ARTIANA | South Asian Art | Online Auction | No Buyer's Premium | 27-30 June 2022 | Sale 2203

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

27 - 30 JUNE 2022

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

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SOUTH ASIAN ART MODERN AND CONTEMPORARY SALE NUMBER: 2203 ONLINE AUCTION JUNE 2 7 - 30, 2022

‘What You Bid is What You Pay’

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June 27, 2022 9:00 a.m. onwards UAE Standard Time

June 30, 2022 7:00 p.m. to 8:30 p.m.

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auction@artiana.com info@artiana.com Additional information on the buying process is available on page 79 Additional information on the FlexiPay scheme is available on page 86 This auction is conducted under the Conditions of Sale as stipulated in the catalogue on page 88 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, 2022 Front Cover: Lot 20 Inside Front Cover: Lot 26 & Lot 31 Page 2-3: Lot 21 Page 6: Lot 24 (detail)

End of Sale: Lot 37 (detail) Inside Back Cover: Lot 14 Back Cover: Lot 10

CONTENTS SALE GUIDE 11 SOUTH ASIAN ART : MODERN AND CONTEMPORARY LOTS 1 - 40 79 IT’S EASY TO BUY AT ARTIANA 80 AUCTION CLOSING SCHEDULE 81 WRITTEN / ABSENTEE BID FORM 82 BIDDING INCREMENTS 83 BUYING AT ARTIANA 86 FINANCE AT ARTIANA 88 CONDITIONS OF SALE 94 ARTIANA GUARANTEE 95 COLLECTION AND STORAGE 96 ARTIST PROFILES AND INDEX

LOT 1 - 10

LOT 1

MANJIT BAWA (1941 - 2008) Untitled dry pastel on paper 29 x 21.25 in. (73.7 x 54 cm.) executed in 2000

Signed and dated 'Manjit Bawa 2000' (lower right)

PROVENANCE

US$ 12,000 - 18,000

12

ARTIANA

Private collection, Dubai

LOT 2

PRABHAKAR BARWE (1936 - 1995) Three Possibilities watercolor and ink on paper 12 x 19 in. (30.5 x 48.3 cm.) painted in 1992

US$ 5,000 - 7,000

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

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

13

LOT 3

Signed and dated 'Ram Kumar 92' (on the reverse)

RAM KUMAR

PROVENANCE

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

US$ 12,000 - 18,000

14

ARTIANA

Acquired directly from the artist Artiana / Sale 2001 / Lot 6 / South Asian Art - Modern and Contemporary / 12 - 16 March 2020 / Dubai Private collection, Dubai

PUBLISHED Meera Menezes, Ram Kumar: Traversing the Landscape of the Mind, Saffronart, Mumbai, 2016, pg. 125 (illustrated)

LOT 4

MANIKLAL BANERJEE (1917 – 2002) Pigeons watercolor on silk 15 x 20 in. (38.1 x 50.8 cm.)

Signed in Bengali (lower right) Labeled 'Manik Lal Banerjee Pigeons - 15 x 20' (on the back of the frame) PROVENANCE

US$ 800 - 1,200

Private collection, Dubai

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

15

LOT 5

RAMANANDA BANDYOPADHYAY (B. 1936) Untitled mixed media on paper pasted on paper 17.5 x 14 in. (44.5 x 35.6 cm.)

Signed in Bengali (lower right)

PROVENANCE

US$ 800 - 1,200

16

ARTIANA

Private collection, Dubai

LOT 6

RAMANANDA BANDYOPADHYAY (B. 1936) Untitled mixed media on paper pasted on paper 13 x 15 in. (33 x 38.1 cm.)

Signed in Bengali (lower right)

PROVENANCE

US$ 800 - 1,200

Private collection, Dubai

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

17

From the beginning, M.F. Husain had been responsive to the force of symbolization. In his works, the coexistence of man, seasons, and animals is not on a mundane nor realistic level. He employed them repeatedly and relied on the capacity of their metaphors to reflect the ambiguities of reality, using signs and symbols to evoke them and the associative power of colours to convey specific emotions in his composition.

He incorporates animal forms to represent nature and embody their emotional, literary and mythical associations.

The character of his metaphors, the tiger, as in the current work, is not the subject of the work but the inspiring principle that it depicts. Much like a fable, he includes them to reflect and enhance the mood of the human character present, successfully creating a visual poetry that has its rhythm, symbolism, and its own sensuous and abstract connotations

LOT 7

MAQBOOL FIDA HUSAIN (1915 - 2011) Untitled watercolor and ink on paper 30 x 40 in. (76.2 x 101.6 cm.) painted in 1983

US$ 25,000 - 35,000

Inscribed and dated 'Mc Bull New York '83' (lower right) Bearing Vadehra Art label (on back of the frame) PROVENANCE Christie's / Sale 12174 / Lot 655 / South Asian Modern and Contemporary Art / New York / September 2016 Artiana / Sale 1701 / Lot 48 / South Asian Art Classical, Modern and Contemporary / Dubai / 23 - 27 March 2017 Private collection, Dubai

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

19

LOT 8

JOGEN CHOWDHURY (B. 1939) Fish pen, ink & colored ink on paper 2.5 x 9.5 in (6.3 x 24 cm.) painted in 2014

US$ 8,000 - 12,000

Signed, dated 'Jogen 2014' (upper right) and initialed and dated in Bengali (upper left) Further signed, titled, dated and inscribed 'Jogen Chowdhury / "Fish" / 2014 / Santiniketan / 24 x 6.3 cm. / Pen & Ink & Coloured ink paper (on the reverse) Further inscribed 'code No: 8/2014' (on the reverse) PROVENANCE Artiana / Sale 1601 / South Asian Art - Modern and Contemporary / 17 - 21 March 2016 / Dubai Private collection, Dubai

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

21

Sayed Haider Raza had grown increasingly unhappy and restless with his work by the start of the 1970s. This desire for a new direction and deeper authenticity in his work urged him to move away from plastic arts and study his Indian heritage in-depth. He experienced a gradual transformation starting from this period, shifting from expressionism to abstraction before ultimately; arriving at the Bindu.

Painted in 1974, a decade after Raza's shift in style to find a purer form of abstraction, the current work is part of the culmination of a period of experimentation and a precursor to the artist's heavily structured geometric canvases.

He was no longer concerned with the representational aiming to communicate mood rather than images. He skillfully used colours and gestural brushstrokes to convey warmth and lyrical messages rather than direct representation to express emotions in his pieces. Albeit the change in stylistic and technical concerns, nature and its elements had remained the basis and inspiration of his art.

