ARTIANA | South Asian Art | Online Auction | No Buyer's Premium | 21-25 October 2021 | Sale 2110

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

21 - 25 OCTOBER 2021

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

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SOUTH ASIAN ART CLASSICAL, MODERN AND CONTEMPORARY SALE NUMBER: 2110 ONLINE AUCTION OCTOBER 2 1 - 25, 2021

‘What You Bid is What You Pay’

‘Bid Now Pay Later’

October 21, 2021 9:00 a.m. onwards UAE Standard Time

October 25, 2021 5:30 p.m. to 8:00 p.m.

UAE Standard Time

P2-1A Damac Park Towers, DIFC Dubai | UAE +971 55 815 3030 info@artiana.com

SPECIALIST AND SERVICES P.O. Box 112646 Dubai | UAE Sale Number: 2110

Lavesh Jagasia +971 50 796 3030 lavesh@artiana.com Artiana Help Desk +971 55 815 3030

auction@artiana.com info@artiana.com Additional information on the buying process is available on page 100 Additional information on the FlexiPay scheme is available on page 107 This auction is conducted under the Conditions of Sale as stipulated in the catalogue on page 109 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. © Copyright,Artiana, 2021 Front Cover: Lot 21 Inside Front Cover: Lot 16 Page 2-3: Lot 55 Page 6: Lot 14 (detail)

Page 99: Lot 30 (detail) Inside Back Cover: Lot 22 Back Cover: Lot 17

CONTENTS SALE GUIDE 10 SOUTH ASIAN ART : CLASSICAL, MODERN AND CONTEMPORARY LOTS 1 - 60 100 IT’S EASY TO BUY AT ARTIANA 101 AUCTION CLOSING SCHEDULE 102 WRITTEN / ABSENTEE BID FORM 103 BIDDING INCREMENTS 104 BUYING AT ARTIANA 107 FINANCE AT ARTIANA 109 CONDITIONS OF SALE 115 ARTIANA GUARANTEE 116 COLLECTION AND STORAGE 117 ARTIST PROFILES AND INDEX

LOT 1 - 10

LOT 1

ORIENTALIST PAINTING (1835 - 1886)

Signed and dated 'L.K. Alasna / 28.8.1914' (lower right)

Posthumous portrait of the Indore Maharaja Tukoji Rao Holkar II oil on canvas 47.75 x 35.5 in. (122 x 91.5 cm.) painted in 1914

US$ 3,000 - 5,000

12

ARTIANA

PROVENANCE Piguet Auction House / Lot 714 / Arts D'Orient Et D'Extrême-Orient / Geneva / 12-15 December 2016 Private collection, Dubai

LOT 2

HEMENDRANATH MAZUMDAR (1894 - 1948) Untitled (After the Bath) watercolor on canvas 27.25 x 13.75 in. (69 x. 35 cm.)

Signed 'H. Mazumdar' (lower right)

PROVENANCE

US$ 7,000 - 10,000

Private collection, Dubai

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

13

LOT 3

ABANINDRANATH TAGORE (1871 - 1951) Untitled watercolour on paper 4 x 3.5 in. (9.9 x 8.9 cm.)

Signed in Bengali (lower left)

PROVENANCE

US$ 1,000 - 1,500

14

ARTIANA

Private collection, Dubai

LOT 4

ABANINDRANATH TAGORE (1871 - 1951) Untitled watercolour on paper 8.5 x 6 in. (21.9 x 15.4 cm.)

Signed in Bengali (lower left)

PROVENANCE

US$ 2,000 - 3,000

Private collection, Dubai

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

15

LOT 5

ABANINDRANATH TAGORE (1871 - 1951) Untitled (Lady with Dove) watercolour on paper 11.25 x 6.5 in. (28.5 x 16.8 cm.)

Signed in Bengali (lower right)

PROVENANCE

US$ 2,000 - 3,000

16

ARTIANA

Private collection, Dubai

LOT 6

NANDALAL BOSE (1882 - 1966) Untitled watercolour on paper 8.5 x 6 in. (21.9 x 15.5 cm.)

Signed and dated (lower right)

PROVENANCE

US$ 2,000 - 3,000

Private collection, Dubai

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

17

LOT 7

NANDALAL BOSE (1882 - 1966) Shiva watercolour on paper 11.25 x 8.25 in. (28.9 x 21 cm.)

Signed and dated (lower right)

PROVENANCE

US$ 2,000 - 3,000

18

ARTIANA

Private collection, Dubai

LOT 8

MRINAL KANTI DAS (1928 - 1990) Untitled gouache on paper 36.25 x 22.5 in. (92 x 57.5 cm.)

PROVENANCE

US$ 1,000 - 1,500

Private collection, Dubai

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

19

LOT 9

MRINAL KANTI DAS (1928 - 1990) Untitled gouache on paper 40 x 17 in. (101.5 x 43 cm.)

Signed and dated in Bengali (lower left)

PROVENANCE

US$ 1,000 - 1,500

20

ARTIANA

Private collection, Dubai

LOT 10

SUDHIR KHASTGIR (1907 - 1974) Untitled oil on canvas 55 x 30.75 in. (139.5 x 78 cm.)

US$ 1,500 - 2,500

Signed, stamped, and dated (upper right)

PROVENANCE Private collection, Dubai

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

21

LOT 11 - 20

LOT 11

Initialled in Malayalam (lower centre right)

K.G. SUBRAMANYAN

Signed, titled, dated and inscribed 'K.G. Subramanyan / 'Peacock Throne' / 2002 / Reverse painting on plastic sheet / 'Please keep this paper in place as it protects the paint surface.' (on the reverse)

(1924 - 2016) Peacock Throne reverse painting in gouache and oil on acrylic sheet 11.75 x 8.25 in. (30 x 21 cm.) painted in 2002

US$ 3,000 - 5,000

24

ARTIANA

PROVENANCE Gallery Sumukha, Bengaluru

EXHIBITED AND PUBLISHED K.G. Subramanyan: A Retrospective, National Gallery of Modern Art, New Delhi, 2003, p. 85 (illustrated)

LOT 12

Initialled in Malayalam (lower centre left)

K.G. SUBRAMANYAN

Signed, titled, dated and inscribed 'K.G. Subramanyan / 'Ragini Vibhas' / 2003 / Reverse painting in plastic sheet in gouache and oils / 'Keep this paper in place; it protects the painting surface.' (on the reverse)

(1924 - 2016) Ragini Vibhas reverse painting in gouache and oil on acrylic sheet 11.75 x 8.25 in. (30 x 21 cm.) painted in 2003

US$ 3,000 - 5,000

PROVENANCE The Guild Art Gallery, Mumbai

EXHIBITED AND PUBLISHED K.G. Subramanyan: Recent Works, The Guild Art Gallery, Mumbai, 2003

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

25

LOT 13

ABDULRAHIM APABHAI ALMELKAR (1920 - 1982) Untitled gouache on paper 15 x13 in. (38 x 33 cm.)

US$ 2,000 - 3,000

Signed in Hindi (lower left)

PROVENANCE Private collection, Mumbai

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

27

LOT 14

BADRI NARAYAN (1929 - 2013) Untitled (Ganesha) watercolour on paper 7.75 x 7.75 in. (20 x 20 cm.)

US$ 2,500 - 3,500

28

ARTIANA

Initialed in Hindi (lower right)

PROVENANCE Private collection, Dubai

LOT 15

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

US$ 4,000 - 6,000

Initialed in Hindi (lower right) Signed, titled, dated and inscribed 'Badri Narayan / "The Chhadanta and the Queen's Portrait" / 17th April 2001 / Watercolour, Pencil / Dharwad' (on the reverse)

PROVENANCE Private collection, Singapore Artiana / Sale 1702 / Lot 17 / South Asian Art Classical, Modern and Contemporary Auction / 26-30 October 2017 Private collection, Dubai

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

29

LOT 16

MAQBOOL FIDA HUSAIN

Signed 'Husain' (upper left)

(1915 - 2011)

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

Shakespeare's Midsummer Nights Dream acrylic on canvas 19.25 x 59 in. (49 x 150 cm.) painted in 1990

US$ 100,000 - 150,000

PROVENANCE Acquired directly from the artist by the present owner

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

31

LOT 17

MAQBOOL FIDA HUSAIN

Signed and dated 'Husain 90' (upper left)

(1915 - 2011)

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

Three Graces with the Husain Horse iacrylic on canvas 38 x 40 in. (96.5 x 102 cm.) painted in 1990

US$ 120,000 - 180,000

PROVENANCE Acquired directly from the artist by the present owner

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

33

LOT 18

SUNIL DAS (1939 - 2015) Spain II charcoal on paper 28.75 x 28.5 in. (73 x 72.5 cm.)

US$ 2,000 - 3,000

Signed and titled 'Sunil Das / Spain 2' (upper right)

PROVENANCE Private collection, Dubai

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

35

LOT 19

SUNIL DAS (1939 - 2015) Untitled (Bull and Man) charcoal on paper 23.25 x 29 in. (58.9 x 74 cm.)

