ARTIANA | Modern and Contemporary South Asian Art | Online Auction | 17-21 March, 2016 | Sale 1601

MODERN AND CONTEMPORARY SOU TH ASIAN AR T ONLINE AUC TION 17-21 MARCH 2016

MODERN AND CONTEMPORARY SOU TH ASIAN AR T

MODERN AND CONTEMPORARY SOUTH ASIAN ART ONLINE AUCTION MARCH 17 - 21, 2016

Sale Number: 1601

Viewings March 1-16, 2016 11:00 a.m. - 7:00 p.m.

By appointment

Auction Opening March 17, 2016 6:00 p.m. onwards UAE Standard Time

Auction Closing March 21, 2016 7:00 to 9:00 p.m.

UAE Standard Time

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

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SPECIALIST AND SERVICES ARTIANA 903 | The Metropolis Business Bay Dubai | UAE T +971 4 429 0077 F +971 4 428 6677 Sale Number: 1601 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 115.

Conditions of Sale This auction is conducted under the Conditions of Sale as stipulated in the catalogue on page 122.

Copyright Notice No part of this catalogue may be reproduced, stored in a retrieval system or transmitted by any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of Artiana. Š Copyright, Artiana, 2016

Front Cover: Lot 22 Inside Front Cover: Lot 20 (detail) Page 2-3: Lot 51 (detail)

Page 4: Lot 6 (detail) Inside Back Cover: Lot 38 (detail) Back Cover: Lot 31

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

LOTS 1 - 10

LOT 1

K. LAXMA GOUD Untitled (Ganesha) acrylic on canvas 60 x 48 in. (152.4 x 121.9 cm.) painted in 2015 Signed and dated in Telugu (lower centre right)

US$ 30,000 - 50,000

PROVENANCE Property of a private collection based in Dubai. Acquired directly from the artist by the present owner.

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LOT 2

RAM KUMAR Untitled ink and wax on paper 21.75 x 29.5 in. (55.2 x 74.8 cm.) executed in 1965 Signed and dated in Hindi (on the reverse).

US$ 15,000 - 25,000

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PROVENANCE Christie’s / Sale # 1763 / Lot 64 / Modern and Contemporary Indian Art / New York / September 2006

LOT 3

SYED HAIDER RAZA Tree acrylic on canvas 11.75 x 11.75 in. (30 x 30 cm.) painted in 2004 Signed and dated ‘Raza ‘04’ (lower left) Further initialed, signed, titled, dated and inscribed ’Raza / “Tree” / 2004 / 30 x 30 cm. / acrylic on canvas’ (on the reverse)

US$ 15,000 - 25,000

PROVENANCE Guild Art Gallery, Mumbai.

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

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LOT 4

AKBAR PADAMSEE Untitled watercolour on paper 23 x 15 in. (58.5 x 38 cm.) painted in 2005 Signed and dated ‘Padamsee 2005’ (upper left)

US$ 8,000 - 12,000

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PROVENANCE Guild Art Gallery, Mumbai.

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

LOT 5

SAKTI BURMAN Friends oil on canvas 11 x 9 in. (28 x 23 cm.) painted in 2014 Signed ‘Sakti Burman’ (upper centre) Further signed, titled and dated ‘Sakti Burman / “Friends” / 2014’ (on the reverse)

US$ 10,000 - 15,000

PROVENANCE Acquired directly from the artist by the present owner.

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“A drawing is about being able to cultivate the body and the spirit. It is not only about a pretty picture. Working with the basic nature of a person is very much a characteristic of my work; I draw upon natural elements of people’s faces for inspiration...Creating then must take into account the perceptive predicament that a human subject offers.” (Artist Statement, Jogen Chowdhury, Abahoman: Flowing Life, Exhibition catalogue, Vadehra Art Gallery, New Delhi, 2007)

LOT 6

JOGEN CHOWDHURY Untitled ink and mixed media on paper 18.5 x 15.5 in (47 x 39.3 cm) painted in 2000 Signed and dated ‘Jogen / 2000’ (lower right) Initialed in Bengali and dated ‘2000’ (lower right)

US$ 30,000 - 50,000

PROVENANCE Saffronart / Lot 34 / Summer Art Auction / June 2012

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LOT 7

G.R. SANTOSH Untitled oil on canvas 14 x 14 in. (35.5 x 35.5 cm.) painted in 1975 Signed in Hindi. Further signed and dated ‘Santosh, ‘75’ ( on the reverse)

US$ 5,000 - 7,000

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PROVENANCE AICON Gallery (formerly Arts India), USA. Acquired from the above by the present owner, based in Dubai.

LOT 8

BADRI NARAYAN Man and Woman ink and watercolour on paper 11 x 15 in. (27.9 x 38.1 cm.) painted in 2003 Initialed in Hindi (lower right) Signed, titled and dated ‘Badri Narayan / Man and Woman / 2003’ (on the reverse)

US$ 5,000 - 7,000

PROVENANCE Pundole Art Gallery, Mumbai.

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LOT 9

SAK T I BURMAN Still Life with Flowers oil on canvas 39.25 x 29.5 (100 x 75 cm.) painted in 1969 Signed ‘Sakti Burman’ (lower right)

US$ 30,000 - 50,000

PROVENANCE Freeman’s / Auction # 1428 / Lot 65 / Modern and Contemporary Works of Art / Philadelphia / May 2012

MODERN AND CONTEMPORARY SOUTH ASIAN ART

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LOT 10

SENAKA SENANAYAKE Untitled (Horses) oil on canvas 30 x 48 in. (76.2 x 121.9 cm.) painted in 2009 Signed and dated ‘Senaka Senanayake 2009’ (lower right)

US$ 15,000 - 25,000

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LOTS 11 - 20

“The past is never past in Sakti Burman’s art, nor is it ever singular. Various Indian and European pasts inhabit the floating present tense of Burman’s paintings. They are spoken and acted in his frames by protagonists drawn from Greek and Hindu mythology, West European art history, Bengali popular culture and family folklore.” (Ranjit Hoskote, Sakti Burman: The Complete Collection, The Serigraph Studio, 2010)

LOT 11

SAKTI BURMAN Hanuman dancing for Ganesh Janani oil on canvas 36.25 x 28.75 in. (92 x 73 cm.) painted in 2015 Signed ‘Sakti Burman’ (lower right)

US$ 30,000 - 50,000

PROVENANCE Acquired directly from the artist by the present owner.

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In the Indian epic Mahabhararata, queen Gandhari, mother of the Kauravas, was granted a boon by sage Vyasa to bear 100 sons. Though overjoyed, she yearned for a girl child.

Sensing her thoughts, Vyasa prepared an additional vessel and blessed it for the coming of a daughter - Duhsala.

Thus, Duhsala was the only female sibling of the 100 Kauravas, and the Pandavas too regarded her as their own sister.

In depicting Duhsala, Pyne has used a muted palette. This seems to suggest a certain helplessness about her predicament. A sister, loved dearly by both the Kauravas and Pandavas, had to witness the sight of her warring brothers; the outcome ironically for her, was the same either way.

LOT 12

GANESH PYNE Duhsala mixed media on canvas 18 x 14 in. (45.7 x 35.5 cm.) painted in 2010

PROVENANCE CIMA Gallery, Kolkata Acquired from the above by the present owner, based in Dubai.

EXHIBITED AND PUBLISHED Ganesh Pyne 'his mahabharata', Exhibition catalogue, CIMA Gallery (Kolkata, 2011)

Signed in Bengali (lower left)

LITERATURE Ganesh Pyne ‘his mahabharata’, Exhibition catalogue, CIMA Gallery, Kolkata 2011, p. 22 and p. 24 (illustrated)

US$ 30,000 - 50,000

This work is sold with a copy of the above exhibition catalogue.

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LOT 13

SHYAMAL DU T TA-RAY Untitled watercolour on paper 20.5 x 29.25 in. (52 x 74.2 cm.) painted in 2003 Signed in Bengali (lower right)

US$ 6,000 - 8,000

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PROVENANCE Gallery Sanskriti, Kolkata.

LOT 14

AKBAR PADAMSEE Untitled oil on canvas 36 x 24 in. (91.4 x 60.9 cm.) painted in 2007 Signed and dated ‘Padamsee ‘07’ (lower right)

US$ 20,000 - 30,000

PROVENANCE Guild Art Gallery, Mumbai.

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

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“The discovery of Bindu was simultaneously invoking a centre of energy, its radiation and pulsation, leading to many other concepts of Indian metaphysics inspiring new forms, indeed an intricate geometry of a rejuvenated visual imagination. Raza captured in his new and quickened aesthetics not only personal memories but also a racial heritage. Squares, rectangles, circles, triangles, diagonals emerge in his art as also new themes of Beej, Germination, Garbhagriha, Tapovana, Panchtatva, Nagas, Kundalini, Shakti male and female polarities etc. It is as if Raza turns from history to eternity, from time to timelessness. But this is not a revival: It is making the presence of the past and the pastness evident in a manner which is both evocative and endearing. The gap between tradition and modernity stands erased. Raza has moved from outer nature to inner nature, from landscapes to inscapes, from utterance to prayer. Today his colours have a spiritual glow, his paintings are now texts of a soul, full of grace and peace.” (Ashok Vajpeyi, A Life in Art: Raza, New Delhi, 2007, pg. 128 & 130)

LOT 15

SYED HAIDER RAZA Tribhuj acrylic on canvas 15.75 x 15.75 in. (40 x 40 cm.) painted in 2005 Signed and dated ‘Raza ‘05’ (lower right)

US$ 40,000 - 60,000

PROVENANCE Property of a private collection based in Dubai. Acquired directly from the artist by the present owner.

