CONTEMPORARY INDIAN ART
A SELECTION FROM THE AMAYA COLLECTION
ONLINE AUCTION | 4 – 5 DECEMBER 2018
1 CONTENTS
4 SALES AND ENQUIRIES
12 THE AUCTION CATALOGUE
144 FREQUENTLY ASKED QUESTIONS
149 CONDITIONS FOR SALE
158 CLOSING SCHEDULE
159 ABSENTEE/PROXY BID FORM
Cover Inside back cover Facing page Lot 23 Lot 33 Lot 14 SUBODH GUPTA BHARTI KHER SHILPA GUPTA
2 3 All bidding will take place on saffronart.com. All lots are published in the printed catalogue and may also be OUR TEAM viewed on the website. Select lots may be viewed in New Delhi, Mumbai and London by appointment.
AUCTION DATES Start: Tuesday, 4 December 2018, 8 pm Indian Standard Time (9:30 am US Eastern Time, and 2:30 pm UK Time) Close: Wednesday, 5 December 2018, 8:30 pm Indian Standard Time (10 am US Eastern Time, and 3 pm UK Time) Please note that bidding closes at different times according to Lot Groups. These times have been listed in DINESH VAZIRANI MINAL VAZIRANI PUNYA NAGPAL ABHA HOUSEGO ANU NANAVATI the Bid Closing Schedule. Chief Executive Officer President Senior Vice President Vice President International Vice President International and Co-‒founder and Co-‒founder London New York PREVIEW AND VIEWINGS NEW DELHI MUMBAI LONDON CLIENT RELATIONS PREVIEW PREVIEW PREVIEW Thursday, 15 November 2018 Friday, 30 November 2018 Wednesday, 21 November 2018 6.45 pm 6.45 pm 6.30 - 9 pm A conversation on contemporary A conversation on contemporary Indian art with Amrita Jhaveri and Indian art with Amrita Jhaveri and Dinesh Vazirani, followed Mortimer Chatterjee, Chatterjee & by cocktails Lal, followed by cocktails DHANASHREE SHAHEEN VIRANI AMIT KAPOOR ADITI PARAB AASHISH DUBEY DEEPIKA SHAH JOE CYRIL WAIKAR Associate Vice President Associate Vice President Junior Manager VIEWINGS VIEWINGS VIEWINGS Senior Manager Manager Business Client Relations Jewellery Associate Vice President Jewellery and Collectibles Client Relations Client Relations Development 16 - 25 November 2018 20 November - 6 December 2018 22 November - 6 December 2018 Client Relations 11 am - 7 pm, Monday to Saturday 11 am - 7 pm, Monday to Saturday 11 am - 7 pm, Monday to Friday 11 am - 4 pm on Sunday 11 am - 4 pm on Sunday Saturday and Sunday by appointment EDITORIAL AND DESIGN VENUE VENUE VENUE Saffronart Saffronart Saffronart The Oberoi Industry Manor, Ground and 3rd Floor 73 New Bond Street, 1st Floor Dr. Zakir Hussain Marg Appasaheb Marathe Marg London, W1S 1RS New Delhi 110003 Prabhadevi, Mumbai 400025
SALES TEAM AND AUCTION ENQUIRIES MEERA GODBOLE‒ ALKA SAMANT EESHA PATKAR KRITI BAJAJ KRISHNAMURTHY Vice President Design Editorial Manager Editorial Manager India Mumbai Contact: Punya Nagpal, Dhanashree Waikar, Shaheen Virani, Aashish Dubey or Deepika Shah Editor‒-in-‒Chief Email: [email protected] Help Desk Tel: +91 22 2432 2898 / 4333 6200 / 2436 4113 extension 203/228/205/244 Fax: +91 22 2432 1187 OPERATIONS AND FINANCE New Delhi Contact: Amit Kapoor Email: [email protected] Tel: +91 11 2436 9415 USA Contact: Anu Nanavati | Email: [email protected] | Tel: +1 212 627 5006 UK Contact: Abha Housego or Maia Jasubhoy | Email: [email protected] | Tel: +44 20 7409 7974
ADDRESSES
India Mumbai: Industry Manor, 3rd Floor, Appasaheb Marathe Marg, Prabhadevi, Mumbai 400025 MANU CHANDRA VINAY BHATE NARSINGRAO HARESH JIANDANI ANJALI GHATGE CHANDRA POOJARI GAURAV YADAV Head of Operations Vice President Lead Software Engineer Associate Vice President Manager Senior Manager Manager New Delhi: The Oberoi, Dr. Zakir Hussain Marg, New Delhi 110003 Finance Technology Logistics Finance Logistics Logistics USA The Fuller Building, 595 Madison Avenue, Suite 1207, New York, NY 10022 UK 73 New Bond Street, 1st Floor, London, W1S 1RS
4 5 A JOURNEY THROUGH THE AMAYA COLLECTION MEERA GODBOLE-KRISHNAMURTHY
Amrita Jhaveri is among the earliest collectors What criteria do you use for selecting contemporary art? of contemporary Indian art. As precise and I approach art visually before responding to it intellectually. An artwork must have visual impact and draw me thoughtful in her choice of words as she has in. When I visit exhibitions, I usually look at the work before reading the press release or any interpretation. been in her process of selecting art over Then I think about how I might live with it, where I can imagine it in my home. I also consider if it is an artist the years, she finds the arbitrary dichotomy who I might wish to follow and how an individual work stands up to others within an exhibition. Finally, between modern and contemporary art I consider if I can afford to acquire it. disingenuous. The Amaya Collection has been called eclectic and methodical, but it is her very Tell us a little about the artists in your collection and the works you have selected for this sale. personal choice of artists and works that makes The works included in this sale are some of my absolute favourites, and very difficult to let go. The selection the collection singularly refined. Contemporary captures a particular moment in time from the late 1990s to the mid 2000s when there was a great sense art does not have the luxury of being assessed over the passage of time to be deemed timeless. Jhaveri’s collection, by virtue of being almost twenty years old, is as close as one can get to having stood the test of time. The works she has selected for this Saffronart sale are among the earliest in the careers of some of the artists. Filtered through her discerning eye, each piece stands as a testament to the early and essential truths of their respective artistic visions. I spoke to Amrita about her journey as a collector, her interest in contemporary art, and her selection of works for this catalogue. Portrait of Amrita Jhaveri by Derry Moore
You were among the first serious collectors of contemporary Indian art. What prompted you to look at contemporary and emerging artists? There are several significant collectors of contemporary Indian art who preceded me and were an inspiration in my earliest ambitions to collect. I enjoyed visiting galleries, especially those showing artists from my own generation. Visiting galleries was part of my upbringing and while my father bought artists of his generation, Selection of works in the catalogue on view in Amrita Jhaveri's Mumbai home I went on to acquire artists from mine.
6 7 Collage is represented in the works of Jagannath Panda (lot 32) and Mithu Sen (lot 24), photography by practices as diverse as those of Dayanita Singh (lot 16) and Tejal Shah (lot 42). So overall, I feel this small group of works covers a lot of ground, coming together to form a unified collection.
What was the first work of contemporary Indian art you acquired? It was 1998 and the artist Girish Dahiwale (lot 41) presented Toxic Tales: Therapy, a solo exhibition of nine large paintings at the Birla Academy of Art and Culture in Worli, Mumbai. Among them was a 5' x 7' painting of the Indian 100 rupee note with Gandhi’s image replaced by a self-portrait, and a quote from Pearl Jam. I had never seen anything like it and I recall paying a handsome Rs 38,000 for this wonderful painting. Tragically, the artist passed away prematurely the same year. However the painting travelled to Century City, the opening exhibition at Tate Modern. The exhibition looked at nine cities, and Bombay (Mumbai) between 1992 and 2001 was one of them. I believe Girish was the youngest artist in this section, which was curated by Geeta Kapur.
Why did you decide to sell these works now? The reasons are complex, but I would say that I somehow ended up having too many works in storage for long periods of time, as I now spend less time in India. I wanted to simplify my life and at the same time, share these works which I have loved and lived with over the years, with a new generation.
Selection of works in the catalogue on view in Amrita Jhaveri's Mumbai home
of optimism in the art world. It was a time of easy camaraderie between artists, gallerists and collectors who socialised at openings and parties. Artists experienced growing interest from both local and international collectors and opportunities to travel and exhibit. This sale is a snapshot of those happy days.
Amongst the earliest works are a painting by Atul Dodiya and a sculpture by Dhruva Mistry. Atul Dodiya’s Saurabh Society (lot 9) belongs to a series of paintings of small town architecture and middle class environments. The language is very direct and the scene very familiar. Dhruva’s sculpture (lot 35) on the other hand, is remote, almost inaccessible. The landscape and the human body, especially the male body are themes that emerge through the collection – the former in the works of Jyothi Basu (lot 12) and N N Rimzon (lot 26) and the latter in the works of Surendran Nair (lots 2, 3), Shibu Natesan (lot 29) and Nataraj Sharma (lots 6, 7).
I am also interested in how artists use diverse materials - wood, thread, lights, steel, wire, velvet, glass, gold leaf and feathers. I am interested in sculpture and installation on a domestic scale. Sculptures by Subodh Gupta (lot 23), Ravinder Reddy (lot 5), L N Tallur (lot 36), Rina Banerjee (lot 17) and Sudarshan Shetty (lot 37) and installations by Monali Meher (lot 27), Shilpa Gupta (lot 14), and Pushpamala N (lot 4) add interest to the wall-based works.
8 Selection of works in the catalogue on view in Amrita9 Jhaveri's Mumbai home LOTS 1-15
Closing Time: Wednesday, 5 December 2018
8 pm (IST) 9.30 am (US Eastern Time)
10 11 1
A BALASUBRAMANIAM
UNTITLED SELF
Signed 'A. Balasubramaniam' (lower left), inscribed 'Untitled Self' (lower centre), further inscribed and dated '3/7 2002' (lower right) 2002 Acrylic on acrylic sheet Height: 30 in (76.2 cm) Width: 23 in (58.5 cm) Depth: 3.5 in (8.89 cm)
$ 8,335 - 11,115 Rs 6,00,000 - 8,00,000 Third from a limited edition of seven
12 13 A Balasubramaniam is a sculptor, painter, and printmaker known for the simplicity and minimalism of his works, which frequently play with illusion and perception to explore notions of the self. “This search for an understanding of reality, searching for truth, searching for details in life which we are surrounded by all the time but which we ignore or take for granted, I don’t think these are separate from science or the spiritual aspects of life. All these things have a common ground. ... So maybe we can call it a search for life.” (Artist quoted in Elizabeth Kuruvilla, “Alwar Balasubramaniam: The reclusive superstar,” Livemint, 2015, online)
Balasubramaniam has developed a unique visual language through an ingenious use of texture, contour, light and shadow. The present lot comprises a layered, deep red, three-dimensional hole, in the shape of a face, at the heart of a white background. The artist often casts his own body in his work, balancing a somewhat “detached objectivity and a clean, almost cool aesthetic” with a poignant and meaningful personal element. (Suhasini Kejriwal, A Balasubramaniam: Constructions, New York: Talwar Gallery, 2002)
“The really important thing is invisible. Works are the by-products of our processes, like a footprint in our journey...” – A BALASUBRAMANIAM
14 15 2 a
SURENDRAN NAIR
A) MERMAN PLAY
Signed and dated 'Surendran 99' (lower right), inscribed ''MERMAN PLAY'' (lower left) 1999 Watercolour on paper 21.5 x 29.5 in (54.9 x 74.7 cm)
B) THE MORTAL WOUND OF CHIRON THE CENTAUR
Signed 'Surendran' (lower right), inscribed 'The Mortal Wound of Chiron the Centaur' (lower left) Watercolour on paper 21.75 x 29.25 in (55 x 74.6 cm)
$ 5,560 - 6,945 Rs 4,00,000 - 5,00,000 (Set of two)
A) EXHIBITED Horn Please: Narratives in Contemporary Indian Art, Bern: Kunstmuseum Bern, 21 September 2007 - 6 January 2008
PUBLISHED Bernhard Fibicher, Suman Gopinath eds., Horn Please: Narratives in Contemporary Indian Art, Ostfildern: Hatje Cantz Verlag, 2007, p. 155 (illustrated)
B) EXHIBITED Horn Please: Narratives in Contemporary Indian Art, Bern: Kunstmuseum Bern, 21 September 2007 - 6 January 2008
PUBLISHED Ranjit Hoskote ed., Itinerant Mythologies: Surendran Nair, Mumbai: Sakshi Gallery, 2009, p. 130 (illustrated) Bernhard Fibicher, Suman Gopinath eds., Horn Please: Narratives in Contemporary Indian Art, Ostfildern: Hatje Cantz Verlag, 2007, p. 154 (illustrated)
b
16 17 3
SURENDRAN NAIR
ThINNER VOICE (CUCKOONEBULOPOLIS)
Inscribed, dated and signed ''thINNER VOICE (CUCKOONEBULOPOLIS)' - 2003/ Surendran/03' (on the reverse) 2003 Oil on canvas 82.25 x 41 in (208.9 x 104 cm)
$ 25,000 - 30,560 Rs 18,00,000 - 22,00,000
EXHIBITED Under the Skin of Simulation: Three Contemporary Painters From India, Berlin: The Fine Art Resource, 15 September - 3 October 2003
PUBLISHED Amrita Jhaveri and Priya Jhaveri (ed.), A Guide to 101 Modern & Contemporary Indian Artists, Mumbai: India Book House, 2005, p. 137 (illustrated) Ranjit Hoskote ed., Itinerant Mythologies: Surendran Nair, Mumbai: Sakshi Gallery, 2009, p. 74 (illustrated) Gayatri Sinha ed., Voices of Change: 20 Indian Artists, Mumbai: The Marg Foundation, 2010, p. 55 (illustrated)
18 19 Surendran Nair’s monumental paintings straddle the line between traditional and contemporary imagery, containing a multitude of references ranging from classical mythology and literature, to pop culture and current politics. Imbued with his unique sense of humour, they are gentle subversions of expected symbols, resulting in a pictorial language that produces entirely new cultural meanings. Theatre and theatrical elements are central to Nair’s art, which stems from his childhood exposure to Kathakali dance performances. Many of his works depict male figures posed as actors as if preparing for a play, as seen in the present lot. Here, a nude figure of a man wearing only socks and sneakers is depicted carrying plastic shopping bags. He dons headphones whose wire winds around his arms and connects to his navel.