US$ 2,000 - 3,000

36

ARTIANA

Signed 'Sunil Das' (lower left)

PROVENANCE Private collection, Dubai

LOT 20

SAKTI BURMAN (B. 1935) Cologne oil on canvas 18.5 x 22 in. (47 x 55.5 cm.)

US$ 25,000 - 35,000

Signed 'Sakti Burman' (lower left)

PROVENANCE Private collection, Germany Private collection, Dubai

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

37

LOT 21 - 30

LOT 21

FRANCIS NEWTON SOUZA (1924 - 2002) Landscape with Tree oil on canvas 24 x 48 in. (61 x 121.9 cm.) painted in 1958

US$ 300,000 - 500,000

Signed and dated 'Souza 58' (upper left)

PROVENANCE Christie's Private Sales, New York Private collection, Dubai

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

41

LOT 22

RAM KUMAR (1924 - 2018) Untitled (Varanasi) oil on canvas 36 x 48 in. (91.4 x 121.9 cm.) painted in 2015

US$ 80,000 - 120,0000

42

ARTIANA

Signed, dated and inscribed 'Ram Kumar / 2015 / 48" x 36"' (on the reverse)

PROVENANCE Acquired directly from the artist Private collection, Dubai Artiana / Sale 1702 / Lot 55 / South Asian Art Classical, Modern and Contemporary Auction / 26-30 October 2017 Private collection, Dubai

LOT 23

MANU PAREKH (B. 1939) Banaras at Sunrise

Signed and dated 'Manu Parekh 9' (lower left) Further signed, titled, and inscribed 'Manu Parekh / Banaras at Sunrise / 26" x 41" / Acrylic on canvas' (on the reverse)

PROVENANCE Acquired directly from the artist Private collection, Dubai

acrylic on canvas 26 x 41 in. (66 x 104 cm.) painted in 2009

PUBLISHED

US$ 7,000 - 10,000

Banaras | Varanasi - Mapping the City of Light: Manu Parekh The Fine Art Advisory, Dubai, 2015, unpaginated (illustrated)

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

43

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

With his ability to interpret light in terms of pure colors, he progressed from an earlier realism to a more moody, expressionistic and atmospheric style. What has become of paramount importance to Paresh is to capture the moment. He chooses to work directly with nature–on the spot. He said, "If you paint directly from nature, what you have is a direct transformation. You can capture the moment, the emotion, the feeling, the light." (Iain Gale, Man on a Voyage, Life, and Works of Paresh Maity: 25 Years, Art Musings, Mumbai, 2001, p. 16)

LOT 24

PARESH MAITY (B. 1965) The Breeze watercolour on paper 20 x 30 in. (50.8 x 76.2 cm.) painted in 2007

US$ 6,000 - 9,000

Signed and dated 'Paresh Maity 2007' (lower right) Further titled, signed, dated and inscribed 'The Breeze / Paresh Maity / 2007 / water colour on paper / 20 x 30'

PROVENANCE Acquired directly from the artist

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

45

LOT 25

LAXMAN SHRESHTHA (B. 1939) Untitled mixed media on paper 22 x 29.5 in. (56 x 75 cm.) painted in 2004

Signed and dated 'Laxman 2004' (lower right)

PROVENANCE

US$ 8,000 -12,000

46

ARTIANA

Private collection, Dubai

LOT 26

JOGEN CHOWDHURY (B. 1939) Couple mixed media on paper 22 x 28 in. (55.8 x 71.1 cm.) painted in 2003

US$ 50,000 - 70,000

Signed and dated 'Jogen / 2003' (lower centre left) Dated in Bengali (lower centre right) Signed in Bengali (upper centre right) Initialed in Bengali (upper left) Dated and inscribed in Bengali (upper right)

PROVENANCE Sothebys / Lot 76 / Indian Art / New York / September 2007 Artiana / Sale 1701 / Lot 34 / South Asian Art Classical, Modern and Contemporary / 23-27 March 2017 Private collection, Dubai

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

47

Sometime between 1975 and 1980 Raza stated: "I began to feel the draw of my Indian heritage. I thought I come from India, I have a different vision; I should incorporate what I have learned in France with Indian concepts. In this period, I visited India every year to study Indian philosophy, iconography, magic diagrams (yantras), an ancient Indian art particularly Hindu, Buddhist, and Jain art. I was impressed by painting from Basholi, Malwa, and Mewar, and began combining colors in a manner that echoed Indian miniature painting." (Raza in Conversation with Amrita Jhaveri, 2007.)

The primary colors became the foundation of his artistic style, "These colors represent the five elements, which, in Hindu thought, consitute this as well as other worlds: Chhiti - the earth, jala - the water, pawak - the fire, gagan - the sky and samira - the ether, and they correspond on one hand with zones of consciousness of the human spirit, and on the other hand with colors: yellow - padma, white - sulka, red - tajas, blue - nila and black - Krishna, that took possession of Raza's imagination to the point that he completely identifies himself with his painted work." (Rudolf von Leyden)

LOT 27

SAYED HAIDER RAZA (1922 - 2016) Untitled acrylic on canvas 19.75 x 19.75 in. (50 x 50 cm.) painted in 2004

US$ 20,000 - 30,000

Signed and dated 'Raza 04' (lower right)

PROVENANCE The Guild Art Gallery, Mumbai Bagash Art Gallery, Dubai Private collection, Dubai

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

49

“There is a feeling of tranquility in my works which is born out of the influence of the environment around me. As a painter and sculptor I am conscious of the nuance of colour caused by the changing light and the tremendous potential it holds in awakening beauty in us all.”

- Senaka Senanayake

LOT 28

SENAKA SENANAYAKE (B. 1951)

Signed and dated 'Senaka Senanayake 2020' (lower left)

PROVENANCE Acquired directly from the artist

Night Lotus oil on canvas 48 x 48 in. (121.9 x 121.9 cm.) painted in 2020

US$ 25,000 - 35,000

EXHIBITED AND PUBLISHED Artiana, Senaka Senanayake: The Enchanted Rainforest - Recent Works, Online Selling Exhibition, 01-30 June 2020, Exhibition Catalogue, pg. 31 (illustrated)

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

51

One of Maqbool Fida Husain's recurring subjects is the 'British Raj,' which he started introducing in his repertoire in the mid-1980s. His sharp and witty take on India's thenrecent colonial past resulted in some of the most playful yet insightful works of his career.

Husain's treatment of the subject "provides both the political and ethical charge that runs through his works and it also distinguishes Husain's attempts to laugh at the empire from other artistic attempts to do so that had preceded him. He is the only major artist of his generation to deliver this message (offering) a playful but edgy postcolonial lesson in how one might hate and disavow empire in the right way, even while learning how to live with it, mock it and laugh at it properly." (S. Ramaswamy, Husainʼs Raj, Visions of Empire and Nation, Mumbai, 2016, p. 133, 139) In his Raj series, he ingeniously incorporated two separate British-Indian painting styles: formal portraiture using prominent imperial iconography and picturesque by exaggerating exotic elements in the picture. In them, the meeting of the two cultures was satirized while his subjects escaped historicization.

Here, Husain focused on the kathak performer, making her the dominating feature of the work, an abberation from the norms of the colonial period, where dance was heavily censored, particularly Indian classical dance. His portrayal of the dancer highlights his sustained attempt at portraying India's long artistic tradition as a continuum - merging dance, visual art, and history in his pictorial language.

LOT 29

MAQBOOL FIDA HUSAIN (1915 - 2011) Untitled painted in 1989 59 x 35.5 in. (148 x 93 cm.) painted circa 1980s

US$ 150,000 - 250,000

Signed 'Husain' (lower right)

PROVENANCE Private collection, Mumbai Private collection, Dubai

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

53

"Sakti Burmanʼs tableaux came to life only because he has organized personal narratives, chance events, archival borrowings, and iconographical references into a coherent pattern for our delectation. He is a storyteller who invigorates our imagination by reminding us that we are not simply made of muscle, nerve, and bone - but that we are also made up fo the words and images, the poems and stories that we inherit from countless previous generations with our genetic code." (Ranjit Hoskote, In the Presence of Another Sky: The Confluential Art of Sakti Burman, Art Musings, Mumbai, 2017, pg. 35)

LOT 30

SAKTI BURMAN (B. 1935) Reve oil on canvas 57.25 x 45 in. (145 x 114 cm.) painted in 1981

Signed 'Sakti Burman' (lower right) Further signed, inscribed, titled and dated 'Sakti Burman / 1 Rue Jules Simon XV / Rêve / 1981

PROVENANCE

US$ 150,000 - 250,000

Private Collection, Dubai

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

55

LOT 31 - 40

Anjolie Ela Menonʼs works are known for their distinct amalgamation of western style with eastern subject influences. Her figures resemble early Christian iconography with a beautiful rendering of Indian themes.

The influence of everyday life is also evident in her works, seen in the current picture where she depicted a young Brahmin man - possibly a Namboodri Brahmin priest from her husband's native land of Kerala. The holy man was identifiable through the thread around his chest and the mark on his forehead.

