) width - 13.75 in. (35 cm.) depth - 3.5 in. (9 cm.)

US$ 5,000 - 7,000

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Signed in Telugu and numbered ‘3/7’ (centre left) Edition 3 of 7 PROVENANCE The Guild Art Gallery, Mumbai Private collection, Dubai

LOT 50

Krishen Khanna (b. 1925) Untitled (Bandwallah) bronze (patinated) height - 22 in. (55.9 cm.) width - 11 in. (27.9 cm.) depth - 10.5 in. (26.7 cm.) executed in 2019

US$ 10,000 - 15,000

Signed and numbered ‘K Khanna 7/9’ (on the base) Edition 7 of 9

South Asian Art | Modern AND Contemporary

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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

7:00 p.m.

8:30 p.m.

11:00 a.m.

8:00 a.m.

4:00 p.m.

4:00 p.m.

6:00 p.m.

11:00 p.m.

1:00 a.m.

(June 18)

11-20

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.

(June 18)

21-30

8:00 p.m.

9:30 p.m.

12:00 p.m.

9:00 a.m.

5:00 p.m.

5:00 p.m.

7:00 p.m.

12:00 a.m.

(June 18)

2:00 a.m.

(June 18)

31-40

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.

(June 18)

2:30 a.m.

(June 18)

41-50

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.

(June 18)

3:00 a.m.

(June 18)

ARTIANA

1:00 p.m.

WRITTEN / ABSENTEE BIDS FORM SOUTH ASIAN ART | MODERN AND CONTEMPORARY, june 13 - 17, 2019

SALE NUMBER: 1902

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 Barwe, Prabhakar (1936 - 1995) Born in Maharashtra in 1936, Prabhakar Barwe studied at the Sir J. J. School of Art, Mumbai. His solo exhibitions include those held at Gallery Chemould, Mumbai in 1987, 1983, 1978 and 1973’ Pundole Art Gallery, Mumbai in 1970; and Jehangir Art Gallery, Mumbai in 1961. He participated in several exhibitions both in Indian and internationally, including the Fifth International Young Artists’ Exhibition, Tokyo, in 1969; the Menton Biennale, France, in 1976; the First Asian-European Art Biennale, Yugoslavia; and the IX Biennale, Valpariso, Chile, in 1989. Exhibitions that have included his work posthumously include ‘Expanding Horizons; Contemporary Indian Art’ presented by Bodhi Art across eight cities in Maharashtra, in 2008 – 09; ‘Prabhakar Barwe, S. H. Raza and J. Sabavala – Experiments in Stillness’ at the Window, Mumbai, in Lot 18 1999; and ‘Indian Contemporary Art Post-Independence’ at Vadehra Art Gallery, New Delhi, in 1997. In 1976 Barwe was honoured with the National Award from the Lalit Kala Akademi, New Delhi, and in 1969, he was conferred the Yomiuri Shinbun Award in Tokyo. Barwe lived and worked in Mumbai, till he passed away in 1995.

Bhattacharjee, Bikash (1940 - 2006) Born in 1940, Bikash Bhattacharjee received his Diploma in Fine Art from the Indian College of Arts and Draftsmanship, Kolkata, in 1963. Solo exhibitions of his work include a posthumous retrospective at Emami Chisel, Kolkata, and Vadehra Art Gallery, New Delhi, in 2009; and those held at the Center for International Modern Art (CIMA), Kolkata in 2000; Galerie 88, Kolkata in 1998, 1993, 1990 and 1989; Jehangir Art Gallery, Mumbai in 1994, 1989 and 1987; and the Taj Art Gallery, Mumbai in 1992, 1987 and 1986. He has participated in many group exhibitions both in India and abroad, including exhibitions at the Grey Art Gallery, New York in 1985; and the Royal Academy, London in 1982. He has also participated in the IV Triennale in Paris in 1969 and the international Triennales in New Delhi in 1982, 1975, 1971 and 1968. His works are in the collections of the National Gallery of Modern Art, New Delhi, and the Bharat Bhavan, Bhopal. Bhattacharjee was Lot 29 conferred the National Award of the Lalit Kala Akademi in 1971 and 1972 and received the Padma Shri from the Government of India in 1988.

