sign in sign up
<<
Home , Benode Behari Mukherjee, Bikash Bhattacharjee, Contemporary Indian Art, Ganesh Pyne, Jehangir Sabavala, Meera Mukherjee

MODERN October 15 16, 2016 AstaGuru ONLINE AUCTION www.astaguru.com

MODERN INDIAN ART

October 15 – 16, 2016

Sale Guide

All bidding will take place on www.astaguru.com Institute of All lots are published in this catalogue and may be viewed ALL LOTS CAN BE VIEWED on the website. Monday, October 10, 2016 All lots can also be viewed at Institute of Contemporary 11.30 am - 7.00 pm Indian Art (ICIA) in . Institute of Contemporary Indian Art ICIA Building, Rampart Row AUCTION DATES Next to Rampart House, Kala Ghoda Start : Mumbai - 400 023. Saturday, October 15, 2016 10:30 am IST (1:00 am US Eastern Time October 15, 2016) INQUIRIES Close : Anthony Diniz Sunday, October 16, 2016 8:00 pm IST [email protected] (7:30 am US Eastern Time October 16, 2016) Tel: 91 - 22 - 22048138 / 39 Please Note that bidding closes at different times Fax: 91 - 22 - 22048140 according to lot groups. These timings have been listed in the Bid Closing Schedule.

(Div. of Safset Agencies Pvt. Ltd.) The Antiquities and Art Treasures Rules 1973 - License No. 20

ICIA Building, Rampart Row Next to Rampart House, Kala Ghoda, Mumbai - 400 023. India ASTAGURU TEAM Buying at AstaGuru

Estimates Closing and Winning Bid ! Estimates are based on an average market value of the lot. ! Winning bid is the last and highest bid at which the lot has closed. ! These are provided only as a guide for buyers. ! No new bids can be placed after the close of a lot. ! Buyers should not rely on estimates as a prediction of actual price. ! The closing bid is considered the winning bid only if the bid exceeds the ! Estimates do not include Buyer’s Premium. reserve price. ! All winning bids shall be posted on the website after the close of the auction. Reserves ! The Reserve price is the minimum price at which the lot shall be sold. Bid Cancellation ! ! The reserve price confidential and will not be disclosed. Once any bid has been placed, it cannot be cancelled. ! AstaGuru reserves the right to cancel any bid in order to protect the efficacy of Buyer’s Premium the bidding process. ! There will be a 15% buyer’s premium calculated on the hammer price at the close of the auction. Buyer’s Premium ! ! For all lots taxes are payable on the buyer’s premium at the applicable rate, In addition to the hammer price, the buyer agrees to pay AstaGuru the buyers VICKRAM SETHI TUSHAR SETHI DIGAMBER SETHI included in the invoice. premium calculated at 15% of the winning bid value (hammer price) on each lot. CHAIRMAN CEO COO ! Bidding Service tax on the buyer’s premium shall be applicable for Pre –Registration and Verification. purchased within India.

SPECIALISTS ! Prospective buyers should be registered and verified in order to bid. After the Sale ! ! If you have registered before, you will still need to pre-register and accept the If you have won a lot you shall be informed via email after the auction has CLIENT RELATIONS terms and conditions for the sale. (Use your previous login Id) closed. ! ! Fill the form online in order to pre-register, or call AstaGuru You shall there after receive an email with the invoice stating buyers premium along with the related taxes. ! Once you have pre-registered a representative will call you to verify your ! details. If you are the winning bidder, you are legally bound to purchase the item from AstaGuru. Please note, that purchases will not be shipped out until full ! If the representative cannot reach you, an email will be sent. payment has been received and cleared. ! Please note that if this process has not taken place you shall not be given bidding access. Invoicing ! In case AstaGuru feels that it has not been provided with satisfactory ! All details for the invoice are to be provided prior to the auction. information to give access for bidding, it will request a deposit of INR ! After the sale, the Buyer as invoiced is required to pay the amounts in full 500,000 or the US$ equivalent in order to give bidding access. (including the additional charges). ! AstaGuru.com reserves the right to give bidding access and can refuse ! No lot shall be sent without payment being made in full. bidding access as well. ! All registrations should take place 24 hours before the auction. Shipping and Insurance ! Once you are accepted you shall receive an email confirming your bidding ! SONAL PATEL SNEHA K GAUTAM MAMTA RAHATE SUNNY CHANDIRAMANI Price estimates do not include any packing, insurance, shipping or handling access along with your Login Id and password. charges, all of which will be borne by the buyer. [email protected] [email protected] [email protected] [email protected] ! Shipping will be charged on courier rates and are determined by the size, Absentee Bids weight and destination of the package. ! BUSINESS STRATEGY MARKET ANALYST MARKETING PR & BUSINESS DEVELOPEMENT You may place an absentee bid, by faxing the written bid form available online and in the printed catalogue. Duties & Taxes ! All bids must come in 24 hours before the auction. ! All duties and taxes shall be borne by the buyer.

Opening Bid Sale in India ! Opening Bid is the value at which the auction house starts the bidding of each lot. ! All sales in India shall attract 12.5% VAT on the winning bid and 14.5% service ! Opening bid is 20% lower than value of the lower estimate. tax on the buyer’s premium.

Bidding Online International sales ! ! Once you have identified the lot that you would like to bid on, click on “Bid There shall be no VAT and Service tax in International sales. Now” to confirm your bid at the value listed. ! Payment This is where you participate in the bidding process, by entering the next valid ! bid each time you are out-bid. Buyers will be required to complete payment within a period of 7 business days from the receipt of the invoice via email. ! The next valid bid will be at a 10% increment in value of the last valid bid. ! Any delay in payment will be liable for a 2% interest charged per month and a ! All lots have bid history available to be viewed. SIDDANTH SHETTY MANALI SONI ANANDITA DE TUSHAR DALVI storage charge of 2% per month. [email protected] [email protected] [email protected] [email protected] Bid Increments Delivery / collection of purchase ! All bids will have an increment of 10% of the current valid bid. Works will be shipped within 7 days of the payment being cleared. CONTENT EDITOR ADMINISTRATOR Personalized Bid Notifications Buyers may choose to collect their purchase from AstaGuru in Mumbai within 7 ! By clicking on 'My Bid Summary', which is your personalized bid page, you days from the date of the sale. may choose how frequently you would like to be notified of a change on your Buyers who have completed payment formalities and have not taken delivery of bid status. their art works from AstaGuru within 30 days of the completion of payment formalities, will be charged demurrage @ 2% per month on the value of the Bid History artworks. ! Bid history indicates the value recorded for each lot since the start of the auction. ! Bid History will not be displayed once the auction has closed. Participate in our next auction If you are interested in consigning works from your collection to our next sale, Currency of Bidding please contact us at [email protected] or at the auction help desk +91 22 ! Bids can be placed in US Dollars (USD) or Indian Rupees (INR). 22075232. ! Buyers in India must pay for their purchase in INR and all other buyers must If you would like to stay informed of AstaGuru’s upcoming events, please pay in USD. register with us online. SIDHANT NAYANGARA ANTHONY DINIZ [email protected] [email protected] 1 1887 - 1972

UNTITLED 22.5 x 57.5 in (57 x 146 cm) Tempera on board Circa 1960

Rs. 15,00,000 20,00,000 US$ 24,194 32,258

Signed : Bottom Right

This lot is a National Art Treasure - Non Exportable Item (payment only in Indian Rupees)

Exhibited & Published Past Present on the Future of Indian Art, Lalit Kala Academi, 2007

Provenance From an important based collection acquired from Dhoomimal Art Gallery, New Delhi.

JAMINI ROY 2 1887 - 1972

UNTITLED 23 x 31.5 in (58.4 x 80 cm) Tempera on cane weaving pasted on board Circa 1960

Rs. 8,00,000 12,00,000 US$ 12,903 19,355

Signed : Bottom Right

This lot is a National Art Treasure - Non Exportable Item (payment only in Indian Rupees)

Provenance Acquired directly from the artist in Calcutta in 1961 by Mr Olivier Romieu whilst he was working for the Schneider Group in India. Acquired by the present owner from Bonhams.

Born in the 1892 in , Nandalal Bose s art was Shailendranath Dey, Durga Simha and many synthesised based on the plethora of experiences more artists from that period. At the behest of he imbibed both as a student of a great teacher he became the principal and as a great teacher to many students. So to of Kala Bhavan. His focus was to awaken the speak his contribution to Indian art is not limited in creative potentials of each individual which he his capacity as an artist. His figure occupies an initiated by drafting the syllabus of the school and equal degree of reverence as an overall Indian enabling their fledging artistic journeys to take artspace architect. flight. Some of his students were Benode Behari An impetus learner he requested to be mentored Mukherjee, , Beohar Rammanohar by and joined Calcutta's Sinha, K. G. Subramanyan, A. Ramachandran, School of Art. While growing he was enamoured by Henry Dharmasena, Pratima Thakur, Sovon Som, the cave art at Ajanta and the works of artist such Jahar Dasgupta and Sabita Thakur. as Abanindranath Tagore, Raja Varma and His creations have such high degree of relevance western masters such as . He recreated and significance that his works were declared Raphael’s seminal ‘Madonna’ which was National treasure in the year 1976 owing to its one of the paintings he presented to the founders artistic and aesthetic value. One of only 9 artists of the school as a reference to get admission. His whose works were categorised by the technical skills as an artist was indeed horned at Archaeological Survey of India, Department of school but Abanindranath Tagore’s teaching Culture, Govt. of India as non-exportable and method germinated the sense of relishing the essential part of India’s Art history. The National process of creating art holistically. Chapters from Gallery of Modern Art in Delhi have acquired close the life of Budhha, Goddess Kali, Krishna, Shiva's to 7000 of his works. Nandalal Bose was given the Thandava Dance and recitations of the responsibility to sketch the emblems for the Mahabharatha and Ramayana influenced and 's awards, including the formed his artistic vision. As an artist his yearning and the . He along with to communicate with the spectator was so his students took up the historic task of beautifying overwhelming that his work radiated a velocity of the original manuscript of the . unrestrained self-expression. In his work spiritual, Thus he is part of the history and constitution of our ancient and folk traditions co-exist with the nation quite literally. In 1954, Nandalal Bose was naturalism and Modernist thought process. awarded the , the second Nandalal Bose played a leading role in the highest honour bestowed upon a civilian. In 1956, renaissance of art in India along with Asit Kumar he became the second artist to be elected Fellow Halder, Surendranath Ganguli, Samarendra of the , India's National Gupta, Kshitindranath Majumdar, Surendranath Academy of Art. Nandalal Bose passed away in the Kar, K. Venkatappa, Hakim Mohammed Khan, year 1966. NANDALAL BOSE 3 Born 1882 - 1966