Her frequent depiction of the subject along with sadhus started from the 1990s when India was experiencing "religious turbulence over issues such as 'the Mandir and the Masjid,' she uses these "essentially Hindu devices to chant a compelling litany of both Ram and Rahim..."

(Isana Murti, Anjolie Ela Menon, New Delhi, 1995, pg. 37).

LOT 31

ANJOLIE ELA MENON (B. 1940) Untitled (Brahmin Boy) oil on masonite board and wood 40 x 12 in. (101.6 x 30.5 cm.)

US$ 30,000 - 50,000

Signed 'Anjolie Ela Menon' (upper left)

PROVENANCE Art Musings / 'Inaugural Showʼ - Anjolie Ela Menon, MF Husain, Paresh Maity & SH Raza / January 2000 Private collection, Mumbai

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

59

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

Of the street. Their abbreviated careers then represent the spurious state of hired pleasure." (Gayatri Sinha, Krishen Khanna: Images in my Time, Mapin Publishing, 2007, p.

34 & 35.

The bandwallahs, as seen here, appears to be playing on their instruments belting out a popular tune. In painting these unknown and unnamed men, Khanna documented subjective identities of people he had known to a generic figure, with an indeterminate part and unmapped future, and in which they read in terms of occupation. This deep engagement to the subject serves as a rite of passage to the multiple places the bandwallahs occupy; between the public and the private, the popular and the not, and in the shared histories they traverse.

LOT 32

KRISHEN KHANNA (B. 1925) Untitled (Bandwallas) oil on canvas 36 x 24 in. (91.4 x 61 cm.) painted in 2018

US$ 30,000 - 50,000

Signed 'KKhanna' (lower right) Further signed and dated 'KKhanna / 25th April 2018' (on the reverse)

PROVENANCE Acquired directly from the artist by the present owner Artiana / Sale 1902 / Lot 7 / South Asian Art - Modern and Contemporary Auction / 13-17 June 2019 Private collection, Dubai

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

61

LOT 33

JOGEN CHOWDHURY (B. 1939) Untitled ink and pastel on paper 19.75 x 27.5 in. (50.1 x 69.8 cm.) painted in 2007

Signed and dated 'Jogen 2007' (upper right) Initialed in Bengali (lower right)

PROVENANCE

US$ 8,000 - 12,000

Private collection, Dubai

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

63

LOT 34

SAKTI BURMAN (B. 1935) Untitled watercolour on paper 24.75 x 18.75 in. (63 x 48 cm.) painted in 1966

US$ 2,500 - 3,500

64

ARTIANA

Signed and dated 'Sakti Burman / 66' (lower right)

PROVENANCE Private collection, France Private collection, United Kingdom

LOT 35

SAKTI BURMAN (B. 1935) Untitled watercolour on paper 24.75 x 18.75 in. (63 x 48 cm.) painted in 1966

US$ 2,500 - 3,500

Signed and dated 'Sakti Burman / 66' (lower right)

PROVENANCE Private collection, France Private collection, United Kingdom

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

65

Living and working in both France and India, Maite Delteil draws on the diverse aesthetics of her environment for her works. In her canvases, plant and birdlife are put into focus; trees teeming with colorful flowers, birds flying in the air and sitting on lush green grass marks most of her paintings in a tranquil and subtle appreciation for nature. Coupled with the use of a bright palette, Maite enhances the whimsical quality of her paintings, bringing together nature and artifice in a detailed yet restrained portrayal.

LOT 36

MAITE DELTEIL (B. 1933) La Femme Fleur (The Flower Woman) oil on canvas 25.5 x 21.25 in. (64.7 x 54 cm.) painted circa 1970s

US$ 5,000 - 7,000

Signed 'Delteil' (lower left)

PROVENANCE Art Auction France / Lot 221 / Contemporary and Modern Art Painting at Ader / France / 8 June 2013 Private collection, USA

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

67

LOT 37

MAITE DELTEIL (B. 1933) Intimite (Privacy) oil on canvas 20 x 16 in. (50.8 x 40.6 cm.) painted circa 1960s

Signed 'Delteil' (lower left) Titled 'Intimité' (on back of the frame)

PROVENANCE

US$ 3,000 - 5,000

68

ARTIANA

Private collection, USA

LOT 38

MAITE DELTEIL (B. 1933) Untitled oil on canvas 24 x 19.75 in. (61 x 49.8 cm.) painted circa 1960s

Signed 'Delteil' (lower left)

PROVENANCE

US$ 4,000 - 6,000

Private collection, USA

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

69

LOT 39

JAMIL NAQSH (1939 - 2019) Untitled (Woman with Pigeon) oil on canvas 27.5 x 27.5 in. (70 x 70 cm.) painted in 2008

US$ 15,000 - 25,000

70

ARTIANA

Signed, dated, and inscribed 'Jamil Naqsh / 08 / London' (on the reverse)

PROVENANCE Acquired directly from the artist Private collection, Dubai

LOT 40

JAMIL NAQSH (1939 - 2019) Untitled (Pigeons) oil on canvas 27.5 x 27.5 in. (70 x 70 cm.) painted in 2008

US$ 15,000 - 25,000

Signed, dated, and inscribed 'Jamil Naqsh / 08 / London' (on the reverse)

PROVENANCE Acquired directly from the artist Private collection, Dubai

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

71

LOT 41 - 50

LOT 41

LALU PRASAD SHAW (B. 1937) Untitled (Ganesha) tempera on paper board 24 x 18 in. (61 x 45.7 cm.) painted in 2014

US$ 8,000 - 12,000

74

ARTIANA

Signed and dated in Bengali (lower left)

PROVENANCE Private collection, Dubai

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

LOT 42

FRANCIS NEWTON SOUZA (1924 - 2002) Mother and Child mixed media on canvas 9.75 x 7.75 in. (25 x 20 cm.) painted in 2001

US$ 6,000 - 9,000

Signed 'Souza' (upper right)

PROVENANCE Saffronart and Apparao Galleries / Lot 34 / Souza & Baiju Exhibition / Los Angeles / 2001 Private collection, Mumbai

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

75

LOT 43

SUNIL DAS (1939 - 2015) Untitled (Horse) oil on canvas 29 x 28.5 in. (73.5 x 72.2 cm.) painted in 1998

Signed and dated 'Sunil 98' (lower right)

PROVENANCE

US$ 2,000 - 3,000

76

ARTIANA

Private collection, Dubai

LOT 44

LAXMAN PAI (B. 1926) Untitled oil on canvas 12 x 15 in. (30.5 x 38 cm.)

Signed 'Laxman Pai' (lower left)

PROVENANCE

US$ 1,000 - 1,500

Private collection, Dubai

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

77

LOT 45

SHYAMAL DUTTA RAY (1934 - 2005) Untitled watercolour on paper 16.75 x 19.25 in. (42.6 x 48.9 cm.)

Signed and dated in Bengali (lower right)

PROVENANCE

US$ 2,000 - 3,000

Private collection, Dubai

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

79

LOT 46

SHYAMAL DUTTA RAY (1934 - 2005) Untitled watercolour on paper 27 x 28.75 in. (68.6 x 73 cm.)

Signed and dated in Bengali (lower right)

PROVENANCE

US$ 3,000 - 5,000

80

ARTIANA

Private collection, Dubai

LOT 47

AKBAR PADAMSEE (1928 - 2020) Untitled watercolour on paper 14.75 x 10.75 in. (37.5 x 27.25 cm.) painted in 2002

Signed and dated 'Padamsee 2002' (lower right)

PROVENANCE

US$ 6,000 - 8,000

Private collection, Dubai

SOUTH ASIAN ART | CLASSICAL, MODERN AND CONTEMPORARY

81

LOT 48

AKBAR PADAMSEE (1928 - 2020) Untitled (Nude) pencil on paper 14.5 x 10.75 in. (37 x 27.25 cm.) executed in 1995

Signed and dated 'Padamsee 95' (lower left)

PROVENANCE

US$ 4,000 - 6,000

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Private collection, Dubai

LOT 49

PARITOSH SEN (1915 - 2011) Cat and Peacock mixed media on paper 24 x 19.5 in. (61 x 49.5 cm.) painted in 2002

US$ 7,000 - 9,000

Signed and dated 'Paritosh Sen 2002' (upper left)

PROVENANCE Acquired directly from the artist Private collection, Dubai

PUBLISHED Mrinal Ghosh, Paritosh Sen: IXth Decade, Neovision, New Delhi, 2006, p. 98 (illustrated)

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M.F Husianʼs repertoire undoubtedly shows that the artist holds a deep appreciation for the classical arts and traditions of India. The cross-disciplinary facets of music, dance, painting, sculpture and film have left a significant mark in his approach to art. This aspect is evident in Husainʼs aesthetic through the Wedding Chariot, where three-dimensional sculptures have been transformed into two-dimensional surface-figures. The figures are pronounced and their postures have been clearly borrowed from the classical tribhanga stance.