PUBLISHED Alain Bonfand, Raza, Paris, 2008, p. 244 (illustrated)

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LOT 16

LAXMAN SHRESHTHA Untitled oil on canvas 36 x 72 in. (91.4 x 182.8 cm.)

Signed ‘Laxman Shreshtha’ (on the reverse)

US$ 12,000 - 18,000

PROVENANCE Property of a private collection based in Dubai.

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LOT 17

PARITOSH SEN Girl with Telephone acrylic on canvas 20 x 16 in. (50.8 x 40.6 cm.) painted in 1988 Signed and dated ‘Paritosh ‘99’ (upper right) Signed, titled, dated and inscribed ‘By Paritosh Sen / “Girl with telephone” / 1998 / Acrylic on canvas / Size: 20” x 16”’ (on the reverse)

US$ 5,000 - 7,000

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LOT 18

MAQBOOL FIDA HUSAIN Untitled mixed media on paper 16 x 12 in. (40.6 x 30.5 cm.)

Signed ‘Husain’ (upper left)

US$ 8,000 - 12,000

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PROVENANCE Bagash Art Gallery, Dubai.

LOT 19

THOTA VAIKUNTAM Untitled acrylic on paper 10.5 x 7.5 in. (26.6 x 19.5 cm.) painted in 1991 Signed and dated in Telugu (lower right)

US$ 6,000 - 8,000

PROVENANCE Property of a private collection based in Dubai.

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LOT 20

MAQBOOL FIDA HUSAIN Untitled (Veena Player) oil on canvas 27. 25 x 44.5 in. (69.2 x 113 cm.) painted circa late 1960s Signed in Hindi and Urdu (lower right)

US$ 120,000 - 180,000

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PROVENANCE Sotheby’s / Sale # N08466 / Lot 60 / Modern & Contemporary Indian Art / New York / September 2008

Dance, music, sculpture, painting - art, in its whole - held an interdisciplinary possibility that inspired Husain through the 1950s and 1960s. His ragamala series embodies this best.

Ragamala paintings in the classical tradition are visual interpretations of Indian musical modes, each raga relating to a specific emotion. Husain reinterpreted these, coupling the form and symbols. The figure in this work is a woman musician who echoes goddess Saraswati, the goddess of fine arts in Indian mythology.

Husain’s paintings of the 1950s and 1960s are not formalistic. The postures, symbols and figures are invoked from the artist’s own visual catalogue, and then re-animated in fresh ways.

This process is not simply derivative; traditional forms from classical Indian sculpture, miniature painting and tribal and folk art coalesce in the artist’s consciousness before he employs them in his particular idiom. “Veena Player has a crescendo of passionate red leading off into a diminuendo of yellow browns, and the blue of the veena itself thrusting diagonally across the composition. The vigorous figure of the Veena Player is outlined with economy of line, the whole painting a dynamic and harmonious fusion of theme, form and color. In comparison Sitar Player with its female figure and dominant blues comes as a cool counterpoint.”

(Richard Bartholowmew and Shiv S. Kapur, Husain, New York, 1971, p. 52) “Husain views each painting as a fragment of music whose counterpoint exists elsewhere, and his entire painterly activity as one immense effort at orchestration of all the notes that he hears struck upon his personality.

No painting is intended as a complete statement. In a continuing inquiry into the nature of being, every one of his wide array of works, joyous or grave, leaves the viewer with an intimation of other possibilities.” (Richard Bartholowmew and Shiv S. Kapur, Husain, New York, 1971, p. 60)

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LOTS 21 - 30

LOT 21

LALU PRASAD SHAW Untitled tempera on board 22 x 19 in. (55.8 x 48.2 cm.) painted in 2015 Signed and dated in Bengali (lower centre left)

US$ 8,000 - 12,000

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Jehangir Sabavala, ‘Objects Composed’ (oil on board, 1955) The Jehangir Sabavala’s painting, ‘Objects Composed’, epitomises a phase of his oeuvre during the mid-1950s when the artist was adapting the Cubism of his Parisian training at the Academie Andre Lhote to the physical environment and conceptual possibilities of a newly independent India. Sabavala’s early experiments with the development of a localised Cubist idiom – he would eventually leave Cubism behind – included a robust engagement with the artefacts, natural elements, vegetation and colour of India, and most importantly, its tropical light. Unlike the diffuse northern light of Europe, which rendered the outlines and volumes of objects hazy, the harsh glare of the tropics gave every object a hard and definite edge and a certain flatness.

Through this conceptual manoeuvre, the artist orchestrates a re-arrangement of visually received reality into a set of conceptual elements. He also achieves a sweeping move beyond the still life, to embrace the interior and a suggestion of landscape within the compass of this work.

Like Braque and Picasso, the masters of the Cubist guild, Sabavala took up the still life as a point of departure. All the masses and volumes that comprise ‘Objects Composed’ are translated into a system of flattened planes, as though they were pieces in a jigsaw, shards in a kaleidoscope, or the tesserae of a mosaic. Through this conceptual manoeuvre, the artist orchestrates a re-arrangement of visually received reality into a set of conceptual elements. He also achieves a sweeping move beyond the still life, to embrace the interior and a suggestion of landscape within the compass of this work. Note the pot, the vase, the tablecloth, as well as the table and a hint of window, as well as the flowers in the vase, which explode like suns. What seems at first like a simple gesture, that of putting a set of objects together into a temporary ensemble, is revealed as a magical gesture: this, after all, is how we put the disparate fragments of our experience together, to produce a world.

Ranjit Hoskote

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LOT 22

JEHANGIR SABAVALA Objects Composed oil on board 31 x 25 in. (78.8 x 63.5 cm.) painted in 1955 Signed ‘Sabavala’ (lower right)

US$ 120,000 - 180,000

PROVENANCE The Jehangir Sabavala Foundation, Mumbai.

PUBLISHED Ranjit Hoskote, Pilgrim, Exile, Sorcerer: The Painterly Evolution of Jehangir Sabavala, Bombay, p. 63

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Label on reverse

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LOT 23

JOGEN CHOWDHURY Untitled mixed media on paper 24 x 18 in. (61 x 45.7 cm) painted in 2014 Signed and dated ‘Jogen 2014’ (upper right) Initialed in Bengali (lower left) Further initialed and dated in Bengali (on the reverse) Further signed, titled, dated and inscribed ‘Jogen Chowdhury / ‘Couple’ / 2014 Santiniketan / Acrylic on canvas / Code No 9/2014' (on the reverse)

US$ 15,000 - 20,000

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LOT 24

K LAXMA GOUD Untitled mixed media on paper 11 x 8.5 in. (28 x 21.6 cm.) painted in 2006 Signed and dated in Telugu (lower centre)

US$ 6,000 - 8,000

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LOT 25

MANU PAREKH Untitled (Banaras) acrylic on masonite board 30 x 40 in. (76.2 x 101.6 cm.) painted in 2005 Signed and dated ‘Manu Parekh ‘05’ (lower left)

US$ 8,000 - 12,000

PROVENANCE Property of a private collection based in Dubai.

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“Manu Parekh made a conscious decision to concentrate on landscape in the Banaras series to give himself the opportunity to play out the dynamic of faith and fear that he identifies as uniquely Indian. The entire series is a symbolic rendering of this relationship.

Painted in the Indian Expressionist style these works have a significant role in the development of modern Indian painting.”

(Manu Parekh: Banaras, Eternity Watches Time, Ahmedabad, 2007, Front Jacket)

LOT 26

ISMAIL GULGEE Nathiq oil on canvas 36 x 30 in. ( 91.4 x 76.2 cm.) painted in 1998 Signed and dated ‘98’ (lower centre) Signed, titled and dated ‘Gulgee / “Nathiq” / 1998’ (on the reverse)

US$ 25,000 - 35,000

PROVENANCE Bonham’s / Auction # 20834 / Lot 412 / Islamic and India Art / London / June 2013

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LOT 27

K.G. SUBRAMANYAN Untitled reverse painting in gouache and oil on acrylic sheet 11.75 x 8.25 in. (30 x 21 cm.)

Initialed in Malayalam (lower right)

US$ 5,000 - 7,000

PROVENANCE Property of a private collection based in Dubai.

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Subramanyan began to experiment with reverse glass painting in the late 1970s. He made a conscious effort to re-examine the two hundred year old craft tradition using acrylic sheets. “You can call these my bazaar paintings...paintings that deal with sensoriness of the commonplace, the strange provocativeness or the nudginess, of what you see down the street.� (Artist statement, Ella Datta, Each Time a New Beginning: K.G Subramanyan, New Delhi, 2000)

LOT 28

JOGEN CHOWDHURY Fish pen, ink & coloured ink on paper 2.5 x 9.5 in (6.3 x 24 cm.) painted in 2014 Signed, dated ‘Jogen 2014’ (upper right) and initialed and dated in Bengali (upper left) Further signed, titled, dated and inscribed ‘Jogen Chowdhury / “Fish” / 2014 / Santiniketan / 24 x 6.3 cm. / Pen & Ink & Coloured ink paper (on the reverse) Further inscribed ‘code No: 8/2014’ (on the reverse)

US$ 7,000 - 9,000

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LOT 29

LALU PRASAD SHAW Untitled tempera on board 21 x 15 in. (53.3 x 38.1 cm.) painted in 2010 Signed and dated in Bengali (lower right) Bearing artist’s stamp (lower right)

US$ 7,000 - 9,000

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‘Looking into a Well: Full Moon’ was completed in 2001, exactly ten years down the line from when I started work on this series of paintings. It is the only work depicting a night scene, almost midnight at that, with the full moon at zenith reflected on the surface of the water.