Drawing from the imagery of the Vishwarupa, or the cosmic form associated with Vishnu and his avatar Krishna, and its many manifestations, Nair often portrays his male subjects in stances borrowed from sacred iconography. In the present lot, the male figure embodies the iconic form and expression of the Jain Tirthankara, a spiritual figure who has attained eternal salvation. Nair’s ironic subversion of this image suggests that far from being enlightened, the figure is weighed down by consumerist desires. This is further emphasised through clever wordplay in the title "thINNER Voice," or "The Inner Voice"—a characteristic device in the artist’s works. "From the classical, I take the icon, its aura of monumentality. But I mix this with... kitsch... For me, the artist must play the part of the vidushaka of Sanskrit theatre, who performs various roles and is also the privileged commentator and the buffoon." (Artist quoted in Gayatri Sinha ed., Voices of Change: 20 Indian Artists, Mumbai: The Marg Foundation, 2010, p. 61) The present lot is part of a long-standing series titled Cuckoonebulopolis that Nair has worked on since the early 2000s. Borrowing the term from The Birds, a comedy by 4th century BC Greek playwright Aristophanes, the works in this series, including the present lot, refer to Cloud-Cuckoo-Land, a utopian city built by birds, and the modern interpretation of the term as a foolish and impractical state of idealism.
“I was never religious, but I always loved the artistic works of the religious imagination.” —SURENDRAN NAIR
20 21 4
PUSHPAMALA N
LAKSHMANA REKHA
1996 Gold leaf on wood Variable dimensions
$ 6,945 - 8,335 Rs 5,00,000 - 6,00,000 20 wood khadavs coated in gold leaf
The present lot from 1996 is one of the last sculptural works that Pushpamala N created a year before she switched her medium and embraced performance photography, for which she is now better known. Composed of fragile materials and found objects, this lot was part of a series of sculptures made between 1992 and 1994 in London and India, that were part of an exhibition titled Excavations in Mumbai in 1994. The title Lakshmana Rekha refers to an episode in the Ramayana, when Rama’s brother Laxman draws a line around their cottage in the forest to protect Sita, while the two brothers go hunting. Tricked by Ravana, who appears to her in the guise of a sage, Sita crosses the line to offer him alms and is abducted. The term now has connotations that address limits and defences which cannot be crossed.
EXHIBITED Fire and Life, Vadodara: Faculty of Fine Arts Gallery, Maharaja Sayajirao University of Baroda; Mumbai: Gallery Chemould; Perth: Monash University Gallery, 1996-97
PUBLISHED Fire and Life, Melbourne: The Asialink Centre, University of Melbourne, 1997, p. 42 (illustrated)
22 23 5
G RAVINDER REDDY
DEVI II
1998 Paint and gold leaf on polyester resin fibreglass Height: 16.75 in (42.8 cm) Width: 12.25 in (31 cm) Depth: 13.5 in (34.4 cm)
$ 27,780 - 41,670 Rs 20,00,000 - 30,00,000
EXHIBITED The Human Factor, organised by The Guild Art Gallery at Mumbai: Jehangir Art Gallery, October 2001
PUBLISHED Girish Shahane, The Human Factor, Mumbai: The Guild Art Gallery, 2001 (illustrated)
24 25 G Ravinder Reddy’s Devi II is a striking combination of tradition, folk, and kitsch, referencing the iconic form of the Goddess, revisited by Egyptian, Greek and Hindu civilisations since antiquity. The painted, embellished fibreglass sculptures with their kohl-lined, wide open eyes, are now synonymous with Reddy’s oeuvre. The present lot is a smaller work, and thus offers a sense of intimacy even as she exudes a sensual, tactile appeal, transfixing the viewer with her gaze.
Taking from the canon of classical Indian sculpture, the gold and red tones are based on the painted wooden images seen in South Indian temples. The bright colours, which according to Reddy are typical of India, make the sculpture equally attuned to the Pop Art idiom of contemporary street art. Reddy began making heads in the mid-1990s and they have come to epitomise his interest in blending the old with the new not just in form, but also in technique. According to Reddy, "Fibreglass has no colour or history behind it, it can take any shape and form. I am interested in concept and presenting it, not the material.” (Akhila Ranganna, “Why sculptor G Ravinder Reddy is obsessed with large, disembodied heads of women,” 18 August 2017, Scroll.in, online)
Reddy was one of the first contemporary Indian artists to draw critical attention in the US following his show at Deitch Projects in 2001 and has continued to gain increasing acclaim in India and abroad since then. His work has been shown widely in India and internationally, including at the Sackler Gallery in Washington DC, the Victoria & Albert Museum in London and the Peabody Essex Museum in Massachusetts.
“I strive for something iconic and monumental that transcends the boundaries of culture, nature and geography.” – G RAVINDER REDDY
26 27 6
NATARAJ SHARMA
DRUM | LANDSCAPE
Signed in Kannada and signed, inscribed and dated 'Nataraj/ DRUM | LANDSCAPE/ MARCH 1995' (on the reverse) 1995 Mixed media on paper 20 x 14.5 in (50.7 x 37.1 cm)
$ 2,085 - 3,475 Rs 1,50,000 - 2,50,000
28 29 7
NATARAJ SHARMA
HIERACHICAL ARSELICKERS
Inscribed, signed and dated '''HIERACHICAL ARSELICKERS"[sic]/ Nataraj/ BARODA OCT 5 03/ 2004' (on the reverse of both panels) 2003-2004 Oil on canvas 72.25 x 119.75 in (183.3 x 304.4 cm)
$ 34,725 - 48,615 Rs 25,00,000 - 35,00,000
(Diptych)
EXHIBITED Vapi Horse and Other Stories, New Delhi: Nature Morte, 2 - 23 October 2004 Nataraj Sharma, New York: Bose Pacia, 20 January - 19 February 2005
PUBLISHED Deeksha Nath, ART India, Volume X, Issue 1, Quarter 1, Mumbai: Art India Publishing Co. Pvt. Ltd., 2005, p. 15 (illustrated) Gayatri Sinha ed., Voices of Change: 20 Indian Artists, Mumbai: The Marg Foundation, 2010, p. 107 (illustrated)
30 31 Nataraj Sharma plays with narrative and allegory in this 2004 painting composed of human figures set up on a stage scaffolding only to converge into each other. The hierarchy referred to in the title is echoed by the landings on which the male and female figures are placed, as well as in the circular images above them, which zoom in sequentially from a view of the universe to a map of India and ultimately to the fine art campus of the M S University of Baroda. Sharma’s large scale canvases from this period offered an unabashed commentary on societal norms. The imagery in Hierarchical Arselickers is “now extrapolated into extravaganzas of detailing couched in heaping portions of wit. Nataraj flirts with both sarcasm and sentimentality, his approach both mercurial and committed, as if to say that this is the way life is so why should painting be any different.” (Peter Nagy, “To Bridle the Tremours,” Nataraj Sharma, New York: Bose Pacia, 2005, accessed on Critical Collective, online)
The present lot was exhibited at the Bose Pacia gallery in New York the year after it was painted. “The Baroda-based artist’s ten paintings and four works on paper display a developed and expansive visual language—all the better for his intelligent critique of human intrusion in the natural world, and, more broadly, of the disjointed perceptual quantification that characterizes our way of understanding the visible… The carefully structured sequence of figures in Hierarchical Arselickers, 2004, span a canvas only to fold back on each other in an abutting one.” (Nicole Rudick, New York: Art Forum, 2005, online) The diptych provides the perfect structure for a self-referential composition which circles back on Sharma as an artist who “appears to stand a little off-centre, in the half-shade, half-light locus of the observer/participant.” (Gayatri Sinha, “Timeline,” Stretch 2006, New Delhi: Bodhi Art, 2007, p. 126)
32 33 8
ATUL DODIYA a b
A) UNTITLED
Hand coloured photograph with tea stains and photo ink on paper pasted on mountboard 11.75 x 14.5 in (29.7 x 37.1 cm)
B) UNTITLED
Hand coloured photograph with tea stains and photo ink on paper pasted on mountboard 14.5 x 10.5 in (36.8 x 26.7 cm)
C) UNTITLED
Hand coloured photograph with tea stains and photo ink on paper pasted on mountboard 11 x 14.5 in (27.9 x 36.8 cm)
D) UNTITLED
Hand coloured photograph with tea stains and photo ink on paper pasted on mountboard 14 x 11 in (35.6 x 27.9 cm)
$ 5,560 - 8,335 Rs 4,00,000 - 6,00,000 (Set of four)
c d
34 35 9
ATUL DODIYA
SAURABH SOCIETY - 12 NOON
Inscribed and dated 'ATUL B DODIYA/ "SAURABH SOCIETY-12 NOON". -1988' (on the reverse) 1988 Oil on canvas 47.75 x 72 in (121.6 x 183 cm)
$ 48,615 - 62,500 Rs 35,00,000 - 45,00,000
EXHIBITED Orientations: Trajectories in Indian Art, Oudenburg: Foundation De 11 Lijnen, 10 October - 18 December 2010
PUBLISHED Deepak Ananth ed., Orientations: Trajectories in Indian Art, Oudenburg: Foundation De 11 Lijnen, 2011, p. 40 (illustrated) Amrita Jhaveri and Priya Jhaveri (ed.), A Guide to 101 Indian Contemporary Artists, Mumbai: India Book House, 2005, p. 28 (illustrated)
36 37 The present lot is an early work by Atul Dodiya, painted in the photorealist style which he employed in the 1980s. During this period, he painted monumental representations of small town architecture, as seen in the present lot, and scenes depicting the quiet, unassuming middle-class environment he grew up in. Often these works centred on his life in Mumbai and the landscapes of his native Saurashtra, a region in Gujarat. These early works brought him considerable recognition in this nascent stage of his career.
In these large, frequently autobiographical canvases, Dodiya adopts a subtle naturalistic style, developed through a flat application of colour inspired by the work of artists such as Bhupen Khakhar and British artist David Hockney. In the present lot, titled Saurabh Society – 12 Noon, the artist depicts a small, deserted Nandi temple, surrounded by basic one- storied buildings. The stark atmosphere suggests that this is the desert landscape of the Saurashtra region, which Dodiya often visited by train. The artist brilliantly captures the play of light and shadow caused by the strong overhead noon sun, referred to in the title, through a restrained colour palette and chiaroscuro. The conspicuous lack of human figures and the flat photographic effects are recurring elements in Dodiya’s paintings from this period.