From his travels across India, Husain was inspired to express, through his works, the diverse stories and artistic traditions of the subcontinent. The golden yellow in this painting, is reminiscent of the turmeric that abounds every Indian wedding. Forms are structured on flat surfaces and minimal use of colour is harmonious. The viewer feels the movement and exuberance of the wedding procession. Conceptually and in their modelling, the figures emanate lyricism.

“To be liberated from the shackles of academic realism and to be able to experiment with the plasticity of form with only the canvas as the frame was a revolutionary step. All the more for Maqbool Fida Husain, who has his early training in representational art. In moving from accurate depictions of reality to the unending possibilities opened up by the painterly image was akin to leaping across several centuries. And in doing so, he was to become a legend in his lifetime [...]

He was, at the same time, involved with language, with the formulation of modernity and with its rootedness in India.” (Yashodhara Dalmia, The Making of Modern Indian Art: The Progressives, Oxford, New Delhi, 2001, p. 100)

LOT 50 (1915 - 2011)

Signed in Hindi and Urdu (lower right) Further signed in Urdu, dated and inscribed 'To Kamal & Pasha 14 June 1971' (on the reverse) Bearing partial label of Gallery Gita (on the reverse)

Untitled (Wedding Chariot)

PROVENANCE

MAQBOOL FIDA HUSAIN

oil on canvas 24.4 x 56.2 in. (62 x 143 cm.) painted in 1971

US$ 140,000 - 200,000

Gallery Gita, New Delhi Christie's / Sale # 2686 / Lot 78 / South Asian Modern and Contemporary Art / New York / March 2013 Artiana / Sale # 1602 / Lot 10 / Modern and Contemporary South Asian Art / Dubai / 13-17 October 2016 Private collection, Dubai

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LOT 51 - 60

LOT 51

Signed and dated 'Jogen / 2001' (upper centre) Initialed in Bengali (lower centre) and English (lower left)

JOGEN CHOWDHURY

PROVENANCE

(B. 1939) Couple - III ink with brush and pastel 23 x 35 in. (58.5 x 89 cm.) painted in 2001

US$ 5,000 - 7,000

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Artiana / Sale 1801 / Lot 28 / South Asian Art Classical, Modern & Contemporary Auction / Dubai / 10-14 May 2018 Private collection, Dubai

EXHIBITED AND PUBLISHED Jogen Chowdhury: Painted Drawings, Gajah Gallery, Singapore, 2001, pg. 14 (illustrated)

LOT 52

ANUPAM SUD (B.1944) Seated Figure oil on canvas 28.25 x 28 in. (71.8 x 71 cm.) painted in 2001

Signed and dated 'Anupam Sud / Jan 2001' (lower left) Further signed, titled, and dated 'Ms. Anupam Sud / Seated Figure / 2001' (on the reverse)

PROVENANCE

US$ 6,000 - 9,000

Bagash Art Gallery, Dubai

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LOT 53

K. LAXMA GOUD (B. 1940) Banjara Hills ink on paper 7 x 7 in. (17.8 x 17.8 cm.) executed in 2002

US$ 2,000 - 3,000

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Signed in Telugu and dated '2002' (lower right) Titled 'Banjara Hills' (upper left)

PROVENANCE Acquired directly from the artist Private collection, Dubai

LOT 54

JAMIL NAQSH (1939 - 2019) Ladder oil on canvas 48 x 36 in. (121.5 x 91 cm.) painted in 2012

US$ 40,000 - 60,000

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

PROVENANCE Albemarle Gallery, London Private collection, Dubai Artiana / Sale 1801 / Lot 25 / South Asian Art - Classical, Modern and Contemporary / Dubai / 10-14 May 2018

EXHIBITED AND PUBLISHED Jamil Naqsh: Memories of Doves & Pigeons, Albemarle Gallery, London, 2012, pg. 11 (illustrated)

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LOT 55

RAM KUMAR (1924 - 2018) Untitled (Varanasi) acrylic on paper 19.5 x 29.5 in. (49.5 x 74.9 cm.) painted in 2005

US$ 10,000 - 15,000

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Signed and dated 'Ram Kumar '05' (on the reverse)

PROVENANCE Saffronart / Lot 45 / Modern Evening Sale / Online auction / February 2015 Artiana / Sale 1702 / Lot 25 / South Asian Art - Classical, Modern & Contemporary / Dubai / 26-30 October 2017 Private collection, Dubai

LOT 56

SUDHIR PATWARDHAN (B. 1949) Torso charcoal on canvas 29.25 x 21.25 in. (74.3 x 54 cm.) executed in 2006

Signed and dated 'Sudhir Patwardhan 06' (lower right)

PROVENANCE

US$ 3,000 - 5,000

Bagash Art Gallery, Dubai

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LOT 57

ANANT JOSHI (B. 1969) Box of Chocolate VI acrylic on canvas 60 x 60 in. (152.4 x 152.4 cm.) painted in 2005

Titled, signed, dated, and inscribed 'Box of Chocolate VI / 2005 / Anant Joshi' (on the reverse)

PUBLISHED

US$ 5,000 - 7,000

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Bagash Art Gallery, Dubai

LOT 58

SURENDRAN NAIR (B. 1956) Untitled (Corollory Mythologies) charcoal, acrylic and watercolour on paper 59 x 44 in. (150 x 112 cm.) painted in 1996

US$ 10,000 - 15,000

PROVENANCE Private collection, Dubai

PUBLISHED Ranjit Hoskote, Itinerant Mythologies: Surendran Nair, Sakshi Gallery, Mumbai, pg. 106 (illustrated)

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Jitish Kallat employs a bold and vivid visual language that references artistic traditions both from the east and the west. His work regularly exploits images and materials chanced upon around Mumbai's sprawling metropolis, from advertisement billboards and newspapers to graffitis providing his works an inherent spontaneity, handcrafted aesthetics and rich metaphor. All of these combine to create works that participate intimately with the artist's visual language and comment upon the unique idiosyncrasies of his home.

Resolved to express and unmute the voice of the marginalized - the people in the periphery who remains outside of society's power structure, Kallat distilled and used the sentiments of the disenfranchise in an emotive way to visually represent them. "This de-muting had started to successfully provide an innovative use of textures and scale, incorporating the vast body of the subaltern's twisted realities." (Shaheen Merali on Jittish Kallat, India Perspectives, June 2010, Vol. 24, pg. 85)

"This de-muting had started to successfully provide an innovative use of textures and scale, incorporating the vast body of the subaltern's twisted realities." (Shaheen Merali on Jittish Kallat, India Perspectives, June 2010, Vol. 24, pg. 85) "In proposing a set of active and recurring codes, Kallat starts to propose a need to 'hear and see' as in 'Tragedienne (Taste, Lick, Swallow, and Speak)' (2002) which suggests a community that he embellishes with vehement textual references." (Ibid., pg. 87) Kallat employs a plain background referencing the color-coded terrorism threat scale introduced by the Homeland Security Advisory System in the USA in March 2002; in this case blue, signifying guarded conditions and general risk of terror attacks. Notable is the artist's reinvention of the painted surface to mimic the appearance of a television still or a computer monitor.

LOT 59

JITISH KALLAT (B. 1974) Tragedienne (Taste, Lick, Swallow and Speak) mixed media on canvas triptych 89.75 x 178.75 in. (228 x 454.5 cm.) each panel 89.75 x 59.5 in. (228 x 151 cm.) painted in 2002

US$ 30,000 - 50,000

Signed, titled and dated '(c) 2002 JITISH KALLAT TRAGEDIENNE (TASTE, LICK, SWALLOW AND SPEAK ) - C tor (3) (first panel, left centre edge & third panel, upper right) initialed and dated '(c) 2002 JK' (bottom right)

PROVENANCE The Guild Art Gallery, Mumbai Private collection, Dubai

EXHIBITED "subTerrain: artworks in the cityfold", The House of World Cultures, Berlin, 19 September 2003

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LOT 60

HIMMAT SHAH (B. 1933) Untitled bronze height - 15 in. (38.1 cm.) width - 6 in. (15.2 cm.) depth - 6 in. (15.2 cm.) casted in 2016

US$ 12,000 - 18,000

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Signed 'Himmat' (on the base) Edition 4 of 5

PROVENANCE Santiniketan Society of Visual Art and Design (SSVAD) Private collection, Dubai

END OF SALE

IT’S EASY TO BUY AT ARTIANA

1. BROWSING

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

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

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

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2. BIDDING

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

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

Visit www.artiana.com to find out more.

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

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

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

3. PAYING AND TAKING IT HOME

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

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

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

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

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

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

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

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

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

LOT NUMBERS

UAE UTC +4:00

INDIA SRI LANKA UTC +5:30

US EASTERN UTC -4:00

US PACIFIC UTC -7:00

UK UTC +1:00

WEST AFRICA UTC +1:00

EAST AFRICA UTC +3:00

HONGKONG SINGAPORE UTC +8:00

1-10

5:30 p.m.