This set of works owes its inspiration to a boyhood habit of never passing by a well without looking into it. These were modest, rural wells in my parents' village in south Gujarat, not the majestic, imposing step wells of the north. Yet for me they were magical, and continue to be so to this day.

Almost from moment to moment the reflections on the water surface would change, as the light changed through the day, and clouds, birds and vegetation moved and flickered in and out. And the inner and outer sides of the well inexhaustible variety!

Looking into a well is a delight to the senses at any time of day or night. It is also a rehearsal for looking into the depths of oneself.

This midnight well gave me the opportunity not only to attempt a rich grey-blue light, but also to explore how this light sets off objects inside and outside the well: twining roots reaching down to the water, chalky white pillars supporting the pulley rod, and the mossy, blue-green stones.

Looking into a well is a delight to the senses at any time of day or night. It is also a rehearsal for looking into the depths of oneself.

Artist statement, 2016, Gieve Patel, Artiana Catalogue, Dubai.

LOT 30

GIEVE PATEL Looking into a Well acrylic on canvas 68.5 x 68.5 in. (173.9 x 173.9 cm.) painted in 2001 Signed, titled, dated and inscribed ‘Gieve Patel / “Looking into a Well” / 2001 / acrylic’ (on the reverse)

US$ 30,000 - 50,000 LITERATURE Gieve Patel, Exhibition catalogue, Gallery Chemould (Mumbai, 2003) & Vadehra Art Gallery (New Delhi, 2004) p.6.

‘In his triad of wells, which form the latest extension of a series that has been unfolding since 1991, Patel turns his attention to the envisioning of the rural in a more classical tenor: not as a social or political situation, but as a space affording contemplative repose. This must not lead us to regard the ‘Wells’ series as being either idyllic or generic: each well is distinctive, animated and disturbing, and no less a portrait for portraying an object rather than a human being. Mirror and womb, navel of the world and tunnel into inner space, the well is a site of revelation for Patel; we find ourselves looking over the ledge into a vision of the cosmic, held in counterpoint by a miniature geography of stone, root and slime. ‘Looking into a Well: Full Moon’ (acrylic, 2001) is a nocturne: a waxy moon commands a starless sky; the spectral white bulk of the wellhead and the back-lit branches are seen in reflection; or perhaps this is a view from inside the well-shaft, as framed by the mouth. ‘Looking into a Well: Foliage’ (acrylic, 2002) invites us, not to gaze into the traditional well, but to consider the surface of an Artesian well, its shaft bored deep into the earth; an irrigation pipe, installed to siphon water into the fields, strikes a severe note, its geometry at odds with the luxuriance of the rest of the painting, the gleam of light on moss and palm fronds, the roots striking up from the ground. In ‘Looking into a Well: The Sun Behind Clouds’ (acrylic, 2003), which employs perhaps the most direct visual address of all paintings in the ‘Wells’ series, appearing to show exactly what it tells, we are offered a understated paradox: the solar glare engauzed.’

Ranjit Hoskote

EXHIBITED AND PUBLISHED Gieve Patel, Gallery Chemould (Mumbai, 2003) & Vadehra Art Gallery (New Delhi, 2004) Published on the cover of the exhibition catalogue PROVENANCE Private collection, Dubai.

LITERATURE Gieve Patel, Exhibition catalogue, Gallery Chemould (Mumbai, 2003) & Vadehra Art Gallery (New Delhi, 2004) p.6.

This work is sold with a copy of the above exhibition catalogue.

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LOTS 31 - 40

M.F. Husain respected all religions for their cultural and spiritual sensitivities. This was manifest in his varied appropriation of Hindu Gods and Goddesses into his repertoire.

Ardhanarishvara (“Lord who is half woman”, in Sanskrit) is a composite male-female portrayal of Shiva and his consort Parvati.

The figures symbolic intent, according to most authorities, suggests that the male and female principles are complementary and united in human condition. An antecedent to Ardhanarishvara features in the Brihadaranyaka Upanishad, where it is stated that the first creature “was of the same size and kind as a man and woman closely embracing. He caused himself to fall into two pieces, and from him a husband and wife were born.”

‘As a person and as an artist, Husain sees faith and spirituality as an extension of humanism and iconic images for him represent the ‘divinity of man’ that has expressed itself in a variety of representations in our world.’

“On the raised finger of Ardha-Narishwar, the universe rotates. A plant symbolises the emergence of life.” (K. Bikram Singh, Maqbool Fida Husain, New Delhi, 2008, pg. 167) The great Sanskrit poet, Kalidasa, in his famous salutation to Shiva and Parvati invoked Ardhanarishvara, in saying that Lord and his consort are as inseparable from each other “as a word from its meaning”.

Evening Post, April 24, 2006

“As a person and as an artist, Husain sees faith and spirituality as an extension of humanism and iconic images for him represent the ‘divinity of man’ that has expressed itself in a variety of representations in our world.” (K. Bikram Singh, Maqbool Fida Husain, New Delhi, 2008, pg. 168)

M.F. Husain with Mohammad Al Murr, Chairman of the Dubai Cultural Council, Government of Dubai at the Bagash Art Gallery.

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LOT 31

MAQBOOL FIDA HUSAIN Untitled (Ardhanarishvara) acrylic on canvas 36 x 30 in. (91.4 x 76.2 cm.) painted in 2006 Signed ‘Husain’ (lower left)

US$ 100,000 - 150,000

PROVENANCE Bagash Art Gallery

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LOT 32

RAM KUMAR Untitled (Landscape) oil on canvas 36 x 24 in. (91.4 x 60.9 cm.) painted in 2010 Signed, dated and inscribed ‘Ram Kumar / 2010 / 3 x 2’ (on the reverse)

US$ 30,000 - 40,000

PROVENANCE Acquired directly from the artist by the present owner.

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LOT 33

SYED HAIDER RAZA Untitled acrylic on paper 7 x 5 in. (17.7 x 12.7 cm.) painted in 1975 Signed and dated ‘Raza ‘75’ (lower centre)

US$ 4,000 - 6,000

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LOT 34

FRANCIS NEW TON SOUZA Untitled (Head) acrylic and black marker pen on colour printed paper 23.25 x 16.5 in (59.1 x 41.9 cm.) painted in 1999 Signed and dated ‘souza ‘99’ (upper right) Inscribed “AP-99-001 Estate of F.N. Souza / Shelly” (on the reverse)

US$ 25,000 - 35,000

PROVENANCE Freeman’s / Auction # 1261 / Lot 83 / Modern and Contemporary Art / Philadelphia / November 2006

MODERN AND CONTEMPORARY SOUTH ASIAN ART

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LOT 35

FRANCIS NEW T ON SOUZA Untitled (Head) acrylic on paper 14 x 10.5 in. (35.5 x 26.7 cm.) painted in 1988 Signed and dated ‘Souza, ‘88’ (lower centre left)

US$ 6,000 - 8,000

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LOT 36

FRANCIS NEW TON SOUZA Untitled (Head) pen and ink on paper 8 x 10.5 in. (20.3 x 26.7 cm.) painted in 1954 Signed and dated ‘Souza 1954’ (upper right)

US$ 2,000 - 3,000

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LOT 37

K.G. SUBRAMANYAN Untitled acrylic on canvas 48 x 48 in. (121.9 x 121.9 cm.) painted circa 2000’s

US$ 30,000 - 50,000

PROVENANCE Guild Art Gallery Acquired from the above by the present owner, based in Dubai.

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“Subramanyan describes modern art as a postindustrial revolution and post-traditional art. This makes it imperative for the modern artist to start from his sensibility and work towards a contact with the world and its cultural antecedents.

Subramanyan began by representing local facts in a post-realist quasi-expressionist idiom in a manner reminiscent of Ramkinkar and to a lesser extent Benodebehari. He moved from this to a post-cubist idiom exploring the range of figural break up and the reconfigurations it allowed and its syntactical overlaps with certain conventions of Indian miniatures. Around the same time he also became more exercised about regaining for modern art that additional resonance traditional artists derived from shared culture and language, experience and iconography. He moved closer to it as he became involved with weaving and textile designing, with toy making, writing and illustrating books for children, and doing murals that worked with the architecture and yet were loaded with multiple meaning.

These gave him an opportunity to break out of the narrow limits of high art and become operative at different levels of cultural production, to collaborate with skilled craftsmen and less endowed assistants, to take advantage of what is special to each medium, and to widen his understanding of the ethics of creativity and communication in the arts and crafts.�

(Yashodhara Dalmia, Contemporary Indian Art: Other Realities, Ahmedabad, 2007, p. 15, 16 & 17.)

LOT 38

GEORGE KEY T Radha and Krishna acrylic on canvas 31.5 x 51 in. (80 x 129.5 cm.) painted in 1978 Signed and dated ‘G.Keyt ‘78’ (upper left)

US$ 25,000 - 35,000

PROVENANCE Bonham’s / Auction # 17716 / Lot 12 / Modern & Contemporary Middle Eastern & South Asian art / Dubai / October 2009

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LOT 39

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

US$ 10,000 - 15,000

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LOT 40

RAM KUMAR Banaras acrylic on paper 20 x 30 in. (50.8 x 76.2 cm.) painted in 2004 Signed and dated ‘Ram Kumar ‘05’ twice (on the reverse)

US$ 10,000 - 15,000

PROVENANCE Sotheby’s / Sale # L15500 / Lot 106 / Modern and Contemporary South Asian Art / London / October 2015

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LOTS 41 - 50

LOT 41

SENAKA SENANAYAKE Untitled oil on canvas 36 x 60 in. (91.4 x 152.4 cm.) painted in 2004 Signed and dated ‘Senaka Senanayake 2004’ (lower right)

US$ 25,000 - 35,000

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PROVENANCE Property of a private collection based in Dubai. Acquired directly from the artist by the present owner.