The artist passed away in 2006.

Burman, Sakti (b. 1935)

Lot 5

Lot 26

Lot 39

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.

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Caur, Arpana (b. 1954) Born in New Delhi in 1954 into a Sikh family, Arpana completed her M.A in Literature from the Delhi University in 1975. As an artist, she is largely self-taught. Her work can be seen to continue the line begun by Amrita Sher-Gil which is feminine and feminist in its perspective, with portraits of women placed in a contemporary urban context. Caur’s work speak with an eloquent intensity of the current state of women’s affairs in India, resolutely refusing to look away from the many problems inherent in the present system, yet equally determined not to be defeated or overawed by them. If the experiences of Indian womanhood can be said to be the primary focus of her work, her exhibition of work also directly deals with metaphysical issues common to all mankind: youth and age, attachment and detachment, suffering and enlightenment. She was influenced by the events of her life and her surroundings; Lot 44 from the crowded Patel Nagar of her childhood to events such as the rape of Maya Tyagi and the widows of the Chasnala mining disaster. She has created several large non-commercial murals on subjects relating to the environment in Delhi, Bangalore, and Hamburg. Her work has been part of many solo, curated and group shows in India as well as abroad including Masterclass, Dhoomimal Art Gallery, New Delhi, 2011; 10 x 10, Gallery Threshold, New Delhi in 2010. Arpana has been honoured and awarded with the Eminent Artist Award from the Lalit Kala Akademi, New Delhi in 1992-91-90-89; Commendation Certificate, Algiers Biennale, Algiers in 1987. Caur’s works are part of the collection of several important institutions including the Museums of Modern Art in New Delhi, Mumbai, Chandigarh, Düsseldorf, Singapore, Bradford, Stockholm, Hiroshima and Los Angles, the Victoria and Albert Museum in London, the Asian Art Museum in San Francisco and the Peabody Essex Museum in Salem. Arpana lives and works in New Delhi.

Chowdhury, Jogen (b. 1939)

Lot 3

Lot 4

Lot 22

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.

Gaitonde, V. S. (1924 - 2001) V. S. Gaitonde was born in Nagpur, Maharashtra. He received his Diploma in Painting from the Sir J. J. School of Art, Mumbai, and was awarded the J. D. Rockefeller III Fund Fellowship in 1964. He was also awarded the first prize at the Young Asian Artists’ Exhibition, Tokyo, in 1957. Solo exhibitions of Gaitonde’s work include a forthcoming retrospective at the Solomon R. Guggenheim Museum, New York, in 2014; ‘V. S. Gaitonde Works from Private Collections’ at Saffronart, New Delhi, in 2011; ‘An Abstract Vision’ at Pundole Art Gallery, Mumbai, in 1997; and at Vadehra Art Gallery, New Delhi, in 1996. He has also had exhibitions in New York in 1959 and 1963, and was invited to participate in the ‘Festival of India’ Lot 34 at the Royal Academy of Art, London, and in Japan in 1988. Gaitonde’s work has been featured in several group shows, including ‘Roots in the Air, Branches Below Modern & Contemporary Art from India’ at the San Jose Museum of Art, 2011; ‘The Progressives & Associates’ and ‘Progressive to Altemodern’ at Grosvenor Galley, London, in 2010 and 2009 respectively; and Saffronart and Pundole Art Gallery, New York in 2001. His work is represented in several Indian and foreign collections including those of the Musuem of Modern Art, New York. He was awarded the Padma Shri by the Government of India in 1971. Gaitonde passed away in August 2001.

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Goud, K. Laxma (b. 1940)

Lot 2

Lot 27

Born in Andhra Pradesh, Laxma Goud studied at the College of Fine Arts and Architecture in Hyderabad and at the Faculty of Fine Arts of M.S. University in Baroda. Goud has exhibited widely, both within and outside India. His solo shows include ones held at Art Alive Gallery, New Delhi in 2012; Art Musings, Mumbai in 2011; the Aicon Gallery, London, in 2009; Gallerie 88, Kolkata, in 2009; Indian Contemporary Art (ICA), Jaipur, in 2008; Gallery Space, Hyderabad, in 2008, and the Guild Art Gallery, Mumbai, 2006 and 2003. His works have been part of group exhibitions including those held at Sakshi Gallery, Mumbai in 2012; Aicon Gallery, New York in 2011-12; Art Musings at Jehangir Art Gallery, Mumbai, in 2008; Galerie 88 Kolkata, in 2007; Priyasri Art Gallery, Mumbai, in Lot 49 2006; by Saffronart and Apparao Galleries, Los Angeles, 2001; Saffronart Hong Lot 46 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.