LOT 9

SAYED HAIDER RAZA (1922 - 2016)

Signed and dated 'Raza 74' (lower right) Further signed, dated, and inscribed 'Raza / 1974 / 6P' (on the reverse) Bearing Bodhi Art label (on the reverse) Bearing Artcurial label (on back of the frame)

Composition

PROVENANCE

oil on canvas 16 x 10.5 in. (40.6 x 26.7 cm.) painted in 1974

Artcurial / Lot 451 / Contemporary Art 2 / 4 April 2007 / Paris Private collection, Singapore Artiana / Sale 1902 / Lot 6 / South Asian Art - Modern and Contemporary / 13-17 June 2019 / Dubai Private collection, Dubai

US$ 16,000 - 24,000

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

23

"One of Husain's most perennial obsessions as an artist has been the form of the horse. His encounter with the horses began in his childhood in Indore - encounters which came in several forms with different associations, inspiring different emotions. His interest in it is not confined to a single aspect, rather, he is equally interested in the gentle, daemonic, mythical and the erotic associations of the horse, one of the most graceful and lively forms in nature. He has explored this aspect and its numerous variations in several paintings that draw the viewer's attention to the form of the horse rather than elicit any specific emotion. Altogether, the horse paintings of Husain done over several decades represent some of his finest works and demonstrate the power of his draftsmanship, his deep understanding of the myths associated with the horse in the multi-faceted Indian artistic and cultural tradition and his talent to invest them with a new contemporary meaning [...] (K. Bikram Singh, Maqbool Fida Husain, New Delhi, 2008, p. 169 & 192)

LOT 10

MAQBOOL FIDA HUSAIN

Signed 'Husain' (upper left) Dated '2nd April 2011' (lower left)

(1915 - 2011)

(Lot Note: Painted on the day of the ICC Cricket World Cup 2011 final match depicting India and Sri Lanka as the two stallions)

Untitled (2 Horses)

PROVENANCE

acrylic on canvas 30 x 48 in. (75 x 121 cm.) painted in 2011

Artiana / Sale 1801 / Lot 50 / South Asian Art - Classical, Modern and Contemporary / Dubai / 10 - 14 May 2018 Private Collection, Dubai

EXHIBITED AND PUBLISHED

US$ 200,000 - 300,000

Legends & Icons: M.F. Husain, The Fine Art Advisory, Dubai, 2013, pg. 3 (illustrated)

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

27

LOT 11 - 20

"Padamsee's figures and heads attest to a subtle articulation of public concerns. Here we find the heads of saints and martyrs, their features crystallising slowly, as though emerging from water or forming on a wet shroud. Padamsee's protagonists are often composite figures, suggestive now of a medieval monk, now of Tarkovsky's Stalker or a survivor from a prison camp. Their eyes do no rest on us; nor are they fixed on any external object. They do not communicate suffering in the raw, so much as suffering overcome by fortitude. They resemble Padamsee's 'Prophets' of the 1950's, but unlike those radiant apostles, confident envoys of eternity, these are pilgrims of survival who bear testimony to the splendour of knowledge, but have also wrestled with the daemons of the flesh, been broken by pogrom and holocaust" (Ranjit Hoskote, "The Ricochet of the Line", Akbar Padamsee: Drawings, Watercolours, Photographs, Pundole Art Gallery exhibition catalogue, 2004, p.4).

LOT 11

AKBAR PADAMSEE (1928 - 2020) Untitled (Face) watercolour on paper 22 x 15 in. (55.9 x 38.1 cm.) painted in 2001

US$ 7,000 - 10,000

Signed and dated 'Padamsee 2001' (upper left)

PROVENANCE 1 x 1 Art Gallery, Dubai Private collection, Dubai

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

31

LOT 12

FRANCIS NEWTON SOUZA (1924 - 2002) Untitled mixed media on paper 9.25 x 12.75 in (23.5 x 32.3 cm.) executed in 1960

US$ 3,000 - 5,000

32

ARTIANA

Signed and dated ‘Souza 1960’ (lower right) PROVENANCE CThe Guild Art Gallery, Mumbai Artiana / Sale 1602 / Lot 33 / South Asian Art Modern and Contemporary / Dubai / 13 - 17 October 2016 Private collection, Dubai

LOT 13

LAXMAN SHRESHTHA (B. 1939) Untitled oil on canvas 14 x 14 in. (35.6 x 35.6 cm.) each painted in 2004

(Above) Signed 'Laxman Shrestha' (on the reverse) Labeled 'Laxman Shrestha / Oil on canvas / 14 x 14' (on the back of the frame) (Below) Signed and dated 'Laxman 2004' (lower right) Further signed 'Laxman Shrestha' (on the reverse) Labeled 'Laxman Shrestha / Oil on canvas / 14 x 14' (on the back of the frame) PROVENANCE

US$ 10,000 - 15,000

12

ARTIANA

Private collection, Dubai

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

33

LOT 14

RAM KUMAR (1924 - 2018) Untitled acrylic on paper 22.25 x 35 in. (56.5 x 89 cm.) painted in 1998

US$ 14,000 - 20,000

34

ARTIANA

Signed and dated 'Ram Kumar 98' (on the reverse) PROVENANCE The Guild Art Gallery, Mumbai Private collection, Dubai Artiana / Sale 1801 / Lot 49 / South Asian Art - Classical, Modern and Contemporary / Dubai / 10 - 14 May 2018 Private collection, Dubai

LOT 15

MANU PAREKH (B. 1939) Temple Festival at Moonlight acrylic on canvas 48 x 72 in. (121.9 x 182.9 cm.) painted in 2018

US$ 30,000 - 50,000

Signed in Hindi and dated '2018' (lower left)

PROVENANCE Acquired directly from the artist

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

35

LOT 16

A. RAMACHANDRAN (B. 1935) Untitled oil on canvas 18 x 18 in. (45.7 x 45.7 cm.) painted in 2007

US$ 7,000 - 10,000

36

ARTIANA

Signed and dated 'Ramachandran 2007' (lower left) PROVENANCE The Guild Art Gallery, Mumbai Bagash Art Gallery, Dubai Private collection, Dubai

LOT 17

MAITE DELTEIL (B. 1933) The Summer Trees oil on canvas 18 x 21.75 in. (46 x 55 cm.) painted in 2015

US$ 12,000 - 18,000

Signed 'Delteil' (lower centre) PROVENANCE Artiana / Sale 1601 / Lot 48 / South Asian Art - Modern and Contemporary / 17 - 21 March 2016 Private collection, Dubai

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

37

LOT 18

ANJOLIE ELA MENON (B. 1940) Untitled oil on masonite 6 x 6 in. (15.2 x 15.2 cm.)