UNTITLED 15 x 18.5 in (38 x 47 cm) water colour on paper 1959

Rs. 8,00,000 12,00,000 US$ 12,903 19,355

Signed & Dated : Bottom Right

This lot is a National Art Treasure - Non Exportable Item (payment only in Indian Rupees)

Provenance From the collection of Mr. Bishwaroop Bose, the elder son of Nandalal Bose. Mr. Bishwaroop Bose presented his collection to one of his close relative, Mr. Anshuman Hui, based in Mumbai and Mr. Hui in turn had sold to a Mumbai based collector in 1999. ABANINDRANATH TAGORE 4 1871 - 1951

UNTITLED (FOREST NIGHT) 9 x 5.5 in (23 x 14 cm) Watercolour on paper circa 1910

Rs. 30,00,000 40,00,000 | US$ 48,387 64,516

Signed : Bottom Right

Published Datta, Ella, Changing Images, An Exhibition of 20th Century Indian Art (New Delhi: DAG, 2001), p. 28

Karode, Roobina, ed., Manifestations III (New Delhi: DAG,2005), p. 214

Singh, Kishore, ed., The Art of Bengal (New Delhi: DAG, 2012), p. 114

Singh, Kishore, ed., Indian Landscapes The Changing Horizon Group (New Delhi: DAG, 2012), p.463

Provenance Private collector, , 2001, private collection Delhi, acquired by the present owner from DAG.

As a guru Abanindranath Tagore inspired a whole battalion Abanindranath’s paintings were as nationalist as that of his of accomplished artists, many of whom played noteworthy Swadeshi mentors as well as cultural and political. He roles in spreading the ideals of Oriental art and establishing invoked the past like a true cultural nationalist but the style he what later came to be known as Bengal School painting. evolved under the sign of ‘Indian’ did not correspond to any Nandalal Bose and Surendranath Ganguly were one past style of . While setting out to develop Abanindranath’s very first students, followed by Asit Kumar an Indian style he did not actually discard the realist Haldar, Kshitindranath Majumdar, Sailendranath Dey, grounding he had acquired through his early Western artistic , Sarada Charan Ukil, K. Venkatappa and training. He modified it first by adapting the miniature format others. of illuminated texts and then by picture to perspective visualization. The encounter with Japanese painting taught His career began during the emergent years of the him how untouched surfaces could be given spatial Swadeshi Movement he was an active nationalist and Indian definition through a discreet use of details. And at the same Art revivalist. The founder of what came to be known as the time how a figure-ground interplay could be achieved by Bengal School, he retained his European-training base with breaking the linear or tonal contours of the figure and object selective assimilations of Ajanta frescoes, Kalighat pats, depicted. The wash technique and the style that emerged Mughal, Japanese and Persian elements. His artistic through this selective assimilation from different traditions journey moved from a nationalist framework to an intensely were a new eclectic whole and a personal idiom carefully personified world of painting and writing. fashioned to express his intimate sensibility. 5 SAILOZ MOOKHERJEA 1906 - 1960 In 1904, Viceroy Lord Curzon, on behalf of the British King Emperor, bestowed upon Varma the Kaisar-i-Hind Gold Medal. A college dedicated to fine arts was also UNTITLED constituted in his honor at Mavelikara, Kerala. Raja Ravi Varma High School at 15 x 20 in (38 x 50.8 cm) Kilimanoor was named after him and there are many cultural organizations Oil on board throughout India bearing his name. In 2013, the crater Varma on Mercury was named circa 1940 in his honor. Considering his vast contribution to Indian art, the Government of Kerala Rs. 8,00,000 12,00,000 | US$ 12,903 19,355 has instituted an award called "Raja Ravi Varma Puraskaram", which is awarded every Signed : Bottom Right year to people who show excellence in the field of art and culture. This lot is a National Art Treasure - Non Exportable “I spent the entire morning looking at Ravi Varma’s pictures. I must confess I find Item (payment only in Indian Rupees) them really attractive. After all, these pictures prove to us how dear our own stories, Provenance our own images add expressions are to us… The total effect is compelling”- From a private Delhi based collection, property was Rabindranath Tagore acquired by the present owner form Dhoomimal Art Gallery, New Delhi. Varma was born on 29 April 1848 in Kilimanoor, Travancore. Varma painted portraits that featured royalty, women, gods and goddesses, themes that appealed to the elite and later attracted the masses. His famous oleographs of mythological scenes are inspired by epic Indian mythology especially the Ramayana and Mahabharata. His works portray sari clad Indian women in graceful spiritual manner which became an important motif for the time. He skillfully bought together Indian traditions along with European academics in art. He was influenced from his many travels around the Gujarat State. Varma is one of our master painters, a national treasure as well as an influence to many artists over the years.

His impact on Indian art is unparalleled by any other artist. Largely self-taught he began painting by observing Dutch portrait painter Theodore Jensen in the court of Travancore. He created a pan-Indian image for figures of gods and goddesses along with mythological creatures. He painted in the theatrical style, often providing a glimpse into clandestine private moments of the subjects. He worked most exclusively in oil on canvas and has been credited as the first Indian artist to master the medium considered until then a cartel of the West. He makes no attempt to be dramatic or theatrical but most naturally renders the subject as he sees it. RAJA RAVI VARMA 6 1848 - 1906

ARJUN AND SUBHADRA 23 x 20 in (58.4 x 50.8 cm) Oil on canvas Circa 1890

Rs. 1,50,00,000 2,00,00,000 | US$ 241,935 322,581

This lot is a National Art Treasure - Non Exportable Item (payment only in Indian Rupees)

This lot is a registered antique with the Government of India, under the Antiquities and Art Treasures Act -1972, under Antiquities and Art Treasures Rule 1973, under section 16 of the above act.

Exemplar used for oleograph production

Published Raja Ravi Varma: Painter of Colonial India by Rupika Chawla, pg.218

Provenance Private Delhi based collection.

This oil on canvas creation by Raja Ravi Varma is a stellar composition where he highlights the eternity of love and its attributes of surrendering. Here he depicts Arjuna disguised as a Sanyasi with Balarama's daughter Subhadra, capturing a moment of their playfulness. This work brings to life the primordial personal traits of Raja Ravi Varma, where he exuberates and entices his woman character. This artwork dates back to 1890 and was constructed with brevity of maturity, where he infuses the electricity of forbidden love onto the surface. The visual aspects are a sheer treat but what really mesmerizes the viewers is the direct impact of the presence of the moment which is intact. He was famed for sculpting images of for Hindu Deities, opening up a portal of divinity for the people of India. However this painting is his channel of artistic expression. He depicts a deity but makes the entity much more relatable to the mortal viewer, framing the Godly figure with traits of mortal needs and longings, yet establishing their heavenly grace and eloquence. This variation of vision where he etches different layers of his protagonist displays the direct dimensional shift with which he created art. It is a daunting achievement to having had created an image of the faithful to pray to and at the same time showcasing a very humane side of the omnipresent entity. In terms of the period also this painting is significant as he, at that point of his journey was commissioned a lot of portraiture work for aristocrats. The technical supremacy he had acquired transforms the existence of this painting into an iridescent and luminous being. Full of life and revolving around humans rather than Gods. His narrative is without a doubt intertwined with his personal being and such an artwork literally demonstrates the rational that the spirit of the artist’s remains eternal through their work, even when they have transcended to another realm. Although he was credited for etching the presence of the Gods, this panting belongs to the unapologetic and determined lover and artist Raja Ravi Varma who created an unrestrained eternal love saga through this artwork. Cover of the publication with the artwork illustrated inside on pg.218 B. PRABHA 7 1933 - 2001 B. PRABHA UNTITLED 9 1933 - 2001 36 x 36 in (91.4 x 91.4 cm) Oil on canvas UNTITLED 1974 39.5 x 45.5 in (100.3 x 115.6 cm) Rs. 4,00,000 6,00,000 Oil on canvas US$ 6,452 9,677 1974

Signed & Dated : Bottom Right Rs. 12,00,000 16,00,000 | US$ 19,355 25,806

Provenance Signed & Dated : Center Left From an important corporate Provenance collection based in Mumbai, From a important Mumbai based collection, property property was acquired by the was acquired by the present owner from Saffronart. present owner directly from the artist

B. PRABHA 8 1933 - 2001

UNTITLED 38.5 x22.5 in (98 x 57.2 cm) Oil on canvas 1982

Rs. 8,00,000 12,00,000 US$ 12,903 19,355

Signed & Dated : Center Right

Provenance From a private Delhi based collection, property was acquired by the present owner from Aakra Art Gallery, Mumbai. UNTITLED Vasudeo S Gaitonde did not appreciate being branded as 13 x 9.5 in (33 x 24 cm) an abstract painter. In reality he did not believe that abstract Pen & ink on paper as a genre existed but instead proclaimed his work as ‘non- objective’ in nature. V. S. Gaitonde was born in 1924 in 1987 Nagpur. He completed his art diploma at Sir J. J. School of Rs. 15,00,000 20,00,000 Art in 1948. Impressed by his vision he was invited to join the US$ 24,194 32,258 influential Bombay Progressive Artists' Group in 1950. A man of few words, he communicated through his artistic dialect. Signed & Dated : Bottom Right He absorbed the universe within to extract symbols which Published transcended on the surface. He audaciously wandered off Sonata of Solitude, Vasudeo Santu and forged a silent iridescent path with his personalised Gaintonde, Authored by Meera calligraphic vocabulary. Constructing, inventing and Menezes, pg.186 interpreting symbols and muted surfaces he instilled a distant silence into his works. A philosopher he was Provenance influenced by the Zen Buddhism and translated his acquired From a private Mumbai based wisdom effortless. Gaitonde’s intended selfless generosity collection, property was originally of knowledge through his art transmutes within the viewer acquired directly from the artist. and that is what makes his work so significant and relevant. Gaitonde shunned the limelight and focused on conceiving meditative nonrepresentational paintings. During the 1980s he met with an accident and found it challenging to work with large canvases thereafter. This resulted in him concentrating on works composed on a smaller scale, none the less his aura and ideology continued to captivate the space around.