Hashmi, Zarina (b. 1937) Born in Aligarh, Uttar Pradesh, in 1937, Zarina Hashmi received a Bachelor’s degree in Science with Honours from Aligarh Muslim University in 1958, before she turned to the study of print making in India and abroad. Between 1963 and 67 she studied printmaking with S.W. Hayter and Krishna Reddy at Atelier 17, Paris, and in 1974, studied woodblock printing at Toshi Yoshido’s studio in Tokyo on a Japan Foundation Fellowship.

Her solo shows and retrospectives include ‘Zarina Paper Like Skin’ at the Chicago Art Institute, the Lot 47 Lot 48 Solomon R. Guggenheim Museum, New York, and the Hammer Museum, Los Angeles, in 2012-13; ‘Noor’ at Galerie Jaeger Boucher, Paris, in 2011; ‘Recent Works’ and ‘Kagaz Ke Ghar’ at Gallery Espace, New Delhi, in 2011 and 2007 respectively; ‘The Ten Thousand Things’ at Luhring Augustine, New York, in 2009; ‘Weaving Memory 1990-2006’ at Bodhi Art, Mumbai, in 2007; ‘Silent Soliloquy’ at Bodhi Art, Singapore, in 2006; ‘Counting 1977-2005’ Bose Pacia, New York in 2005; ‘Cities Countries and Borders’ at Chemould Gallery, Mumbai, and Chawkandi Gallery, Karachi, in 2004; and ‘House with Four Walls’ at the Bronx Museum of the Arts, New York, in 1992. In addition, her work has been featured in several group shows and is part of the permanent collections of the Museum of Modern Art, New York, the Victoria & Albert Museum, London, and the Bibliotheque Nationale, Paris. Hashmi has been awarded residencies at Art-Omi and at the Women’s Studio Workshop, both in New York, where she eventually settled. In 1985 and in 1990 Hashmi was awarded the New York Fine Art Fellowship in the printmaking category. In addition Hashmi has taught at Bennington College, Cornell University and the University of California in Santa Cruz.

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Hebbar, K. K. (1911 - 1996) Born in 1911, in Karnataka, K. K. Hebbar completed his Diploma in Painting from the Sir J. J. School of Art, Mumbai, in 1938. He also taught art at this institute between 1940 and 1945. Between 1949 and 1950, Hebbar studied painting at the Academy Julian, and graphics at the Ecole Estinne, in Paris. Some of the significant shows that his works have been featured in include the Venice Biennale, 1955; the Sao Paulo Biennale, 1959; the Tokyo Biennale; and ‘Art Now in India’ in London and Brussels, 1965. Hebbar was honoured by the Government of India with the Padma Shri in 1961 and with the Padma Bhushan in 1989. He died at the age of 85 in 1996.

Lot 17

Husain, Maqbool Fida (1915 - 2011)

Lot 10

Lot 15

Lot 20

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 Lot 30 Lot 37 Lot 40 Gallery, Providence in 2010; ‘Epic India’ at the peabody Essex Museum, Salem, in 2006-07; and ‘Early Masterpieces 1950-70s, at Asia House Gallery, London, in 2006. Husain was nominated to the Rajya Sabha, India’s Upper House of Parliament in 1986-92, during which he pictorially recorded its events, which were then published in 1994. The Government of India awarded him with a Padma Shri in 1966, a Padma Bhushan in 1973 and Padma Vibhushan in 1991, all high civilian honours. In 1971, Husain was invited to exhibit as a special invitee with Pablo Picasso at the Sao Paulo Biennale, Brazil. In 2004, he was awarded the Lalit Kala Ratna by the Lalit Kala Akademi, New Delhi. Husian passed away in London in 2011.