Signed 'Anjolie Ela Menon' (lower right)

PROVENANCE

US$ 5,000 - 7,000

38

ARTIANA

Private collection, Dubai

LOT 19

JOGEN CHOWDHURY (B. 1939) Man's Face ink on paper 11 x 14 in. (27.9 x 35.6 cm.) executed in 2001

US$ 4,000 - 6,000

Signed and dated 'Jogen 2001' (upper right) Initialed, dated 'J 2001' (lower left) and signed in Bengali (lower right)

PROVENANCE Acquired directly from the artist Private collection, Dubai

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

39

Referred to as the Enfant Terrible of Modern Indian Art for his visionary yet unconventional take on art, Francis Newton Souza, was one of the first Indian painters to achieve international recognition from a newly-independent India and a leading figure in its then-budding avant-garde movement. As the founding member of the Progressive Artists Group, he was one of the cornerstones from which the Indian Modern Art movement expanded and propelled to the west and eventually the world stage.

Throughout his illustrious career, Souza maintained a strong vision for his art, veering away from the traditional school of art of Santiniketan and the realism of the British school of painting. Aiming to make his mark, he capitalised on his strength as a draughtsman, honing his highly distinctive style and spanning the entire gamut of subjects from nudes, still-life, strongly drawn heads and landscapes.

The current work, painted in 1961, is part of the culmination of both technique and subject in Souza's prime decade. During this period, the urban environs were a vital source of inspiration, showcasing the evolution of his landscape paintings from the bold

architectonic forms of the 1950s, characterised by their heavy outlines and thick impasto, to the more gestural and fluid compositions of the early 1960s.

In this finely detailed landscape, the characteristic angular and lopsided buildings in rich colours of vermillion, yellow and blue, outlined in black, create a world of choreographed chaos and unrestraint energy that represents Souza's unique perspective. In it, the architectural structures huddle together, compacted as if leaning on one another amidst a sky that seems turbulent and tumultuous despite being ostensibly blue. Amid the chaos, as one zooms into the details, one notices the subtle and nuanced use of colours that blend and bleed like foliage, filling the frame and expressing a flurry of complex emotions.

Atop lush greenery, the buildings in the foreground adorned with cornices and domed rooftops; call to mind Hampstead Heath in North London, where the artist lived at the time. The steeples, ever-present, are a nod to Catholic architecture, which informed so much of the artist's work in this genre.

LOT 20

FRANCIS NEWTON SOUZA (1924 - 2002) Untitled (Landscape) oil on canvas 25.75 x 49 in. (65.4 x 124.5 cm.) painted in 1961

US$ 250,000 - 350,000

Signed and dated 'Souza 61' (upper left) Bearing 'Hamish Dewar Fine Art Conservation & Restoration' label (on the stretcher)

PROVENANCE Grosvenor Gallery, London Private collection, Mumbai

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

43

LOT 21 - 30

"Abandoning his stringent-abstractionist persona, Ram Kumar declares himself an amorist of the landscape. The true object of his art is not to render the landscape, but to love it: the true subject of his art is the landscape as Beloved." (Ranjit Hoskote, Ram Kumar: Selected Works 1950-2010, Vadehra Art Gallery, 2010, unpaginated) Kumar had given his own interpretation of India's topography in his abstract landscapes, affirming the harmony and the power of nature in its subtlety. His poetic and elevating use of line offers a glimpse of semi-representational forms that gives meaning to the overall composition. He depicted figure of trees rising and rupturing the abstract vista with colors flowing naturally around it.

Warm autumn hues lie embedded in the color fields, interrupted by the sporadic pink and blues, that signifies a break in the landscape and a change in the physical features of the land. The lyrical mix of colors and patterns lend the picture the desired spontaneity.

LOT 21

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

US$ 60,000 - 90,000

Signed and inscribed 'Ram Kumar / 33 x 52' (on the reverse)

PROVENANCE Acquired directly from the artist Private collection, New Delhi Artiana / Sale 2004 / Lot 29 / South Asian Art - Modern and Contemporary / Dubai / 24 - 28 September 2020 Private collection, Dubai

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

47

LOT 22

MAQBOOL FIDA HUSAIN (1915 - 2011) Untitled mixed media on paper 16 x 12 in. (40.6 x 30.5 cm.)

US$ 9,000 - 13,000

48

ARTIANA

Signed 'Husain' (upper left)

PROVENANCE Bagash Art Gallery, Dubai Private collection, Dubai

LOT 23

SAYED HAIDER RAZA (1922 - 2016) Akela acrylic on canvas 24 x 19.75 in. (60.9 x 49.9 cm.) painted in 2007

US$ 30,000 - 50,000

Signed and dated 'RAZA '07' (lower right) Further signed, titled in Hindi, dated and inscribed 'RAZA / 2007 / acrylic on canvas / 60 x 50 cm' (on the reverse) Initialed and further inscribed in Hindi (on the reverse) PROVENANCE Acquired directly from the artist Artiana / Sale 1702 / Lot 50 / South Asian Art - Classical, Modern and Contemporary / Dubai / 26 - 30 October 2017 Artiana / Sale 2103 / Lot 17 / South Asian Art - Modern and Contemporary / Dubai / 15 - 18 April 2021 Private collection, Dubai

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

49

The portrayal of the feminine is an integral part of M.F. Husain's compositions. His female figures, often influenced by classical Indian sculptures, possess the artist's instantly recognizable, angular lines. "It is a point worth noting that Husain's women, far from arousing passion, are ascetic...It is almost as if he strips the sculptures of all exterior embellishments to arrive at their basic sense of movement. Husain's women are always enshrouded in an invisible veil, the simplicity of their form countered by their inaccessibility." (Yashodhara Dalmia, "A Metaphor for Modernity," The Making of Modern Indian Art: The Progressives, Oxford University Press, New Delhi, 2001, pg. 110 - 111) This longstanding preoccupation with the female figure as an artistic theme is shown evidently in the current painting. As observed in most of Husain's works, his characters are often rooted in their environment: inhabiting rural scenes or detailed landscapes. However, in this picture, the women are defined not by their environs but by their apparent connection with each other, portrayed as archetypal figures caught in a seemingly private moment.Husain casts them amid a reaction, their gaping mouths and

gesturing hand emphasizing their emotion, tying in the image and linking the characters in suspended communication. The bodies of the two women on the left merge into one another, almost forming a single entity.

Across the canvas, Husain applied paint in a gestural manner using expressive brushstrokes, the outline of the figures thick and deliberate, reminiscent of his early and mid-career works. While he is often known for bright jewelled colours, he sometimes favoured an earthier muted palette, connecting to the aesthetics of folk art, as in this work. The artist used vibrant hues and tones of ochre, orange, brown, and burgundy, reminiscent of Byzantine religious icons, to give these figures a sense of gravitas and solidity.