The cover of the publication with the work illustrated on pg. 186 K. K. HEBBAR 11 1911 - 1996

UNTITLED 8.7 x 11.2 in (22 x 28.5 cm) Oil on board 1960

Rs. 4,00,000 6,00,000 | US$ 6,452 9,677

Signed & Dated : Bottom Left

Provenance From an important New York & Mumbai based corporate collection.

K. K. HEBBAR 12 1911 - 1996

UNTITLED (ENERGY) 36 x 36 in (91.4 x 91.4 cm) Oil on canvas 1979

Rs. 18,00,000 22,00,000 | US$ 29,032 35,484

Signed & Dated : Bottom Right

Provenance Private New York & Mumbai based corporate collection artwork was acquired by the present owner from Bonhams.

Meera Mukherjee s untitled bronze sculpture symbolises her inclination towards indigenous methodologies of creating art forms. She trained with the tribal artists of Bastar in to master the technique of casting; this interaction germinated a steady visual & flow of tribal designs. This sculpture defines her versatility and prowess in her execution skills, she redefined her works in order to instill a definite individual artistic character without forgoing the principals of her guiding school of thought, which was predominantly tribal in nature. In this figurative piece she toys around with intricate design and successfully draws emotions with equivalent velocity. Accuracy in such an artwork cannot be tentative because the artist does not have the element of ambiguousness which other genres provide. The detailing of the eyes, nose and hair is profound. This sculpture has an in tandem effect with a definite glaring effect. Apart from her artistic characteristic, through this artwork she also brings to the surface her innate feminine energy as she depicts a woman in poise and content.

Meera Mukherjee was born in Kolkata in the year 1923. She secured a scholarship in Munich in 1953 which gave her the opportunity to work under Toni Stadler and Heinrich Kirchner. Toni Stadler encouraged her to take a leap into the world of sculpting. The Anthropological Survey of India offered her a senior research fellowship in 1962. Meera Mukherjee received the fourth highest civilian award of the Padma Shri from the Government of India in 1992 for her contributions to art. MEERA MUKHERJEE 13 1923 - 1998

UNTITLED 11.5x9x12.5 in (29.2 x 23 x 31.7 cm) bronze

Rs. 20,00,000 30,00,000 | US$ 32,258 48,387

Illustrated are two views of the sculpture

Published & Exhibited Remembering Meera Mukherjee, Buchheim Museum Am Hirschgarten I Bernried, Germany, 2012, Cover & illustrated inside.

Provenance From a Mumbai based private collector, artwork was acquired by the present owner from Akar Prakar, Kolkata.

Artwork has been illustrated on the cover of the book published by the Museum H. A. GADE 14 1917 - 2001

UNTITLED 23 x 28 in (58.4 x 71 cm) Oil on canvas 1959

Rs. 10,00,000 15,00,000 | US$ 16,129 24,194

Signed & Dated : Top Left

Exhibited & Catalogued Early Works by Gade, Dhoomimal Art Gallery, 1984

Published H A Gade Founder Member : Progressive Artists Group by Dhoomimal Art Gallery. The cover of the publication with the work illustrated inside

Provenance From a private Delhi based corporate collection, property was acquired by the present owner from Dhoomimal Art Gallery

H. A. GADE 15 1917 - 2001

UNTITLED 39 x 46 in (99 x 117 cm) Oil on canvas 1992

Rs. 15,00,000 20,00,000 | US$ 24,194 32,258

Signed & Dated : Bottom Right

Provenance Private Delhi based corporate collection, artwork was previously sold by Sothbey’s UNTITLED 77.5x48in(197x12cm) Acrylic on silk 1993

Rs. 12,00,000 16,00,000 | US$ 19,355 25,806

Signed & Dated : Top Left

Provenance From a private Mumbai based collection, property was acquired by the present owner from Guild Art Gallery, Mumbai.

This work on silk from the year 1993 was created with great deftness and defined delicacy. Goud’s vocabulary is immensely vast and he has successfully engraved monumental traits of his artistic iconography into this creation. Forming this creation on a surrealistic platform he adds elements which resonate from within with a sporadically controlled flair. His protagonist is intense in her enigmatic appeal which is successfully established through her posture. The power of his lines is eloquent in its expression. Gradually he entwines glimpses of a fantasy world, beyond the boundaries of his human figure. The woman form is full of sanctity whereas the beasts graze upon her grace. The minimal colour, innocence and simplicity are indicative of bucolic naivety. By the late 1980s the artist seemed to return to more traditional subjects and mediums, therefore this acrylic on silk artwork in so many ways represents his artist diachronic growth.

Goud displays versatility over a range of mediums, from printmaking, drawing, watercolour, gouache and pastels to glass painting and sculpture in bronze and terracotta. His memorable shows include the ‘Figurative Indian Artists’ show in Warsaw, Poland; Sao Paulo Biennale, Brazil in 1977; ‘Contemporary Indian Painting’ Royal Academy of Art, London; ‘India in Print’ Amsterdam in 1983; ‘Contemporary Art of India’ U.S.A. was born in 1940 in Nizampur, Andhra Pradesh. He completed his Diploma in Drawing & Painting from the Government College of Fine Arts & Architecture, Hyderabad and Post Diploma in , Painting & Drawing from M.S University of Baroda. HIMMAT SHAH 17 1933

UNTITLED 20.5x8x9in(52x20.3 x 23 cm) Terracotta Circa 2000 Himmat Shah was born in the year 1933 in a small village Rs. 2,00,000 3,00,000 near Lothal, Gujarat and his terracotta pieces show US$ 3,226 4,839 influences of his early life there. During his childhood he was fascinated by the potter's wheel and fortified his self-belief by Illustrated are two views of the sculpture observing the process of the rise, fall and finally the pot Provenance taking shape. In 1952, he went to Bhavnagar to learn at Private Delhi based collection artwork was Gharshala, a school affiliated to Dakshinamurti. His meeting acquired by the present owner directly with Octavio Paz in Delhi proved to be a great boon for his from the artist. learning; Paz was so taken by his work that he recommended a special scholarship for him in Paris for a period of one year.

Shah is synonymous with bronze and terracotta works. Terracottais a medium which he has great knowledge about and he has written a handful of books based on the same. Himmat Shah’s untitled terracotta sculpture explores materiality as well as texture, here his gilded objects depicted in clay carry on them the traces of paint and are akin to cryptic hieroglyphs deftly gouged into the creation. Alluded to age and decay, these elements add a touch of drama into this work. While his bronze heads portray his search for the modernist’s love of plasticity his terracotta works symbolise his organic and muted cognitive process. There is no overwhelming effort made to establish the identity of the sculpture, he translates his own formative memories and emotions. He masterfully narrates stories of Back view joy and revelations through his Art. Himmat Shah continues to extend his search for his own medium and craft, pushing boundaries in sculpting as well as drawings, in his own words "Once I began the search, I kept learning. Todayalso, I feel that so long as one keeps searching, one lives. The moment one stops searching, one ceases to grow and that stage is what I call death." In the year 2004 he was felicitated by the Governor of with the National Kalidas Award. Himmat Shah lives and works in Delhi.

Picture of Himmat Shah with this lot

Front view 18 1937 - 2013

ABHIMANYU 22.5x 19.5 in (57 x 49.5 cm) Tempera on canvas 2000

Rs. 30,00,000 40,00,000 | US$ 48,387 64,516

Signed & Dated : Bottom Right

Provenance Important Hyderabad collection, artwork was acquired by the present owner from Vadehra Art Gallery, New Delhi.

This tempera on canvas painting by Ganesh Pyne titled focusing on the massacre and battle ensued. Composed in ‘Abhimanyu’ is a depiction of the young war hero. The a contemplative and stoic posture, the protagonist’s valor is master artist created paintings based on a number of translated through his eyes. Pyne’s construction of the eyes characters from the Mahabharata during the more mature radiates grandeur and focused determination. phase of his career. Reticent by nature himself, he choose Ganesh Pyne was born in Calcutta in 1937. He received his peripheral characters whom he could relate with and diploma in drawing and painting from the Government chronicled their achievements. His narrative and storytelling College of Art & Craft, Calcutta in 1959. In 1963, he became methodology revolves around the subject of death, the dark a member of the newly-formed Society of Contemporary anguished aftermath. Having himself encountered the Artists. His own emotions are processed and synthesized to turbulent phase of violence and civil unrest in Bengal when form the source of inspiration and constituted the vision for he was a child engraved the brutal existence of death into his his art. Ganesh Pyne has received many awards and his thought process. His often undertoned background works are present in many public and private collections. He composition indicates so. Here he portrays a character that showcased his works in exhibitions extensively and was faces imminent death at a young age, however at the time of awarded the Raja Ravi Varma award by the Government of conceiving this painting he related with the character and Kerala in 2011. treated it with immortality, resurrecting his spirit, opposed to 19 1936 - 1995

CONTEMPLATION 36 x 36 in (91.4 x 91.4 cm) Enamel paint on canvas 1977

Rs. 15,00,000 20,00,000 | US$ 24,194 32,258

Published Hindustan Times, 6th January 1978.

Provenance Private Mumbai based collection, previously auction Christies, London, 1999, Lot No. 119

During the 1970sBarwe was very involved and strived to achieve totalitarian purity in his artworks especially in terms of the though, form and hues. He adopted bold and flat colors, infused his concoction of synthetic glossy enamel paint diluting it with kerosene to exuberate a watercolour paint texture. This 1977 enamel paint on canvas painting titled ‘Contemplation’ showcases his period specific and innate attributes, merging at their epitome. This painting along with 10 other similarly formatted paintings was exhibited in 1978 at Gallery Chanakya. The symbolist abstractionist’s painting has bits and pieces of objects suspended in space, revolving in the gambit of the subconscious. He incorporates motifs of Tantra such as the seed which is symbolized by the oval shaped object. He gradually fades the background, demonstrating the clarity achieved after contemplating. A minimalistic creation with a profound depth he acquires a graceful balance. The almost starved element of the column connotes an individual's relations with psychological pillars such as family, society, nature and environment. In this painting the column appears as the profile of a human face forming its foundation.