38 39 10
SHEBA CHHACHHI
PEACOCK - LUTE (WINGED PILGRIMS: A CHRONICLE FROM ASIA)
2006-2007 Digital prints on duratrans/ clear films, 3 layers Height: 13.75 in (35 cm) Width: 34 in (86.5 cm) Depth: 4.5 in (11.5 cm)
$ 5,560 - 6,945 Rs 4,00,000 - 5,00,000 This lot is presented as a moving image lightbox with a soundtrack One from a limited edition of three
EXHIBITED Singapore Biennale, Singapore, 4 September - 12 November 2006 (another from the edition) Thermocline of Art: New Asian Wave, Karlsruhe: ZKM Center for Art & Media, 15 June - 21 October 2007 (another from the edition) Urban Manners, Milan: Hangar Biccoca, 9 October 2007 - 6 January 2008 (another from the edition) Winged Pilgrims: A Chronicle from Asia, New Delhi: Nature Morte, 24 December 2007 - 19 January 2008; New York: Bose Pacia, 13 November - 23 December 2008; Mumbai: Volte Gallery, 2012 (another from the edition) Winged Pilgrims and Other Creatures, Chicago: Walsh Gallery, 27 March - 25 April 2009 (another from the edition)
40 41 Sheba Chhachhi is a photographer, multimedia artist, activist and writer. From her early years documenting the women’s movement in India, Chhachhi’s work gradually moved beyond the documentary to staged portraits, followed by photographic and multimedia installations. Lots 10 and 11 are part of a multi- component immersive installation titled Winged Pilgrims: A Chronicle from Asia, which comprises sculptures, lightboxes and a soundtrack. Chhachhi explains that “this work configures a spatial, temporal and conceptual field within which the movement of ideas, objects, forms across Asia, with China and India as significant nodes, is articulated through three key elements that are simultaneously material and metaphoric: Birds, the robes of Buddhist Pilgrims, and the ‘Plasma Action’ Electronic TV toy.” (Sheba Chhachhi, Winged Pilgrims: A Chronicle from Asia, New York: Bose Pacia, 2008, online)
Winged Pilgrims was originally created for the Singapore Biennale in 2006, and has since been widely exhibited. The installation uses the moving image, with references from documentary photography, Indian, Chinese and Persian cultures interspersed with metaphorical and mythical elements. Drawing from a multitude of sources to comment on the impact of globalisation and migration, Chhachhi’s work is layered and continues to have international resonance. She was the recipient of the second Prix Thun for Art and Ethics in 2017.
“I have created a series of imaginary landscapes, digital tapestries which weave together references culled from Indian sculpture, Chinese brush painting, the Persian/Mughal miniature and documentary photography to inhabit these moving image lightboxes.” – SHEBA CHHACHHI
42 43 11
SHEBA CHHACHHI
CONFERENCE OF BIRDS (WINGED PILGRIMS: A CHRONICLE FROM ASIA)
2006-2007 Digital prints on duratrans/ clear films, 3 layers Height: 13.75 in (35 cm) Width: 34 in (86.6 cm) Depth: 4.5 in (11.5 cm)
$ 5,560 - 6,945 Rs 4,00,000 - 5,00,000 This lot is presented as a moving image lightbox with a soundtrack One from a limited edition of three
EXHIBITED Singapore Biennale, Singapore, 4 September - 12 November 2006 (another from the edition) Thermocline of Art: New Asian Wave, Karlsruhe: ZKM Center for Art & Media, 15 June - 21 October 2007 (another from the edition) Urban Manners, Milan: Hangar Biccoca, 9 October 2007 - 6 January 2008 (another from the edition) Winged Pilgrims: A Chronicle from Asia, New Delhi: Nature Morte, 24 December 2007 - 19 January 2008; New York: Bose Pacia, 13 November - 23 December 2008; Mumbai: Volte Gallery, 2012 (another from the edition) Winged Pilgrims and Other Creatures, Chicago: Walsh Gallery, 27 March - 25 April 2009 (another from the edition)
44 45 12
JYOTHI BASU
ROOF GARDENS
Signed 'Jyothi Basu' (lower left); signed twice 'jyothi Basu' (on the reverse) 2003-2004 Oil on canvas 72 x 84 in (182.6 x 213.4 cm)
$ 20,835 - 27,780 Rs 15,00,000 - 20,00,000
EXHIBITED Anticipations, Mumbai: The Fine Art Resource, 8 - 12 December 2004 Horn Please: Narratives in Contemporary Indian Art, Bern: Kunstmuseum Bern, 21 September 2007 - 6 January 2008
PUBLISHED Ranjit Hoskote, Anticipations, Mumbai: The Fine Art Resource, 2004 (illustrated)
46 47 13
ANANT JOSHI
UNTITLED
Watercolour and acrylic on paper pasted on board 22.75 x 30.25 in (58 x 77 cm)
$ 2,780 - 4,170 Rs 2,00,000 - 3,00,000
EXHIBITED NAVEL one and the many, Mumbai: Gallery Chemould, 13 March - 14 April 2007
48 49 14
SHILPA GUPTA
BLINDSTARS STARSBLIND
2008 Lights wrapped around metal Diameter: 115 in (292 cm)
$ 13,890 - 20,835 Rs 10,00,000 - 15,00,000 Animated lights installation First from a limited edition of three
EXHIBITED BlindStars StarsBlind, Berlin: Galerie Volker Diehl and BodhiBerlin; Mumbai: Bodhi Art, 2008 (another from the edition) Shilpa Gupta - Second Moon, San Gimignano: Galleria Continua, 14 February - 2 May 2009 (another from the edition) Finding India: Art for the New Century, Taipei: Museum of Contemporary Art (MOCA), 22 October - 12 December 2010 (another from the edition) India! (Side by Side), Rio de Janeiro: Centro Cultural Banco do Brasil (CCBB), 25 October 2011 - 29 January 2012; Belenzinho: SESC, 25 February - 29 April 2012; Brasilia: Centro Cultural Banco do Brasil (CCBB), 22 May - 29 July 2012 (another from the edition)
PUBLISHED Shaheen Merali ed., Shilpa Gupta: BlindStars StarsBlind, Heidelberg: Kehler Verlag, 2008, p. 7 (installation view), p. 9 (illustrated) Nancy Adajania ed., Shilpa Gupta, New Delhi: Vadehra Art Gallery and Munich, Berlin, London, New York: Prestel Verlag, 2009, p. 220 (illustrated), p. 221 (installation view) Damien Sausset, L'Inde Nouvelle De Shilpa Gupta, Paris: Connaissance des ARTS, 2009, pp. 48-53 (illustrated, another from the edition) Fabrice Bousteau, "Ou l'inconscient Artistique," Beaux Arts Magazine, Paris: Beaux Arts, March 2009, pp. 82-85 (illustrated, another from the edition) Antonio Stellatelli, The Indian Renaissance, Monza: Antonio Stellatelli Collection, 2011 (illustrated, another from the edition) Cibele Aldrovandi, Deepak Ananth, Flavia Galli Tatsch et al; India ! (Side by Side), Centro Cultural Banco da Brasil, 2012 (illustrated, another from the edition) Follia Continua ! 25 Years of Galleria Continua, Prato: Gli Ori, 2015 (illustrated, another from the edition)
50 51 Conceptual artist Shilpa Gupta employs new media and technology to explore the universal and confront the political, challenging mundane perceptions through her witty cynicism. The flashing lights of the present lot are structured to illuminate the alternating words “stars” and “blind” in a loop, highlighting contradictory aspects of human existence. “...a line of words that forms a circle of yellow light, words fading in and out, dancing with changing partners to form a segue of shuffled meanings. The slow drug of poetry illuminates a simple but profound paradox: What are you looking at – it asks us – the corona or the eclipse?” (Nancy Adajania, Shaheen Merali ed., Shilpa Gupta: BlindStars StarsBlind, Heidelberg: Kehler Verlag, 2008, p. V – 5) This largescale installation compels the viewer to engage with deeper philosophical questions about the existence of humanity and the individual within the universe.
52 53 15
RAQS MEDIA COLLECTIVE
ONE FOUR FOUR ZERO
2009 Transparent perspex Diameter: 25.25 in (64 cm)
$ 8,335 - 11,115 Rs 6,00,000 - 8,00,000 Transparent crystalline perspex tubes of varying sizes packed into a transparent circular perspex housing
Raqs Media Collective, founded in 1992, is a Delhi-based artist and curatorial collective composed of the trio Monica Narula, Jeebesh Bagchi and Shuddhabrata Sengupta. The present lot, titled One Four Four Zero, comprises 1440 differently shaped crystal perspex tubes sitting in an empty clock, in an arrangement reminiscent of a dense urban skyline. It hints at some of the challenges of fast-paced city life, such as "the conditions that people are compelled to inhabit - prolonged stretches of distortion in ambient light levels, irregularities in sleep and wakefulness, induced by transcontinental flights, overwork, pharmaceuticals or torture - [which] lead to distortions in the somatic sense of time. Then, time is really out of joint, under our skins, in our bones." (Raqs Media Collective, raqsmediacollective.net, online). The present lot was exhibited as part of their multimedia installation Escapement at the Frith Street Gallery in London in 2009. The installation invoked the concept of time through motifs such as clocks, time zones and geography to explore the idea of contemporaneity and the present.
EXHIBITED Escapement, London: Frith Street Gallery, 8 July 2009 - 30 September 2009
54 55 LOTS 16-30
Closing Time: Wednesday, 5 December 2018
8.15 pm (IST) 9.45 am (US Eastern Time)
56 57 16
DAYANITA SINGH
BLUE BOOK #32
2007 Digital C print on paper pasted on aluminium sheet 39.75 x 39.75 in (101 x 101 cm)
$ 11,115 - 13,890 Rs 8,00,000 - 10,00,000 Third from a limited edition of seven
Photographer Dayanita Singh prefers to be called an “image-based artist.” The present lot, from her Blue Book series, is significant for being Singh’s first venture into colour photography. It was the result of a fortuitous accident when she mistakenly used daylight film to shoot at night. “I was using daylight film and after sunset the colour temperature changes and for a few minutes the film gets this exaggerated blue tone. I was very drawn to it, to its references, to its melancholy, to its coldness and once again to absence. And the fact that it was a limitation of daylight film was important to me.” (Artist quoted in Nandini Nair, “Reality in Dreams,” The Hindu, 22 February 2009, online) In recent years, Singh has gained acclaim for her mobile-museums and “book-objects,” which she creates from her photographs and explorations of the archive and memory.
EXHIBITED Poses and Views, Berlin: Nature Morte, 28 February - 12 April 2013 (another from the edition)
58 59 17
RINA BANERJEE
TAJ MAHAL
2008 Metal, net, glass, wood, fibreglass, leather, cowrie shells and feathers Height: 106 in (269 cm) Width: 33.25 in (84.3 cm) Depth: 31.75 in (80.8 cm)
$ 16,670 - 20,835 Rs 12,00,000 - 15,00,000 This installation comprises three main parts assembled vertically. The four-legged metal base has net attached to the upper rim and is layered with wooden twigs, with a fibreglass and leather elephant balanced on it. A square enclosure made of metal and glass bottles is screwed on to the base, accompanied by detachable objects (two birds and four doll-heads with feathers). On top is a dome made of glass bottles and cowrie shells, accompanied by one detachable doll-head with feathers to be placed on the crown.
60 61 Kolkata-born, New York-based Rina Banerjee creates elaborate works out of unconventional materials, as can be seen in the present lot – an installation of the Taj Mahal, made of metal, glass bottles and cowrie shells, enclosing a fibreglass elephant, and standing on a pedestal constructed out of metal and net. "I could never be a Minimalist artist: I am interested in corrupting fine art with everything I wish for. I want adventure and to feel the same sense of command that I imagine an explorer or a scientist would – like a visitor trespassing. My art is about the value of our desire to travel." (Artist quoted in an interview with Zehra Jumabhoy, Artforum, 2011, online)
Travel, according to Banerjee, is about the freedom to explore intellectual and emotional narratives, without too much attachment to a particular community or place. The artist was born in India, grew up in London and eventually migrated to New York, and much of her work addresses the conundrums of identity and the diaspora. She often places signifiers from her home country in her works, such as the Taj Mahal and elephant in the present lot. Prior to her MFA from Yale University in 1995, Banerjee studied and worked as a polymer research chemist. "Even my interest in science embodies an awareness of other worlds, worlds that coexist with us, but which we cannot experience or know." (Artist quoted in Artforum) Banerjee’s work has been exhibited at the Venice Biennale (2017), MOMA PS1 (2015) and the Centre Pompidou (2014), among others, and is in private collections worldwide.