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 Lot 50 Square Gallery, London, in 2005; Pundole Art Gallery, Mumbai 2004; Vadehra Art Gallery, New Lot 17 Delhi, 1994; and Kumar Art Gallery, New Delhi, 2001, 1966, ’64, ’60, ’59 and ’58. His works were also included in exhibitions held by Saffronart and Pundole Art Gallery, New York, in 2001 and 2002. In 2011, the Government of India awarded him with the Padma Bhushan; in 2004 he received the Lalit Kala Ratna from the President of India; and in 1997 he received the Kala Ratna from the All India Fine Arts and Crafts Society, New Delhi.

Khanna lives and works in New Delhi.

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Krishnamachari, Bose (b. 1963) Born in 1963 in Kerala, Bose completed his B.F.A from Sir J.J.School of Art, Mumbai and received the Charles Wallace India Trust Award to complete his Masters at Goldsmiths College, London in 1990-2000. Bose has participated in numerous group shows including Persistence of Memory [1997], NGMA’s 50 Years of Indian Art [1999], Mutations – ‘Rumor City’ (curated by Hans Ulrich Obrist) in Tokyo [2001], Vanitas Vanitatum (curated by Peter Nagy) [2004], Paths of Progression [2005], and Ghost/ Transmemoir at Lille 3000 [France-2006], Masters 2007 Dubai, Art Amsterdam 2007, Poea body essex museum 2007 U.S, among several others. He has received many accolades and is a recipient of the Kerala Lalitha Kala Academi Award, Bombay Art Society Prize, Mid America Arts Alliance Award, First Runner up at Bose Pacia Modern Biannual, New York, besides others.

Lot 45

Kumar, Ram (1924 - 2018)

Lot 12

Lot 14

Lot 19

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 Lot 23 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.

Narayan, Badri (1929 - 2013) Born in Hyderabad, Badri Narayan is a self-taught artist. He has held over fifty solo exhibitions in various cities in India and internationally, the most recent being at the Viewing Room, Mumbai, in 2012; Mon Art Gallerie, Kolkata, in 2007-08; Pundole Art Gallery, Mumbai, in 2006, 2004, and 2002 and Galerie 88, Kolkata in 2002. Narayan has also represented India at the Bharat Bhavan Biennale, Bhopal, in 1992; the VII and II International Triennials, New Delhi, 1991 and 1971 respectively; the Festival of India, Moscow, in 1987; the V Biennale of Prints, Tokyo, in 1966; and the II Paris Biennale in 1961. He has exhibited with Saffronart in Hong Kong in 2001. He has written and illustrated several books since 1977, and taught art to school children. Narayan was awarded the Padma Shri by the Government of India in 1987; a Senior Fellowship for Outstanding Lot 1 Artists from the Government of India in 1984-86, and the National Award from the Lalit Kala Akademi, New Delhi, in 1965. Badri Narayan passed away in Bangalore in 2013

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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 Lot 34 the artist’s many honours are medals and awards from the Pakistan Art Council, Karachi; the Ministry of Culture, Pakistan; and the Arts Council of Pakistan. In 2009, Naqsh was awarded the Sitara-e Imtiaz by the Government of Pakistan, and in 2003, a retrospective of his work was held at the Mohatta Palace Museum in Karachi, a rare honour for a living artist. Naqsh passed away on May 16, 2019 after a sudden and brief illness, at St. Mary’s hospital in London. He is recognized as one of the most important painters from Pakistan.

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 bold and Lot 42 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.

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.

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Patwardhan, Sudhir (b. 1949) Sudhir Patwardhan was born in Pune, Maharashtra. He graduated in Medicine from the Armed Forces Medical College, Pune, in 1972. A selftaught artist, Patwardhan began exhibiting his work in the late 70s. Since then, he has had numerous solo shows, including regular ones at Jehangir Art Gallery, Mumbai, from 1979-2007, and those at the Guild Gallery, Mumbai, 2008; Sakshi Gallery, Mumbai 2007, 2002 and 2001; Vadehra Gallery, New Delhi, 1999; Gallery Chemould, Mumbai, 1994; and Art Heritage, New Delhi, 1990 and 1979. He also participated in ‘Contemporary Indian Art’, at the Festival of India, New York, in 1985 and in ‘Century City’, at the Tate Modern, London, in 2001. In 2004, a book on his works, “The Complicit Observer” by Ranjit Hoskote was published, and in 2008, “The Crafting of Reality”, a book on his Lot 41 drawings by the same author, was released. Patwardhan, who lives and works in Thane, is also a participating radiologist and runs a clinic there.