This lot published in an article on Prabhakar Barwe Hindustan Times, 6th January 1978 SAKTI BURMAN 20 1935

GANESH & KARTIK DANCING IN FRONT OF DURGA 50x37in(127x94cm) Oil on canvas 2010

Rs. 30,00,000 40,00,000 US$ 48,387 64,516

Signed : Bottom Center

Published Sakti Burman; The wonder of it all by Pundole Art Gallery, pg. 205

Exhibited Sakti Burman Solo Show, Art Musings, Mumbai

Provenance From an important Mumbai based collection, property was acquired by the present owner from Art Musing, Mumbai

Sakti Burman s oil on canvas creation titled ‘Ganesh & Kartik Dancing in front of Durga’ is a reclining solstice between the worlds of dreams and reality. The thought which he glorifies is the fact that everything is relative, except for reality. The master of marbling pointillism and etcher of dreams flaunts the fusion of technique and thought. Undeterred by the fierce attributes of Durga he ensures that the canvas resonates a healing effect rather than splintering the viewer’s spine. His central character adorns the focal point of the surface and he establishes the presence of his motifs from his beloved parallel worlds. His trademark fresco technique gives the viewer the notion that the painting is like a long lost dream which has just been salvaged with the fading fragments of a faint memory. The motifs of the reveling mystical beings are observed by humans in complete civility and the goddess simply hovers over each one while they indulge in their individual eccentric activities. The human figures eccentricity is underplayed with the fact that they do not nudge from their static postures in spite of being framed in an unrestrained dreamscape. Captivating, subtlety luminescent and delicate in nature, this artwork engages the viewer with grace and beauty. The cover of the publication with the work illustrated on pg. 205 21 1922 - 2011

STILL LIFE WITH BOTTLES 42 x 19 in (106.7 x 48.3 cm) Oil on canvas 1961

Rs. 1,00,00,000 1,50,00,000 US$ 161,290 241,935

Signed : Bottom Left

Exhibited & Published Cover : Jahangir Sabavala, A.I.F.A.C.S., New Delhi, 1962.

Jehangir Art Gallery, Mumbai, 1961

Provenance From a private Mumbai based collection.

This rare 1961 acrylic on canvas painting titled ‘Still Life with Bottles’ is a glorious illustration of Jehangir Sabavala’s germinating artistic vision, heavy influence of an impressionist and cubist perspective is present in this multi-dimensional artwork This work is silent in nature, just as he described his own palette. He admitted to the fact that rather than being moved by the complete colours and loud imagery he preferred to ponder and execute within the realms of veiled light and middle-tones. Jehangir Sabavala in this painting puts together the elements of a despaired land surface only to redeem it with tranquility and peace. This feat establishes an intricate depth into this creation and proves his mastery in terms of colouring, texture and lighting. There is an explosion of vigor observed in this artwork, which comes in tow with an artist’s need to explore and define his methodology and structure. His geometric shapes and forms in this work give the canvas a potent sense of depth, illustrating Sabavala’s mastery over the fundaments of light, colour and texture. Jehangir Sabavala creates highly controlled and bold streams of paint, which he puts together to form this vast abstract and tranquil scene.

Artwork was Illustrated on the cover of Jahangir Sabavala, A.I.F.A.C.S., New Delhi, 1962. SARBARI ROY CHOUDHURY 22 1933 - 2012

HEAD 8.5x4.5x2in(21.6 x 11.4x5cm) Bronze 1994

Rs. 2,00,000 3,00,000 | US$ 3,226 4,839 Right view Signed & Dated : Bottom Left

Illustrated are three views of the sculpture

Published Cover of Sensibility Objectified, The Sculptures of Sarbari Roy Choudhury by R Siva Kumar, Lalit Kala Academi, pg.99

8 Bengal Masters, Miracles of Existance by Soumik Nandy Majumdar, pg.65

Provenance From an prominent Kolkata based collection, artwork was acquired directly from the artist.

Born on 21 January in the year 1933, Sarbari Roy Chowdhury studied sculpting at the Government College of Arts and Crafts in Kolkata. His career spanned more than 60 years in which his artistic oeuvre was wide-ranging, including sculpting traditions of Western naturalism, realism, modernist narrative figuration and abstractionism. This bronze sculpture titled ‘Head’ from the year 1994 proffers his deep understanding of the modeling technique. Perhaps his greatest contribution to modern sculptural practice in India was his ideology with which he conceived his artworks on a small, almost portraiture scale. Merging traits of his formal learning in India with the eccentricity of semi abstractionism he establishes the daunting presence of Front view this concise sculpture. His fondness for classical Hindustani and Carnatic music influenced his artistic approach and endeavors. Therefore like in this work a distant echo of a melody is observed.

Chowdhury was awarded the Italian Government Scholarship in 1962 and studied sculpting at the Accademia di Belle Arti in Florence during which time he spent time with artists such as Alberto Giacometti, Ossip Zadkine, Henry Moore, and many others who greatly appreciated his bronze work. In 1969, he joined the Faculty in the Department of Sculpture, in Santiniketan. His sculptures have been displayed in numerous solo exhibitions in New York in 1965, Bombay in 1980, Jamaat Gallery in 1999 & 2000, Bengal Gallery of Fine Artwork was illustrated on the cover of the publication & other publications as shown above Arts, Dhaka in 2009 and many more. Left view K. G. SUBRAMANYAN 23 1924 - 2016

UNTITLED 48 in diameter (122 cm) Gouache and oil, reverse painting on acrylic

Rs. 40,00,000 60,00,000 US$ 64,516 96,774

Signed : Bottom Center

Published Art Heritage, The Collector’s Gallery, pg.17

Provenance Private Baroda based collection acquired by the present owner directly from the artist.

Subramanyan infuses an optical illusionary effect with this work. Etching the imagery on the reverse surface of the acrylic sheet the work is rendered with an amplified kaleidoscopic effect. The human characters are depicted introspecting in moments of leisure. The theme adopted by the master painter is that of a carnival and captures the mood of the partakers in complete poise and revelry. The elegance and brilliant composition of the artist explains why he is regarded as one of the best artist India has produced. The work has an undertone of continuity based on the colour composition yet each character is well distinguished based on the imagery, life forms and emotions portrayed. His work reflects his Santiniketan learning’s from his teacher . He gives the human figure a new dimension, relieving them of their curvy shape and transforms them into edgy and slightly perpendicular entities. Drawing upon the rich resources of myth, memory and tradition Subramanyan narrates a story with strong emotions, defined characters.

The cover of the publication with the work illustrated inside BADRI NARAYAN 24 1929 - 2013

UNTITLED 32 x 32 in (81.3 x 81.3 cm) Paint on tiles Circa 1960

Rs. 8,00,000 12,00,000 US$ 12,903 19,355

Signed : Bottom Right

Provenance From an important Mumbai based collection, artwork was acquired by the present owner from Pundole’s.

Born in Andhra Pradesh in 1929, Badri Narayan was a self-taught artist. With this work he wanders off into an unchartered territory. The self-confessed water colourist and 2dimensional artist, in this endeavor gives the viewers a rare opportunity to soak in his experimental facet. The crux of his art has always been his narrative and storytelling abilities which he maintains efficiently. However having said that in this work from circa 1960s he renounces his adopted approach and indulges in paint on ceramic tiles, taking things a notch higher he also dedicates depth ubiquitously which permeates throughout the surface. He continuous with his trademark introspective method to establishing his characters and narrates their story. K. H. ARA 26 1914 - 1985

UNTITLED 29 x 21.5 in (73.7 x 54.6 cm) Gouache on mount board Circa 1960

Rs. 4,00,000 6,00,000 | US$ 6,452 9,677

Signed : Bottom Left

Provenance From an important Mumbai based collection, property was acquired by the present owner from the Hyderabad Art Society.

GEORGE KEYT 25 1901 - 1993

UNTITLED 53.9 x 41.7 in (137 x 106 cm) Oil on canvas 1951

Rs. 40,00,000 60,00,000 | US$ 64,516 96,774

Signed & Dated : Top Right

Provenance From a private Delhi based collection. N. S. BENDRE 27 1910 - 1992

UNTITLED 36 x 30 in (91.4 x 76.2 cm) Oil on canvas 1983

Rs. 60,00,000 80,00,000 | US$ 96,774 129,032

Signed & Dated : Bottom Right

Provenance Private Delhi based collection, property was acquired by the present owner from a collector in Mumbai who had acquired it directly from the artist.

Deeply influenced by European modernism,Bendre had 1948. In 1950, Bendre moved to Baroda as the first Reader crafted this work with the vantage point of pointillism. A and Head of the Department of Painting at the Faculty of fine method pioneered by Georges Seurat in the late nineteenth Arts. He was to remain there till 1966, becoming Dean of the century, as a means of cultivating non-representational Faculty in 1959. He pioneered and saw through the brush strokes. He believed that this approach was best implementation of the new programme at the faculty. It was suited to depict nature harmoniously, encompassing its here that he embarked upon a phase held as his most dimensionality and volume. In this work he captures the important, which involved experiments with Cubist, travelogue of a wanderer. Chronicling the solidarity of a man Expressionist, pointillism and abstractionism, producing and animal while they embark on a journey together. He such works such as ‘Thorn’, ‘Sunflowers’, ‘The Parrot’ and presents them as an unit merging their gaze, which ‘The Chameleon’. He amalgamated his experimental converges in terms of the destination. The calm solitude of European modernism approach with Indian formal and traveling alone is brilliantly channelised holistically through thematic subjects. The adventure of modernism that Bendre this work. carried from Bombay to Baroda culminated in the formation of the Baroda Group of artists in 1956. Along with Bendre, Part of the year 1945 was spent as an artist in residence at several of the first generation of his students at Baroda were Santiniketan, where he met Nandalal Bose, Ram Kinkar Baij members of the Group, they held regular shows in Bombay, and Binode Behari Mukherjee. His interaction with Jamini Ahmedabad and Baroda providing wide exposure to work Roy while in Calcutta was an enriching experience. Bendre’s being produced at the new art school. He was awarded the early work has been classified as being academic and Padma Shri title by the President of India in 1969 & Padma impressionist, dominant subjects being the landscapes and Bhushan in 1991. He was elected to chair the International the portrait in oils and gouache. In 1947 Bendre returned to Jury at the Second Triennale in New Delhi in 1971 and Bombay, in the same year he travelled to the United States. became a fellow of the Lalit Kala Academi in 1974. His He returned to America in 1948 for his solo show which took illustrious career was recognized further with a place at the Windermere Gallery, New York. On his way back Retrospective Exhibition at the Lalit kala Academi in 1974, to India, Bendre traveled through Europe, gaining exposure the Aban-Gagan Award from Viswa Bharati University in to original works of the modern masters. An independent 1984 and the Kalidas Samman in 1984. He continued to nation and an art scene animated by the adventures of the paint till he passed away in February 1992. Progressive Artists Group greeted him on his return in March LA TERRA 20x20in(51x51cm) Acrylic on canvas 1979

Rs. 25,00,000 35,00,000 US$ 40,323 56,452

Signed & Dated : Bottom Center

Published La Difference, Raza by Alain Bonfand, pg.102

A Life in Art: S.H. Raza, ed: Ashok Vajpeyi, Art Alive Gallery, New Delhi, 2007, pg.217

Provenance From a private Delhi collection.