7:00 p.m.

9:30 a.m.

6:30 a.m.

2:30 p.m.

2:30 p.m.

4:30 p.m.

9:30 p.m.

11-20

6:00 p.m.

7:30 p.m.

10:00 a.m.

7:00 a.m.

3:00 p.m.

3:00 p.m.

5:00 p.m.

10:00 p.m.

21-30

6:30 p.m.

8:00 p.m.

10:30 a.m.

7:30 a.m.

3:30 p.m.

3:30 p.m.

5:30 p.m.

10:30 p.m.

31-40

7:00 p.m.

8:30 p.m.

11:00 a.m.

8:00 a.m.

4:00 p.m.

4:00 p.m.

6:00 p.m.

11:00 p.m.

41-50

7:30 p.m.

9:00 p.m.

11:30 a.m.

8:30 a.m.

4:30 p.m.

4:30 p.m.

6:30 p.m.

11:30 p.m.

51-60

8:00 p.m.

9:30 p.m.

12:00 p.m.

9:00 a.m.

5:00 p.m.

5:00 p.m.

7:00 p.m.

EASTERN AUSTRALIA UTC +10:00

12:30 a.m.

(October 26)

1:00 a.m.

(October 26)

1:30 a.m.

(October 26)

2:00 a.m.

(October 26)

2:30 a.m.

(October 26)

12:00 a.m.

3:00 a.m.

(October 26)

(October 26)

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

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

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

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

BIDDING ACCESS LEVELS All the lots in the catalogue are categorized into Silver, Gold, Platinum and Diamond Levels based on their Lower Estimate values.The high value lots will be categorized as Gold Level, Platinum Level and Diamond Level for which bidding access at these levels would be required

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

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

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

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

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

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

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

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

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

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

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

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

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

These Lots will be identified in the catalogue accordingly.

• Artiana does not charge any Buyer’s Premium.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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FINANCE AT ARTIANA What is Artiana Fine Art Finance?

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

What services does Artiana Fine Art Finance provide?

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

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

What is the tenor and charges for the FlexiPay scheme?

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

Why finance or borrow against art?

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

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

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

What is the artwork evaluation process for external art collateral?

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

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

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

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

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

How long does the disbursal take?

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

Do our clients retain possession of their art?

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

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

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

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

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

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

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

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

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

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

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

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

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

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CONDITIONS OF SALE

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

• For any and all clients and/or transactions from Rest of World except the UAE: Refers to Artiana Limited, a company duly incorporated in RAK International Corporate Centre - UAE, bearing registration number IC20120900.

• For any and all clients and/or transactions from within the UAE: Refers to Artiana FZE, a company duly incorporated in the Hamriyah Freezone - UAE, bearing registered number 19542.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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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.

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

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

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

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

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

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

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

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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.

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

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

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

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

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

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

2.12. The Auction is conducted in United States Dollars (USD) and, for any transaction in other currencies, the exchange rate will be calculated as per the sheet rate of the bank specified by Artiana on the

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

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

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

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

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

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

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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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

by Artiana.

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

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

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

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

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

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

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

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

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

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

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

7.3. The notices and contract language shall be English.

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

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

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

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

CONDITIONS OF FIXED PRICE SALE

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

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

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

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

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

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

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

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

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

ARTIANA GUARANTEE

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

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

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

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

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

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

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

3. The Property was indisputably purchased through Artiana.

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

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

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

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

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

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

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

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

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

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

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ARTIST PROFILES AND INDEX

Born in 1871 at Jorasanko. Abanindranath was the son of artist Gunendranath Tagore. He was educated at the Sanskrit College, Kolkata.Abanindranath was a self-trained artist and although he entered into the art world at a later age, he matured as a painter very soon time, absorbing ideas and developing his own oeuvre. His work has a great delicacy of feeling, unity of concept, a highly sensitive range of color, tone, texture and poetic depth. He was soon regarded as the father of India's modern art.

T h i s probably was the influence and training he received from Italian artist Signior Chilardi,Vice Principal of Government School of art and with English Painter Charles Palmer. In 1905, he came into contact with Japanese artists Tikan and Hesida and he learnt the wash method in watercolor from them. In the same year, he laid the foundation for the Bengal school of Indian painting, where he finally led the revivalist movement in the field of modern Lot 3 Lot 4 Lot 5 Indian paintings. He aimed at comparing nature in its transient forms and produce an image part object, part sensuous, both transposed into each other. Abanindranath's talent with the brush and his unorthodox teaching methods earned him the position of aVice-Principal at the Government College of Art at Kolkata, under Dr E B Havell.

Apart from his early connection as Vice-Principal, Government School of Arts and Crafts, Kolkata, he founded the Indian Society of Oriental Art, Kolkata (1907); Bageswari, Professor of Fine Arts, Kolkata University (1923-2v4). His works are declared as National Art Treasures.The largest number of paintings by Abanindranath - over 500 - forms a part of Rabindra Bharati Society's collection at Jorasanko, Kolkata.Abanindranath's paintings were exhibited in London and Paris in 1913, followed by another international exhibition in Japan in 1919. His appreciative audience included Rodin and Rothenstein.The influence of Abanindranath on modern Indian art is profound and under his guidance a new generation of painters- Nandalal Bose, Asit Halder, Kshitindranath Majumder and Jamini Roy - brought about a revival in Indian art. He died on 5th December 1951.

Born in 1920 in Solapur, Maharashtra,A.A.Almelkar began painting at the young age of seven. After a conventional education in a local school, he joined the Sir J. J. School of Arts in Mumbai. Like all erstwhile artists, he branched out early in his career and evolved his own style. Ordinary folk, fishermen and tribal people were central to most of his works. He belonged to a tradition of stylized "Indian" painters; with a lot of detailing and elements from the miniature art tradition that were at its peak when he was still studying at the art college. During his student years, he won several awards at shows organized by the Art Society of India and the Bombay Art Society.

Almelkar was the Principal of a private art institute called `Nutan Kala Mandir` in Bangalore. He later joined as a lecturer at the Sir J.J School of Arts in 1968.Almelkar’s work was exhibited in several solo and group shows in India and internationally. His shows won acclaim in Malaysia and in other Asian capitals too. He won the National award for excellence in art, and was invited as a state guest to Malaysia to deliver several lectures. His selected collections are with National Gallery of Modern Art and Lalit Kala Akademi.Almelkar passed away in December 1982 at the age of 62.

Lot 13

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Born in Mumbai, Padamsee received a Diploma in Fine Arts from the Sir J. J. School of Art in 1951 and moved to Paris the same year. In 1965 he received the J.D. Rockefeller III Fund Fellowship and worked as artist-in-residence at Stout State University, Wisconsin. His most recent solo shows include those held at the Priyasri Art Gallery, Mumbai, 2013; the Loft, Mumbai, in 2010; Pundole Art Gallery, Mumbai in 2010, 03, 02, 1999, 97, 96, 94, 93, 86, 75, 74 and 72; Galerie Helene Lamarque, Paris, in 2008; Aicon Gallery, New York, and Palo Alto, in 2006-07; and the Guild Art Gallery, Mumbai, 2006. Retrospective exhibitions of his works were organized by Pundole Art Gallery, Mumbai, in 2004 and Art Heritage, New Delhi, and Mumbai, in 1980.

His group shows include those held at Sovereign FZE, Dubai, in Lot 48 2013; Art Alive Gallery, New Delhi;Vadehra Art Gallery, New Lot 47 Delhi, in 2012; Grosvenor Gallery, London;Aicon Gallery, NewYork, and London, in 2010-11;The Museum of Fine Art, Boston, in 2009; Grosvenor Gallery, London, in 2009; Nehru Center, London, in 2005; and Saffronart and Pundole Art Gallery NewYork, in 2001 and 2002. In 1969-70, Padamsee was awarded the prestigious Jawaharlal Nehru Fellowship and made four short films. In 2004 he was awarded the Lalit Kala Ratna by the Lalit Kala Akademi, New Delhi, and in 1997-98, he received the Kalidas Samman from the Madhya Pradesh State Government. Padamsee passed away on the 6th of January 2020 at the age of 91, in Tamil Nadu.

Anant Joshi is an Indian Contemporary painter born in Nagpur, Maharashtra in 1969. He completed his B.F.A.(Painting) in 1994 and M.F.A.(Painting) from Sir J.J. School of Art in 1996. From 2002 to 2003, he participated in a two-year residency at the Rijksacademie in Amsterdam, working extensively on ceramic-based installations. In 2004 he received the prestigious Prix de Rome for his work, shown at the Stedelijk Museum in Amsterdam. Among his notable exhibitions are: 'City- New Perspectives from India' at the House of World Cultures, Berlin; 'Kitch Kitch Hota Hain' at the Habitat Centre, New Delhi; 'The Human Factor' curated by Girish Shahane and organized by Guild Gallery, Mumbai (2001); 'Creative Space' (Sakshi Gallery/India Habitat Centre, Delhi); 'Debt' (The Guild, Mumbai) in 2002.The artist lives and works in Mumbai.