"I think of identity as inherently foreign; of heritage as something that leaks away from the concept of home – as happens when one first migrates." – RINA BANERJEE
62 63 18
ANJU DODIYA
PEARL DIVER'S EMBRACE
Acrylic on fabric pasted on board 71.5 x 41.5 in (181.4 x 105.6 cm)
$ 20,835 - 27,780 Rs 15,00,000 - 20,00,000
EXHIBITED Bhupen Among Friends: A Tribute to Bhupen Khakhar by Friends, organised by Gallery Chemould at Mumbai: Museum Gallery, 29 August - 5 September 2005
64 65 Mumbai-based Anju Dodiya draws inspiration from a wide spectrum of sources, ranging from Renaissance masters and Japanese Ukiyo-e paintings to French cinema and Greek mythology. Her work is often self-referential, and features female subjects in various real and imagined scenes. "When I started working, using my own self was the only way I knew how to paint. At that time, my works were like nocturnal diaries, full of stories and narratives. This invented self stayed on, it became a useful device, a take-off point, to explore my various states of mind – the darkness within, the tenderness and the fear. I set up characters and stories around it to explore this." (Anju Dodiya, Real in Realism, New Delhi: Vadhera Art Gallery, 2002)
The present lot is a whimsical portrayal of a woman embracing a squid-like sea creature. The marine environment is minimally represented by a diagonal sea-green stroke across the otherwise monochromatic painting. A string of black pearls forms the symbol of infinity or the number 8, echoing the entwined forms beside it. Dodiya has referred to this as the eight fold path of dharma in reference to another work titled Embrace Vigil, 2005. The necklace recurs in Dodiya’s oeuvre, and “connotes adornment, honour and talismanic value. Equally, it signals greed, humiliation and death. The necklace is both armour and noose, an abacus of sin dragging the wearer down to perdition.” (Nancy Adajania, “Burning Closer to the Light of Crisis,” The Necklace of Echoes: Anju Dodiya, New Delhi: Vadehra Art Gallery, 2010, p. 34)
Dodiya works with various media, complementing her mastery of draughtsmanship and painting. She has experimented with textiles, fabric, and even mattresses. “When you work on paper, confronting that white is a terribly fearful thing. With textile, something’s there already, and I have to interact with the textures. It made the painting process more carefree for me.” (Artist quoted in “Gieve Patel Talks to Anju Dodiya,” Anju Dodiya, New York: Bose Pacia, 2006)
66 67 19
ANJU DODIYA
UNTITLED
Circa 1990s Watercolour on paper 6.5 x 14.5 in (16.5 x 36.6 cm)
$ 4,000 - 6,000 Rs 2,88,000 - 4,32,000
68 69 20
REENA SAINI KALLAT
UNTITLED (SWORD SWALLOWER)
2004 Acrylic on paper pasted on board 72.25 x 22 in (183.2 x 55.8 cm)
$ 6,945 - 8,335 Rs 5,00,000 - 6,00,000 This work comparises six panels with top panel measuring 28 x 22 in (71.1 x 55.8 cm) and remaining panels measuring 7.75 x 22 in (19.7 x 55.8 cm)
EXHIBITED Black Flute, Mumbai: Gallery Chemould, 8 - 23 October 2004 Black Flute (And Other Stories), New Delhi: Nature Morte, 22 January - 1 February 2005 India Express: Sacred and Popular Culture, Helsinki: Art Museum Tennis Palace, 2 March - 30 July 2006 New Narratives: Contemporary Art from India, Chicago: Chicago Cultural Centre, 21 July - 23 September 2007; Salina: Salina Art Center, 5 January - 16 March 2008; New Brunswick: Jane Voorhees Zimmerli Art Museum, 12 April - 31 July 2008
PUBLISHED Reena Saini Kallat, Mumbai: Gallery Chemould and New Delhi: Nature Morte, 2005 (illustrated) Reena Saini Kallat: Rainbow of Refuse, Mumbai and Singapore: Bodhi Art, 2006, p. 10 (installation view) Erja Pusa, Jyotindra Jain, Amrit Gangar, Peter Nagy, Sointu Fritze eds., India Express: Sacred and Popular Culture, Helsinki: Helsinki City Art Museum, 2006, p. 107 (illustrated)
70 71 The present lot belongs to a suite of works created by Reena Saini Kallat in 2004-05. Collectively titled Sword Swallower, each is an assemblage of six panels arranged vertically on a wooden base, reminiscent of memorial columns. The first panel is a larger portrait of ordinary people – here, a schoolgirl – below which are a series of colourful visuals, structured almost like a comic strip, which “may be read as scans of a revealed anatomy, the interior of a body racked by the demons of poverty, state oppression and religious discrimination... [The works] could also be seen as addressing the rampant trend towards demonising the other in every conflict at all levels, which forces us to perceive the world through screens of demonology.” (Nancy Adajania, “Screens of Demonology,” reenakallat.com, 2005, online) The demons, according to Adajania, appear to be caricatures and are inspired by the asuras in Kangra miniatures.
A versatile artist, Kallat’s work explores memory, the cycle of life and nature as well as contemporary social conditions, often through the use of mythological tropes and popular symbols that contrast with the seriousness of the issues portrayed. Her work has been widely exhibited internationally, including at the MoMA in New York, Tate Modern in London and the Mori Art Museum in Tokyo.
72 73 21
N S HARSHA
A) MY ART HISTORY CLASS ROOM
Signed and dated 'Harsha 07' (lower right) 2007 Watercolour on paper 16.25 x 11.5 in (41.5 x 29.4 cm)
B) THE GARDENER OF THE PARLIAMENT
Signed and dated 'Harsha 07' (lower right) 2007 Watercolour on paper 16.25 x 11.5 in (41.5 x 29.3 cm)
$ 5,560 - 6,945 Rs 4,00,000 - 5,00,000 (Set of two)
a b
A) EXHIBITED Inaugural Show, Mumbai: Sakshi Salon, 18 - 24 February 2007
B) EXHIBITED Inaugural Show, Mumbai: Sakshi Salon, 18 - 24 February 2007
74 75 22
N S HARSHA
MAMA MY KITE IS STILL FLYING (CHARMING NATION)
Signed and dated 'Harsha 06' (upper right and on the reverse) 2006 Acrylic on canvas 37.75 x 37.75 in (96.2 x 96.1 cm)
$ 20,835 - 27,780 Rs 15,00,000 - 20,00,000
EXHIBITED Charming Nation: Paintings by N S Harsha, Bangalore: Max Mueller Bhavan, 2006; Mumbai: Gallery Chemould, 8 December 2006 - 7 January 2007 New Narratives: Contemporary Art from India, Chicago: Chicago Cultural Center, 21 July - 23 September 2007; Salina: Salina Art Center, 5 January - 16 March 2008; New Brunswick: Jane Voorhees Zimmerli Art Museum, 12 April - 31 July 2008 India Moderna, Valencia: Institut Valencia d'Art Modern (IVAM), 11 December 2008 - 15 February 2009 N. S. Harsha: Charming Journey, Tokyo: Mori Art Museum, 4 February - 11 June 2017
PUBLISHED Betty Seid, Johan Pijnappel eds., New Narratives: Contemporary Art from India, Ahmedabad: Mapin Publishing, 2007, p. 73 (illustrated) Deepak Ananth, Geeta Kapur, John Falconer, Juan Guardiola, K G Subramanyan, R Siva Kumar, India Moderna, Valencia: Casa Asia - Institut Valencia d'Art Modern (IVAM), 2008 (illustrated) Kataoka Mami, Sasaki Hitomi, Shimasaki Yoshinobu eds., N. S. Harsha: Charming Journey, Tokyo: Mori Art Museum, 2017, p. 87 (illustrated)
76 77 Part of a series of twelve paintings titled Charming Nation that N S Harsha created between 2004 and 2006, the present lot is a commentary on how traditional tropes of Indian culture are at odds with rapid globalisation. Harsha composed each painting in this series as a scene in a play being enacted on stage, highlighting the theatrical nature of a citizen watching the unfolding of national history. The present lot is composed with the strategic placement of two children in school uniform, and objects including an Indian flag, a Gandhian charkha, a kite and a fighter jet. The symbolism and referencing are clear, and through this painting, Harsha offers a wry commentary on the realities of India’s cultural life and political affairs. Produced during a time when Harsha travelled frequently, the present lot is an “outcome of repeated exposure to foreign lands, interspersed with being back home, so that home and abroad come into a more pronounced juxtaposition. The artist presents aspects of Indian national life, its peculiarities, its intractable problems, its strange conjunctions, its enchantments and its comedy like a series of instructive scenarios, lessons that must be understood and dealt with by the next generation of Indians...” (gallerychemould.com, online)
“I am not sure if an artist can consciously work out a balance between tradition and modernity.” – N S HARSHA
78 79 23
SUBODH GUPTA
THIS SIDE IS THE OTHER SIDE
2002-2005 Bronze Height: 39.25 in (99.80 cm) Width: 70.75 in (179.50 cm) Depth: 42.25 in (107 cm)
$ 138,890 - 208,335 Rs 1,00,00,000 - 1,50,00,000 Second from a limited edition of three
EXHIBITED This Side is the Other Side, Geneva: Art and Public - Cabinet PH, 2003 The Tree from the Seed: Contemporary Art From India, Oslo: Henie Onstad Kunstsenter, 28 February - 27 April 2003 Subodh Gupta, New Delhi: National Gallery of Modern Art (NGMA), 17 January - 16 March 2014 Subodh Gupta: Everyday Divine, Melbourne: National Gallery of Victoria (NGV), 13 May - 23 October 2016 (another from the edition)
PUBLISHED Amrita Jhaveri and Priya Jhaveri (ed.), A Guide to 101 Modern and Contemporary Indian Artists, Mumbai: India Book House, 2005, p. 114 (illustrated, another from the edition) Francesco Bonami, Julie Rodrigues Widholm, Tricia Van Eck eds., Universal Experience: Art, Life, And The Tourist's Eye, Chicago: Museum of Contemporary Art (MCA), 2005, p. 149 (illustrated, another from the edition)
80 81 Much of Subodh Gupta’s oeuvre is defined by the transformation of familiar objects of daily use into metaphorical symbols that allude to journeys and migration. In the present lot, a cast bronze Bajaj Priya scooter with chrome-plated milk cans hanging off it, offers multiple statements about almost all aspects of modern life. “In the urban landscape, the doodh- wallah or milkman, replaces his bicycle with a scooter, that poor relation of the motorcycle, and slings it with the same cans of hot broth fresh from the cows’ udders. A more rapid distribution is facilitated but the elegance of the delivery (not to mention the honor of the deliverer) is greatly compromised… These clichéd emblems of India portray objects and images of indecisive moments and cultural fluctuations.” (Peter Nagy, “Transitory Indecisions and Fluctuating Monuments,” Subodh Gupta, New Delhi: Nature Morte and Mumbai: Sakshi Gallery, 2005, pp. 6, 8)
In some ways, Gupta’s sculptures pick up from where Dadaist Marcel Duchamp’s “readymades” left off. Gupta has acknowledged his admiration for Duchamp’s free thinking about the role of the everyday object as it gets transformed into high art. But he points out, “My objects have a different character… My themes are universal, although my references could be named the Indian village traditions.” (Artist quoted in Marta Gnyp, “Interview with Subodh Gupta,” Alejandra de Argos, 28 January 2015, online) By casting the scooter in bronze, Gupta usurps an ubiquitous mode of transportation and livelihood in India, turning it into a universal, multi-layered symbol of commerce and materialism. At the same time, he references the deeply rooted Indian tradition of religious worship. “The casting of the modest mode of transport in bronze not only reveres it, in the tradition of historical sculpture, but also transforms it into a material synonymous with idols worshipped in temples across India. (Simon Maidment, "Subodh Gupta: Everyday Divine," National Gallery of Victoria, 11 May 2016, online) Gupta’s deep engagement with the cultural context of quotidian life in India, merged with his ability to transcend it, gives his work global resonance.
“The objects I pick already have their own significance. I put them together to create new meanings.” – SUBODH GUPTA
82 83 24 a
MITHU SEN
A) UNTITLED
Signed and dated 'mithusen 05' (on the reverse) 2005 Mixed media on paper 29.5 x 21.5 in (75 x 54.5 cm)
B) UNTITLED
Mixed media on handmade paper pasted on mount board 27 x 39.75 in (68.8 x 101 cm)
$ 4,170 - 5,560 Rs 3,00,000 - 4,00,000 (Set of two)
B) EXHIBITED Mithu Sen: Drawing Room, New Delhi: British Council and Nature Morte, 6 - 25 January 2006; Mumbai: Gallery Chemould, 14 - 31 January 2006
B) PUBLISHED Nancy Adajania, Mithu Sen: Drawing Room, New Delhi: British Council, 2006 (illustrated)
b
84 85 25
JAGANNATH PANDA
A) UNTITLED
Signed and dated 'Jagannath Panda 2000' (lower right and on the reverse) 2000 Mixed media on paper 10.25 x 8.5 in (26.2 x 21.1 cm)
B) UNTITLED
Signed and dated 'Jagannath Panda 99' (lower left) 1999 Mixed media on paper 10.25 x 8.5 in (26.2 x 21.7 cm)
$ 2,780 - 4,170 Rs 2,00,000 - 3,00,000 (Set of two)
a b
86 87 26 a
N N RIMZON
A) UNTITLED
Signed 'Rimzon' (lower right); inscribed 'N N Rimzon' and inscribed again in Malayalam (on the reverse) Dry pastel and charcoal on paper 9.5 x 13 in (24.4 x 33.1 cm)
B) UNTITLED
Signed 'Rimzon' (lower right); inscribed and dated 'N N Rimzon/ 20 May 2003' and inscribed again in Malayalam (on the reverse) 2003 Dry pastel and charcoal on paper 9.25 x 12.75 in (23.6 x 32.5 cm)
$ 2,085 - 3,475 Rs 1,50,000 - 2,50,000 (Set of two)
b
88 89 27
MONALI MEHER
HUNT
2007 Wool on various objects Variable dimensions
$ 4,170 - 5,560 Rs 3,00,000 - 4,00,000 This installation comprises thirty-two individual personal objects wrapped in red wool.