He also employs the colours to divide the picture plane into areas of light and dark while delineating the faces of these characters, obscuring their eyes in shadows while removing any indication of depth or perspective of space in the background. The overall effect evokes mystery and contemplation, revealing a preoccupation with human sentiments and conditions rather than a particular subject.

LOT 24

MAQBOOL FIDA HUSAIN (1915 - 2011) Three Women oil on canvas 42 x 33 in. (106.7 x 83.8 cm.) painted circa 1980's

US$ 80,000 - 120,000

Signed 'Husain' (upper right) Further signed, titled, and inscribed 'Husain / "Three Women"/ 42 x 33' (on the reverse)

PROVENANCE Art Heritage Gallery, New Delhi Private collection, Dubai

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

51

Many of M.F. Husain’s works show his concern for the human condition and the suffering of others, often articulating their plight and courage and offering a message of hope and the possibility of redemption.

In 1977, a cyclone ravaged the state of Andhra Pradesh, killing nearly 10,000 people. In response to this tragedy, Husain painted the Andra Cyclone Series, works that reflect gentle comfort to those in mourning and hope for survivors of the catastrophe, including the current lot. Here a lamb is seen in a barren landscape, silhouetted against a dark background. The use of the lamb was deliberate on the artist's part, as it is the symbol of hope and spiritual purity in Christianity - a minority religion of the affected in the region.

Evident in this work and his many other social pieces, Husain's sensibility as an artist goes on much more than the humorous and the satire. His deep belief in his country's secularity and pluralism gave his works traction for the better and the worse; and the earnestness to transform the mythical and the lived tragedies into powerful contemporary statements.

LOT 25

MAQBOOL FIDA HUSAIN (1915 - 2011) Untitled (Lamb) watercolour on paper 20.25 x 26.25 in. (51.4 x 66.7 cm.) painted in 1977

US$ 12,000 - 18,000

Signed in Urdu and English, ‘Husain’ and dated ’77’ (lower right) (Lot Note: Part of the artist's Andhra Cyclone Series) PROVENANCE Art Heritage Gallery, New Delhi Private collection, Dubai

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

53

LOT 26

K.G. SUBRAMANYAN

Signed in Tamil (lower left)

(1924 - 2016) Brown Madonna gouache on board 16 x 16 in. (40.5 x 40.5 cm.) painted in 2011

US$ 12,000 - 18,000

54

ARTIANA

PROVENANCE Acquired directly from the artist Private collection, Dubai Artiana / Sale 1702 / Lot 44 / South Asian Art - Classical, Modern and Contemporary / 26 - 30 October 2017 / Dubai Private collection, Dubai

LOT 27

SAKTI BURMAN (B. 1935) Untitled watercolor on paper 19 x 25 in. (48 x 63.5 cm.)

Signed 'Sakti Burman' (lower right)

PROVENANCE

US$ 2,500 - 3,500

Private collection, Dubai

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

55

LOT 28

LAXMAN SHRESHTHA (B. 1939) Untitled oil on canvas 59 x 59 in. (149.8 x 149.8 cm.) painted in 2003

US$ 20,000 - 30,000

56

ARTIANA

Signed and dated 'Laxman 2003' (lower right) Further signed 'Laxman Shreshtha' (on the reverse)

PROVENANCE Bagash Art Gallery, Dubai Artiana / Sale 1701 / Lot 31 / South Asian Art - Classical, Modern and Contemporary / Dubai / 23 - 27 March 2017 Private collection, Dubai

LOT 29

SUNIL DAS (1939 - 2015) Untitled (Bull) oil on canvas 32.5 x 32 in. (82.6 x 81.3 cm.) painted in 1993

US$ 2,000 - 3,000

Signed and dated 'Sunil 93' (upper left)

PROVENANCE Private collection, Dubai

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

57

"Husain had seen Mother Teresa in Calcutta in one of her visits while she was comforting sick children and old destitute people by holding their hands and praying for them. Husain, so moved by her presence, resolved to make a portrait of her that very day despite knowing it would need a lot of study. For him, her personality, presence and work are so great that he cannot depict it all in realistic form. Husain was attracted by Mother Teresa as a living personification of his own mother and the very idea of motherhood. She had a sculptural presence and Husain saw in her the artist's concept of motherhood hallowed both in Indian and western art.

Besides, she had the aura of an evolved spiritual person and, therefore, the spiritual dimension of Mother Teresa was as important to him as an artist, as her more obvious manifestation of motherhood.

Looking at her, he had instinctively realized that a realistic approach to portray the Mother would not succeed in capturing her presence or her spiritual dimension. And yet, curiously, his search for the right form began with the creation of a few almost realistic sketches.

Husain did pen & ink sketches of Mother Teresa, with her wrinkled, peasant face and hand sharply etched in strong lines. creating a feeling of profound gentleness and compassion. However, there is no presence of her spiritual aura in the sketches that he was trying to capture. In another ink drawing, her

hand is no longer a part of the portrait. Instead, the border of her sari frames her face. It is this border that points to the direction in which Husain was seeking a solution to the artistic problem of going beyond realism and creating an abstract metaphor that would evoke both her person and the spiritual aura surrounding her. He then takes a huge step when in another sketch of 1979, he removed the face of the Mother from the portrait and concentrated on her all-enfolding robe, therefore solving the problem he was facing. He added figures of children as it was a part of her persona. Yet, the results are quite not satisfactory so he studied the treatment of saints in the pre-Renaissance paintings of Italy. He found the robe of 'The Missionaries of Charity' founded by Mother Teresa, a white, thick cotton sari with a broad blue border which he later on converted into a metaphor of her. To accentuate the abstract dimension of the robe, he completely removed the face from his portraits. He incorporated images of emaciated children and dying men and women who were the prime objects of Mother Teresa's boundless love.

In the process, his images of Mother Teresa did not remain only abstract portraits but acquired the elements of a biography. These pictorial elements became the core of the numerous images of her that Husain was to create over the next two and a half decades." [...] (K. Bikram Singh, Maqbool Fida Husain, Rahul & Art, New Delhi, 2008, p. 229-231)

"The eight decade, the decade of eternal mother, Her white sari, lights up the unlit lanes of Calcutta.

I paint and unfold several layers of her sari, In search of my lost mother.

Sometimes her trembling hand, Appears from the bodyless bundle of cloth To touch her fugitive son."