LOT 42

KRISHEN KHANNA Untitled pastel (conte) on paper 22 x 30 in. (55.8 x 76.2 cm.)

Signed ‘KKhanna’ (lower right)

US$ 5,000 - 7,000

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LOT 43

SUJATA BAJAJ Lumiere De Vie acrylic on canvas 39.25 x 39.25 in (100 x 100 cm) painted in 2013 Signed in Hindi and English and dated ‘Sujata ‘13’ (lower right) Further signed in Hindi and English, titled, dated and inscribed ‘Sujata / “Lumiere De Vie / 2013” / acrylic on canvas / 100 x 100 cm’ (on the reverse)

US$ 10,000 - 15,000

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LOT 44

MAQBOOL FIDA HUSAIN Untitled black marker pen on paper 13 x 8 in. (33 x 20.3 cm.)

Signed ‘Hussain’ (lower centre)

US$ 2,000 - 3,000

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LOT 45

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

Signed ‘Sakti Burman’ (lower centre)

US$ 3,000 - 5,000

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LOT 46

KRISHEN KHANNA Untitled pencil on paper 10 x 6.5 in (25.5 x 16.5 cm.)

Signed ‘K. Khanna’ (lower centre right)

US$ 2,000 - 3,000

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LOT 47

AKKITHAM NARAYANAN Untitled oil on canvas 15.75 x 15.75 in. (40 x 40 cm.) painted in 1998 Signed and dated ‘98’ (lower right)

US$ 1,000 - 1,500

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LOT 48

MAITE DELTEIL The Summer Trees oil on canvas 18 x 21.75 in. (46 x 55 cm.) painted in 2015 Signed ‘Delteil’ (lower centre)

US$ 12,000 - 18,000

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LOT 49

BADRI NARAYAN Monk and Winged Figure watercolour on paper 7 x 7 in. (18 x 18 cm.) painted in 2003 Initialed in Hindi (lower centre right) Signed, titled, dated and inscribed ‘Badri Narayan / ‘Monk and Winged Figure’ / Watercolour / 20 May 2003 / Mumbai’ (on the reverse)

US$ 2,500 - 3,500

PROVENANCE Pundole Art Gallery

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LOT 50

THOTA VAIKUNTAM Untitled acrylic on canvas 36 x 24 in. (91.4 x 60.9 cm.) painted in 2015 Signed and dated in Telugu (lower left)

US$ 15,000 - 20,000

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LOTS 51 - 60

LOT 51

T.V. SANTHOSH Whose war is it? oil on canvas 36 x 60 in. (91.4 x 152.4 cm.) painted in 2006 Signed, titled, dated and inscribed ‘T.V. Santosh / “Whose war is it?” / 2006 / Oil on canvas / Size 3’ x 5’ (on the reverse) Further inscribed ‘Urdu word on hand - No war’ (on the reverse)

US$ 25,000 - 35,000

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PROVENANCE Guild Art Gallery

LOT 52

SHIBU NATESAN Tagore watercolour on paper 59 x 47.25 in. (150 x 120 cm.) painted in 2004 Signed, titled and dated ‘Shibu Natesan, ‘Tagore’, ‘04’ (lower right)

US$ 12,000 - 18,000

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LOT 53

G.R. IRANNA Untitled oil on canvas 60 x 60 in. (152.4 x 152.4 cm.) painted in 1999 Signed, dated and inscribed ‘Iranna / ‘99 / A-l Soami Nagar (south) / N.Delhi - 17’ (on the reverse)

US$ 12,000 - 18,000

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LOT 54

CHIT T ROVANU MAZUMDAR Untitled acrylic on canvas 59 x 59 in. (150 x 150 cm.)

Signed ‘C.Mazumdar’ (lower right) Further signed and inscribed ‘Chittrovanu Mazumdar / Acrylic on Canvas’ (on the reverse)

US$ 12,000 - 18,000

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LOT 55

RIYAS KOMU The Last Version of Flowering History oil on canvas 48 x 78 in. (122 x 198 cm.) painted in 2005 Signed, titled, and inscribed ‘Riyas Komu / The last Version of Flowering history (Large) - III / Oil on canvas / 6 1/2 x 4’ (on the reverse) Further signed and dated ‘Komu / ‘05’ (on the reverse)

US$ 12,000 - 18,000

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PROVENANCE Sotheby’s / Sale # L10222 / Lot 84 / South Asian Art / London/ June 2010

LOT 56

SUDHIR PAT WARDHAN Torso-1 charcoal on paper 64 x 45 in. (162.5 x 114.3 cm.) executed in 2002 Signed and dated ‘Sudhir Patwardhan May ‘02’ (lower right) signed, titled, dated and inscribed ‘Sudhir Patwardhan / Torso-1 / 2002 / Charcoal’ (on the reverse)

US$ 5,000 - 7,000

The work here, ‘Torso I’, is one of a series of drawings that I did, exploring the structure underlying my figurative compositions.

When I paint or draw the human figure, two elements interact. Observation and expression. Observation of the external form of the figure and expression of my feelings towards the figure.

But these two in themselves are not sufficient to give shape to the image. There is an internal sense of structure that I have to base my observations and expression on so that the observation is not merely a record of facts, and the expression is not mere sentiment. These series was aimed at laying that underlying structure bare through drawing.

Artist statement, 2016, Sudhir Patwardhan, Artiana Catalogue, Dubai

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LOT 57

A. BALASUBRAMANIAM In But Out wire sculpture 32 x 25 in. (81.2 x 63 cm.)

The wooden box frame and the acrylic sheet on which the wire sculpture is mounted, constitutes the work.

Signed ‘A. Balasubramaniam’ (lower left) Titled ‘In but Out’ (lower centre) Dated ‘2004’ (lower right) Edition 5 of 7

US$ 10,000 - 15,000

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PROVENANCE Sotheby’s / Sale # N08466 / Lot 98 / Modern & Contemporary Indian Art / New York / September 2008

LOT 58

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

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

US$ 10,000 - 15,000

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LOT 59

K. LAXMA GOUD Untitled bronze (patinated) height - 12 in. (30.5 cm.) width - 12 in. (30.5 cm.) depth - 4 in. (10.2 cm.)

The sculpture is mounted on a wooden board measuring 17 x 17 in. (43.2x 43.2 cm.)

Signed in Telugu and numbered ‘3/7’ (centre right edge) Edition 3 of 7

US$ 4,000 - 6,000

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“Himmat Shah’s suite of heads comes at the apex of his investigation of the human condition. There is nothing in the Indian sculptural tradition that leads to the making of the head as a discrete sculptural form. The Mukha-Linga, combines the ithyphallic lingam of Shiva with his face, creating a palimpsest of concepts and material icons.

LOT 60

HIMMAT SHAH Untitled bronze height - 18 in. (46 cm.) width - 9 in. (22.8 cm.) depth - 6.5 in. (16.5 cm.) casted in 2006 Signed and numbered ‘Himmat / 4/9’ (lower centre) Edition 4 of 9

US$ 10,000 - 15,000

In his construction of the head, ancient presences are suggested, like atavistic shadows. More accurately, Himmat arrives at what Nilima Sheikh describes as “the projective voluptuousness of the image.”

Here, as the artist perceives it, the head, the phallus and the pillar are all the same; the sculpture gains its vitality not in its definition, but in the process of arriving at a form.” (Gayatri Sinha, An Unreasoned Act of Being, Sculptures by Himmat Shah, Ahmedabad, 2007, p. 45)

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END OF SALE

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

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 & TAKING IT HOME

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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.

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

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

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

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

UAE UTC +4:00

INDIA SRI LANKA UTC +5:30

US EASTERN UTC -5:00

US PACIFIC UTC -8:00

UK UTC +0:00

WEST AFRICA UTC +1:00

EAST AFRICA UTC +3:00

HONG KONG SINGAPORE UTC +8:00

1 - 10

7.20 p.m.

8.50 p.m.

10.20 a.m.

7.20 a.m.

3.20 p.m.

4.20 p.m.

6.20 p.m.

11.20 p.m

11 - 20

7.40 p.m.

9.10 p.m.

10.40 a.m.

7.40 a.m.

3.40 p.m.

4.40 p.m.

6.40 p.m.

11.40 p.m.

21 - 30

8.00 p.m.

9.30 p.m.

11.00 a.m.

8.00 a.m.

4.00 p.m.

5.00 p.m.

7.00 p.m.

12.00 a.m.

(March 22)

31 - 40

8.20 p.m.

9.50 p.m.

11.20 a.m.

8.20 a.m.

4.20 p.m.

5.20 p.m.

7.20 p.m.

12.20 a.m.

(March 22)

41 - 50

8.40 p.m.

10.10 p.m.

11.40 a.m.

8.40 a.m.

4.40 p.m.

5.40 p.m.

7.40 p.m.

12.40 a.m.

(March 22)

51 - 60

9.00 p.m.

10.30 p.m.

12.00 p.m.

9.00 a.m.

5.00 p.m.

6.00 p.m.

8.00 p.m.

1.00 a.m.