EXHIBITED Departed, Assembled, Wrapped, Captured: Time, Amsterdam: Lumen Travo, 26 November - 20 December 2008
90 91 28
ANITA DUBE
SILENCE
Copper wire wrapped in velvet Height: 41.25 in (105 cm) Width: 42 in (106.7 cm)
$ 8,335 - 11,115 Rs 6,00,000 - 8,00,000
92 93 29
SHIBU NATESAN
SOUL SEARCHERS
Signed in Malayalam, dated '2004' and inscribed and dated again 'SHIBU NATESAN/ LONDON - APRIL - 2004./ "SOUL SEARCHERS"' (on the reverse) 2004 Oil on linen 70.75 x 95.75 in (179.4 x 243.3 cm)
$ 16,670 - 20,835 Rs 12,00,000 - 15,00,000
94 95 Shibu Natesan’s large scale paintings juxtapose images taken from the media with the journalistic realism of photography. Natesan’s often ironic tone is informed by his personal experiences, such as witnessing the 1980s anti-establishment upheaval in his native Kerala, and the loneliness resulting from migration. His work draws from a wide range of literary, cinematic and art historical references, as seen in the present lot, which is rendered in the bright colours and unexpected symbols typical of Natesan’s oeuvre.
The large scale painting titled Soul Searchers depicts two “natural” males in the foreground staring into the distance while a sleeping dog is curled up at their feet. The background is composed of a flock of flamingos set against a clear blue sky. “In his paintings... Natesan tries to push the limits of the real to achieve effects that a photograph will never be able to reproduce. The challenge, as he explained in another context, is in bringing ‘the impossible ... into the possible, and the imaginative into the actual’.” (Somak Ghoshal, “Shibu Natesan: Stranger Than Reality,” Livemint, 16 March 2013, online) The deliberately placed juxtaposition of figures here contrasts with the extreme realism of the photograph-like portrayal to create an enigmatic commentary on the nature of seasons and migration in nature and the inhabited lands.
96 97 30 a ANANDAJIT RAY
A) UNTITLED (HAND WITH WINGS)
Watercolour on paper 9.5 x 8 in (23.9 x 20.1 cm)
B) UNTITLED (LEAPING MAN WITH A MASK)
Watercolour on paper 9.5 x 8 in (23.9 x 20.1 cm)
C) UNTITLED (THREE HANDS AND AN INSTRUMENT)
Watercolour on paper 9.5 x 8 in (23.9 x 20.1 cm)
$ 2,085 - 2,780 Rs 1,50,000 - 2,00,000 (Set of three)
b c
98 99 LOTS 31-47
Closing Time: Wednesday, 5 December 2018
8.30 pm (IST) 10 am (US Eastern Time)
100 101 31
THUKRAL AND TAGRA
SKIN 2
Inscribed, signed and dated '"SKIN 2"/ THUKRAL & TAGRA/ 2005' (on the reverse) 2005 Oil and acrylic on canvas 49.25 x 71.5 in (125 x 181.5 cm)
$ 13,890 - 16,670 Rs 10,00,000 - 12,00,000
Collaborative duo Thukral & Tagra use a wide variety of media, ranging from painting and installation to graphic design. They draw from myriad sources, including advertising, architecture, photorealism, Pop Art and Surrealism, to create works that are often satirical takes on popular culture.
The present lot, a large painting on canvas, depicts fragmented frames on a textured background, interspersed by swirls and silhouettes of objects and creatures in glowing white. “The duo have a strong penchant for images that float in a deep yet flat space of unmodulated colour; juxtaposing trompe l’oeil 3-D with graphic two dimensionality; for strong colours tempered by a liberal use of white as a colour itself. ... T&T’s graphic sensibility loves to miniaturise and digitise all manner of things (animal, vegetable, mineral), folding them into their batter and creating picture-search puzzles which endlessly tease the viewer’s eyes.” (Peter Nagy, Trevor Smith et al, “Neo- Neo-Classicisms,” Thukral & Tagra, New Delhi: Nature Morte and New York: Bose Pacia, 2007, pp. 54-55)
EXHIBITED New Paintings, New Delhi: Nature Morte, 2005
PUBLISHED Peter Nagy, Trevor Smith et al, Thukral & Tagra, New Delhi: Nature Morte and New York: Bose Pacia, 2007, p. 58 (illustrated) Like Animals (Comme des betes), Lausanne: Musee Cantonal des Beaux Arts de Lausanne, 2008, p. 210 (illustrated)
102 103 32
JAGANNATH PANDA
UNTITLED
Signed and dated 'Jagannath Panda 04' (lower right); inscribed, signed and dated 'JAGANNATH PANDA/ Jagannath Panda 04' (on the reverse) 2004 Oil on canvas 36 x 48 in (91.5 x 121.8 cm)
$ 9,725 - 12,500 Rs 7,00,000 - 9,00,000
104 105 Jagannath Panda’s works typically feature contrasting elements highlighting the clash of the natural world with the one inhabited by humans, or of the concept of home with migration. These are visible in the present lot, a symmetrical rendition of a partially revealed bookshelf – a symbol of ownership and belonging – infested with ants that traverse the surface of the painting in lines reminiscent of a map. On the lower edge of the painting, the artist embeds an iconic image of Mahatma Gandhi and Lord Mountbatten, perhaps a reminder of the end of colonial rule over India, and the consequent partition of two countries that led to mass displacement, violence and migration.
Panda is concerned with shared experiences and anxieties, and has "... steadily constructed a language of alienation that is contained paradoxically within images of settlement, in small or large format, he works through the positioning of opposites, of the enforcing of structures, and the evacuation of life forms, of mythic cycles and contemporary time, of value and its imminent loss." (Gayatri Sinha, Recent Works by Jagannath Panda, London: Saffronart and Berkeley Square Gallery, 2006)
Panda holds degrees in Sculpture from Bhubhaneshwar, Vadodara and London, and this is evident in the three- dimensionality of his paintings. He is also influenced by the textiles and patterns found in Odisha, where he was born and lived before settling in New Delhi. His work has been widely exhibited, and he is the recipient of the Lalit Kala Akademi Award and the All India Fine Arts and Crafts Society Award.
106 107 33
BHARTI KHER
THE WALLS HAVE EARS (THE PRIVATE SOFTNESS OF SKIN)
Signed, dated and inscribed 'Bharti Kher 1999/ "The Walls Have Ears"' (on the reverse) 1999 Oil on canvas 59.25 x 79.5 in (150.2 x 201.7 cm)
$ 69,445 - 97,225 Rs 50,00,000 - 70,00,000
EXHIBITED The Private Softness of Skin, Mumbai: Gallery Chemould, 5 - 22 February 2001; New York: Bose Pacia, 14 September - 18 October 2000 Like Animals (Comme des betes), Lausanne: Musee Cantonal des Beaux Arts de Lausanne, 28 March - 22 June 2008
PUBLISHED Peter Nagy, Bharti Kher: The Private Softness of Skin, New York: Bose Pacia Modern, 2000 (illustrated) Amrita Jhaveri and Priya Jhaveri (ed.), A Guide to 101 Indian Contemporary Artists, Mumbai: India Book House, 2005, p. 121 (illustrated)
108 109 Best known for her unusual use of bindis, Bharti Kher’s work explores the spaces between belonging and classification. Though she grew up in the United Kingdom and moved to India much later, she resists being identified as a diaspora artist, preferring instead to “play with the ideas of misinterpretation of culture, or the idea of the authentic.” (Artist quoted in a video interview, Kochi Muziris Biennale 2014, online) The Walls Have Ears is one of the artist’s first works to explore the bindi motif through painting. Derived from the Sanskrit term for a point, the bindi is associated with the Hindu concept of the third eye, and is traditionally worn by married women. It has now, however, become a mass-produced fashion accessory, and it is this juxtaposition of the symbolic and the material that Kher explores, using repetition and contradictions to create visually striking compositions. In the present lot, the trope of the bindis seems to provide a microscopic view of the eponymous walls, while the presence of a large fly undermines the notion of privacy associated with the bedroom.
The present lot is part of a series titled The Private Softness of Skin, which was first exhibited in New York in 2000. Here, Kher takes the viewer into the interiors of homes, and the objects and material culture that form a crucial part of making a place one’s own. “Bharti Kher’s artistic project can be said to be autobiographical. The institutions of identity, culture and community, both received and changing, are that which she strives to locate within the home…” (Peter Nagy, Bharti Kher: The Private Softness of Skin, New York: Bose Pacia Modern, 2000) Each room features a curated set of objects that combine traces of the traditional with modern consumer goods. The “painted-collage” format of this series, inspired by Indian hand-painted photographs and Pop Art, serves as a way to explore hybrid and contradictory identities.
“Everything starts from the home, your journey and your consciousness. We always see the big picture and sometimes there is more to learn from the small one.” – BHARTI KHER
110 111 34
JITISH KALLAT
HUMILIATION TAX - 2
2004-2005 Acrylic and glitter on canvas 68.75 x 47 in (174.8 x 119.3 cm)
$ 25,000 - 30,560 Rs 18,00,000 - 22,00,000
The present lot is part of the Humiliation Tax series created between 2004 and 2005, exploring the artist’s concerns about child labour. Using bright colours, Kallat employs “a form of portraiture that isolates the individual from the crowd without pulling him free from the habitus, so that the act of portraiture does not reduce the individual to decoration, but rather, re-invests him with a dignity he has lost to the impersonalisation of work, mass transport and subsistence wages.” (Ranjit Hoskote, Jitish Kallat, Chicago: Walsh Gallery and Mumbai: Gallery Chemould, 2005, pp. 41-42)
The background is composed of radiating waves in maroon that branch out from the centre to the edges to form the word “Rama” in the Devnagari script. According to Hoskote, the device is borrowed from the Ramnami tribal tradition of tattooing their bodies with the name of Rama, the divine entity, as a way of turning their skin into armour. Alternatively, the repeating lines blend into the words “Mara,” or Death, suggesting a balancing duality of opposing concepts.
EXHIBITED Jitish Kallat: The Lie of the Land, Chicago: Walsh Gallery, 5 - 25 September 2004; Mumbai: Gallery Chemould, 8 - 25 February 2005
PUBLISHED Jitish Kallat: The Lie of the Land, Chicago: Walsh Gallery and Mumbai: Gallery Chemould, 2005, cover and back cover (detail), p. 49 (installation view), p. 53 (illustrated)
112 113 35
DHRUVA MISTRY
SEATED MAN
1981 Fibreglass Height: 55.25 in (140.4 cm) Width: 18 in (45.7 cm) Depth: 31.25 in (79.5 cm)
$ 9,725 - 12,500 Rs 7,00,000 - 9,00,000 This installation is meant to be mounted on a wall
EXHIBITED 5th Triennale-India, New Delhi: Lalit Kala Akademi, 1982 Contemporary Indian Art, London: The Royal Academy of Arts, 1982 Dhruva Mistry: Work 1997 - 2001, Mumbai: Sakshi Gallery, 19 February - 12 March 2001 The Human Abstract, Mumbai: Jhaveri Contemporary, 1 April - 7 May 2016
PUBLISHED Pramod Ray, Dhruva Mistry: Work 1997 - 2001, Mumbai: Sakshi Gallery, 2001 (illustrated)
114 115 Dhruva Mistry’s works range from small bronze sculptures and wall reliefs to maquettes and monumental site-specific creations made of materials such as sand, cement, fibreglass, plaster, stone and steel. The Gujarat-born artist studied at the M S University of Baroda from 1974 – 1981, followed by a stint at the Royal College of Art on a British Council scholarship. It was during his time in London that he created a series of fibreglass sculptures, including the present lot, of a life-sized nude male in various postures.
Mistry was elected to the Royal Academy in 1991, became a fellow of the Royal Society of British Sculptors in 1993, and was knighted in 2001. He returned to India in 1997, where he served as the Dean of the Faculty of Fine Arts and head of the sculpture department at the M S University of Baroda until 2002. Consequently, his works combine influences from both places, and often explore cultural tensions. His sculptures have been installed at various public sites across the United Kingdom and Japan.