- M.F. Husain

LOT 30

MAQBOOL FIDA HUSAIN (1915 - 2011) Trinity of Mother Teresa acrylic on canvas 36.5 x 61.5 in. (101.6 x 152.4 cm.) painted in 1989

US$ 300,000 - 500,000

Signed in Bengali and English 'Husain' (lower right) PROVENANCE Property of an esteemed art collector Artiana / Sale 1801 / Lot 39 / South Asian Art - Classical, Modern and Contemporary / Dubai / 10 - 14 May 2018 Private collection, Dubai

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

61

LOT 31 - 40

LOT 31

K.G. SUBRAMANYAN (1924 - 2016) Leela gouache on board 24 x 24 in. (61 x 61 cm.) painted in 2011

US$ 20,000 - 30,000

Signed in Tamil (lower center) PROVENANCE Acquired directly from the artist Private collection, Dubai Artiana / Sale 1702 / Lot 29 / South Asian Art - Classical, Modern and Contemporary / 26 - 30 October 2017 / Dubai

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

65

'In Pakistan, Jamil Naqsh is probably best known for his paintings featuring pigeons, or pigeons with beautiful women.

These refer to a very particular aspect of his own past, as well as to specific aspects of Pakistani culture [...] During his childhood, the pigeons that flew in and out of the windows of the family house were personifications of domestic calm and ease. For Naqsh, the painted images are emotionally charged - they are symbols of a way of life that has been completely lost, and can never be recovered, except through the magic of art.' (Edward Lucie-Smith, Jamil Naqsh: Memories of Doves & Pigeon, Exhibition catalogue, Albemarle Gallery, London, 2012, p. 2.)

LOT 32

JAMIL NAQSH

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

(1939 - 2019)

PROVENANCE

Pigeon Holed II oil on canvas 36 x 72 in. (91.4 x 183 cm.) painted in 2012

EXHIBITED AND PUBLISHED

US$ 60,000 - 90,000

Albemarle Gallery, London Artiana / Sale 1702 / Lot 20 / South Asian Art - Classical, Modern and Contemporary / 26 - 30 October 2017 / Dubai Private collection, Dubai Jamil Naqsh: Memories of Doves & Pigeons, Albemarle Gallery, London, 2012, p. 34 (illustrated)

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

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LOT 33

PROKASH KARMAKAR (1933 - 2014) Untitled (Landscape) oil on canvas 39 x 28.5 in. (99.1 x 72.4 cm.) painted in 1992

Signed and dated '92' (lower left)

PROVENANCE

US$ 800 - 1,200

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Private collection, Dubai

LOT 34

CHITTROVANU MAZUMDAR (B. 1956) Untitled acrylic on canvas 48 x 36 in. (121.9 x 91.4 cm.)

US$ 9,000 - 13,000

Signed 'C. Mazumdar' (lower right) Furthered signed 'Chittrovanu Mazumdar' (on the reverse) PROVENANCE 1 x 1 Art Gallery, Dubai Private collection, Dubai

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LOT 35

PARESH MAITY (B. 1965) Blossoming oil and acrylic on canvas 48 x 48 in. (122 x 122 cm.) painted in 2001

Signed and dated 'Paresh Maity / 2001' (lower left)

PROVENANCE

US$ 20,000 - 30,000

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Acquired directly from the artist

LOT 36

SUJATA BAJAJ (B.1958) Fragments

Signed in Hindi and English (lower center)

acrylic on canvas 19.75 x 19. 75 in. (50 x 50 cm.)

PROVENANCE

US$ 4,000 - 6,000

Acquired directly from the artist

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LOT 37

SAYED HAIDER RAZA (1922 - 2016) Yoni ceramic with polychrome enamel decoration height - 21.5 in. (56.5 cm.) width - 21.5 in. (56.5 cm.) depth - 1 in. (2.5 cm.) executed in 2007

US$ 9,000 - 13,000

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Signed 'RAZA' (lower right) Further signed and inscribed 'RAZA / 1/8' and stamped 'LA TUILERIE / 89250 TREIGNY / 2008' (on the reverse) Edition 1 of 8 PROVENANCE Private collection, Paris Private collection, Singapore

PUBLISHED Alain Bonfand, La Différence, 2008, pg. 328 (illustrated, another from the edition)

LOT 38

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

Signed 'Himmat' (on the base) Edition 4 of 5 PROVENANCE Santiniketan Society of Visual Art and Design (SSVAD) Private collection, Dubai

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LOT 39

HIMMAT SHAH (B. 1933) Untitled bronze height - 18 in. (46 cm.) width - 9 in. (22.8 cm.) depth - 6.5 in. (16.5 cm.) casted in 2006

US$ 12,000 - 18,000

Signed and numbered 'Himmat / 4/9' (lower center) Edition 4 of 9

PROVENANCE Acquired directly from the artist Private collection, Dubai

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LOT 40

G. RAVINDER REDDY (B. 1956) Head-06 painted and gold gilded polyester, resin and fiberglass height - 53.5 in. (136 cm.) width - 35.5 in. (90 cm.) depth - 51.5 in. (131 cm.) executed in 2005

US$ 200,000 - 250,000

Signed and dated 'G. Ravinder Reddy / 2005' (inside the hollow of the base) (Unique piece) PROVENANCE Sotheby's / Sale N08290 / Lot 44 / Indian Contemporary Art / New York / 22 September 2006 Private collection, Mumbai

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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.

2. BIDDING

3. PAYING AND TAKING IT HOME

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

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

Visit www.artiana.com to find out more.

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

Written/Absentee Bids These are suitable for those Bidders who may not be available during the auction, or would prefer to have an Artiana representative complete the online transaction on their behalf. Once you have completed the Written/Absentee Bids form, we will either Bid online directly or place a ‘Proxy Bid’ on your behalf, allowing our auction software to Bid 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

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

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

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

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

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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

EASTERN AUSTRALIA UTC +10:00

1-10

7:00 p.m.

8:30 p.m.

11:00 a.m.

8:00 a.m.

4:00 p.m.

4:00 p.m.

6:00 p.m.

11:00 p.m.

1:00 a.m.

(July 1)

11-20

7:30 p.m.

9:00 p.m.

11:30 a.m.

8:30 a.m.

4:30 p.m.

4:30 p.m.

6:30 p.m.

11:30 p.m.

1:30 a.m.

(July 1)

21-30

8:00 p.m.

9:30 p.m.

12:00 p.m.

9:00 a.m.

5:00 p.m.

5:00 p.m.

7:00 p.m.

12:00 a.m.

(July 1)

2:00 a.m.

(July 1)

31-40

8:30 p.m.

10:00 p.m.

12:30 p.m.

9:30 a.m.

5:30 p.m.

5:30 p.m.

7:30 p.m.

12:30 a.m.

(July 1)

2:30 a.m.

(July 1)

ARTIANA

WRIT T EN / ABSENTEE BIDS FORM S OUTH AS IAN ART : MODERN AND CONTEMPORARY, JUNE 27 - 30, 2022

2203

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

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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.