Raza's 1979 acrylic work titled 'LA TERRA' employs oppositions of light and darkness, merging these intrinsic fundamentals instils the work with sheer density of colour. The brushstrokes, heavy impasto-ed application of paint and the stylistic methodologies brings to the fore his gestural technique and expressive ideology. In this work he dejects the tangible outward shape of matter and projects their inner rhythm with vigour. This work signifies the culmination of his tryst with Western Modernism. From the early 1980s he immersed himself in research to constitute his geometric vocabulary which birthed the 'Bindu'.

In 1962 Raza was invited by American artist and professor Karl Casten to become a visiting lecturer at the University of California in Berkeley, USA. This sprouted new growth of learning for him. He was attracted by the revolution that was taking shape in the New York School of Abstract Expressionism. Thereafter he started experimenting with a renewed vantage point influenced by the currents of Western Modernism.

The cover of the publication with the work illustrated inside

SOURYA 48 x 48 in (122 x 122 cm) Acrylic on canvas 1990

Rs. 2,00,00,000 3,00,00,000 | US$ 322,581 483,871

Signed : Bottom Center

Provenance From a prominent Mumbai based collector, artwork was acquired directly from the artist by the present owner.

S H Raza s 1990 acrylic on canvas painting titled ‘Sourya’ is seminal with regards to his Bindu iconography. Sourya which means the Sun is placed in the extreme upper left corner from where the painting rises and his vision permeates. The point of focal is the black Bindu which is placed in the centre and he accurately initiates its transubstantiation, shape shifting the magnetic powers which symbolises the primordial seed of nothingness from which all creation is believed to be born.Although it is the principal around which the artist structures his canvas, this circle or Bindu is less a graphical component & more the central point representing concentrated potential energy. During the time of conceiving this artwork S H Raza completely abandoned his expressionistic landscape endeavours and had mastered the geometric abstraction structure and the 'Bindu'. Raza perceived the Bindu as the center of creation and existence, and progressed to depict the mysteries of forms and colour as well as energy, sound, space and time. The Bindu also became the ‘Bija’ (1989) the seed; or the seed of ‘Fertility’ (1990) which is suspended against a vibrant green to give birth to plant life. To establish ‘Polarity’ (1987) the bija is split into two seeds, just as the atom splits into two. The magnetic powers of the black Bindu, which is ‘Sourya’ the Sun and of the seed (bija) combine in energy to give birth to the ‘Tree of Life’ (1989).So to speak the titles of the paintings transform and take different names but the echo is the same. In this painting he amalgamates and encapsulates the fertilising powers of the Sun, ‘Sourya’ which gives birth to new life. S H Raza passed away on the 23rd of July 2016. SADANAND BAKRE 30 1920 - 2007

UNTITLED 17 x 47.5 in (43 x 120.6 cm) Oil & acrylic on masonite board 1964

Rs. 8,00,000 12,00,000 | US$ 12,903 19,355

Signed & Dated : Top Right

Published Indian Landscapes, The Changing Horizon, pg. 106-107

Provenance From a prominent Mumbai based collection.

The cover of the publication with the work illustrated on pg.106-107

M. F. HUSAIN 31 1913 - 2011

UNTITLED 68 x 176 in (173 x 447 cm) Acrylic on canvas 1996

Rs. 4,00,00,000 – 6,00,00,000 US$ 645,161 – 967,742

Signed & Dated : Bottom Right

Provenance Private collection of a lady based in Mumbai artwork was acquired by the present owner directly from the artist.

One of India's most prolific and recognized artist on a global scale. Maqbool Fida Husain moved to Bombay at the age of 20, during his early days in Bombay he earned a living painting cinema hoardings. He worked his way through poverty during the 1930s, the apprenticeship with the billboard painter grilled him and he was therefore able to execute paintings of scale with speed. A skill he often flaunted while painting on stage in front of a large crowd.

His early work predominantly captured rural idyll, his narrative paintings executed in a modified Cubist style, can be caustic and funny as well as serious and somber. His themes sometimes treated in series include topics as diverse as Mohandas K. Gandhi, Mother Teresa, the Ramayana, the Mahabharata, the British Raj and motifs of Indian urban and rural life. Since his formative years Husain integrated many indigenous traditions in his art, this trait to assimilate the symbolic use of color and spatial divisions of miniature painting, breaking down and incorporating the distortions from folk heritage aided him to create painting that were relatable by the masses. His interpretation goes beyond the literal narratives; instead he addressed much larger truths and interlinked them with contemporary issues that reckoned his thoughts and mind. He shuffled between iconic paintings of Hindu epics and intimate watercolors and drawings. The artist passed away on the 9th of June 2011, in London. BANDWALA 68.5 x 53 in (174 x 134.6 cm) Oil on canvas 1988

Rs. 80,00,000 1,20,00,000 | US$ 129,032 193,548

Signed & Dated : On the Reverse

Provenance From an important Mumbai based collection, artwork was acquired by the present owner via Chemould Art Gallery, Mumbai from Lekha Poddar, New Delhi.

Krishen Khanna an Indian masterclass artist pays tribute and chronicles the individual within whom dwells the artist through this Bandwala creation. While driving in Delhi a procession of bandwallahs performing blocked his path, their bright red attire teamed with their brassy instruments caught his attention and he continued to use their motif throughout the 80s and this motif signifies a rather impactful and very relevant portion of his oeuvre. An artist in this context is not restricted to a person adorning a paintbrush but symbolises the one who creates, the madmen/women, the revelers, the storytellers. Without whom this mortal existence would seem a whole lot pale and indifferent. This oil on canvas piece exuberates his figurative style. Excellent brush stroke work capacitate the characters to reverberate out of the frame into reality, amidst the intended distortion of sound created. With bold colours and the controlled chaos emoted by the protagonists, ‘the Bandwalas’, the artist convinces the viewer about their existence captured through his eyes. The finesse of the artist's Expressionism technique is unambiguously revealed through this creation. As the saying goes “birds of the same feather flock together" this is the artist's ode to his own kind, not as much to the artist but the individual who is an Artist. Born in Lyallpur (now Faislabad, Pakistan), in the year 1925. moved to Shimla during the partition. He was employed with Grindlays Bank and got transferred to Bombay. Later he was invited to join the Progressive Artists Group, he had a long lasting association with them. Krishen Khanna was awarded the Rockefeller Fellowship in 1962 & was a resident artist in the American University in Washington between 1963-64. He trained in the discipline of Sumi-e, a method introduced by the Zen Buddhists; he experimented with this new learning through the medium of ink on rice paper and created a series of abstract work. The artist lives and works from Delhi. JAGDISH SWAMINATHAN 33 1929 - 1994

UNTITLED 32 x 44 in (78.7 x 117.8 cm) Oil on canvas circa 1970

Rs. 60,00,000 80,00,000 | US$ 96,774 129,032

Provenance Private Delhi based collection, property was acquired by the present owner from Dhoomimal Art Center, New Delhi.

J Swaminathan's untitled oil on canvas work circa 1980 was created at the time when he had cemented his vocabulary. His search for determining the relation between space and time began with the series 'Colour Geometry of Space' and culminated with the 'Bird, Mountain, Tree and Reflection' series. This painting is part of his revolutionary 'Bird, Mountain, Tree and Reflection' series. Immersed with his structured ideology this work encompasses a placid elevated surface of colour infused with the momentum of thoughts. The dissected sections within the painting establish the presence of shattered spatial spaces. He assimilated and then translated the images which surfaced after he successfully purged those images which occurred to his conscious. This painting echoes the silent existence of a frequency which is not audible but only penetrates the senses. K. M. ADIMOOLAM 34 1938 - 2008

UNTITLED 60 x 72 in (152.4 x 183 cm) Oil on canvas 2003

Rs. 8,00,000 10,00,000 | US$ 12,903 16,129

Signed & Dated : Bottom Right

Published The Art of Adimoolam by Mapin Publishing, pg.181.

Provenance From a private based collector from Tamil Nadu, present owner acquired it directly from the artist.

K M Adimoolam was a revered abstract painter. He was born in the year 1938 in Tiruchirapalli, Tamil Nadu. Under the guidance of sculptor Dhanapal he moved to Chennai in 1959. He was part of the revolutionary Madras Art Movement, which emerged in early 1960s under the leadership of K C S Paniker. Adimoolam completed his Diploma in Advanced Painting in 1966 soon thereafter he conceptualised a series of work dedicated to , this mammoth project included over 100 drawings and sketches narrating the different life phases and moods of the father of the nation. He was sponsored by the Association of British Scholars to study and work as a resident artist. Being exposed to iconic artists and studying their respective styles influenced him to push his own boundaries. He wandered off into non- representative and abstract imagery in comparison to his early age works of figurative painting which was his forte. Colour is what fascinated him and he infused the vibrations of colour to interpret his perspective of Nature. He did not permit himself to justify the imagery with a programmed shape but drove his vision in pure augmented measures. His tryst with Tamilwriters resulted in him working on illustration for their works, this association constantly fuelled his cerebral by pushing him to translate words onto a canvas. The merging of two creative tangents helped him master the art of Abstract Expressionism. The ease with which he proffered space was ingenious and teleported the viewer into unknown dimensions. In his own words "My canvases are neither representative of nature nor the perception of my mind. My works are not bound with words; they are purely concerned with vision. A vision that tries to reveal some untold truths from Nature. I interpret it through colours, without focusing on any aspect. No preconceived imagery has impeded my spontaneous interplay of colours. They create the life, verve, void and texture, and inherent sense of energy. My innate optimism permeates through the colours as the joie de vivre."

The artist breathed his last on 15th January 2008.