116 117 36
L N TALLUR
UNTITLED (LAMP)
2008 Religious brass lamp, RCC pillar, steel construction rods Height: 96.5 in (244.86 cm) Width: 22 in (55.88 cm) Depth: 17.75 in (44.96 cm)
$ 30,000 - 40,000 Rs 21,60,000 - 28,80,000
EXHIBITED Placebo: L N Tallur, Mumbai: Gallery Chemould, 5 March - 22 April 2009
PUBLISHED Rajaram Tallur, Nicole J Caruth eds., Placebo: L N Tallur, New York: Arario Gallery and Mumbai: Gallery Chemould, 2009, p. 47 (illustrated)
118 119 Conceptual artist L N Tallur employs a multitude of mediums, ranging from sculpture and interactive pieces to found objects and site-specific installations, to highlight the absurdities and anxieties of contemporary life. In the present lot, he depicts a religious brass lamp embedded within a broken RCC pillar, with steel construction rods emerging out of the top of the concrete structure. In its composition, the pillar appears to have been cemented around the lamp, and its dug-up state suggests excavation. Typical of Tallur’s style, the present lot contains symbols of India, both ceremonial and industrial, exploring the awkward convergence of tradition and progress.
The present lot was part of the artist’s solo show Antimatter in New York in 2008. To accompany the exhibition display, the artist chose a quote by Albert Einstein presented in the style of a Sanskrit verse:
|| Matter and energy are really different forms of the same thing. || || Matter can be turned into energy, and energy into matter. || || This process involves the complete destruction of matter, and occurs only when that matter meets an equal amount of antimatter... a substance composed of matter with negative charge. ||
– Albert Einstein
According to Dr. Chaitanya Sambrani, the lamp, an artefact of the past, and its continued endurance within the literal “construction” of the present, is a nod to “the coexistence of multiple layers of history in contemporary India... a ceremonial lamp stubbornly burns on while being enveloped in a growing mass of cement... Will the lamp corrode the cement with its heat and soot to reclaim its position in the (old) order of things where lighting the lamp graces the beginning of all activities symbolizes beginnings, or will it be engulfed and snuffed out? Or is this old order under siege and about to be snuffed out by the irrepressible energies of “development”?" (Dr. Chaitanya Sambrani, “International Vernaculars and Throwaway Epiphanies: The Recent Work of Tallur L.N.,” Placebo, L N Tallur, New York: Arario Gallery and Mumbai: Gallery Chemould, 2009, pp. 11-12)
120 121 37
SUDARSHAN SHETTY
UNTITLED
2009 Polished wood and black pigment Height: 23 in (58.2 cm) Width: 12.5 in (31.9 cm) Depth: 6.75 in (17.1 cm)
$ 6,945 - 9,725 Rs 5,00,000 - 7,00,000
122 123 38
SAKSHI GUPTA
LANDSCAPE OF WAKING MEMORIES
2007 Galvanised wire, mesh and chicken feathers Height: 32.75 in (83 cm) Width: 21.75 in (55 cm) Depth: 4 in (10 cm)
$ 8,335 - 11,115 Rs 6,00,000 - 8,00,000 Second from a limited edition of three
EXHIBITED Indian Highway, London: Serpentine Gallery, 10 December 2008 - 22 February 2009; Oslo: Astrup Fearnley Museum, 2 April - 6 September 2009; Lyon: The Musee d'Art Contemporain, 24 February - 31 July 2011; Rome: MAXXI - Museo nazionale delle arti del XXI secolo, 22 September 2011 - 29 January 2012; Beijing: Ullens Center for Contemporary Art, 24 June - 26 August 2012 Die Macht des Ornaments / The Power of Ornament, Vienna: Orangerie of the Lower Belvedere, 21 January - 17 May 2009 Paris - Delhi - Bombay, Paris: Centre Pompidou, 25 May - 19 September 2011
PUBLISHED Kathleen Madden ed., Indian Highway, London: Serpentine Gallery / Koenig Books, 2008, p. 161 (illustrated), p. 163 (installation view) Julia Peyton-Jones, Hans Ulrich Obrist, Gunnar B Kvaran and Giulia Ferracci eds., Indian Highway, Rome: MAXXI - Museo nazionale delle arti del XXI secolo, 2011, pp. 144-145 (illustrated)
124 125 39
TUSHAR JOAG
A) CLEANSING MACHINES ON THIS SIDE... ON THE PROWL FOR AN ARSE
2006 Pen, watercolour and ink on paper pasted on board 30 x 22.25 in (76 x 56.3 cm)
B) THE SWEET SMELL OF THE CONSECRATING HOLY ACID
2006 Pen, watercolour and ink on paper pasted on board 30 x 22.25 in (76 x 56.3 cm)
$ 5,560 - 6,945 Rs 4,00,000 - 5,00,000 (Set of two)
a b
EXHIBITED Drawing Sculpture, Mumbai: Galerie Mirchandani + Steinruecke, 12 August - 20 September 2008
126 127 40 a
BHARAT SIKKA
A) MICROSOFT OFFICE, GURGAON
2003 Archival-Inkjet Print on paper pasted on aluminium sheet Print size: 37.75 x 47.25 in (95.6 x 119.7 cm) Sheet size: 41.25 x 50.75 in (104.6 x 128.6 cm)
B) PARK MEHRAULI
2007 Archival-Inkjet Print on paper pasted on aluminium sheet Print size: 36.75 x 47.25 in (93.6 x 119.7 cm) Sheet size: 41.25 x 50.5 in (104.6 x 128.5 cm)
$ 4,170 - 5,560 Rs 3,00,000 - 4,00,000 (Set of two)
A) EXHIBITED Space in Between, Kolkata: Bose Pacia, 1 - 29 December 2007 (another from the edition) Where Three Dreams Cross: 150 Years of Photography from India, Pakistan, and Bangladesh, London: Whitechapel Gallery, 21 January - 11 April 2010; Winterthur: Fotomuseum, 12 June - 22 August 2010 (another from the edition)
B) EXHIBITED Mithu Sen, Bharat Sikka, Vienna: Krinzinger Projekte, 18 September - 17 October 2009 (another from the edition)
b
128 129 41
GIRISH DAHIWALE
UNTITLED
Signed 'GDAHIWALE' (centre right) Acrylic on cloth 95.75 x 113.5 in (243.2 x 288.5 cm)
$ 2,780 - 4,170 Rs 2,00,000 - 3,00,000
EXHIBITED: Toxic Tales: Therapy, Mumbai: Birla Academy of Art and Culture, 1998 Century City, London: Tate Modern, 1 February - 29 April 2001
130 131 42
TEJAL SHAH
YOU TOO CAN TOUCH THE MOON - YASHODA WITH KRISHNA (HIJRA FANTASY SERIES)
Inscribed, dated and signed 'You too can touch the moon - Yashoda with Krishna/ Edition 1/8, 2006/ tejal shah' (on the reverse of the board) 2006 Digital photograph on archival paper pasted on board 60.5 x 42.25 in (153.5 x 107 cm)
$ 2,780 - 4,170 Rs 2,00,000 - 3,00,000 First from a limited edition of eight
EXHIBITED What are You?, Mumbai: Galerie Mirchandani + Steinruecke, 8 - 30 September 2006 New Delhi New Wave, Milan: Primo Marella Gallery, 22 November 2007 - 12 January 2008 What do you want?, part of Asia Triennial Manchester 2008 at Manchester: Corner House Gallery, 4 April - 1 June 2008 INDIA: Public Places, Private Spaces - Contemporary Photography and Video Art, Newark: The Newark Museum, 2008; Minneapolis: Minneapolis Institute of Arts, 26 October 2008 - 18 January 2009 Shifting Shapes / Unstable Signs, New Haven: The School of Art Gallery, Yale School of Art, 27 January - 27 February 2009 Images of Desire: Queer Fantasy, part of The Nigah Queer Fest at New Delhi: Max Mueller Bhavan , 23 October - 1 November 2009 A Cry from the Narrow Between, New Delhi: Gallery Espace, 12 March - 3 April 2010
PUBLISHED What are You?, Mumbai: Galerie Mirchandani + Steinruecke, 2006, p. 22 (installation view), p. 28 (illustrated, another from the edition) Jerome Neutres ed., New Delhi New Wave, Bologna: Damiani Editore, 2007, p. 223 (illustrated, another from the edition)
132 133 43
CHINTAN UPADHYAY
NEW AVATAAR
Signed, dated and inscribed 'Chintan March 2005 'New Avataar'' (on the reverse) 2005 Oil and acrylic on canvas 84 x 119 in (213.4 x 302.3 cm)
$ 8,000 - 10,000 Rs 5,76,000 - 7,20,000
EXHIBITED Are We Like This Only?, presented by Vadehra Art Gallery at New Delhi: Lalit Kala Akademi, 19 - 25 March 2005
134 135 44
PRANEET SOI
UNTITLED
2006 Acrylic on canvas 26 x 37.75 in (66 x 96.2 cm)
$ 5,000 - 7,000 Rs 3,60,000 - 5,04,000
EXHIBITED Indian Art III/III: Here and Now: Young Voices from India, London: Grosvenor Vadehra, 15 February - 11 March 2007
PUBLISHED Indian Art III/III: Here and Now: Young Voices from India, New Delhi: Vadehra Art Gallery, 2006, p. 89 (illustrated)
136 137 45
ADITYA PANDE
VORE 5: TONGUE OF CANCER
Signed and dated 'PANDE '08' (lower right) 2008 Giclée print with enamel paint, silver leaf and ball-pen 70.75 x 43 in (180 x 109 cm)
$ 5,000 - 7,000 Rs 3,60,000 - 5,04,000
EXHIBITED Alexis Kersey, Aditya Pande and Maurizio Vetrugno, London: Alexia Goethe Gallery, and Nature Morte, 27 June - 23 August 2008
PUBLISHED Peter Nagy, Alexis Kersey, Aditya Pande and Maurizio Vetrugno, London: Alexia Goethe Gallery, 2008, p. 18 (illustrated)
138 139 46
SUHASINI KEJRIWAL
UNTITLED
2006 Silk embroidery and brocade on canvas 84 x 47.5 in (213.4 x 120.6 cm)
$ 12,000 - 18,000 Rs 8,64,000 - 12,96,000
Kolkata-based artist Suhasini Kejriwal’s mixed media works are intricately woven tapestries of details. Lots 46 and 47, both created in 2006, are among her early works, in which, she was “looking at art history, looking at fantasy, at those sorts of things to create a fiction.” (Artist quoted in Shougat Dasgupta, “Suhasini Kejriwal: Everyday Weird,” Livemint, 5 April 2014, online) Her canvases and tall, cactus-like tower are perhaps as much an homage to the paintings of French artist Henri Rousseau’s fantasies of the jungle, as they are to typical fairy- tale descriptions of forests.
Kejriwal’s tropical plants and fruit are interspersed with carefully camouflaged reptiles and insect life to create surfaces pulsating with the vibrant ecosystem of the jungle. She uses a bold and dramatic colour palette to fill in the details of her elaborate compositions. The extreme decorative quality of her work draws the viewer to engage with her work at an intimate level, providing an unrelenting variety of unexpected revelations.