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

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

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

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

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

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

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

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

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

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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.

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

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

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

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

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

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

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

2.27. Technical Downtime In the unlikely event that the Website is inaccessible to Bidders worldwide due to Technical Downtime within the half hour prior to the scheduled Closing Time for any of the Lot Groups, the Closing Time of that Lot group and subsequent Lot Groups will be extended by the duration of the Technical Downtime. In case the Technical Downtime extends beyond the Closing Time for a particular Lot Group, the Website shall, after the Technical Downtime, show the Auction for the particular Lot Group as closed. However, the Closing Time for such Lot Group and subsequent Lot Groups shall be extended by the duration of the Technical Downtime and appropriate details of the extension shall be published on the Website shortly after recovery from the Technical Downtime. Note that any malfunction in

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

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

3.1. 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,

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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.

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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.

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.”

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.

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

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

Lot 16

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 2013; Art Alive Gallery, New Delhi;Vadehra Art Gallery, New 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.

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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, NewYork, 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 18

Chittrovanu Mazumdar (b. 1956) Born in 1956, Mazumdar graduated from the Government College, Kolkata, in 1981, with a First Class in Painting, and later studied at the Ecole des Beaux Arts in Paris. His most recent solo exhibitions were held at the Harrington Street Arts Center, Kolkata, in 2012; Apparao Galleries, Chennai, in 2010; 1 x 1 Art Gallery, Dubai, in 2009 and 2006; The Royal Academy of Arts, London, presented by Gallery 88, Kolkata, in 2006; Bodhi Art, New Delhi, 2005; the Seagull Foundation, Kolkata, in 2004; and Bose Pacia, New York, in 1997. Mazumdar has also participated in special exhibitions such as ‘Size Matters Or Does It?’ at Latitude 28, New Delhi, in 2010; ‘Recycled’ at Bose Pacia, Kolkata, in 2009; ‘November’ at 1 x 1 Contemporary, Dubai, in 2008, ‘Altered Realities’ at Aicon Gallery, Palo Alto, in 2006; ‘Paths of Progression’, Saffronart and Bodhi Art, Mumbai, New Delhi, New York, Singapore, in 2005;‘Generation i’, Saffronart and Guild Gallery, Mumbai, in 2004; ‘Confluence Art Camp’ Alliance Francaise, Kolkata, in 1992; ‘Exhibition for the African National Congress’, Kolkata Information Center, Kolkata, in 1988.The artist currently lives and works in Kolkata.

Lot 34

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 Lot 12 Lot 20 Group in 1948, before leaving for London a year later. In 1955 Souza held a one-man show at Gallery One in London and also had his autobiographical essay ‘Nirvana of a Maggot’ published. He was awarded the John Moore Prize at the Walker Art Gallery, Liverpool in 1957 and received an Italian Government Scholarship in 1960. In 1959 a collection of his autobiographical essays,‘Words and Lines’, was published, and in 1962 a monograph on his work by Edwin Mullins was published as well. In 1967 Souza migrated to New York where he received the Guggenheim International Award. Two retrospectives of his work were organized by Art Heritage, New Delhi, in 1986 and 1996. Souza also participated in a work-live programme in Los Angeles, hosted by Saffronart in 2001. Souza passed away in Mumbai 2002. Some important posthumous exhibition of his work include, ‘F.N. Souza’ at Saffronart and Grosvenor Gallery, New York, in 2008; ‘F.N. Souza: Religion & Erotica’ at Tate Britain, London, in 2005-06; ‘Self-Portrait: Renaissance to Contemporary’ at the National Portrait Gallery, London, in 2005; and ‘Francis Newton Souza’ at Saffronart and Grosvenor Gallery, New York and London, in 2005.

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G. Ravinder Reddy (b. 1956) Born in Suryapet, Andhra Pradesh, Ravinder Reddy received his B.F.A. (Sculpture) and M.F.A. (Creative Sculpture), from M.S. University, Faculty of Fine Arts, Baroda, in 1980 and 1982 respectively. He also has a Diploma (Art and Design) from the goldsmith College of Arts, University of London, 1983, and has done a short certificate course in Ceramics at the Royal College of Art, London, 1984. He has held solo exhibitions since 1981, the most recent one being at GrosvenorVadehra, London in 2008. His works have been part of group exhibitions such as the one held at the Japan Foundation Asian Center,Tokyo; the Third Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane, 1999; Nature Morte, Delhi, 2000; Gallery Espace, New Delhi, 2001; Institute de Culture, Barcelona, 2002, Lalit Kala Galleries by Gallery Espace, New Delhi, 2003.The artist currently lives and works in Visakhapatnam,Andhra Pradesh.

Lot 40

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’, Lot 38 Lot 39 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.

Born in 1939, in Kairana in Uttar Pradesh, India, Jamil Naqsh moved to Karachi in Pakistan following the partition of the subcontinent in 1947. In 1953, he enrolled at the National College Art (then Mayo College) in Lahore, but did not complete his education there, leaving after two years to study art on his own. Naqsh’s mature style is a blend of cubism – in the way he treats form and texture – tempered with fluidity and a subtle use of colour. Naqsh has painted the female form in many of his canvases replete with poise and grace. In another series of paintings he pairs pigeons and doves with the Lot 32 female form, symbolic of love, peace and gentleness. One more series of works, inspired by the Italian sculptor Mario Marini, who captured the beauty of the horse in his work, combines the elegance of the nude female with the sturdy grace of the equine figure. Naqsh’s work has been exhibited extensively in Pakistan, India, the UK and the UAE. Between 1960 and 68 he served as Co-Editor of Seep, an Urdu literary magazine, and between 1970 and 73 as President of the Pakistan Painters Guild. Among the artist’s many honours are medals and awards from the Pakistan Art Council, Karachi; the Ministry of Culture, 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 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 Lot 8 ‘Jogen Chowdhury: Formative to Recent’, Centre of International Modern Art (CIMA), Kolkata, in 2014;‘Lignes de Meditation’, Gallery Veda, Chennai, in 2012-13; ‘A Calligraphy of Touch and Gaze’ by Kalakriti Art Gallery at ICIA, Mumbai, in 2008;Vadehra Art Gallery, New Delhi, in 2007; the Centre of International Modern Art (CIMA), Kolkata, in 2006; and Bose Pacia, New York, in 2002. Chowdhury’s works have been exhibited in several group shows including ‘Ideas of the Sublime’, presented by Vadehra Art Gallery at Lalit Kala Akademi, New Delhi, in 2013; ‘Figure / Landscape: Part Two’, Aicon Gallery, London, in 2010-11; ‘Dali’s Elephant’, Aicon Gallery, London, ‘Paper Trails’, Vadehra Art Gallery, New Delhi, ‘Pretty Ugly’, Bose Pacia, Kolkata, ‘Image and symbol: Painters Perception’, Aakrit Art Gallery, Kolkata, in 2010; ‘Modern Continuous’, Galerie 88, Kolkata, in 2009; ‘Inverting, Inventing, Traditions’, GrosvenorVadehra, London, in 2007; Drawing Show an Act of Art II’, Priyasri Art Gallery, Mumbai, in 2006; those by Saffronart and Pundole Art Gallery, NewYork, 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 Lot 19 Award, Kolkata, in 1997, and the Prix le France de la Jeune Peinture in 1966.The artist lives and works in Shantiniketan,West Bengal.