The cover of the publication with the work illustrated inside

Manu Parekh's drenched depiction of the holy city titled 'Blue Banaras', from the year 2006 is a nocturnally turbulent acrylic on canvas creation. Parekh’s works dedicated to Banaras is not only an impactful segment of his career but has time and again proved to be an invigorating factor within the spectrum of modernism in India. He completed his Diploma in Drawing & Painting from Sir J J School of Art, Mumbai in 1962. While he worked in Calcutta he had the opportunity to visit the Santiniketan and studied the works of the old masters of Indian art, Ram Kinkar Baij and Rabindranath Tagore. He analysed and observed their ideation parallels rather than their styles. This inspired him to delve deeper into his thoughts which in turn structured his perspective and laid the foundation for his artistic individuality. However he began his foray in the world of art as a stage actor and also designed the sets, this influenced him to demonstrate an impressive volume of visual drama in his works which can be observed in this creation. This painting encompasses the relatively of Nature and the diminutive relevance of humans occupying and sharing space in this realm. The colour palette is a silent and tranquil blue, the void within the bare canvas is only wadded with forms created by man but not man himself. It’s the labour of man which etches his significance in correlation with the place on Earth and it is the purity of his labour which is consequential. Manu Parekh is an eminent modernist and has fuelled this landscape with a dream like imagery, explosion of colour and successfully imparts an extension of his persona through his art. He permits his proclaimed muse, the city of Banaras to infiltrate his subconscious and has etched onto the surface pure and unbiased emotions in order to compose this creation. Which depicts the constant dialogue he shares with this holy city.

MANU PAREKH 35 1939

BLUE BANARAS 48 x 120 in (122 x 305 cm) Acrylic on canvas 2006

Rs. 20,00,000 25,00,000 | US$ 32,258 40,323

Signed & Dated : Bottom Right

Published Manu Parekh Banaras - Eternity Watches Time, pg.202

Manu Parekh Paintings, Osborne Samuel, London, 2007, cover & pg.12-13

Provenance From an important collector based in Bengaluru.

Artwork was illustrated on the cover of Manu Parekh’s Exhibition held in London, 2007 UNTITLED 31x30x7in(78.7 x 76.2 x 17.8 cm) Mixed media & burnt wood 1996

Rs. 12,00,000 16,00,000 | US$ 19,355 25,806

Signed & Dated : Bottom Left

Provenance From a prominent Delhi based corporate collection, artwork was originally sold by Dhoomimal Art Gallery.

This untitled woodwork by from the year 1996 brings to the fore his highly experimental artistic temperament. He was one of the first Indian artists to experiment with the collage format, often creating collages incorporating different texture, density and coloured papers. Always interested in surface quality, he developed a technique that emulates the rough finish of a mud wall. Amalgamating all of his acquired technical finesse, this charred woodwork is in tandem with his insatiable thirst to encounter newer avenues. Engulfing this inanimate piece of wood with a splash of black. He brings the final creation to life by scattering drops of red sporadically on the surface. Incorporating shells he spews a tribal charm. The work may come across as daunting initially but begins to embrace and entice the viewer gradually. The symmetric lines sawed into the woods surface shapes shifts when focused on and resembles an augmented pattern.

Satish Gujral enrolled in Sir JJ School of Art in 1947. After five years he got a scholarship to study at Nationale de Belles Artes, Mexico. He worked as an apprentice with master muralist David Siquerios and assisted him on various murals commissioned to the artist. He was inspired by the work style of muralist Jose Orozco. The artist has come a long way from his initial expressions of fear & despair to joy & humor in his drawings. Gujral's oil & acrylic paintings come to life with the sheer exuberance of colour. His plethora of skills include painting, sculpting & creating murals, he is a professional architect and interior designer. His project for the Belgian embassy in Delhi is an extemporary statement of contemporary Indian architecture. Many of Satish Gujral's works have been displayed in many cities across the world such as New York, New Delhi, Montreal, Berlin and Tokyoamong other cities. He was conferred with the Padma Vibhushan title in the year 1999. The artist is based out of Delhi. RAMESHWAR BROOTA 37 1941

UNTITLED Since the beginning of his career Broota has been 34 x 48 in (86.4 x 122 cm) deeply involved in the contemporary human Oil on canvas situation that degrades individuals and pollutes the relationship between them on the social plane. 1970 This early oil painting from the year 1970 is part of Rs. 30,00,000 40,00,000 | US$ 48,387 64,516 his seminal series ‘Ape/Man’. In this painting he demonstrates the devolution process of the Signed & Dated : Bottom Right 'humanized' gorillas. The work is corrosively Published satirical and displays the artist's concern for the Rameshwar Broota, Interrogating the Male Body, socio-moral being of man. His art is constructed Kiran Nadar Museum of Art on the basis of blatant simplicity, powerfully concise statements and unrestrained detailing. Provenance His attributes and established ergonomics proffer From a private Mumbai based corporate collection, his artistic ideologies. artwork was acquired by the present owner from Vadehra Art Gallery, New Delhi Broota’s works are housed in leading collections in India and abroad including the National Gallery of Modern Art in New Delhi, the Rashtrapati Bhavan – the official residence of the President of India, several Lalit Kala Akademi collections across India and a number of educational and other institutions. His works are part of various private collections in India, USA, Germany, Switzerland, UK, France, Mexico, Sweden and Dubai. These include the Chester and Davida Herwitz Collection and the Peabody Essex Museum in USA, the Jane and Kito De Boer Collection in Dubai, Rajshree Pathy art collection in Coimbatore and Kiran Nadar Museum of Art in New Delhi. Broota lives and works in New Delhi.

Rameshwar Broota with this lot in his studio

The cover of the publication - Kiran Nadar Museum of Art with the work illustrated on pg.47

Nasreen Mohamedi was an artist who gained most of her artistic cognizance by renouncing. Renouncing the human figure, heavy and bold patches of paint and in her most impactful works she even renounced the form of shadow. Her simplified approach of creating art, transformed her works into matter with no direct explicable context. She truly redeemed her work by keeping it open-ended and seldom tilted it. Her interaction with influential abstractionists Gaitonde and Jeram Patel made a deep impact on her cognitive process. Over a period of time she learnt the vital element of infusing silence into art from Gaitonde. He to a certain extent became her mentor.

While studying in London, Nasreens’s imagination was occupied by nature-inspired abstraction. She painted only a few canvases, mostly naturalistic representations of her surroundings. Her evolving thought process transited from abstraction to geometric patterns and thereafter traversing through precise shapes and forms she embarked on her grid format in the 1970s. Her lines resonated in parity with her own life and aging, the shades became lighter, the lines became minimalistic and solvent. Almost poetically she established a surging sense of iridescent waves of frequencies which slowly faded into the blank surface.

Mohamedi was born in in 1937. She grew up in Mumbai during the nationalist struggle and partition. She studied in London and Paris, before finally settling down in Baroda. 1954, Mohamedi secured a place at St Martin’s School of Art in London to study fine arts. In 1961, she went to Paris on a scholarship. She briefly stayed in Bombay during the break between London and Paris. In Bombay she joined the Bhulabhai Institute for the Arts. Her first solo show took place at Gallery 59 in 1961 she was 23 years old.

Two and a half decades after her death an exhibition of more than 200 of her works from the years 1950 – 1980 was concerted by Kiran Nadar Museum of Art, Delhi, The Museo Nacional Centro de Arte Reina Sofía in Madrid and the Metropolitan Museum of Art in New York, titled ‘Nasreen Mohamedi: Waiting is a Part of Intense Living’. Most of her works have, been acquired by private collectors across the world, especially in Japan and the US. Nasreen Mohamedi passed away in Kihim, near Mumbai at the age of 53 in the year 1990. NASREEN MOHAMEDI 38 1937 - 1990

UNTITLED 20 x 20 in (100.3 x 115.6 cm) Ink, pencil and gouache on paper

Rs. 50,00,000 70,00,000 | US$ 80,645 112,903

Provenance From a private Delhi based corporate collection.

JOGEN CHOWDHURY 39 1939

COUPLE 12 x 18 in (30.5 x 45.7 cm) Ink, watercolour & oil pastel on paper

Rs. 8,00,000 12,00,000 | US$ 12,903 19,355

Signed : Top Left

Provenance From a private collection of a Lady based in Delhi, property was acquired by the present owner directly from the artist. G. R. SANTOSH 40 1929 - 1997

SHARIKA DEVI 53 x 39 in (134.6 x 99 cm) Oil on canvas

Rs. 22,00,000 26,00,000 US$ 35,484 41,935

Published Awakening; A Retrospective of G. R. Santosh, pg.137

Provenance From an eminent collector based in Delhi, artwork was acquired by the present owner directly from the artist.

G R Santosh s painting titled ‘Sharika Devi’ is an oil on canvas creation and is an essential piece of art which signifies the stemming of Tantra and Kashmir Shaivism art in India. A predominantly self-taught artist, in this artwork he perfectly establishes the synergy between energy and colour to create this work. He allocates the dispersion of colours in order to extract and capsulate the break between breathes. The symmetric element is flawless, intricate and complex in nature, yet the viewer is not intimidated in its presence but is engulfed in the aura of completeness. His greatest achievement was the manner in which he formed the human structure in tow with its purity without depicting a face. He etches the presence of his figures transcending them on a higher dimension.

G R Santosh began his journey as a landscape artist and delved in the realms of the Mystic Kashmiri Shaivismism only during the 60s. A visit to the Amarnath cave in Kashmir had a profound effect on him and since then he dedicated all his energy learning about Tantra and Shaivism philosophy which he translated and transformed visually through his art. He held over 30 one man shows. In 1973, he received the Lalit Kala Akademi award and in the year 1977 was conferred with the title of Padma Shree. G R Santosh passed away in the year 1997 in New Delhi.

The cover of the publication with the work illustrated inside RAM KUMAR 41 1924

UNTITLED This untitled abstract work from the year 1961 is an 20.5 x 31 in (52 x 78.7 cm) extension of Ram Kumar’s inner contemplative thoughts. Oil on canvas The colour composition gives insights into the rigidity of the time when he conceived this work. The sweeping 1961 strokes of paint evoke both the exultation of nature and Rs. 20,00,000 30,00,000 the deep crimson base hue signifies the incipient US$ 32,258 48,387 violence within the human habitation.