(March 22)

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WRIT TEN / ABSENTEE BIDS FORM MODERN AND CONTEMPORARY SOUTH ASIAN ART, MARCH 17 - 21, 2016

SALE NUMBER: 1601

To enter Written / Absentee Bids, please sign the completed form and email it to auction@artiana.com, or fax it to + 971 4 4286677 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

MODERN AND CONTEMPORARY SOUTH ASIAN ART

117

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

USD 1,000 to 2,000

by USD 100

USD 2,000 to 4,000

by USD 200

USD 4,000 to 10,000

by USD 500

USD 10,000 to 20,000

by USD 1,000

USD 20,000 to 40,000

by USD 2,000

USD 40,000 to 100,000

by USD 5,000

USD 100,000 to 200,000

by USD 10,000

USD 200,000 to 400,000

by USD 20,000

USD 400,000 to 1,000,000

by USD 50,000

USD 1,000,000 and upwards

by USD 100,000

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

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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.

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BUYING AT ARTIANA Estimates ?

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

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Customs Duty, Buyer’s Premium, Service Tax & Sales Tax / Value Added Tax ?

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Starting Bid ?

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Bidding Online ?

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

MODERN AND CONTEMPORARY SOUTH ASIAN ART

119

Bidding Increments ?

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

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Auction Closing Schedule ?

Predetermined groups of Lots will close simultaneously in Lot order every 20 minutes. ?

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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. ?

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Currency of Bidding ?

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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. ?

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After the Sale ?

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Invoicing & Payment ?

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

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Delivery / Collection of Purchase & Insurance ?

Price estimates and/or the Winning Bid price do not include any packing, insurance, shipping or handling charges, all of which will be borne by

the Buyer. ?

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

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

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

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collected (whichever is earlier), the Lot will be entirely at the buyer’s risk.

Participate in our next auction ?

If you would like to stay informed of Artiana’s upcoming events, please register with us online at www.artiana.com

Consign for our next auction ?

If you are interested in consigning works from your collection to our next sale, please contact us at the Artiana Auction Desk on +971 55 815 3030 | +971 55 825 3030 | auction@artiana.com

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CONDITIONS OF SALE 1. DEFINITIONS Artiana: Refers to www.artiana.com, the online auction house of The Fine Art Advisory, whose business seat is located at 903, The Metropolis, Business Bay, Dubai, UAE. Artiana acts as a representative of either itself, or any of its Sellers.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Conditions of Sale: The Conditions, which are published in any of the Auction Catalogues and are applicable to every Bid and every sale of Property made through an Auction. In case of a conflict between the Conditions published in the Online Auction Catalogue and in the Print Auction Catalogue or eCatalogue, the Online Auction Catalogue version, as modified by Artiana from time to time, shall take precedence.

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

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

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

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

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

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

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

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

Winning Bidder: The Bidder who has placed the Winning Bid.

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

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

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

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

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

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

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

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

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

The Website and Mobile Application shall contain: ?

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

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

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

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

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

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

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

2.8. All Property(ies) shall be sold subject to the Reserve Price. If the Winning Bid is below the Reserve Price, the Property shall be

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considered unsold except in such case where the Winning Bid is a Proxy Bid and the maximum limit on the Proxy Bid either matches or is higher than the Reserve Price. In such cases the Property(ies) shall be sold at Reserve Price to the Proxy Bidder. The Reserve Price on each Property shall be confidential and Artiana shall have no obligation to disclose the same to any Bidder.

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 payment by the Buyer. In addition, the Buyer will be charged demurrage @ 2% of the total value (Winning Bid) per month and the charges for storage of the Property(ies) until the date of actual payment.

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

2.16. 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.

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

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

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

by USD 100

by USD 200

by USD 500

by USD 1,000

by USD 2,000

by USD 5,000

by USD 10,000

by USD 20,000

by USD 50,000

by USD 100,000

2.12. The Auction is conducted in United States Dollars (USD) and, for any transaction in other currencies, the exchange rate will be calculated as per the sheet rate of the bank specified by Artiana on the date of either receiving the funds from the Buyer or remitting the funds to the Seller. In the case of payments for purchases being made in UAE Dirhams (AED), a standard conversion rate of 1USD = 3.674 AED will apply.

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

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

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

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

2.15. Non payment The Winning Bidder shall ensure that invoices provided by Artiana are paid in full and 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, the Seller authorises Artiana to take any steps (including

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

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

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

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

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

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

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

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

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

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

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

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

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

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

3.3. The Buyer undertakes: ? to inspect and satisfy himself prior to the Auction as to the

condition and description of the Property(ies); ? to rely on his own judgment as to whether the Property(ies)

matches its description; and ? to not rely on an illustration of any Property(ies) given in the

Catalogue 3.4. Neither Artiana nor any of its affiliates, agents, representatives, employees or directors shall be liable for errors or omissions in any of

the representations made in the Auction Catalogue or otherwise with respect to authenticity, description, or condition of any Property(ies) for sale through the Auction.

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

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

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

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

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

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

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

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

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

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

by Artiana.

4.4. In all cases Artiana retains the right to consult with, at the expense of the Buyer, up to two recognized experts in the field (such experts being mutually acceptable to Artiana and the Buyer),

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to examine the Property under question before deciding to rescind the sale and offer the refund under the above guarantee. The opinion of the experts shall not be binding on Artiana.

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

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

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

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.

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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 the present contract, the party shall first refer the dispute to a mediator. Such mediation is to be conducted by a mediator who is independent of the party and appointed by agreement of the party.

The commencement of proceedings under a mediator shall not prevent any party from commencing 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 Any dispute arising out of or in connection with these Conditions of Sale, including any question regarding its existence, validity or termination, shall be subject to the exclusive jurisdiction of the Dubai International Arbitration Centre (DIAC) and shall be referred to a sole arbitrator and settled by arbitration in accordance with the provisions set forth under the Dubai International Arbitration Centre Arbitration Rules (“the Rules”). The Buyer irrevocably submits to the jurisdiction of the DIAC and waives any objection it may have to disputes arising out of or in connection with this arbitration being held in the DIAC on the grounds that it is an inconvenient forum (forum non conveniens). The seat, or legal place, of arbitration shall be Dubai, United Arab Emirates. The language to be used in the arbitration shall be English. The governing law of the contract shall be the substantive law of England and Wales.

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

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

Artiana guarantees the authenticity of the artwork for a period of six months. 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 sale of the artwork, it is proved by the buyer to the reasonable satisfaction of Artiana that the item was not authentic and if, in Artiana’s opinion, this would have significantly impacted the 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.

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

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Balasubramaniam, A. Born in Tamil Nadu, Balasubramaniam received his Bachelor’s degree in Fine Arts from the Government College of Arts, Chennai, in 1995. In 1998, he studied Print making at E.P.W. Edinburgh, UK, after which he pursued his love for art at Fur Angewandte Kunste in Wien, Austria. He has travelled extensively and exhibited in France, Spain, Egypt, Japan, Malaysia, Finland, Norway and USA. Amongst his solo shows are ‘(In)Between’ and ‘(In)Visible’ at Talwar Gallery, New Delhi, in 2009 and 2007 respectively, Talwar Gallery, New York, in 2007; ‘(Desi)re’ at Talwar Gallery, New York, in 2005; ‘Transition and Transformation’ at the Fine Arts Museum, University of Massachusetts, Amherst, also in 2005; and Talwar Gallery, New York, in 2004. His most recent group endeavours include ‘Freedom 2008 – Sixty Years after Indian Independence’ at the Center for International Modern Art (CIMA), Kolkata, in 2008; ‘The Inverted Tree’ of Gallery Threshold, New Delhi, in 2005; ‘Indian Summer’ at the Ecole des Beaux Arts, Paris, also in 2005; and ‘Solitude’ at Lot 57 the India Habitat Center, New Delhi, in 2003. The artist lives and works in Bangalore.

Burman, Sakti

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Born in Kolkata, Sakti Burman graduated from the Government College of Arts and Crafts, Kolkata, in 1956 and then went on to study at the Ecole Nationale Superieure des Beaux Arts in Paris, where, in 1956, he won the Prix des Etrangers. Some of the most recent solo shows of his work include a retrospective at the Lalit Kala Akademi, New Delhi, Jehangir Art Gallery, Mumbai, Victoria Memorial Hall, Kolkata, and DakshinaChitra, Chennai, in 2012; at Apparao Galleries, Chennai in 2011; Pundole Art Gallery, Mumbai, in 2011, 2006, 2001, 1990, 1988, 1977, 1970 and 1967; Aicon Gallery, London and New York, in 2009; Art Musings, Mumbai, in 2009; and Maison de I’Unesco, in 2008. Burman’s works have also been featured at Saffronart’s exhibitions in Los Angeles in 2001 and in New York in 2002; at the Rand Palais, Paris, in 1975 and 1994; and at the French Biennales in 1963, 1965 and 1967. The artist lives and works in Paris.

Chowdhury, Jogen 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

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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, Lot 28 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.

Delteil, Maite Born in 1933 in Furnel, France, Maite Delteil received her art education at Ecole Des Beaux-Arts, Academie de la Grand Chaumiere, Academic Julian and National School of Art. This was followed by a fellowship from the Government and Institute De France to study in Spain and Greece in quick succession. She received the Prix De la Casa Velasquez in 1959. She married the painter Sakti Burman in 1963. Her works have a languid quality and an old world charm. Her subjects are seemingly simple like landscapes and figuration but the artist uses them as a means to explore the depths of her thoughts. The detailing and expressive use of colours belies much deeper thoughts. Her first solo exhibition took place in Kolkata in 1964 and since 2001, Delteil has exhibited exclusively in India. Her exhibition at Mumbai in Lot 48 January 2013 consisted of intricate colourful paintings of “perfectly round trees, serene-looking people and pretty birds” which conveyed “the meaning of life without being morbid or dark”. Delteil has had exhibitions in several other countries, including France, U.S. and Japan. Her works are in several public and private collections of these countries.