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 Lot 26 Lot 31 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 recognition of his varied contributions to the development of Indian art he was awarded the Shiromani Kala Puraskar by the Government of India in 1994. 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.

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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 Lot 28 Lot 13 (2008, 2003, 1994); ‘Elaborations’, Recent works in Black and White, Pundole Art Gallery, Mumbai (2007); ‘Inaugural Show’, Prithvi Art Gallery, Mumbai (1994); Gallery Chemould, Mumbai (1968); and a show at Tribhuwan College, Kathmandu, Nepal almost five decades ago. His selected group shows are 'Aqua', Gallery Beyond, Mumbai, 'One Eye Sees, the Other Feels',The Viewing Room, Mumbai (both in 2012); 'Point and Line to Plane VI', Gallery Beyond (2008); ‘Tribute to Picasso’, Guild Art Gallery, Mumbai (2002); ‘Aspects of Modern Indian painting’, courtesy Saffronart and Pundole, Metropolitan Pavilion, New York (2002, 2001); ‘Ideas and Images – Part IV', NGMA, Mumbai (2002); ‘The Search’, Apparao-Wallace Galleries, New York (1997); ‘Image Beyond Image’, Glenbarra Art Museum Collection, Japan, NGMA (1997); 50 Years of Freedom of Expression’, Jehangir Gallery (1997); 25 Years of Indian Art, Rabindra Bhavan, Delhi (1972); Baltimore and San Francisco (1971); Maisons des Beaux Arts, Paris (1966); Salle de la Presse, French Foreign Ministry, Paris (1966); and ‘Inaugural Exhibition’, Gallery Chemould (1963). Shreshtha's abstract works are both sensuous and meditative in their shifts and balances of colour. Though abstract, his paintings have a sense of intrigue in them, that leaves the observer, and Shreshtha himself, as he confesses, trying to understand the shades of meaning they present.The artist lives and works in Mumbai.

Born in 1933 in Furnel, France, Maite Delteil received her art education at Ecole Des BeauxArts, 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 CasaVelasquez in 1959.

She married the painter Sakti Burman in 1963.

Her works have a languid quality and an old world charm. Her subjects are seemingly simple like landscapes and figuration but the artist uses them as a means to explore the depths of her thoughts.The detailing and expressive use of colours belies much deeper thoughts. Her first solo exhibition took place in Kolkata in 1964 and since 2001, Delteil has exhibited exclusively in India. Her exhibition at Mumbai in 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.

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Lot 17

Maniklal Banerjee (1917 – 2002) Maniklal Banerjee was born in Barisal, Bangladesh in 1917. Known for his watercolours, he specialised in cloth painting, most notably on silk. He attended the Government College of Art and Craft in Calcutta from 1932 to 1937. A gifted artist, he received the very First Indian Government Scholarship for further studies in Art in 1939. He later embarked upon a very successful career as an art teacher in the Government College of Arts And Crafts (Calcutta) from 1939 until his retirement in 1997. He received the prestigious Abanindra Puraskar Award in 1999. Considered one of the master colourists of his period, his palette and deft use of colours and lines gave life to compositions inspired mainly by the tradition and rural life of Bengal, nature, Indian ideologies, philosophical aspects, and Tantric and Vedic themes. He headlined 50 Solo Exhibitions in India and abroad throughout his career and was the subject of a Lot 4 documentary in Doordarshan Kendra by the Information Centre, Government of West Bengal. His works are currently part of several private and public collections across India.The artist passed away on April 8, 2002.

Manjit Bawa (1941 - 2008) Born in 1941, in Punjab, Bawa studied at the College of Art, New Delhi, and then at the London School of Printing.

During his stay abroad, from 1967 to 1971, he held his first solo exhibition in London and Spain. His last solo shows include those at the Nehru Centre and Air Gallery, London, organized by Sakshi Art Gallery, Mumbai, Gallery Maya, London, in 2005; Palette Art Gallery, New Delhi, in 2005, Sakshi Art Gallery, Mumbai, Indian Contemporary, Hong Kong, in 2002; and Bose Pacia, NewYork, in 2000. Bawa’s works have also been part of many group shows including ‘Freedom 2008’ at the Centre for International Modern Art (CIMA), Kolkata, in 2008;‘In Transit III’ presented by Sakshi Art Gallery at Alexander Ochs Galleries, Berlin, in 2005;‘The Margi and the Desi’ at Gallery Espace, New Delhi, in 2004; ‘Four Contemporary Artists’ at Gallery Espace, New Delhi in 1998;‘Wounds’ at CIMA, Kolkata and the National Gallery of Modern Art (NGMA), New Delhi, in 1993; the Grey Art Gallery, NewYork, in 1985; the Royal Academy, London, in 1982; and the Hirshhorn Museum,Washington DC, in 1982.

Exhibitions that have included his work posthumously include ‘Kalpana: Figurative Art in India’ presented by the Indian Council for Cultural Relations (ICCR) at Aicon Gallery, London; ‘Tracing Time’ at Bodhi Art, Mumbai’ and ‘In Memorium’ at the National Gallery of Modern Art (NGMA), New Delhi, all in 2009. Bawa lived and worked in New Delhi, till he passed away in 2008.

Lot 1

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 Delhi, in 2011, '10;Tao Art Gallery, Mumbai, 2010, '09 and '08; Nature Morte, New Delhi, Lot 15 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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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.

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 National Gallery of Modern Art, New Delhi. In early years he did many watercolors of different locations.