EXHIBITED All That's Solid Melts Into Air: An Exhibition of Works by Mithu Sen, Suhasini Kejriwal and Mehnaz Tan, London: Indar Pasricha Contemporary, 27 September - 14 October 2006
PUBLISHED: Sanda Miller, All That's Solid Melts Into Air, London: Indar Pasricha Contemporary, 2006 (illustrated)
140 141 47
SUHASINI KEJRIWAL
UNTITLED
2006 Fibreglass, silk embroidery, brocade and metal wire Height: 66 in (167.64 cm)
$ 10,000 - 15,000 Rs 7,20,000 - 10,80,000
EXHIBITED All That's Solid Melts Into Air: An Exhibition of Works by Mithu Sen, Suhasini Kejriwal and Mehnaz Tan, London: Indar Pasricha Contemporary, 27 September - 14 October 2006
PUBLISHED: Sanda Miller, All That's Solid Melts Into Air, London: Indar Pasricha Contemporary, 2006 (illustrated)
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We informed of the delay via email, unless the economic interest in the lot equivalent to an the auction of Lots which are Antiquities and encourage all potential buyers to inspect buyer has indicated an alternative preferred ownership interest. for dealing in Antiquities as a part of the Lots each item carefully before bidding. mode of communication. being auctioned. Any statements made by Us, including by Buyers may choose to collect their purchases How do I participate in your next auction? 1.2 We have verified the valid registration of the Our representatives/employees, about any from the Saffronart office in Mumbai. In such If you would like to register to bid or consign to Antiquities in the name of the relevant sellers Lot, whether orally or in writing, concerning cases, buyers are requested to make an any of our upcoming auctions please contact any as required under the Antiquities Act and the attribution of such Lot to, for example, any appointment to collect purchases within of our locations listed in the Sales and Enquiries Rules. school of art or craftsmanship, country or 10 - 15 business days of completion of all section. 1.3 will have no ownership interest in any origin, history, provenance or condition, are payments and documentation formalities. We Lot If you would like to stay informed of Saffronart’s which is an , till the receipt of full only expressions of Our opinion or belief. Buyers who have completed payment Antiquity upcoming events, please register with us online at payment by in respect of such Such opinions or beliefs have been formed formalities and have not taken delivery of Us Antiquity saffronart.com. from a winning bidder in accordance with honestly in accordance with the standard of their lots from Saffronart within 30 days of paragraph 6.7 below. Upon receipt of full care expected of an auction house, having the completion of payment formalities will be payment by Us from the winning bidder, the due regard to the estimated value of each charged storage and insurance at applicable ownership of the Antiquity along with its Lot. We have not carried out any exhaustive rates. registration (as required under the Antiquities research or analysis on any Lot to be sold Act) will be transferred/delivered from the in this auction, and potential buyers should What documentation will I receive with my seller to the winning bidder in accordance seek appropriate advice on the condition of purchases? with the provisions of these conditions for sale. each Lot from their own professional advisors. Upon confirmation of delivery or receipt of 1.4 The possession of the Lots which are 3.3 For the convenience of bidders, We provide shipment, we will send you the invoices for Antiquities has passed from the respective condition reports on Lots upon request free your purchases along with the ASI registration sellers to Us within the territory of India of charge. The report includes Our bona fide certificate any relevant documentation for the lot in accordance with the provisions of the opinion on the condition of the Lot and is that has been mentioned in the lot details. Please Antiquities Act and the Rules, and the sellers not an alternative to viewing and inspecting note that Saffronart does not issue any authenticity have intimated the Archaeological Survey a Lot by a bidder, or a bidder's duty to seek certificates. of India of such transfer of possession of the independent advice on the Lot, including its concerned Antiquity from such seller to Our description, condition and authenticity. What if my shipment reaches damaged? designated premises. 3.4 The bidders undertake to: All purchases from this sale are final. In the unlikely i. inspect and satisfy themselves prior 2. Our role as the agent of the Seller: event of your receiving a damaged product, to the auction as to the condition and please notify Saffronart directly within five days 2.1 We undertake to sell the Lots through this description of the Lot;
148 149 ii. rely on their own judgment as to whether 4.4 We have the sole and absolute discretion 5.2 The bidding for various Lot groups shall be zero, in the case where the closing time in the Lot matches its description; and to: (i) determine the form and content of the closed in accordance with the bid closing respect of a particular Lot has been extended descriptions of Lots in the Auction Catalogue, schedule. However, a bid can be recorded by by a further 2 minutes pursuant to paragraph iii. not rely on an illustration of any Lot given (ii) granting bidding access to a bidder, (iii) Us in the 2 minutes prior to the closing time of 5.2 above, the countdown clock may not in the Auction Catalogue. recording, rejecting or accepting bids, and (iv) the Lot. The closing time for such Lot shall be reflect such extension. The bidder may 3.5 Size description/s of all the Lots featured in deciding which bid constitutes the winning extended to a time that is 2 minutes after the wait for the values on the page to refresh the Auction Catalogue are approximate. We bid, if any. time that the last bid was made. In the event automatically on the Website, or click on the encourage all potential buyers to inspect of extension of closing time in accordance "Refresh" icon on the page, or on the "Refresh" 4.5 Online bidding access, and access to the each item carefully before bidding. with this paragraph, bidding on the Lot shall or "Reload" button on his/her internet browser MobileApp and the telephone bidding facility, only end if no bid is recorded by Us for a after the countdown clock has counted down 3.6 Neither We nor any of Our Affiliates, agents, shall be given at Our discretion and We may continuous period of 2 minutes. Bidders are to zero to determine whether the closing time representatives, employees or directors shall set limits on the number of bids that may be advised to click on the "Refresh" icon on the has been extended for that Lot. be liable for errors or omissions in any of the made by a bidder and/or require payment Website page being viewed by them or on representations made in the Auction Catalogue 5.6 The countdown clock combined with the guarantees or deposits as a precondition to the "Refresh" button in the browser at regular or otherwise, with respect to the authenticity, current highest bid as shown on the bid giving bidding access to a bidder. Bidders intervals (in accordance with the provisions description or condition of any Lot for sale history on the shall only be an will be informed of their bidding limits, if any, of paragraph 5.4 below) for updates on latest Website through this auction. indication of the highest bid amount at the and will not be allowed to bid further if their bids and time extensions, if any. bidding limit has been exhausted. time when the values on the Website were 5.3 The Website shall also contain a "My Auction" refreshed in the manner set out in paragraph 4. Viewing the Lots and Bidder Registration 4.6 Bid updates and time extensions, if any, shall filtered view of the Auction Catalogue and 4.5 above. Should bidders want more be updated on the Website. On the Website, 4.1 All Lots for sale are featured in the Auction the bidder may click on this link to access frequent updates, they are advised to refresh bidders may refresh bidding values by Catalogue. The number listed next to each information on all bids made by the bidder in values as described in paragraph 5.5 above clicking on the "Refresh" icon or the re-load/ image is the 'Lot number' and should be respect of various Lots. For ease of tracking in order to view the most updated bid history refresh buttons on their browsers, to view used as a reference during bidding, or for bids, bidders are advised to assign bidding and countdown clock. any information requests. The Lots in this sale latest bid updates and time extensions, if any. nicknames to themselves. The Website shall may be viewed through any of the following: We shall evaluate the bid histories of specific contain the bid history for each Lot, being the 5.7 Bidders may download the MobileApp onto Lot groups periodically to preserve the any mobile device that supports Android i. Viewings – details listed in the 'Sales and bid amounts that have been recorded since efficacy of the auction process. This exercise the start of the auction till the current highest and iOS, and use it to place advance bids. To Enquiries' section; may be conducted by Us internally or through bid; and a countdown clock indicating the avail of this service, you must be registered ii. The Online Auction Catalogue; third parties solely at Our discretion. amount of time available for placing bids as a bidder. We do not accept any liability in the unlikely event that a bid through the iii. the printed Auction Catalogue; and 4.7 All bidders are required to provide complete before the closing time. MobileApp is not executed or executed and accurate invoicing details to at the iv. The Mobile Auction Catalogue Us 5.4 The bid history, current bid and countdown incorrectly. time of registration for the auction and clock shall be accurate at the time of 4.2 We may withdraw any Lot before, during, or invoicing details once registered will not be downloading of those values. However, such 5.8 The foreign currency exchange rate used after the online auction, if We have reasons changed. The bidder shall be invoiced based information shall not reflect any changes in is constant during the auction, and has to believe that the authenticity of the Lot or on details provided at the time of registering the bid history, current bid and/or countdown currently been set at 1:72 (USD:INR). Prior the accuracy of the description of the Lot is for the auction. clock that may have occurred during the time to the start of the auction, We may at Our in doubt, or if there is a breach of Our terms taken for this information to reach the bidder's discretion change the exchange rate used, 4.8 New bidders are advised to register at of business, or if We otherwise believe, in Our computer from Our server. The most updated based on fluctuations in market exchange least 48 hours prior to the bid. Know-Your- sole discretion, that it would be improper to bid values shall be shown only when the rates. The estimates for individual Lots have Customer (KYC) documents and/or financial include the Lot in the auction. information on bid values is refreshed, which been 'rounded off' for ease of reference and reference letters are required for individual shall happen either automatically, or when may not reflect the exact exchange rate used 4.3 All Lots shall be sold subject to the Reserve and corporate clients and will not grant We a bidder clicks on the "Refresh" icon on the for bid calculations. Price. If the winning bid is below the Reserve bidding access if the bidder registration and page, or on the "Refresh" or "Reload" Price, the Lot shall be considered unsold. The Website 5.9 Technical Downtime: In the unlikely event that KYC procedures are not complete. button on his/her internet browser. After the Reserve Price on each Lot shall be confidential the Website or MobileApp is inaccessible to values on the page have been refreshed, any and We shall have no obligation to disclose bidders or partially disabled due to Technical 5. Bidding changes in the bid history shall not be visible the same to any bidder. Lots sold in "Absolute Downtime at any time during the half an hour to the bidder until the values are refreshed Auctions" or marked as sold with "No Reserve" 5.1 For the convenience of bidders, in particular prior to the scheduled closing time of the again, whether automatically on the Website, are not subject to a Reserve Price and will be bidders who are placing bids on more than auction for any of the Lot groups, the closing or by the bidder. sold to the highest bidder, irrespective of the one Lot, Lot groups are scheduled to close at time of that Lot group and subsequent Lot bid amount. different times during the auction. 5.5 When the countdown clock counts down to groups will be extended by the duration of
150 151 such Technical Downtime. In case the Technical choosing to bid via telephone are advised 5.19 We shall retain the right to display the a third person prior to transferring the Downtime extends beyond the closing time to re-set their passwords at the close of the results of the sale and Lot details sold by Us, ownership along with valid registration for a particular Lot group, the Website and the auction. including catalogue descriptions and prices to such third person in accordance MobileApp, as the case may be, shall, after on the Website at all times, including after the with the provisions of the Antiquities Act 5.13 Our employees may not bid in the auction the Technical Downtime, show the auction for completion of the sale. We regret that We and the , subject to receipt by once the auction has started. They may, Rules Us the particular Lot group as closed. However, cannot agree to requests to remove these of full payment and of the duly signed however, submit an absentee/proxy bid for the closing time for such Lot group and details from the Website. requisite forms and documents from the an amount which may be equal to or above subsequent Lot groups shall be extended by winning bidder required for the purpose the lower estimate of a Lot before the auction the duration of the Technical Downtime and of transferring the ownership along with commences. Once the auction has started, 6. Completing the Purchase appropriate details of the extension shall be registration of the Antiquity to the winning they may not increase their bid or alter it in any 6.1 We will raise invoices on the winning bidder for published on the Website shortly after recovery bidder, We shall make best endeavours way. Our employees may also bid in charity the sale price and Buyer’s Premium, applicable from the Technical Downtime. Bids recorded to transfer/deliver such Antiquity to the auctions that are held on the Auction Platform. taxes on sale of the Lots and other additional prior to any Technical Downtime will be treated winning bidder within 90 days from the charges that may be incurred by Us, if any, as valid. We shall not be liable for any loss of 5.14 Our auction platform does not allow any bids date of the receipt of full payment, and including shipping and handling of the Lots information due to the Technical Downtime. to be placed by Us on behalf of a seller. All transfer papers from the winning bidder. and additional levies. The data logs of Our server will determine bids recorded are from registered bidders. The winning bidders are hereby made the duration of the and 6.2 (a) The title to all Lots marked with shall Technical Downtime 5.15 We have the right to exercise reasonable aware that the process for transfer of pass from the seller to Us outside the any determination made by Us in respect of discretion in setting bid increments, refusing ownership along with registration from territory of the United States of America. extension of the closing time shall be final. any bid, advancing the bidding, withdrawing one person to the other in accordance 5.10 Due to the nature of internet and/or mobile or dividing any Lot, combining any two or 6.2 (b) The title to the Lots other than mentioned with the provisions of the Antiquities Act traffic, there may be an unpredictable time- more Lots, and in the case of error or dispute, in 6.2 (a) above shall pass to the winning and the Rules is a process administered lag between a bidder placing a bid, and that during or after the sale, determining the bidder at the time that bidding is closed by the Archaeological Survey of India bid being received by Us. Therefore, although successful bidder, continuing the bidding, for each Lot and such winning bidder and may take longer than the envisaged a bidder may have placed his/her bid prior to cancelling the sale or reoffering and reselling shall thereafter assume full risk and period of 90 days. We will not be the closing time, the bid may be received by the item in dispute. If any dispute arises after responsibility for such Lot. In any event, responsible for any delays involved in Us after the closing time for the Lot in respect the sale, then, in the absence of any evidence the Lots purchased will not be released transfer/delivery of ownership along of which the bid has been placed and shall, in to the contrary, the sale record maintained by or shipped out to the winning bidder or with registration of any Antiquity. In the such an event, be rejected. In order to prevent Us will be conclusive. his/her representative until the winning event that the registering officer or any bidder has fulfilled his payment and other employee of the Archaeological bids being rejected in such a manner, bidders 5.16 reserve the right not to award the winning We other obligations as described in these Survey of India empowered to execute may set proxy bids/automatic bids on Lots bid to the bidder with the highest bid at the which the bidder wishes to bid for. conditions for sale. the transfer of ownership along with closing date if We deem it necessary to do so. registration of an Antiquity insists on 5.11 Proxy bids may be recorded with Us 12 6.3 For Lots which are not Antiquities, the title to 5.17 We shall retain the right to display the sending the duly transferred registration hours prior to the closing time, subject to the Lots purchased shall pass to the winning results of the sale and Lot details sold by Us, certificate directly to the winning bidder, the other provisions of these conditions for bidder at the time that bidding is closed including catalogue descriptions and prices for each and such winning bidder shall We will not be responsible for any damage sale, including any limits imposed by Us on Lot on the Website at all times, including after the or loss in transit of the said registration the number of bids that a bidder may place. thereafter assume full risk and responsibility completion of the sale. We regret that We certificate. Winning bidders are advised Proxy bids are accepted from bidders once for such Lot(s). In any event, Lots purchased cannot agree to requests to remove these will not be released or shipped out to the to read and abide by the provisions of they have been given bidding access for the details from the Website. winning bidder or his/her representative the Antiquities Act and the Rules and all auction and may be entered prior to auction until the winning bidder has fulfilled his/her notifications issued thereunder from start and up until the auction closes. 5.18 At Our discretion, proxy bids submitted on "no time to time, which are available with the reserve" Lots will be executed at a minimum payment and other obligations as described Once a bid is registered in system, Archaeological Survey of India and also at Our of 10% of the lower estimate of the relevant in these conditions for sale. whether placed by an active bidder or by the website of the Archaeological Survey Lot if there is no competing bid, and provided 6.4 (a) Subject to fulfilment of all these conditions proxy, it is immediately and automatically of India (www.asi.nic.in). that the proxy bid amount is greater than for sale, the title to the Lots which are displayed for all registered users to see. such minimum value. Notwithstanding the Antiquities shall pass to the winning 6.4 (b) Lots over a hundred years old, whether 5.12 Bidders are advised to keep their login ID and above, in the event that there is a bid lower bidder upon full payment by the winning registered with the ASI or otherwise, or password secure at all times. We will hold the than such minimum value and there is no bidder to Us, and such winning bidder deemed National Treasures, are NON- bidder responsible for all bids placed using competing higher bid, then We may, at Our assumes full risk and responsibilities EXPORTABLE as per the Antiquities Act their login ID and password, whether via the discretion, execute the Lot at such lower thereafter. However, since We cannot and the Rules, and cannot be exported Website or through the MobileApp. Bidders value. deliver possession of the Antiquity to out of India.