Dutta-Ray, Shyamal Shyamal Dutta-Ray studied at the Government College of Arts and Crafts, Calcutta. His body of work constitutes a major turning point in the history of the Bengal School of Art. Regarded as a master watercolourist, he taught art at Jagadhbandhu Institution, Kolkata from 1954-1956. Ray is also a founding member of the Society of Contemporary Artists, an artists’ collective, which sought to introduce innovativeness into the art world of the 1960s. He has received many honours: the Award of Merit from the Lalit Kala Academy, the Shiromani Kala Puraskar, and the Special Commendation of the Karnataka Chitrakala Parishad. His works have been exhibited in Mumbai, Delhi, Calcutta and Bangalore. He has participated in international Lot 13 shows such as the Third World Biennale of Graphics, London, and the Havana Biennale, Cuba, to mention a few. His works are in the collections of the National Gallery of Modern Art, Delhi, the Victoria and Albert Museum, London and the Glenbarra Museum, Japan. He passed away in 2005.

Goud, K. Laxma 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, Lot 1 Lot 24 Lot 59 in 2009; Indian Contemporary Art (ICA), Jaipur, in 2008; Gallery Space, Hyderabad, in 2008, and the Guild Art Gallery, Mumbai, 2006 and 2003. His works have been part of group exhibitions including those held at Sakshi Gallery, Mumbai in 2012; Aicon Gallery, New York in 2011-12; Art Musings at Jehangir Art Gallery, Mumbai, in 2008; Galerie 88 Kolkata, in 2007; Priyasri Art Gallery, Mumbai, in 2006; by Saffronart and Apparao Galleries, Los Angeles, 2001; Saffronart Hong Kong 2001, Saffronart and Pundole Art Gallery, New York, 2001 and 2002; Centre of International Modern Art (CIMA), Kolkata, and the National Gallery of Modern

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Art (NGMA), New Delhi, 1993; ‘Festival of India’, Geneva, 1987; and Worcester Art Museum, 1986. Goud received the Andhra Pradesh State Lalit Kala Academy awards in 1962, 1966 and 1971. The artist lives and works in Hyderabad.

Gulgee, Ismail One of Pakistan’s renowned artists, Ismail Gulgee was born in Peshawar in 1926. A qualified engineer in the U.S.A and a self-taught abstract painter, Gulgee was a gifted portraitist and enjoyed regular state patronage and elite commissions throughout his career. His first exhibition was in 1950. In 1957, Afghanistan’s King Zahir Shah commissioned Gulgee to paint his portrait, and subsequently invited him to Kabul to complete another 151 portraits of members of the royal family. Gulgee received his first extended exposure to abstract expressionism in 1960 through an exhibition in Karachi of American painter, Elaine Hamilton.

Though Gulgee had a high public profile across the Muslim world, with works in numerous private and state collections, he exhibited infrequently at home, citing a lack of proper exhibition venues for his large-scale work. A rare solo show at Karachi’s Indus Gallery in Lot 26 1988 was followed six years later, by an important retrospective at the National Assembly in Islamabad. Eager to ensure his artistic legacy, in 2000, Gulgee inaugurated the Gulgee Museum near his home in Karachi. For his great contribution to the progress of art in Pakistan, he was awarded with Pride of Performance, Sitara-e-Imtiaz (twice) and Hilal-e-Imtiaz. Ismail Gulgee passed away in December, 2007.

Husain, Maqbool Fida

Lot 20

Lot 31

Lot 44

Lot 18

Born in Pandharpur, Maharashtra, in 1913, Husain moved to Mumbai in 1937 where he sustained himself by painting cinema hoardings and designing furniture and toys. A self-taught artist, Husain was invited to join the Progressive Artists Group in 1947 by F.N. Souza after his first public exhibition of paintings. Most recently, his work has been featured in solo shows including ‘M.F. Husain: Early Masterpieces 1950s-1970s at the David Winton Bell Gallery, Providence in 2010; ‘Epic India’ at the peabody Essex Museum, Salem, in 2006-07; and ‘Early Masterpieces 1950-70s, at Asia House Gallery, London, in 2006. Husain was nominated to the Rajya Sabha, India’s Upper House of Parliament in 1986-92, during which he pictorially recorded its events, which were then published in 1994. The Government of India awarded him with a Padma Shri in 1966, a Padma Bhushan in 1973 and Padma Vibhushan in 1991, all high civilian honours. In 1971, Husain was invited to exhibit as a special invitee with Pablo Picasso at the Sao Paulo Biennale, Brazil. In 2004, he was awarded the Lalit Kala Ratna by the Lalit Kala Akademi, New Delhi. Husian passed away in London in 2011.

Iranna, G.R. G.R. Iranna acquired his Bachelor of Fine Arts degree from the College of Visual Art, in Gulbarga in 1992. Two years later, he completed his Master’s degree in painting from the College of Art, New Delhi. Between 1999 and 2000 he acted as artist-in-residence at Wimbledon School of Art, London. Iranna’s first one-man show was held in 1992 at the College of Visual Art, Gulbarga. Since then, he has shown at: Delhi Art Gallery and Jehangir Art Gallery, Mumbai in 1995; Gallery Espace, New Delhi in 1998; ‘In the Shadow of Buddha’ at Gallery Martini, Hong Kong in 1999; Wimbledon School of Art, London in 2000; Maulana Azad Centre for Indian Culture, Cairo in 2000 and The British Council & The Guild Art Gallery in 2001. Iranna has also participated in several group shows including at the Chitra Kala Parishad, Bangalore in 1990; Schoo’s Gallery, Amsterdam, Holland in 1995; Vedanta Art Gallery, Chicago, U.S.A. in 1998; ‘Icons of the Millennium’ at Gallery Lot 53 Lakeeren, Mumbai in 1999 and ‘Black & White’ at Art Today, New Delhi in 2000. Iranna has received national and international recognition throughout his career. His awards include those at the All India Exhibition in Mysore and the College of Visual Art, New Delhi in 1991-92, the Bansi Parmimu Memorial Committee, New Delhi and the Delhi College of Art in 1993. In the same year, he won the M.F. Husain and Ram Kumar selection award at ‘In Search of Talent’ by Vadehra Art Gallery, New Delhi. He has also been honoured in 1997 with a National Award from the Lalit Kala Academy and the AIFACS Award, at the show ‘50 years of Art in independent India’ in New Delhi.

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Keyt, George Born in Sri Lanka to a family of Sinhalese-Dutch origin, George Keyt started exhibiting in the 1920s. The 1930s saw him preoccupied with the depiction of episodes from the Buddhist Jataka or Birth stories, culminating in the representation of the life and times of the Buddha on the walls of the circumambulatory shrine room of Gautami Vihara in Borella in 1940. At the same time he was also exposed to the influence of Western art, in particular the early cubist landscapes of Picasso and Braque, as well as Picasso’s distortion of the human figure.

It was Keyt’s unique achievement to fuse these influences into a new artistic vocabulary. In 1954, his work was exhibited at the ICA (London)

by Sir Herbert Read, and afterwards the exhibition travelled to the Art Institute of Rotterdam. Lot 38 His work is to be found in the permanent collections of the Victoria and Albert Museum, London, the British Museum, as well as various public collections in India and Sri Lanka. The artist passed away in Colombo in 1993.

Khanna, Krishen Born in 1925, in Lahore, Krishen Khanna worked as a banker while he studied painting as a part-time programme at the Mayo School of Art. A job transfer brought him in close proximity with the members of the Progressive Artists’ Group in Mumbai, where he chose to pursue a full-time career as an artist. In 1962-63 Khanna received a fellowship from the Rockefeller Council, New York and was artist-in-residence at the American University, Washington DC. In 2010, Saffronart hosted a retrospective of his work at the Lalit Kala Akademi, New Delhi. His other solo Lot 46 exhibitions include those held by Saffronart in association with Osborne Samuel Lot 42 and Berkeley Square Gallery at the Royal Academy, London, in 2007; Saffronart and Berkeley Square Gallery, London, in 2005; Pundole Art Gallery, Mumbai 2004; Vadehra Art Gallery, New Delhi, 1994; and Kumar Art Gallery, New Delhi, 2001, 1966, ’64, ’60, ’59 and ’58. His works were also included in exhibitions held by Saffronart and Pundole Art Gallery, New York, in 2001 and 2002. In 2011, the Government of India awarded him with the Padma Bhushan; in 2004 he received the Lalit Kala Ratna from the President of India; and in 1997 he received the Kala Ratna from the All India Fine Arts and Crafts Society, New Delhi. Khanna lives and works in New Delhi.

Komu, Riyas Riyas Komu was born in Kerala, and moved to Mumbai in 1992 to study Literature. Dropping out during his final year, Komu eventually obtained his Bachelors and Masters degrees in Fine Arts from the Sir J.J. School of Art in 1997 and 1999 respectively. Since his graduation, Komu has been constantly asserting and pushing himself with a strong body of work.

Some of Komu’s recent solo shows include ones of his photographic works at the Guild Gallery, Mumbai, in 2008 and 2005, and two exhibitions held at Sakshi Gallery, Mumbai in 2005 and 2002. His works have also been featured in group exhibitions held at Saffronart and the Guild Gallery, Mumbai, in 2004; the Harmony Show, Mumbai, in 2003, Lot 55 where he won the ‘Excellence Award for Emerging Artist of the Year’; the Fine Art Company, Mumbai, in 2002, the Guild Gallery, Mumbai, in 2001 and 2002; Lakeeren and Tao Art Gallery, Mumbai, in 2000; and the National Gallery of Modern Art annual shows in 1999 and 2000. In 1997, Komu received the two-year-long K.K. Hebbar Foundation Society Scholarship, and has also been honoured with the Bombay Art Society Award in 1996 and the Maharashtra State Art Prize in 1995. The artist lives and works in Mumbai.