Lot 57

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

Lot 31

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Born in 1944,Anupam Sud received a Diploma in Fine Arts from the College of Arts, New Delhi, 1967, studied Print Making at Slade School, London, 1971-72 and went on a Study Tour to USA under CICA Fellowship, 1990. She engages in socially relevant themes, human impasse and then represents them by fusing various mediums like, intaglio process, lithographs and screen printing. Depiction of architectural forms, limbs and human figures in the mid 1970’s to feminist subjects in the late 1970’s, her work has evolved in phases.

She is one of the finest intaglio print makers in India and one of the founder member of ‘Group 8’, formed in 1968, to promote and sustain printmaking as an independent expressive art form. Anupam has won 19 awards between 1969 & 1985 including the Sahitya Kala Parishad award,1980-84; a Certificate at Egyptian International Print Biennale, 1994; the President of India’s Silver plaque of 65th and 66th All India Annual Art exhibition, All India Fine Arts & Crafts Society, Special award, New Delhi,1995; International Print Biennale, Bharat Bhawan, Bhopal, 1995. Her works are in many private collections including NGMA, the Victoria & Albert Museum, London. She lives and works in New Delhi.

Lot 52

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, Lot 14 Lot 15 in 1992; theVII and II International Triennials, New Delhi, 1991 and 1971 respectively; the Festival of India, Moscow, in 1987; theV 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.

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 Lot 21 Lot 42 Gallery One in London and also had his autobiographical essay ‘Nirvana of a Maggot’ published. He was awarded the John Moore Prize at the Walker Art Gallery, Liverpool in 1957 and received an Italian Government Scholarship in 1960. In 1959 a collection of his autobiographical essays, ‘Words and Lines’, was published, and in 1962 a monograph on his work by Edwin Mullins was published as well. In 1967 Souza migrated to New York where he received the Guggenheim International Award. Two retrospectives of his work were organized by Art Heritage, New Delhi, in 1986 and 1996. Souza also participated in a work-live programme in Los Angeles, hosted by Saffronart in 2001. Souza passed away in Mumbai 2002. Some important posthumous exhibition of his work include, ‘F.N. Souza’ at Saffronart and Grosvenor Gallery, New York, in 2008; ‘F.N. Souza: Religion & Erotica’ at Tate Britain, London, in 2005-06; ‘Self-Portrait: Renaissance to Contemporary’ at the National Portrait Gallery, London, in 2005; and ‘Francis Newton Souza’ at Saffronart and Grosvenor Gallery, New York and London, in 2005.

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Born in 1894, Hemendranath Mazumdar was a renowned and thriving painter of the European academic style in the Kolkata of 1920s. In 1929, Mazumdar founded the ‘Indian Academy of Art’ at his own residence in Kolkata. In 1931, he was invited by the Maharaja of Kashmir to work in the palace, and was later officially appointed ‘Court Painter’ of the Maharaja of Patiala. During this period of his career he executed many oil paintings that still hang in the courts of many Rajasthani princely states like Jodhpur and Bikaner. After Independence, in 1947, Hemendranath was invited to paint a mural to decorate the All India Exhibition, in which he excelled all his previous work. He painted its panels with several scenes of the life in Bengal he grew up with. Painting this large mural drained much of the old artist’s health, and after a year, in 1948, he passed away, leaving only an amazing heritage of works behind for his admires.

Lot 2

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

Lot 60

Born in 1939, in Kairana in Uttar Pradesh, India, Jamil Naqsh moved to Karachi in Pakistan following the partition of the subcontinent in 1947.

In 1953, he enrolled at the National College Art (then Mayo College) in Lahore, but did not complete his education there, leaving after two years to study art on his own. Naqsh’s mature style is a blend of cubism – in Lot 39 the way he treats form and texture – tempered with fluidity and a subtle use of colour. Naqsh has painted the female form in many of his canvases replete with poise and grace.

In another series of paintings he pairs pigeons and doves with the female form, symbolic of love, peace and gentleness. One more series of works, inspired by the Italian sculptor Mario Marini, who captured the beauty of the horse in his work, combines the elegance of the nude female with the sturdy grace of the equine figure. Naqsh’s work has been exhibited extensively in Pakistan, India, the UK and the UAE. Between 1960 and 68 he served as Co-Editor of Seep, an Urdu literary magazine, and between 1970 and 73 as President of the Pakistan Lot 40 Lot 54 Painters Guild.Among the artist’s many honours are medals and awards from the Pakistan Art Council, Karachi; the Ministry of Culture, Pakistan; and the Arts Council of Pakistan. In 2009, Naqsh was awarded the Sitara-e Imtiaz by the Government of Pakistan, and in 2003, a retrospective of his work was held at the Mohatta Palace Museum in Karachi, a rare honour for a living artist. Naqsh passed away on May 16, 2019 after a sudden and brief illness, at St. Mary's hospital in London. He is recognized as one of the most important painters from Pakistan.

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Born in 1974 in Mumbai, Jitish Kallat received his Bachelor’s degree in painting from the Sir J. J. School of Art, Mumbai in 1996. His solo shows include ‘Epilogue’, The San Jose Museum of Art, San Jose, CA, in 2013-14;The Hour of the Day of the Month of the Season;, Galerie Daniel Templon, Paris, in 2013; ‘Chlorophyll Park’, Nature Morte, New Delhi, in 2012; ‘Stations of a Pause’, Chemould Prescott Road, Mumbai, in 2011; ‘Public Notice 3’ at the Art Institute of Chicago, Chicago, in 2010;‘Likewise’ at Arndt and Partner, Berlin, in 2010; ‘The Astronomy of the Subway’ at Haunch of Venison, London, Lot 59 in 2010;‘Aquasaurus’ at Sherman Contemporary Art Foundation, Sydney, in 2008’‘Public Notice 2’ at Bodhi Art, Singapore, in 2008;‘Skinside Outside’ at Arario Gallery, Seoul, in 2008; ‘Universal Recipient’ at Haunch of Venison, Zurich, in 2008; ‘Unclaimed Baggage’ at Albion, London, in 2007, and ‘Sweatopia’ at Bodhi Art and Chemould Prescott Road, Mumbai, in 2007. He has participated in numerous group exhibitions including ‘Ideas of the Sublime’, presented by Vadehra Art Gallery at Lalit Kala Akademi, New Delhi, in 2013;‘2 + 2 = 5’.The Palette Art Gallery, New Delhi,‘Mapmakers The Evolution of Contemporary Indian Art’, Aicon Gallery, New York, in 2012; ‘Pause A Collection,’ Sakshi Gallery, Mumbai. ‘I Don’t Need Your Money Honey All I Need is Love’, from The Farook Collection at Traffic, Gallery II, Dubai, in 2011;‘Monumental’ at Walsh Gallery, Chicago, in 201011; ‘Now Through a Glass Darkly’ at Arario Gallery, New York, in 2010; ‘Changing The World’ and ‘A Long Way From Home’ at Arndt & Partner, Berlin, in 2010; ‘The Empire Strikes Back: Indian Art Today’ at the Saatchi Gallery, London, in 2010; ‘All That Is Solid Melts Into Air’ at Lakeeren, Mumbai, in 2009-10; ‘Indian Summer’ at Galerie Christian Hosp., Berlin, in 2009; ‘Architectonica’ at Seven Art Limited and Gallery Nature Morte, New Delhi, in 2009; and ‘India Contemporary’ at the GEM Museum of Contemporary Art, the Hague, in 2009.The artist lives and works in Mumbai.

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, NewYork, in 2002. Chowdhury’s works have been exhibited in several group shows including ‘Ideas of the Sublime’, presented by Vadehra Art Gallery at Lalit Kala Akademi, New Delhi, in 2013; Lot 51 ‘Figure / Landscape: Part Two’, Aicon Gallery, London, in 2010-11; ‘Dali’s Elephant’, Aicon Gallery, London, ‘Paper Trails’, Vadehra Art Gallery, New Delhi, ‘Pretty Ugly’, Bose Pacia, Kolkata, ‘Image and symbol: Painters Perception’,Aakrit Art Gallery, Kolkata, in 2010;‘Modern Continuous’, Galerie 88, Kolkata, in 2009; ‘Inverting, Inventing, Traditions’, Grosvenor Vadehra, London, in 2007; Drawing Show an Act of Art II’, Priyasri Art Gallery, Mumbai, in 2006; those by Saffronart and Pundole Art Gallery, New York, in 2002 and 2001; the ‘Festival of India’ Geneva, in 1989; the II Havana Biennale, in 1986; and the Sao Paulo Biennale, in 1979. He was awarded the Kalidas Samman by the Madhya Pradesh State Government in 2001, the Shiromani Award, Kolkata, in 1997, and the Prix le France de la Jeune Peinture in 1966.The artist lives and works in Shantiniketan,West Bengal.