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Lot 35

Prabhakar Barwe (1936 - 1995) Born in Maharashtra in 1936, Prabhakar Barwe studied at the Sir J. J. School of Art, Mumbai. His solo exhibitions include those held at Gallery Chemould, Mumbai in 1987, 1983, 1978 and 1973’ Pundole Art Gallery, Mumbai in 1970; and Jehangir Art Gallery, Mumbai in 1961. He participated in several exhibitions both in Indian and internationally, including the Fifth InternationalYoung Artists’ Exhibition, Tokyo, in 1969; the Menton Biennale, France, in 1976; the First Asian-European Art Biennale,Yugoslavia; and the IX Biennale, Valpariso, Chile, in 1989. Exhibitions that have included his work posthumously include ‘Expanding Horizons; Contemporary Indian Art’ presented by Bodhi Art across eight Lot 2 cities in Maharashtra, in 2008 – 09; ‘Prabhakar Barwe, S. H. Raza and J. Sabavala – Experiments in Stillness’ at the Window, Mumbai, in 1999; and ‘Indian Contemporary Art Post-Independence’ at Vadehra Art Gallery, New Delhi, in 1997. In 1976 Barwe was honoured with the National Award from the Lalit Kala Akademi, New Delhi, and in 1969, he was conferred the Yomiuri Shinbun Award in Tokyo. Barwe lived and worked in Mumbai, till he passed away in 1995.

Prokash Karmakar (1933 - 2014) Born in Kolkata,West Bengal, in 1933, Prokash Karmakar is an Indian artist known for his landscapes and nudes painted in vibrant colours and intricate textures. He attended the Government College of Arts and Crafts in Kolkata briefly due to financial troubles and joined the army for two years before quitting to pursue painting full time. In 1954, he began exhibiting his paintings in India's annual expositions, and by 1957 started receiving recognition for his watercolour works. He also began holding street exhibitions, notably the pavement show on the railings of the Indian Museum in Calcutta in 1959 that catapulted him into the limelight. The artist went on to form a group called the Society of Contemporary Artists in 1962, but the group separated after five years. By then, Karmarkar had received a Fellowship and left to study in Paris. In 1968, he won the Lalit Kala Akademi national award. Most recent exhibitions include The Sixties Show, DAG Modern, New Delhi (2019);The Seventies Show, DAG Modern, New Delhi (2019);The Sixties Show, DAG Modern, Mumbai, Kala Ghoda, Mumbai (2020).The artist passed away in February 2014. Alternative name: Prakash Karmarkar

Lot 33

Born in Simla in 1924, Ram Kumar studied art while working on a Master’s degree in Economics from St. Stephens College, New Delhi. In 1949 he left for Paris to study painting under Andre Lhote and in 1950 he joined Atelier Fernand Leger, returning to India three years later. In 1970 he received the J. D. Rockefeller III Fund Fellowship.

Lot 3 Lot 14 Since 1949, Ram Kumar has exhibited regularly in India and internationally. Some of his solo shows include those at Aicon Gallery, New York, in 2013; Chemould Prescott Road, Mumbai in 2008; Vadehra Art Gallery, New Delhi in 2012, 2010-11, 09, 08, 06, 05, 03, 01, 00, 1993 and 92; Aicon Gallery, New York in 2013 and 2007, Pundole Art Gallery, Mumbai in 2005, 1999, 92, 90, 86, 84, 83, 78, 76, 73 and 71; Arks Gallery, London in 1997; and Grosvenor Gallery, London in 1966. In 2002, Saffronart and Pundole Art Gallery 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 Lot 21 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.

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Ramananda Bandyopadhyay (b. 1936) Ramananda Bandyopadhyay was born in 1936 in Birbhum, West Bengal. He graduated in Fine Arts from Kala Bhavan Santiniketan in 1957 under the guidance of Nandalal Bose, his mentor. A representative of the Bengal School of Art, his work successfully recreates the innocence, simplicity, and grace of a bygone era, inspired by the simplicity and uncomplicated lives of the rustics. Notable is his palette Lot 5 Lot 6 predominantly of red, brown, and greens inspired by his mother's addiction to paan. He paints subjects based on Indian mythology and literature, such as Hindu Gods and Goddesses, drawing on India's old and rich cultural legacy. However, while being inspired by mythology and culture, his paintings combine tradition and modernity, combining the best of both worlds and transforming the mundane into images of tranquility and beauty.A recipient of four National Academy Awards, Lait Kala Akademi, New Delhi for the years: 1961, 1972, 1978 & 1980, Ramananda also received the Abanindranath Puraskar award from the Government of West Bengal in 2000. He participated in numerous shows across India and abroad throughout his career, notably in Kala Bhavan, Santiniketan (1969), the Academy of Fine Arts, Kolkata (1971, 1975, 1981 & 1986), All India Fine Arts and Craft Society, New Delhi (1972). A retrospective exhibition of his works at the Academy of Fine Arts Kolkata was shown in 2003.The artist lives and works in Kolkata.

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 Maison de I’Unesco, in 2008. Burman’s works have also been featured at various other international gallery exhibitions; including 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.

Lot 27

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 Lot 9 Lot 23 Lot 37 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,‘BinduVistaar’, Grosvenor Gallery, London, in 2012;‘Punarangman’,Vadehra Art Gallery and Lalit Kala Akademi, New Delhi, in 2011;‘Ones’ atVadehra Art Gallery, New Delhi, in 2011 and 2010;Tao Art Gallery, Mumbai, 2008 and 2006; and Saffronart and Berkeley Square Gallery, London and NewYork, 2005. In 2007 Saffronart held a major retrospective of his work in NewYork. Raza’s work has been exhibited in several group exhibitions including those at Aicon Gallery, New York and London, in 2014, 13, 12, 11, 10; the Museum of Fine Art, Boston, in 2009; Grosvenor Gallery, London, Mumbai, 2004; Saffronart and Pundole Art Gallery, New York, 2001 and 2002; and Saffronart, Hong Kong and Los Angeles, 2001 among several others. Raza received a Lalit Kala Ratna from the Lalit Kala Akademi, New Delhi in 2004, and a Padma Bhushan and Padma Shri from the Government of India in 2007 and 1981 respectively.The Madhya Pradesh State Government also awarded him with the Kalidas Samman in 199697. Raza lived and worked in Paris and Gorbio, France, till 2011.The artist passed away in New Delhi in July 2016.

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ARTIANA

Sujata Bajaj (b.1958) Born in Jaipur, Sujata Bajaj received her Master’s Degree in painting in Pune and later received her Ph.D from there. In 1988 she received a scholarship from the French government to study at the Ecole Nationale des Beaux Arts, Paris.

She has also worked at Studio ClaudeViseux, Paris. She is the recipient of several awards including the Bombay Art Society Award and the Maharashtra State Art Award. She has had shows in India, the UK, France, Norway including the ones with Saffronart and The Guild Gallery, Mumbai, 2004. Sujata Bajaj spends her time between Pune, Norway and Paris.

Lot 36

One of India’s important post-modernist painters, Sunil Das rose to prominence with his drawing of horses. Das came from a middle class family and his father was just a small 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, Lot 29 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.

SOUTH ASIAN ART | MODERN AND CONTEMPORARY

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