Kumar, Ram 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

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

Other retrospectives of his work have been held at the National Gallery of Modern Art, New Delhi in 1994 and 1993; Jehangir Art Gallery, Mumbai in 1993; and the Birla Museum, Kolkata in 1980.

In 1972 the Government of India awarded him with the Padma Shri, one of its highest Civilian honours. The Madhya Pradesh State Government awarded him with the Kalidas Samman in 1985, and for his writing, he received the Uttar Pradesh State Government award in 1975. Ram Kumar lives and works in New Delhi.

Lot 40

Mazumdar, Chittrovanu Born in 1956, Mazumdar graduated from the Government College, Kolkata, in 1981, with a First Class in Painting, and later studied at the Ecole des Beaux Arts in Paris.

His most recent solo exhibitions were held at the Harrington Street Arts Center, Kolkata, in 2012; Apparao Galleries, Chennai, in 2010; 1 x 1 Art Gallery, Dubai, in 2009 and 2006; The Royal Academy of Arts, London, presented by Gallery 88, Kolkata, in 2006; Bodhi Art, New Delhi, 2005; the Seagull Foundation, Kolkata, in 2004; and Bose Pacia, New York, in 1997. Mazumdar has also participated in special exhibitions such as ‘Size Matters Or Does It?’ at Latitude 28, New Delhi, in 2010; ‘Recycled’ at Bose Pacia, Kolkata, in 2009; ‘November’ at 1 x 1 Contemporary, Dubai, in 2008, ‘Altered Realities’ at Aicon Gallery, Palo Alto, in 2006; ‘Paths of Progression’, Saffronart and Bodhi Art, Mumbai, New Delhi, New York, Singapore, in 2005; ‘Generation i’, Saffronart and Guild Gallery, Mumbai, in 2004; ‘Confluence Art Camp’ Alliance Francaise, Kolkata, in 1992; ‘Exhibition for Lot 54 the African National Congress’, Kolkata Information Center, Kolkata, in 1988. The artist currently lives and works in Kolkata.

Narayan, Badri 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, Lot 8 Lot 49 1991 and 1971 respectively; the Festival of India, Moscow, in 1987; the V Biennale of Prints, Tokyo, in 1966; and the II Paris Biennale in 1961. He has exhibited with Saffronart in Hong Kong in 2001. He has written and illustrated several books since 1977, and taught art to school children. Narayan was awarded the Padma Shri by the Government of India in 1987; a Senior Fellowship for Outstanding Artists 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.

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

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Natesan, Shibu Born in Thiruvananthapuram, Kerala in 1966, Shibu Natesan completed his B.F.A in Painting from College of Fine Arts, Trivandrum, in 1987 and Masters in Printmaking from M.S. University, Baroda in 1991. He also completed a two-year residency at Rijksakademie Van Beeldende Kunsten, Amsterdam, funded by the Netherlands government in 1997. The cultural environment in Kerala where Shibu Natesan was trained as an artist helped him develop his humanistic understandings and sensibilities and led him to contextualise his own work in the present situation. His images are collected from the media and popular culture, and represented with humorous intervals. The critical realism, Shibu’s engagement, is generated from his reflections on the presuppositions of everyday life and he achieves it by transforming them into metaphors. In his work, the use of photography is more literal in which he has been able to displace or subvert the meaning without altering its appearance. They seem to be a part of a process of feigning which resembles the original to a startling degree, but which in fact prompts a set of readings which Lot 52 are contrary to what was intended, thus displacing the meaning without significantly altering its appearance. He has held several solo exhibitions and group shows across India and abroad. Solo exhibitions include ‘Existence of Instinct’, New Delhi in 2005; ‘Linkage’, Amsterdam in 2001 and 1997; ‘Paintings’, Bangalore in 2002; ‘Missing’, Mumbai in 1999; ‘Nature Morte’, New Delhi in 1997; ‘Futility of Device’ in Mumbai in 1995. He was awarded a gold medal from the Maharaja Sayajirao University of Baroda in 1991, and the “Uriot Prize’ from the Rijksakademie van Beeldande Kunsten in Amsterdam, in 1996. He lives between Vadodara and London.

Padamsee, Akbar Born in Mumbai, Padamsee received a Diploma in Fine Arts from the Sir J.J. School of Art in 1951 and moved to Paris the same year. In 1965 he received the J.D. Rockefeller III Fund Fellowship and worked as artist-in-residence at the Stout State University, Wisconsin. His most recent solo shows include those held at the Priyasri Art Gallery, Mumbai, 2013; the Loft, Mumbai, in 2010; Pundole Art Gallery, Mumbai in 2010, ’03, ’02, 1999, ’97, ’96, ’94, ’93, ’86 ’75, ’74 and ’72; Galerie Helene Lamarque, Paris, in 2008; Aicon Gallery, New York and Palo Alto, in 2006-07; and the Guild Art Gallery, Mumbai, 2006.

Lot 4 Lot 14 Lot 58 Retrospective exhibitions of his works were organized by Pundole Art Gallery, Mumbai, in 2004 and Art Heritage, New Delhi and Mumbai, in 1980. His group shows include those held at Sovereign FZE, Dubai, in 2013; Art Alive Gallery, New Delhi;Vadehra Art Gallery, New Delhi, in 2012; Grosvenor Gallery, London; Aicon Gallery, New York and London, in 2010-11; The Museum of Fine Art, Boston, in 2009; Grosvenor Gallery, London, in 2009; Nehru Center, London, in 2005; and Saffronart and Pundole Art Gallery New York, in 2001 and 2002. In 1969-70, Padamsee was awarded the prestigious Jawaharlal Nehru Fellowship and made four short films. In 2004 he was awarded the Lalit Kala Ratna by the Lalit Kala Akademi, New Delhi, and in 1997-98, he received the Kalidas Samman from the Madhya Pradesh State Government, Padamsee lives and works in Mumbai.

Parekh, Manu 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 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 Lot 25 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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Patel, Gieve Born in Mumbai in 1940, Patel is a self-taught artist, a practising general physician, a poet and a playwright. Since the mid 1960s, several solo exhibitions of the artist’s work have been held in India and internationally. These include ‘Wells Clouds Skulls’ at Bose Pacia, New York, in 2011; ‘Gieve Patel: Select Works 1971-2006’ at Gallery Threshold, New Delhi and Chemould Prescott Road, Mumbai in 2009-10; ‘Eklavya/Daphne’ at the Guild Art Gallery, Mumbai, in 2007; and ‘Gieve Patel’ at Gallery Chemould and Jehangir Art Gallery, Mumbai, and Vadehra Art Gallery, New Delhi, in 2003-04. His work has been featured in group shows including ‘Multiple Modernities India, 19052005’ at the Philadelphia Museum of Art in 2008; ‘Gateway Bombay’ at the Peabody Essex Museum, Salem, in 2007, and ‘Contemporary Indian Art’ at Grey Art Gallery and Study Centre, New York, in 1986. Patel lives and works in Mumbai.

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Patwardhan, Sudhir Sudhir Patwardhan was born in Pune, Maharashtra. He graduated in Medicine from the Armed Forces Medical College, Pune, in 1972. A self-taught 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; Vedhera 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 drawings by the same author, was released.

Patwardhan, who lives and works in Thane, is also a participating radiologist and runs a clinic there. Lot 56

Pyne, Ganesh Born in Kolkata, Pyne graduated from the Government College of Arts and Crafts in 1959.

Some of his recent solo shows include those at Galerie 88, Kolkata, in 2005 and 1990; the National Gallery of Modern Art, Mumbai, in 2000; and Village Gallery, New Delhi, in 1994 and 1991. Pyne has also had retrospective exhibitions organized by Galerie 88 in Mumbai, in 2005 and 2000; and by the Center of International Modern Art (CIMA), Kolkata, in 1998.

He has participated in the International Festival of Art, Cagnes-sur-Mer, in 1975; the Paris Biennale, in 1970; ‘Exhibition in Aid of the Menuhin School of Music’ at the Royal Academy of Arts, London, 1970; and the Indian International Triennale, New Delhi, in 1968-71. His work has been featured in several group shows, including ‘Bharat Ratna!’ at the Museum of Fine Art, Boston, in 2009; ‘Progressive to Altermodern’ at Grosvenor Gallery, London, in 2009; ‘Image Beyond Image’ at the National Gallery of Modern Art, New Delhi and Mumbai, and Karnataka Chitrakala Lot 12 Parishad, Bangalore, in 1997; ‘Wounds’ at CIMA, Kolkata, in 1993; the Hirschorn Museum, Washington D.C., in 1982; and ‘Festival of India’ at the Royal Academy of Arts, London, in 1982. The Government of West Bengal awarded him the Abainindra Puraskar in 2004. Pyne passed away in Kolkata in 2013.

Ramachandran, A. 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 Lot 39 the Lalit Kala Akademi, New Delhi, 1977. He was honoured with a Padma Bhushan from the Government of India, in 2005, and has also received the Nama Conquers Award in 1980 and 1978, for the children’s books he wrote and illustrated. Ramachandran lives and works in New Delhi and Kochi.