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 28 Government of India, in 2005, and has also received the Nama Conquers Award in 1980 and 1978, for the children’s books he wrote and illustrated.

Ramachandran lives and works in New Delhi and Kochi.

Raza, Sayed Haider (1922 - 2016) Born in 1922 in Babaria, Madhya Pradesh, Raza graduated from the Nagpur School of Art in 1943 and the Sir J.J. School of Art, Mumbai in 1947. He was one of the founding members of the Progressive Artists’ Group in 1948. After receiving a French Government Scholarship in 1950 he left for Ecole Nationale des Beaux Arts, Paris, where he was awarded the Prix de la Critique in 1956. In 1962 he served as a visiting lecturer at the University of California in Berkeley, USA. Raza has several solo exhibitions to his credit, including ‘Paysage: Select Works 1950s-1970s’, Dubai,‘Parikrama: Around Gandhi’,Vadehra Art Gallery, New Delhi, in 2014; ‘Shabd-Bindu’, Akar Prakar, Kolkata, in 2013; ‘Vistaar’, Art Musings and Jehangir Art Gallery, Mumbai, in 2012-13, Lot 6 Lot 24 ‘Bindu Vistaar’, Grosvenor Gallery, London, in 2012; ‘Punarangman’, Vadehra Art Gallery and Lalit Kala Akademi, New Delhi, in 2011; ‘Ones’ at Vadehra Art Gallery, New Delhi, in 2011 and 2010; Tao Art Gallery, Mumbai, 2008 and 2006; and Saffronart and Berkeley Square Gallery, London and New York, 2005. In 2007 Saffronart held a major retrospective of his work in New York.

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

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

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

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Senanayake, Senaka (b. 1951) A Sri Lankan by origin, Senaka attained fame early in life as a prodigy for his works of art. He held his first international solo exhibition at the age of ten, in New York. Although he painted copiously and held many shows both in his native country as well as abroad, it was only after he went to Yale school for graduation in Art and Architecture did he realize that his true calling lay in the field of art. For the past decade, Senanayake has concentrated his art as a medium for environmental advocacy: depicting beautiful scenes from the rainforest to promote public awareness of environmental degradation in his native Sri Lanka and around the world. Senanayake’s work shows a fervent passion for nature’s beauty and a great knowledge of the flora and fauna of the rainforest. His work has been shown at most parts of Europe and South Asia with critical acclaim.Till date he has more than 100 solo shows to his credit, and numerous group shows in the countries of Europe, China, Australia, Japan, Singapore, Czechoslovakia, Korea and Egypt to name a few. His work has been documented by Metro Goldwyn, British Movietone News, BBC TV, Lot 38 London,Yeo Soo TV, South Korea, TV Austria, and Star TV, India.Various journals, magazines and newspapers such as The New York Sunday Times, Washington Post, London Times,Weser Kurier, Germany, UNESCO Features, Paris, National Geographic Magazine, Asia Week and many others, have devoted their mediums to document Senaka’s work. He lives and works in Sri Lanka.

Shaw, Lalu Prasad (b. 1937) Born in 1937, in erstwhile Bengal, Lalu Prasad Shaw received a Diploma in painting from the Government College of Arts and Crafts, Kolkata, in 1959.

He has exhibited extensively in India and abroad since 1956, and some of his most recent solo shows include ‘Looking in’ at Galerie 88, Kolkata, in 2011-12; ‘Graceful Silence’ and ‘Sepia Notes’ at Art Musings, Mumbai, in 2011 and 2007; ‘The Myriad Minded Artist’ at Gallery Sanskriti, Kolkata, in 2008; and ‘Painting’ at the Centre for International Modern Art (CIMA), Kolkata, in 1995. His work has also been featured in several group shows, and he has participated in art festivals and fairs all over the world since 1956. Shaw has received many awards, including the West Bengal State Lalit Kala Akademi Award in 1959, and the Lot 43 Birla Academy Award, Kolkata, in 1975-78. The artist lives and works in Kolkata.