Lot 26

Lot 33

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Born in Andhra Pradesh, Laxma Goud studied at the College of Fine Arts and Architecture in Hyderabad and at the Faculty of Fine Arts of M.S. University in Baroda. Goud has exhibited widely, both within and outside India. His solo shows include ones held at Art Alive Gallery, New Delhi in 2012; Art Musings, Mumbai in 2011; the Aicon Gallery, London, in 2009; Gallerie 88, Kolkata, in 2009; Indian Contemporary Art (ICA), Jaipur, in 2008; Gallery Space, Hyderabad, in 2008, and the Guild Art Gallery, Mumbai, 2006 and 2003. His works have been part of group exhibitions including those held at Sakshi Gallery, Mumbai in 2012; Aicon Gallery, New York in 2011-12; Art Musings at Jehangir Art Gallery, Mumbai, in 2008; Galerie 88 Kolkata, in 2007; Priyasri Art Gallery, Mumbai, in 2006; by Saffronart and Apparao Galleries, Los Angeles, 2001; Saffronart Hong kong 2001, Saffronart and Pundole Art Gallery, New York, 2001 and 2002; Centre of International Modern Art (CIMA), Kolkata, and the National Gallery of Lot 53 Modern Art (NGMA), New Delhi, 1993;‘Festival of India’, Geneva, 1987; and Worcester Art Museum, 1986. Goud received the Andhra Pradesh State Lalit Kala Academy awards in 1962, 1966 and 1971.The artist lives and works in Hyderabad.

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. In 1966 Subramanyan was awarded the John D. Rockfeller III Fund Fellowship. In Lot 11 recognition of his varied contributions to the development of Indian art he was awarded the Lot 12 Shiromani Kala Puraskar by the Government of India in 1994. A retrospective exhibition of his work was held in 2003 at the National Gallery of Modern Art, New Delhi and Mumbai. Subramanyan was awarded the Padma Bhushan and the PadmaVibhushan by the Government of India in 2006 and 2012 respectively.At the age of 92, he passed away in Vadodara in June 2016.

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 exhibitions include those held by Saffronart in association with Osborne Samuel and Berkeley Square Gallery at the Royal Academy, London, in 2007; Saffronart and Berkeley Square Gallery, London, in 2005; Pundole Art Gallery, Mumbai 2004;Vadehra Art Gallery, New Delhi, 1994; and Kumar Art Gallery, New Delhi, 2001, 1966, 64, 60, 59 and 58. His works were also included in exhibitions held by Saffronart and Pundole Art Gallery, New York, in 2001 and 2002. In 2011, the Government of India awarded him with the Padma Bhushan; in 2004 he received the Lalit Kala Ratna from the President of India; and in 1997 he received the Kala Ratna from the All India Fine Arts and Crafts Society, New Delhi. Khanna lives and works in New Delhi.

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Lot 32

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

Shaw has received many awards, including the West Bengal State Lalit Kala Akademi Award in 1959, and the Birla Academy Award, Kolkata, in 1975-78.The artist lives and works in Kolkata.

Lot 41

Born in 1926, in Madgaon, to a Brahmin Hindu family with strict traditional values. Pai studied at the Sir J. J. School of Art in Mumbai from 1943 to 1947, and was awarded the Mayo Medal in 1947. He moved to Paris in 195, where he pursued his art in the company of the Indian artists Sadanand Bakre, Syed Haider Raza, Francis Newton Souza and Akbar Padamsee. It is in Europe where he gained technical experience in printmaking and oil painting. After further training at the École des Beaux-Arts, he stayed in Paris for ten years during which he held ten solo exhibitions in the city. His work was exhibited widely, including exhibitions in London, Munich, Hanover, Stuttgart, New York, Bremen, San Francisco, Bangkok, Kuala Lumpur, Singapore, New Delhi, Mumbai, Kolkata, Goa and São Paulo. He is the recipient of three Lalit Kala national awards (1961, 1963 & 1972) and has been awarded the Lot 44 prestigious Padma Shri by the government of India in 1985. He was honored by government of Goa in 1987 and awarded the Nehru award in 1995.

Laxman Pai was principal of College of Art in Goa from 1977-87. He participated in the Biennale de Paris in 1961, the Tokyo Biennale in 1963 and the São Paulo Biennale in1963. Returning to India, he took up the post of the principal of the Goa College of Art in 1977 and served the institution until 1987. His paintings are on display at the Ben and Abby Grey Foundation, New York Public Library, Berlin Museum, Museum of Modern Art, Paris, Madras Museum, Nagpur Museum, National Gallery of Modern Art, New Delhi and Punjab University Museum. In 2006 he had a retrospective exhibition in Paris.

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 (196467) apart from undertaking a study tour to Baltimore and San Francisco in 1971. His debut exhibition took place at Mumbai’s Taj Art Gallery (1963), which led to several shows in India and internationally. Among his selected solo exhibit are the ones at Jehangir Art Gallery, Mumbai (2008, 2003, 1994);‘Elaborations’, Recent works in Black and White, Lot 25 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',TheViewing Room, Mumbai (both in 2012); 'Point and Line to PlaneVI', 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); 50Years of Freedom of Expression’, Jehangir Gallery (1997); 25Years of Indian Art, Rabindra Bhavan, Delhi (1972); Baltimore and San Francisco (1971); Maisons des Beaux Arts, Paris (1966); Salle de la Presse, French Foreign Ministry, Paris (1966); and ‘Inaugural Exhibition’, Gallery Chemould (1963). Shreshtha's abstract works are both sensuous and meditative in their shifts and balances of colour.Though abstract, his paintings have a sense of intrigue in them, that leaves the observer, and Shreshtha himself, as he confesses, trying to understand the shades of meaning they present.The artist lives and works in Mumbai.

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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 Lot 38 Lot 37 Lot 36 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 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.

Born in Gujarat, Manu Parekh studied at Sir J. J. School of Art, Mumbai. He has been exhibiting since 1967 and his most recent solo shows include those held at Art Alive Gallery, Gurgaon 2012; Tao Art Gallery, Mumbai, in 2010 and '09; Berkeley Square Gallery, London, in 2006; Vadehra Art Gallery, New Delhi, in 2004, 1994 and 1991; Jehangir Art Gallery and Tao Art Gallery, Mumbai, in 2003; Sakshi 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 Lot 23 Delhi, in 2011, '10;Tao Art Gallery, Mumbai, 2010, '09 and '08; Nature Morte, New Delhi, in 2004; Saffronart, Hong Kong, in 2001 and Lakeeren Art Gallery, Mumbai, in 1977. He has also participated in the III and IV Triennales of New Delhi, in 1975 and 1978.The Government of India awarded him the Padma Shri in 1990. He received the National Award from the Lalit Kala Akademi, New Delhi, in 1982, and the President of India’s Silver Plaque in 1972. Manu Parekh lives and works in New Delhi.

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Lot 29

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

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Mrinal Kanti Das was born in Midnapore town, West Bengal, on the 1st of July 1928. He went to the Government College of Art and Craft in Kolkata and graduated in 1948. The artist worked using mostly gouache and watercolors following the Neo-Indian School art movement founded by Abanindranath Tagore. He hardly, if ever, painted mythical or folkloric subjects, focusing on nature and people instead. In his works, he portrayed women in a variety of moods and postures placed in the context of the home or in nature. He portrayed them in everyday life and the nude. In them, he foregoes the Victorian prudishness prevalent of the era and opted to paint them sensuously with an unabashed intensity reminiscent of Indian erotic art. He was a freelance painter before he was invited by the Kala Bhavan,Viswa Bharati University to lecture on art in 1967. At the age of fifty in 1977, he had his first solo exposition in Kolkata. Later in his career, he was offered a post by the Ramakrishna Mission at their prestigious School at Narendrapur, where he taught until he died in 1990.

Lot 8

Lot 9

Born in 1882, in Bihar, Nandalal Bose was one of the stalwarts of the Bengal School Movement in Indian contemporary art. He attended the government College of Art. In 1920 Rabindranath Tagore took him from Calcutta to Santiniketan and entrusted him to teach his Art School Kala-Bhavana. A sincere teacher and sensitive artist Nandalal was invited by Mahatma Gandhi to set up Art Exhibitions for Indian National Congress several times. Nandalal received several awards including Padma Bhushan, Padma Vibhushan and Bharat Ratna – the highest civilian award of India. The Haripura panel paintings, among the most well-known of his works, are a series of seventy-seven panels that were executed on handmade paper in 1938, to mark the Congress session in Gujarat Lot 7 and which he had painted at the behest of Mahatma Gandhi.The Archaeological Survey Lot 6 of India declared him as one among the nine artists whose works were deemed non-exportable art treasures of the nation. In 2008, the San Diego Museum showcased some of his works posthumously. He passed away on April 16, 1966.

Born in 1965, he studied at the Government College of Arts & Crafts, Kolkata, and the College of Art, New Delhi.

A very skilled artist, he wields a rugged palette, and is extremely versatile in his treatment of colour and texture.