Signed & Dated : Bottom Left Ram Kumar successfully progressed to create an individual identity that represented Indian aesthetics. His Provenance work is expressionist abstract in nature, in oil or acrylic. From a private Delhi based collection. Throughout his journey as an artist it can be observed that he started off with a murky appeal and as he encountered maturity he shifted his style to a more melodious and optimistic approach. He has always struck a chord with the audience on account of his humanist approach, which reflects in his art. RAM KUMAR 42 1924

MOUNTAINS 45 x 70 in (114.3 x 177.8 cm) Oil on canvas 1993

Rs. 60,00,000 80,00,000 US$ 96,774 129,032

Signed & Dated : On the Reverse

Provenance From a private Delhi based corporate collection, property was acquired by the present owner from Christie’s

Ram Kumar instinctively is an expressive person, when he was in Paris he joined the French Communist Party staying true to his youthful ideologies. In this work titled ‘Mountains’ from the year 1993 he gives the viewer an opportunity to get teleported to a higher altitude. A definite dimensional shift in this work renders a higher degree of expressiveness and melody. Straying away from greys and browns, which portray the Sun kissed Earth. He depicts the fertility of the terrain highlighting nature’s benevolence and the dwelling frail and diminutive human existence when compared with the big picture. His hometown of Shimla is surrounded with picturesque mountain terrain and his childhood memories have definitely made its way onto the canvas with this work. The various angled perspectives of the same terrain is an example of this revered artist prowess.

His visits to various countries, places within India and their inherited geology are his muse and he continues to alternate between landscapes and cityscapes. Ram Kumar was born in the year 1924. He lives and works in Delhi. F. N. SOUZA 43 1924 - 2002

FRANCISCIAN MONK 24x24in(61x61cm) Oil on canvas 1961

Rs. 55,00,000 65,00,000 | US$ 88,710 104,839

Signed & Dated : Top Right

Provenance From collection based in Delhi, artwork was originally sold by Sakshi Art Gallery, Mumbai. F. N. SOUZA 44 1924 - 2002

DEATH AND THE MAIDEN Souza s work from the year 1966 titled ‘Death and the 43 x 31 in (109.2 x 78.7 cm) Maiden’ is a blurry sensuous and seductive moment of Oil on linen rendezvous with death captured and frozen. This artwork is based on Matthias Claudius's poem 'Death 1966 and the Maiden' which inspired many artists over the Rs. 1,20,00,000 1,60,00,000 period of time to execute their own pictorial versions. Such as Hans Baldung Grien in the year 1518 - 20, US$ 193,548 258,065 Adolf Hering was inspired and created a painting in the Signed & Dated : Bottom Left year 1900, Egon Schiele emoted his thoughts on the canvas in 1915 amongst many others. The theme of a Provenance personified Death thrusting towards a virginal maiden Property from a private American sprouts from ancient mythological traditions. From the collector, acquired by the present Greeks we have the ancient story of the abduction of owner from Sotheby’s. Persephone by Hades, God of the underworld. Death personified was ubiquitous in Europe in the middle of the 14th century during the Great Plague. Thus the theme of the Dance of Death appears frequently in Medieval European art. By the end of the 15th century the subject of Death and the Maiden became a central theme where there is a strong mood of eroticism associated with the notion. Souza depicts this experience of the maiden protagonist while in the arms of her lover who murder’s a part of her being; while at the same time emancipates her in his embrace. The young maiden was no longer partaking in a dance, but is raptured in a sensual embrace. Souza’s rendition of ’Death and the Maiden’ surfaces with stark melancholy and not simply fear or anger. The full-frontal striking female nude appears in the foreground, as a centre- point of the painting. Here Souza expresses defiance and impatience with convention and disowns the banality of everyday life.

Hans Baldung Grien (Year: 1518 - 20)

AKBAR PADAMSEE 45 1928

METASCAPE - MIRROR IMAGE (DIPTYCH) ‘Heads’ and ‘Nudes’ creations. A barrage of 60 x 60 in (152.4 x 152.4 cm) influences inspired him to conceive his famous Oil on canvas Metascape creations, however the major factor which drove him to bring to life such expanded and 2004 extending surfaces are the teaching of the Upanishad Rs. 3,00,00,000 4,00,00,000 doctrines. A scholar in Sanskrit he amalgamated US$ 483,871 645,161 teachings of the Vedas onto the canvas, thus creating artworks which are and will always be resounding Signed & Dated : Bottom Right echoes of the mind and soul. This ‘Metascape-Mirror’ Published creation from the year 2004 is a dual panel work. His Work in Language by Marg compendium of knowledge and technical insights of Publication in Association with Pundole Art Gallery, structure is elevated which enables him to execute pg.204 and justify the multiple perspective of human duality. He captures these ‘Mirror’ing innate human polarities Provenance and the infinity of the Upanishads on a singular From an important Delhi based collection, property surface. One must heed to the fact that in spite of was originally acquired from Christie’s, 2006. having being proclaimed a pioneer since the early 80s, he began these multiple panel expeditions only Akbar Padamsee is a painter who contributed towards the later and most mature stage of his career. immensely to establish the pulsating vibration of This indicates the awareness, humility and clarity modern Indian art on a grand scale. Since the year which he possesses about himself as a human and 1951 he has delved and experimented with multiple artist. In this foyer of an artwork he controls the mirror mediums ranging from watercolour and oil painting, reflection with the aid of a singular bold black line, plastic emulsion, sculpturing, printmaking, simply delineating the essence of duality with a photography, film maker, engraving and lithography. singular entity. This simplistic juxtaposition and Liberal with applied mediums he is not at all lenient articulation of thought is both playful and profound, with regards to the structure and the execution of his which peaks between the blink of time. artworks which he ensures are depicted at parity with The sale of his Grey Series work titled ‘Greek his thoughts. A pioneer modernist, his most impactful Landscape’ for USD 2.9 million has cemented the subjects are his ‘Metascape’ ‘Mirror’ and fecundity of his vision, resulting in his inclusion among ‘Landscape’ escapades and his contemplative the top five highest selling modern Indian artists.

The cover of the publication with the work illustrated inside UNTITLED (HANUMAN) 50 x 67.5 in (127 x 171.4 cm) Oil on canvas Circa 1980

Rs. 1,00,00,000 1,50,00,000 US$ 161,290 241,935

Provenance From an important Delhi based collection, property was acquired by the present owner directly from the artist in the 1980’s.

Set against a blue background the levitating figure of Hanuman is directly propelled into focus. A figurative from the beginning of his career, Bawa display’s his protagonist with great agility and form. In this canvas work his unique background has a waving colour effect much like the tides of the Universe. The facial detailing and construction is organic while he molds the body with a renewed contoured perspective. The simplicity and smooth viewing is difficult to achieve, ensuring the viewer does not have to ponder in search of the identity. An ardent admirer of spirituality he transfers all his energy into this creation. The realism of the flight ensued is translated with absolute nuance.

Manjit Bawa was born in Dhuri in Punjab in 1941, studied at the College of Art, Delhi and did his diploma at the London School of Printing, Essex in Silk Screen-Printing. From 1967 to1971 he worked in London as a silkscreen printer. He opted for iconic Indian coloured backgrounds such as pink, yellow, blue, green & red which makes his canvases very unique. Manjit had one-man shows in London and St.Sebastian in Spain between 1967 and 1971. In the year 1972 he joined the College of Art, Delhi in the capacity of a visiting faculty. Later he had a number of solo shows in India and abroad. He represented the Indian art culture on occasions such as the 'Contemporary Indian Art' exhibition at the Royal Academy of Arts, London in 1982, ‘Modem Indian Painting' at Hirschom Museum, Washington D.C in 1982, 'Contemporary Indian Art' at the Grey Art Gallery, New York in 1986, and 'Coup de Coeur' at Halles de Ulle, Geneva, 1998. Manjit. The artist died in the year 2008.

A. RAMACHANDRAN 47 1935

DANCING GIRLS ( DANCE OF MONSOON) 72 x 72 in (183 x 183 cm) Oil on canvas 2003

Rs. 60,00,000 80,00,000 US$ 96,774 129,032 A Ramachandran s oil on canvas juggernaut work titled Signed & Dated : Bottom Right ‘Dancing Girls’ is bestowed with rhythm and grace. His projected perspective of the woman anatomy is Exhibited astonishingly sensuous. His larger than life portrayal of his ‘A. Ramachandran: A Retrospective’ at the beloved protagonists ensures that the viewer is wrapped in National Gallery of Modern Art – New Delhi their celebration. Initially he was involved with the expressionist style, through which he expressed the angst of Published urban life with a heavy shadow of poignancy. By the 80s his A. Ramachandran: A Retrospective by R. Siva work underwent a seismic change. Urban reality was no Kumar for the National Gallery of Modern Art, longer a dominant preoccupation. A tribal community in Vol. II, Pages 126 - 127 with its vibrant ethos gripped his imagination. The Provenance colours and forms of the murals in Kerala temples are From a private collection. ubiquitous in this paintings background layout. Germinating the canvas with a true sense of resonance of the music. He showcases his Santiniketan training where the decorative elements were as integral to the painting as the appearing figures. All these attributes come to life in this painting. This work symbolizes a placid facet of the artist.

The cover of the publication with the work illustrated inside HANUMAN 42 x 42 in (106.7 x 106.7 cm) Oil on relief plaster, with incised and mixed media on board Circa 1960

Rs. 45,00,000 65,00,000 | US$ 72,581 104,839

This lot has a sticker of Chemould Art Gallery on the reverse

Exhibited Master Show, Apparao Art Gallery, Chennai

Provenance From an esteemed Delhi based private collection, property was acquired by the present owner from Apparao Art Gallery.

Khakhar s mixed media and oil on board creation circa 1950 titled ‘Hanuman’ is his version of presenting the deity as done in the villages of India. The imagery resembles statues which are found ubiquitously under Banyan trees in the hinterland of India. These sacred statues are made by villagers out of mud and the colouring agent is a mix of Sindoor (cinnabar) infused with oil which is then poured over the sacred relic. The artist's brings this work to life by adding an expressionist narrative, none the less he maintains the ritualistic essence by projecting the colouring concoction still dripping.

Bhupen was a late bloomer in the art spectrum. He realised his inclination towards creating art owing to the dissatisfaction his chartered accountancy profession aroused. His journey in this field began with a course in art criticism from the M S University in Baroda.

Exhibition picture of Apparao Art Gallery, Chennai JERAM PATEL 49 1930 - 2016

UNTITLED 49x49x2in(124 x 124 x 5 cm) Acrylic on wood 2008

Rs. 15,00,000 20,00,000 | US$ 24,194 32,258

Signed & Dated : On the Reverse

Exhibited & Catalogue Recent Wood & Steel Works by Jeram Patel, Art Home, 2007

Provenance Private Baroda based collection acquired by the present owner directly from the above.