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Sheikh, Gulam Mohammed (b. 1937)

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

American Chitrakala (1964) is his translated work.

Shreshtha, Laxman (b. 1939) Laxman Shreshtha was born in Nepal in 1939. After securing a degree at the University of Patna, the aspiring artist moved to Mumbai to join the Sir J.J School of Art where he did a diploma in painting (1957 -62). Later he went to Europe to further hone his skills at the Ecole Nationale des Beaux Arts in Paris followed by a stint at London’s Central School of Art (1970). He also studied at the Academie Grande Chaumiere, S.W. Hayter’s Atelier 17, Paris (1964-67) apart from undertaking a study tour to Baltimore and San Francisco in 1971. His debut exhibition took place at Mumbai’s Taj Art Gallery (1963), which led to several shows in India and internationally. Among his selected solo exhibit are the ones at Jehangir Art Gallery, Mumbai (2008, 2003, 1994); ‘Elaborations’, Recent works in Black and White, Pundole Art Gallery, Mumbai (2007); ‘Inaugural Show’, Prithvi Art Gallery, Mumbai Lot 16 (1994); Gallery Chemould, Mumbai (1968); and a show at Tribhuwan College, Kathmandu, Nepal almost five decades ago. His selected group shows are ‘Aqua’, Gallery Beyond, Mumbai, ‘One Eye Sees, the Other Feels’, The Viewing Room, Mumbai (both in 2012); ‘Point and Line to Plane VI’, Gallery Beyond (2008); ‘Tribute to Picasso’, Guild Art Gallery, Mumbai (2002); ‘Aspects of Modern Indian painting’, courtesy Saffronart and Pundole, Metropolitan Pavilion, New York (2002, 2001); ‘Ideas and Images – Part IV’, NGMA, Mumbai (2002); ‘The Search’, Apparao-Wallace Galleries, New York (1997); ‘Image Beyond Image’, Glenbarra Art Museum Collection, Japan, NGMA (1997); 50 Years of Freedom of Expression’, Jehangir Gallery (1997); 25 Years of Indian Art, Rabindra Bhavan, Delhi (1972); Baltimore and San Francisco (1971); Maisons des Beaux Arts, Paris (1966); Salle de la Presse, French Foreign Ministry, Paris (1966); and ‘Inaugural Exhibition’, Gallery Chemould (1963). Shreshtha’s abstract works are both sensuous and meditative in their shifts and balances of colour.Though abstract, his paintings have a sense of intrigue in them, that leaves the observer, and Shreshtha himself, as he confesses, trying to understand the shades of meaning they present. The artist lives and works in Mumbai.

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Souza, Francis Newton (1924 - 2002) Born in 1924 in Saligao, Goa, Souza was expelled from the Sir J.J. School of Art, Mumbai, in 1942 for taking part in the ‘Quit India’ freedom movement. He went on to found the Progressive Artist’s Group in 1948, before leaving for London a year later. In 1955 Souza held a one-man show at Gallery One in London and also had his autobiographical essay ‘Nirvana of a Maggot’ published. He was awarded the John Moore Prize at the Walker Art Gallery, Liverpool in 1957 and received an Italian Government Scholarship in 1960. In 1959 a collection of his autobiographical essays, ‘Words and Lines’, was published, and in 1962 a monograph on his work by Edwin Mullins was published as well. In 1967 Souza migrated to New York where he received the Guggenheim International Award. Two retrospectives of his work were organized by Art Heritage, New Delhi, in 1986 and 1996. Souza also participated in a work-live programme in Los Angeles, hosted by Saffronart in 2001. Souza passed away in Mumbai 2002. Some important posthumous exhibition of his work include, ‘F.N. Souza’ at Saffronart and Grosvenor Gallery, New York, in 2008; ‘F.N. Souza: Religion & Erotica’ at Tate Britain, London, in 2005-06; ‘Self-Portrait: Renaissance to Contemporary’ at the National Portrait Gallery, London, in 2005; and ‘Francis Lot 35 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 Lot 25 artist lives and works in Hyderabad.

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Ruth Smoking 3

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Sacred Secrets Unfolding

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Untitled (Horses)

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