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Raza, Syed Haider 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 Lot 15 Lot 3 awarded the Prix de la Critique in 1956. In 1962 he served as a Lot 33 visiting lecturer at the University of California in Berkeley, USA. Raza has several solo exhibitions to his credit, including ‘Paysage: Select Works 1950s-1970s’, Dubai, ‘Parikrama: Around Gandhi’, Vadehra Art Gallery, New Delhi, in 2014; ‘Shabd-Bindu’, Akar Prakar, Kolkata, in 2013; ‘Vistaar’, Art Musings and Jehangir Art Gallery, Mumbai, in 2012-13, ‘Bindu Vistaar’, Grosvenor Gallery, London, in 2012; ‘Punarangman’, Vadehra Art Gallery and Lalit Kala Akademi, New Delhi, in 2011; ‘Ones’ at Vadehra Art Gallery, New Delhi, in 2011 and 2010; Tao Art Gallery, Mumbai, 2008 and 2006; and Saffronart and Berkeley Square Gallery, London and New York, 2005. In 2007 Saffronart held a major retrospective of his work in New York. Raza’s work has been exhibited in several group exhibitions including those at Aicon Gallery, New York and London, in 2014, ’13, ’12, ’11 and ’10; the Museum of Fine Art, Boston, in 2009; Grosvenor Gallery, London, Mumbai, 2004; Saffronart and Pundole Art Gallery, New York, 2001 and 2002; and Saffronart, Hong Kong and Los Angeles, 2001 among several others. Raza received a Lalit Kala Ratna from the Lalit Kala Akademi, New Delhi in 2004, and a Padma Bhushan and Padma Shri from the Government of India in 2007 and 1981 respectively. The Madhya Pradesh State Government also awarded him with the Kalidas Samman in 1996-97. Raza lived and worked in Paris and Gorbio, France, till 2011, and moved back to India, where he currently works.

Sabavala, Jehangir Born in 1922 in Mumbai, Jehangir Sabavala’s career has spanned more than sixty years since his first solo exhibition at the Taj Art Gallery, Mumbai in 1951. After receiving his Fine Arts Diploma from the Sir J.J. School of Art in 1944, Sabavala went to Europe and studied in the Heatherley School of Art, London from 1945 to 1947, the Academie Andre L’hote from 1948 to 1951, the Academie Julian from 1953 to 1954, and the Academic de la Grande Chaumiere in 1957, all in Paris. Sabavala has exhibited at prestigious national and international venues and held solo exhibitions of his paintings in Mumbai, Kolkata, Chennai, New Delhi, Edinburgh, London, and New York since 1951. A retrospective exhibition of his works was organized at the National Gallery of Modern Art, Mumbai and New Delhi in 2005-06. The Government of India awarded him with the Padma Shri in 1977. He also contributed his writings to many publications since Lot 22 1951. Sabavala passed away in 2011.

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

Santhosh, T.V. Born in Kerala, T.V. Santosh completed his Bachelor’s degree in Fine Arts, specialising in sculpture, from Kalabhavan, Santiniketan, in 1994. He then studied at the Faculty of Fine Arts of M.S. University, Baroda, completing his Master’s degree in the same there in 1997. T.V. Santosh’s first solo show ‘One Hand Clapping/Siren’ was presented by the Guild Art Gallery at Jehangir Art Gallery, Mumbai, in 2003. Santosh has since held several solo shows including ‘Blood and Spit’ at Jack Shainman Gallery, New York, in 2009; ‘Living with a Wound’ at Grosvenor Vadehra, London, in 2009; ‘A Room to Pray’ at Avanthay Contemporary, Zurich, in 2008; ‘Scars of An Ancient Error’ at the Singapore Art Fair in 2006; ‘False Promises’ at Lot 51

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Grosvenor Gallery, London, in 2005; and ‘Unsolved Stories’ at Nature Morte, New Delhi, in 2004. Santosh has also participated in group shows like ‘Expressions at Tihar’ at Indira Gandhi National Centre for the Arts, New Delhi, in 2009; ‘Passage to India, Part II: New Indian Art from the Frank Cohen Collection’ at Initial Access, Wolverhampton, in 2009; ‘My little India’ at Marella Gallery, Beijing, in 2009; and ‘Where In The World’ at the Devil Art Foundation, New Delhi, in 2008-09. The artist was awarded Kerala Lalit Kala Academy State Award, a National Scholarship and the Kanoria Scholarship, Ahmedabad, all in 1997. The artist lives and works in Mumbai.

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

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Senanayake, Senaka

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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, 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.

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

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Shaw, Lalu Prasad 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 Lot 21 Lot 29 West Bengal State Lalit Kala Akademi Award in 1959, and the Birla Academy Award, Kolkata, in 1975-78. The artist lives and works in Kolkata.

Shreshtha, Laxman 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 Lot 16 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 (1994); Gallery Chemould, Mumbai (1968); and a show at Tribhuwan College, Kathmandu, Nepal almost five decades ago. His selected group shows are ‘Aqua’, Gallery Beyond, Mumbai, ‘One Eye Sees, the Other Feels’, The Viewing Room, Mumbai (both in 2012); ‘Point and Line to Plane VI’, Gallery Beyond (2008); ‘Tribute to Picasso’, Guild Art Gallery, Mumbai (2002); ‘Aspects of Modern Indian painting’, courtesy Saffronart and Pundole, Metropolitan Pavilion, New York (2002, 2001); ‘Ideas and Images – Part IV’, NGMA, Mumbai (2002); ‘The Search’, Apparao-Wallace Galleries, New York (1997); ‘Image Beyond Image’, Glenbarra Art Museum Collection, Japan, NGMA (1997); ‘50 Years of Freedom of Expression’, Jehangir Gallery (1997); 25 Years of Indian Art, Rabindra Bhavan, Delhi (1972); Baltimore and San Francisco (1971); Maisons des Beaux Arts, Paris (1966); Salle de la Presse, French Foreign Ministry, Paris (1966); and ‘Inaugural Exhibition’, Gallery Chemould (1963). Shreshtha’s abstract works are both sensuous and meditative in their shifts and balances of colour. Though abstract, his paintings have a sense of intrigue in them, that leaves the observer, and Shreshtha himself, as he confesses, trying to understand the shades of meaning they present. The artist lives and works in Mumbai.

Souza, Francis Newton 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 Lot 34 Lot 36 Lot 35 and also had his autobiographical essay ‘Nirvana of a Maggot’ published. He was awarded the John Moore Prize at the Walker Art Gallery, Liverpool in 1957 and received an Italian Government Scholarship in 1960. In 1959 a collection of his autobiographical essays, ‘Words and Lines’, was published, and in 1962 a monograph on his work by Edwin Mullins was published as well. In 1967 Souza migrated to New York where he received the Guggenheim International Award. Two retrospectives of his work were organized by Art Heritage, New Delhi, in 1986 and 1996. Souza also participated in a work-live programme in Los Angeles, hosted by Saffronart in 2001. Souza passed away in Mumbai 2002. Some important posthumous exhibition of his work include, ‘F.N. Souza’ at Saffronart and Grosvenor Gallery, New York, in 2008; ‘F.N. Souza: Religion & Erotica’ at Tate Britain, London, in 2005-06; ‘Self-Portrait: Renaissance to Contemporary’ at the National Portrait Gallery, London, in 2005; and ‘Francis Newton Souza’ at Saffronart and Grosvenor Gallery, New York and London, in 2005.

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Subramanyan, K.G. Born in Kerala in 1924, Subramanyan received his art education at Kala Bhavan, Santiniketan, and the Slade School of Art, London.

He continued painting and teaching over the next few decades, and was appointed a fellow of the National Lalit Kala Akademi in 1985, and a Christensen Fellow at St. Catherine’s College, Oxford, in 1987-88. Subramanyan also served as Dean at the Faculty of Fine Arts, M.S. University, Baroda, and in 1989 was appointed Professor Emeritus at Santiniketan. He has had numerous solo and group exhibitions, and participated in several major Biennales and Triennales. A retrospective exhibition of his work was held in 2003 Lot 27 Lot 37 at the National Gallery of Modern Art, New Delhi and Mumbai. Subramanyan was awarded the Padma Bhushan by the Government of India in 2006. In recognition of his varied contributions to the development of Indian art he was awarded the Shiromani Kala Puraskar by the Government of India in 1994. In 1966 Subramanyan was awarded the John D. Rockfeller III Fund Fellowship. Subramanyan lives and works in Baroda.

Vaikuntam, Thota Vaikuntam was born in 1942 in Andhra Pradesh. He studied at the College of Fine Arts and Architecture in Hyderabad. In 1971, he won the Lalit Kala Akademi Fellowship to study at the M.S. University, Baroda. He has had several solo and group shows internationally and in India, including New Delhi, Mumbai and cities in South India. His recent solo shows include the 2011 ‘Metamorphosis: The Changing World of Thota Vaikuntam’ at the Art Alive Gallery in New Delhi, as well as the 2011 ‘Memoire du passe 19791999’ at the Latitude 28 gallery, New Delhi. His works have also been exhibited in New York, London, Birmingham and Kassel. His work was shown at the VII Triennale, New Delhi, and he has also exhibited with Lot 50 Lot 19 Saffronart in Los Angeles and Hong Kong in 2001. Vaikuntam won the Bharat Bhavan Biennale Award, Bhopal in 1988, as well as the National Award for Painting from the Government of India in 1993. The artist lives and works in Hyderabad.

We would like to thank Ranjit Hoskote, Gieve Patel, Sudhir Patwardhan, Matthew Lazarus Image courtesy S.H. Raza (A Life in Art: Raza, published by Art Alive Gallery) Jogen Chowdhury (Manisha Gera Baswani)

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