Jeram Patel was a contemplator of the concept vision brings to the fore his artistic finesse. And at the of the 'Numen' which inspired him to etch same time secures it in the volt of his surface. The images and shapes which resonated from emerging fossil of the anthropomorphic creature is well within his subconscious. His technique is defined as it is an outcome of his unsurrendered layered and definition of art is open ended and approach. This stance is unique as when he delved in minded. Through this acrylic on wood work his blow torch endeavors he submitted to the force of from 2008 the artist sculpts through a finished fire to form the shape. surface. The polished surface serves as a mere Jeram Patel was one of the artists who turned around background and the hollow figure which dwells the Indian art scene and formulated a new visual identity within this background assumes the central and method of abstraction in the late 1950s and 60s. He point of focus. Ironically he inverts the essence was part of the short lived 'Group 1890'. of the concept of surface and matter. His carving which is an illustration of his controlled

The cover of the publication with the work illustrated inside UNTITLED 45 x 45 in (114.3 x 114.3 cm) Oil on canvas 1990

Rs. 25,00,000 35,00,000 | US$ 40,323 56,452

Signed & Dated : Top Right

Provenance From an important Kolkata based collection, property was acquired by the present owner directly from the artist.

Bikash Bhattacharjee was best known for bringing to life the emotions that formed his subjects. A compound of empathy and astonishing technical command makes his artworks realistic in vision however inseparable from surrealism. All owing to his inflicted chain of thought and the manner in which he structured the objects that formed his subject’s emotions and environment. Throughout his career he represented various strata of society and dedicated a specific phase to each character. In this oil on canvas work from the year 1990 he demonstrates pensive desolation through his protagonist. Her pillar of support in this hour of need is symbolised by the emerging tree, the space behind is a nebulous of infinity. His penchant for loneliness and desolation is represented through this work as he skillfully infiltrates the surface with light and shadow.

Bikash Bhattacharjee was born in Kolkata in 1940. He completed his graduation from the Indian College of Art and Draftsmanship in 1963. He joined the teaching faculty of his alma mater in 1968 and thereafter continued as a professor at the Government College of Arts and Crafts from 1973 to 1982. In the 90s, he moved to Santiniketan and started working on darker toned figures and focused on rural icons. A prolonged illness made circumstances harsh and enduring for him to work and invest his energy. However during his active years he gracefully achieved layered and forceful subjects portraying them with a surreal velocity. The artist passed away in 2006. ADAM AND EVE 64 x 45 x 7.5 in (162.5 x 114.3 x 19 cm) Oil on masonite board & carved wooden door

Rs. 60,00,000 80,00,000 | US$ 96,774 129,032

Signed : Top Right

Provenance Private collection of a lady based in Mumbai artwork was acquired by the present owner directly from the artist.

Anjolie Ela Menon's jharokha style painting on masonite titled ‘Adam and Eve’, encapsulates the place from where all of Humanity emerged. A jharokha was primarily built so that a woman could peep outside her room and watch the proceedings on the streets without being seen. Now she transforms this window enabling the viewers to get a glimpse of her perspective of the characters who are primordial to the human race. She allocates equal space for the foremost habitants of the Garden of Eden, representing a holistic equilibrium. The bountiful foliage depicted in the background injects such a sense of depth, which occurs only when the fabric of time is stretched. The indispensible and defining motif of the uneaten apple is placed in the palm of Eve, representing a time when this world was Utopia. The presence of the jharokha itself adds a rustic feel while viewing this work. The hope emoted by the characters is interspersed all over the painting and seeps into the viewer. JAMIL NAQSH 52 1938

UNTITLED 48 x 36 in (122 x 91.4 cm) Oil on canvas

Rs. 25,00,000 30,00,000 | US$ 40,323 48,387

Signed : Bottom Right

Published Khushii, India on Canvas by Sotheby’s, pg.93

Provenance From an prominent Delhi based collection.

Jamil Naqsh s untitled oil on canvas work is constructed with his mastered skill of eloquence. With this work he indulges in pure romance with the feminine spirit. Patching her essence with the intrinsic and fecund pattern of earth, almost too divine to devour he incorporates elements of unadulterated light to penetrate through her form. The motif of the dove signifies his search for peace, which culminates through his protagonist. His mastery over the trajectory of light and its utmost importance to establish a tone is astonishing. The facial construction has a definite tinge of cubism, however there is an unheard dialogue with which he serenades his craft and that is the crux of his artwork.

The cover of the publication with the work illustrated inside General Terms Authenticity Guarantee Closing Schedule For October 16, 2016

By participating in this auction, you acknowledge that you are bound ! AstaGuru assures on behalf of the seller that all properties on the Auction Closing by the Conditions for Sale listed below and on the website website are genuine work of the artist listed. For your convenience, especially if you are bidding on multiple lots are scheduled to close at different times on www.astaguru.com October 16, 2016. ! However in an unlikely event if a property is proved to be inauthentic ! Making a Winning Bid results in an enforceable contract of sale. to AstaGuru's satisfaction within a period of 6 months from the Pre-determined groups of lots will close according to the bid-closing schedule unless a bid is recorded within a span of 3 collection date, the seller shall be liable to pay back the full amount minutes prior to the lot's scheduled closing time. In such a case, the lot closing time will be extended by 3 minutes from ! AstaGuru is authorized by the seller to display at AstaGuru's to the buyer. These claims will be handled on a case-by-case basis, the time of the last bid. If this time extension takes place, bidding on any lot will only end if there is no bid recorded for a discretion images and description of all lots in the catalogue and on and will require that examinable proof which clearly demonstrates span of 3 minutes. Bidders are requested to refresh the page for updates on latest bids and time extension if any. the website. that the Property is inauthentic is provided by an established and acknowledged authority. Only the actual Buyer (as registered with Lots have been allotted into groups, and the closing schedule for the various groups is as follows: ! AstaGuru can grant, record and reject any bid. AstaGuru) can makes the claim. ! Bidding access shall be given at AstaGuru's discretion. ! The property when returned, should be in the same condition as when it was purchased. Groups 123 ! AstaGuru may ask for a deposit of Rs. 500,000 or an equivalent in US$ on lots prior to giving bidding access. ! AstaGuru shall charge the buyer in case any steps are to be taken for special expenses that shall take place in order to prove the ! AstaGuru may review bid histories of specific lots periodically to Lot Numbers 1-20 21-40 41-52 authenticity of the property. preserve the efficacy of the auction process. ! In case the seller fails to refund the amount, Astaguru shall be ! AstaGuru has the right to withdraw a Property before, during or Closing Time (IST) 8:00 pm 8:30 pm 9:00 pm authorized by the buyer to take legal action on behalf of the buyer after the bidding, if it has reason to believe that the authenticity of to recover the money at the expense of the buyer. the Property or accuracy of description is in doubt. Closing Time (US Eastern Time) 10:30 am 11:00 am 11:30 am ! All proprieties shall be sold.

! There is no reserve price. Closing Time (US Western Time) 7:30 am 8:00 am 8:30 am ! AstaGuru shall raise all invoices including buyers premium and Extent of AstaGuru’s Liability related taxes. ! Closing Time (UK Time) 3:30 pm 4:00 pm 4:30 pm ! The Buyers Premium shall be calculated at 15% of the hammer price. AstaGuru has to obtain the money from the seller and refund to the buyer the amount of purchase value in case the work is not ! All foreign currency exchange rates during the Auction are made on authentic. Closing Time (Japan) 11:30 pm 12:00 pm 12:30 am a constant of 1:64 (USD:INR) ! All damages and loss during transit must be covered by the ! All invoicing details shall be provided by the buyer prior to the insurance policy, AstaGuru will not be liable. auction. Closing Time (Hong Kong) 10:30 pm 11:00 pm 11:30 pm ! AstaGuru or any member of its team is not liable for any mistakes ! All payments shall be made within 7 days from the date of the made in the catalogue. invoice. ! AstaGuru is not liable for any claims in insurance. ! In case payment is not made within the stated time period, it shall be ! treated as a breach of contract and the Seller may authorise AstaGuru is not liable in case the website has any technical AstaGuru to take any steps (including the institution of legal problems. proceedings). ! If any part of the Conditions for Sale between the Buyer and AstaGuru ! AstaGuru will charge a 2% late payment fine per month. is found by any court to be invalid, illegal or unenforceable, that part may be discounted and the rest of the conditions shall be ! If the buyer wishes to collect the property from AstaGuru, it must be enforceable to the fullest extent permissible by law. collected within 30 Days from the date of the auction. The buyer shall be charged a 2% storage fee if the property is not collected in time.

! AstaGuru reserves the right not to award the Winning Bid to the Bidder with the highest Bid at Closing Date if it deems it necessary to Law and Jurisdiction do so.

! In an unlikely event of any technical failure and the website is The terms and conditions of this Auction are subject to the laws of inaccessible. The lot closing time shall be extended. India, which will apply to the construction and to the effect of the clauses. All parties are subject to the exclusive jurisdiction of the ! Bids recorded prior to the technical problem shall stand valid courts at Mumbai, Maharashtra, India. according to the terms of sale. Guru INVITATION TO CONSIGN Asta to our next Auction October 2016 modern auction Modern Indian Art October 15 – 16, 2016

“I request AstaGuru, without WRITTEN BID FORM legal obligation on its part, to bid on the Lots listed To enter proxy bid(s) please sign the completed form and fax to (91 22) 2207 5231. below, up to the maximum price I have specified. I agree that my bid will be treated Name as an offer and is subject to the terms and conditions *Address: listed in the catalogue and on www.astaguru.com *City: *Pin *Country: I understand that AstaGuru is accepting written bids for *Tel: (Mobile): the convenience of clients and I will not hold them Tel:(office): *Tel: (home): liable for failure to record my bid. I understand that a Fax: (office): Fax: (home): Maximum Bid once recorded may not be cancelled.” *AstaGuru login ID: *Password: Bidders are required to provide all invoicing details to AstaGuru prior to sale as Email ID: no invoices will be changed after the sale and the bidder Please print clearly in capital letters, and specify if bids are in USD or INR. will be invoiced as registered with AstaGuru. *Information requested on this form is mandatory. Please mention the Lot Number and description accurately (artist name, painting title, etc).

Artist/Description Maximum Bid Amount Lot No. USD/INR

AstaGuru Modern Indian Art Auction

astaguru.com

ICIA Building, Rampart Row, Next to Rampart House, Kala Ghoda, Mumbai - 400 023. India Tel :+91 22 2204 8138 / 39 • Fax: +91 - 22 - 2204 8140• email : [email protected] *Signature DATE www.astaguru.com