He has held many solo shows, including exhibitions at Jehangir Art Gallery in Mumbai, Gallerie Ganesha in New Delhi and Gallery Katayun in Kolkata. He has participated in various group shows like the National Art Exhibition in Jaipur, Kala Mela, Lalit Kala Academy in New Delhi, and the Citibank Group Show in Mumbai. Besides other accolades, he has also received the National Scholarship from the Government of India and the All India Mini Sculpture Exhibition Award from AIFACS. He gradually moved from atmospheric scenery to representations of the human form. His more recent paintings are bold and graphic, with a strong color and unusual cropping. His works are in a number of collections, including the British Museum, and the Lot 24 National Gallery of Modern Art, New Delhi. In early years he did many watercolors of different locations.

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Paritosh Sen was born in 1918 in Dhaka. After completing his diploma in Fine Arts from the Government College of Arts and Crafts, Chennai, he moved to Calcutta in 1942, where he and a group of friends formed the Calcutta Group, an association of artists that sought to incorporate contemporary values in Indian art.

In 1949, he left for Paris to study further, attending, among other institutes, the Ecole des Beaux Arts. He received a Fellowship for 1970-'71 from the John D. Rockefeller III Fund. A prolific writer, Sen has published many works in both Bengali and in English, including a series of autobiographical vignettes titled 'Jindabahar Lane'. His works have been exhibited in India and internationally, in Paris, London, Germany, Tokyo and in the US. Paritosh Sen passed away in October 2008.

Lot 49

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 Lot 22 Lot 55 Leger, returning to India three years later. In 1970 he received the J. D. Rockefeller III Fund Fellowship. Since 1949, Ram Kumar has exhibited regularly in India and internationally. Some of his solo shows include those at Aicon Gallery, NewYork, in 2013; Chemould Prescott Road, Mumbai in 2008;Vadehra Art Gallery, New Delhi in 2012, 2010-11, 09, 08, 06, 05, 03, 01, 00, 1993 and 92;Aicon Gallery, NewYork in 2013 and 2007, Pundole Art Gallery, Mumbai in 2005, 1999, 92, 90, 86, 84, 83, 78, 76, 73 and 71; Arks Gallery, London in 1997; and Grosvenor Gallery, London in 1966. In 2002, Saffronart and Pundole Art Gallery organized a show of his work in Mumbai, New Delhi, San Francisco and New York. Other retrospectives of his work have been held at the National Gallery of Modern Art, New Delhi in 1994 and 1993; Jehangir Art Gallery, Mumbai in 1993; and the Birla Museum, Kolkata in 1980. In 1972 the Government of India awarded him with the Padma Shri, one of its highest Civilian honors.The Madhya Pradesh State Government awarded him with the Kalidas Samman in 1985, and for his writing, he received the Uttar Pradesh State Government award in 1975. Ram Kumar lived and worked in New Delhi, till he passed away in April 2018.

Lot 30

Lot 35

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Lot 20

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

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Born in 1922 in Babaria, Madhya Pradesh, Raza graduated from the Nagpur School of Art in 1943 and the Sir J.J. School of Art, Mumbai in 1947. He was one of the founding members of the Progressive Artists’ Group in 1948. After receiving a French Government Scholarship in 1950 he left for Ecole Nationale des Beaux Arts, Paris, where he was awarded the Prix de la Critique in 1956. In 1962 he served as a visiting lecturer at the University of California in Berkeley, USA. Raza has several solo exhibitions to his credit, including ‘Paysage: Select Works 1950s-1970s’,‘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 Lot 27 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, NewYork and London, in 2014, 13, 12, 11, 10; the Museum of Fine Art, Boston, in 2009; Grosvenor Gallery, London, Mumbai, 2004; Saffronart and Pundole Art Gallery, NewYork, 2001 and 2002; and Saffronart, Hong Kong and Los Angeles, 2001 among several others.

Raza received a Lalit Kala Ratna from the Lalit Kala Akademi, New Delhi in 2004, and a Padma Bhushan and Padma Shri from the Government of India in 2007 and 1981 respectively.The Madhya Pradesh State Government also awarded him with the Kalidas Samman in 1996-97. Raza lived and worked in Paris and Gorbio, France, till 2011.The artist passed away in New Delhi in July 2016.

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 Lot 28 shows to his credit, and numerous group shows in the countries of Europe, China, Australia, Japan, British Movietone News, Goldwyn, Metro by Singapore, Czechoslovakia, Korea and Egypt to name a few. His work has been documented BBC TV, London,Yeo Soo TV, South Korea,TV Austria, and Star TV, India.Various journals, magazines and newspapers such as The NewYork 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.

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 watercolorist, he taught art at Jagadhbandhu Institution, Kolkata from 1954-1956. Ray is also a founding member of the Society of Contemporary Artists, an artists' Lot 45 Lot 46 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 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.

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Sudhir Ranjan Khastgir was an Indian painter of the Bengal school of art and an art educator.

Born in Bangladesh in 1907, he soon moved to Kolkata, India for his schooling. After graduating from theVisva-Bharati University at Santiniketan in 1929, he went to the Academy of Fine Arts, Munich to study Fine Arts on a scholarship. After returning from Munich, he became the first Arts master at the newly opened The Doon School, where he remained for the next 20 years.While at Doon, he achieved considerable national fame and was invited by the Uttar Pradesh Government to head Lucknow College of Arts and Crafts in 1956.A pupil of Abanindranath Tagore and Nandalal Bose, Sudhir was known for the "Indian style" of painting. He was influenced by the Tagore family and his classic works include paintings of scenes from Indian mythologies, women, and village life. In 1957, he was awarded the Padma Shri award by the Government of India for his significant contributions to Indian art.

Lot 10

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;Vadehra Gallery, New Delhi, 1999; Gallery Chemould, Mumbai, 1994; and Art Heritage, New Delhi, 1990 and 1979. He also participated in ‘Contemporary Indian Art’, at the Festival of India, New York, in 1985 and in ‘Century City’, at the Tate Modern, London, in 2001. In 2004, a book on his works, “The Complicit Observer” by Ranjit Hoskote was published, and in 2008, “The Crafting of Reality”, a book on his 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 28

India’s of One postimportant modernist painters, Sunil Das rose to prominence with his drawing of horses.

Das came from a middle class family and his father was Lot 43 Lot 19 small Lot 18 a just businessman. After school, he decided to become a painter and joined a local art school. A French art scholarship with the Ecole Nationale Superieure des Beaux-Arts took him to Europe. It was in the course of his travels that he chanced to spend a few months in Spain, where he developed his passion for horses and bulls. Das’ paintings have also been influenced by his study of sculpture at Santiniketan, Kolkata, and his study of graphic art in Paris. His paintings have a kind of structure and rigidity that one would typically find in sculpture and in the etchings of graphic art. They not only express the physical attributes of his subjects but also their associative ones. Every once in a while he paints human beings, but his depiction of the human anatomy is skewed, to a point that it almost borders on macabre surrealism. Das has the distinction of being the only Indian artist to have won a National Award (the Shiromani Kala Puraskar) while still an undergraduate at the Government College of Art and Craft, Kolkata. Besides having been featured in several exhibitions, his works are also a part of the collections of renowned museums such as the National Gallery of Modern Art, New Delhi, the Glenbarra Art Museum, Japan, and the Ludwig Museum, Germany.

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Born in Onkoor, Kerala, Surendran Nair did his BFA (Painting) from College of Fine Arts, Kerala in 1982 and Post Diploma (Printmaking) from M.S.U. Baroda four years later. He has had several solo shows of his work apart from participating in prominent group exhibitions. Among his select shows are Graphic Prints, Lalit Kala Akademi, New Delhi, 1986; India in Switzerland, Center Genevois de Gravure Contemporain, Geneva, 1987; The Labyrinth of Eternal Delight, Campbelltown City Bicentennial Art Gallery, Sydney, and Casula Power House, 1996; The New South, Delphina Studio Gallery, London, 1996; 6th Biennale of Contemporary Art, Bharat Bhavan, Bhopal, 1996; New Shoes for Mercury, Sakshi Gallery, Mumbai 1997;The Search Within, Kloster Pernegg, Graz, Austria, and The National Gallery of Modern Art, Delhi, 1998; The 1st Fukuoka Asian Art Triennale, Fukuoka Asian Art Museum, Japan, 1999; Capital and Karma – Recent Positions in Indian Art, Kunsthalle Wien,Vienna, Austria, 2002.

The artist lives and works in Baroda.

Lot 58

Orientalist art refers to the works of mostly Western artists in the 19th century, who specialized in Oriental subjects, produced from their travels in the areas now known as the Near East, Middle East, and North Africa.As an art movement, Orientalist painting is generally treated as one of the many branches of 19th-century academic art.

Greatly influenced by artists’ direct experience of everyday life, Orientalist arts tapped into a growing fascination with travel and far-off, exotic lands.These paintings are characterized by patterns inspired by eastern textiles and architecture, studies of ethnic subjects, and exotic images of the Near East. Genre scenes are the norm reflecting everyday life - with subjects portrayed in routine activities or at leisure, depictions of military life, royal courts, harems, and the monarchy.

Lot 1

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