152 153 6.5 In respect of each sale at the auction, We shall Antiquities, such transfer being in accordance 6.11 With respect to Lots which are Antiquities, in all capital letters in the Auction Catalogue, charge a Buyer’s Premium calculated at the rate with the provisions of the Antiquities Act and pursuant to the ownership along with is not authentic only by scientific means or of (i) 20% of the winning bid value of up to and the Rules). Payments will not be accepted registration of the Antiquity being transferred processes which, on the date We published the including USD 2,000,000 (ii) 15% of the winning from any parties other than the winning from Us to the winning bidder in accordance Auction Catalogue, was not generally available bid value in excess of USD 2,000,000 up to and bidder as recorded on the invoice. with the provisions of the Antiquities Act and or accepted, or which was unreasonably including USD 3,000,000 and (iii) 12% of the Rules, if the winning bidder informs Us that expensive or impractical to use, or which was 6.8 The winning bidder acknowledges that We the winning bidder wishes to collect the likely to have caused damage to the , or winning bid value in excess of USD 3,000,000. will abide by any export restrictions that may Lot applicable on the shall be Antiquity from Us in person and such Antiquity which was likely to have caused loss of value GST Buyer’s Premium apply in the countries from where specificLots is not collected by the winning bidder within to the . payable by the winning bidder. will be shipped. The winning bidder shall also Lot 30 days of the registration formalities being 6.6 The winning bidder shall be invoiced based on be responsible to ensure that the Lot(s) are 7.5 In the unlikely event that within one year completed, We shall arrange for storage of details provided at the time of registering for freely importable into his/her country or to the from the sale of the Lot through auction, the Antiquity at the winning bidder's expense, the auction. Winning bidders located in India country where the destination for delivery (as it is proved by the winning bidder, to Our and shall only release the Antiquity after specified by the winning bidder) is located. If reasonable satisfaction, that the Lot was not will be invoiced in INR and all other winning payment has been made, in full, of the sale bidders will be invoiced in USD. Payments the winning bidder or We become aware of any authentic and if, in Our opinion, bidders being price and Buyer’s Premium, including storage restrictions to such import subsequent to the aware of such error or omission would have must be made in the currency on the invoice and insurance at applicable rates. in any of the following modes of payment. completion of the auction, the winning bidder bid significantly less than the actual sale shall provide an alternate delivery destination 6.12 We shall be entitled to exercise a lien on the price, We shall be entitled to rescind the sale, For INR payments to Us. All costs associated with the process of Lot for payment of any sums due to Us from and the seller will be liable to refund to the 1. Cheque/Demand Draft delivery and storage (when required) of the Lot the winning bidder, including the sale price, winning bidder the sale price paid for the Lot. shall be borne by the winning bidder. The Lot(s) Buyer’s Premium or costs relating to storage 2. RTGS/NEFT 7.6 The guarantee above shall be subject to the shall be handed over to the winning bidder or and insurance where they are to be borne following conditions: 3. Credit card: up to INR equivalent of USD his/her nominee only upon full payment of all by the winning bidder, in relation to any Lot 5,000 such costs. purchased by the winning bidder. (i) the claim is made by the winning bidder as registered with Us and if the winning For USD payments 6.9 Lots marked as "Art Treasures" and/or bidder has owned the Lot continuously "Antiquities" under the Antiquities Act and 7. Authenticity Guarantee 1. Cheque between the date of auction and the date Rules cannot be exported outside India, 7.1 We provide a limited guarantee on the of claim (the benefit of the claim is not 2. Direct wire transfer notwithstanding that the payment in lieu of authenticity of the Lots for a period of one year assignable to any subsequent owners such Lots may be received from the winning from the date of the auction of such . 3. Credit card: up to USD 5,000 Lots We or others who may acquire or have an bidder in USD. If you are the successful only guarantee, subject to the qualifications NOTE: Payments in excess of USD 5,000, or interest in any of the Lots); bidder for any such Lot, you agree not to below, the information mentioned in all its INR equivalent, must be made through a export such Lot outside of India. Each winning capital letters in the title heading of the Lot (ii) the concerned property in the Lot is returned wire transfer or cheque. We and Our Affiliates bidder is solely responsible for meeting the in the Auction Catalogue. We do not guarantee to Us in the same condition that it was in at will not be held responsible for any refusal requirements of the Antiquities Act and Rules, or any other attribute of such Lot even if such the time of delivery of such property in the or failure to accept modes of payment not any related state legislation. Please note that other attribute is in all capital letters. Lot to the winning bidder; and outlined above. the Lots are marked for your convenience only, 7.2 The authenticity guarantee does not apply to (iii) the concerned property in the Lot is and We do not accept any liability for errors or 6.7 The winning bidder shall pay the sale price title heading or part of a title heading which indisputably the same as purchased for failing to mark the Lots. and Buyer's Premium in full (including the is qualified. A title heading is qualified when through the auction. applicable taxes and other charges, if any) 6.10 Non payment: In case payments are not it is limited by a clarification or limitation in all Once We obtain the refunded amount within 7 (seven) business days from the date received within 7 business days of each capital letters in the title heading of the in Lot from the seller, We shall forward the of invoice. Subject to paragraph 6.4 above, invoice, We shall treat the same as a breach the Auction Catalogue. same along with the amount charged by no shipment or delivery of the Lot will be of contract of sale by the winning bidder, and 7.3 The authenticity guarantee does not apply Us as the Buyer's Premium to the winning made to the winning bidder if the sale price the seller may, in such an event, authorise if the title heading of the Lot in the Auction bidder. We shall not be accountable to the and Buyer's Premium (including the applicable Us to take any steps (including the institution , as on the date of auction or as winning bidder for any taxes, shipping, taxes and other service charges, if any) of legal proceedings), as it may deem to Catalogue amended by any saleroom notice, either is handling or any other charges that may are not received by Us and until all proper be appropriate to enforce payment by the in accordance with the generally accepted have been applicable at any time from documentation in connection with the sale winning bidder. In addition, the winning opinion of experts, or indicates that there is a the sale of the Lot till the claim. of the Lot has been completed, and until the bidder will be charged demurrage at 1% of the conflict of opinion of such experts. ownership along with registration of the Lot total value (winning bid plus Buyer’s Premium) 7.7 All such claims will be handled on a case-by- has not been transferred from the seller to or INR 10,000 per month, whichever is higher, 7.4 The authenticity guarantee does not apply case basis, and in the case of an authenticity the winning bidder (in case of Lots which are till the date of actual payment. if it is proved that the title heading of the Lot claim, We will require that examinable proof,
154 155 which clearly demonstrates that the Lot is or agents, shall be responsible, either for 12. Waiver Auction Catalogue: The catalogue published by Us, not authentic, is provided by an established the correctness of any statements as to the No failure or delay in exercising any right, power, whether in print, on the MobileApp or on the Website, and acknowledged authority. decision authorship, origin, date, age, attributes or Our privilege or remedy under these conditions for containing details of the auction along with the in respect of such claims shall be final and genuineness of any Lot in the sale, or for any sale shall in any way impair or affect the exercise description, price and other details of to binding. mistakes in the description of the Lots, or for Antiquities thereof or operate as a waiver thereof in whole or any faults or defects in the Lots, or for any be offered for sale at such auction. In case of any 7.8 In all cases, We retain the right to consult in part. No single or partial exercise of any right, other act or omission whatsoever. We offer no with, at the expense of the winning bidder, power, privilege or remedy under these conditions discrepancy between the print Auction Catalogue, guarantee or warranty other than the limited two recognised experts in the field (such for sale shall prevent any further or other exercise the MobileApp Auction Catalogue, the online Auction guarantee set out in paragraph 7 above. experts being mutually acceptable to Us and thereof or the exercise of any other right, power, Catalogue and/or the eCatalogue, the online the winning bidder), to examine the Lot under 9.2 The rescission of the sale and the refund of privilege or remedy. Auction Catalogue, as modified by Us from time to question before deciding to rescind the sale the total sale price paid by the winning bidder 13. Severability time, shall take precedence. and offer the refund under the guarantee set is the sole remedy that may be sought by a out above. The opinion of the experts shall winning bidder, and such remedy is exclusive If any part of these conditions of sale between the Buyer's Premium: The amount charged by Us from not be binding on . and in lieu of any other remedy which may winning bidder and Us is found by any court of law Us the winning bidder for services rendered by Us, otherwise be available under law. We shall not to be invalid, illegal or unenforceable, that part may 7.9 In the event of the seller's failure to refund be liable for any incidental or consequential be discounted and the rest of the conditions shall in accordance with these conditions for sale, in the proceeds as stated in this paragraph, the damages incurred or claimed. be enforceable to the fullest extent permissible by connection with the purchase of the Lots by the winning bidder shall return the concerned law. winning bidder. property in the Lot to Us and authorise Us 10. Copyright 14. Governing Law and Jurisdiction as its agent to initiate legal proceedings All content of Our Auction Catalogue, the print GST: Goods and Services Tax against the seller. Any such steps taken or catalogue, eCatalogue and content on the Website These conditions for sale are subject to the laws Lot/Lots: A property, including an Antiquity, to be legal proceedings instituted by Us against and MobileApp are copyright protected in favour of of India. All parties are subject to the exclusive the seller shall be to the cost of the winning "Saffronart". All trademarks, names, brand names, jurisdiction of courts at Mumbai, Maharashtra, offered at the auction, or two or more properties/ bidder. etc. used in the print Auction Catalogue and on India. Antiquities to be offered at the auction as a group. 8. Privacy of Personal Information the Website and MobileApp are either trademarks 15. Symbols used in this catalogue or registered trademarks of Saffronart, or of their MobileApp: Mobile application developed by 8.1 will maintain the confidentiality of your We respective owners. Any rights not expressly Lots marked with are not situated in India Saffronart, in Saffronart's capacity as Our service personal information as disclosed to Us and granted herein are reserved. No image, illustration and therefore, may only be bid for and provider providing a mobile auction platform for undertake to not disclose such information to or written material maybe used or required without purchased in USD. Persons residing in India, any third party, unless otherwise required by the auction. Our prior written permission. We and the seller(s) wishing to bid in USD must be eligible under law or a governmental authority. make no representation or warranty that the the various foreign exchange regulations to Our/Us/We: Saffronart Management Corporation, 8.2 The winning bidder agrees to maintain the winning bidder of a Lot will acquire any copyright make payments overseas. Please contact acting either on its own behalf, or as a representative confidentiality of the information about or other reproduction rights in it. Saffronart for further details. of any of its Affiliates. the seller, including name and address, 11. Legal Notices Lots marked with indicate that Saffronart as mentioned in any Antiquity related owns the Lot in whole or in part or has an Reserve Price: The minimum price that a seller has 11.1 We may validly serve a bidder with legal document/s. economic interest in the Lot equivalent to an communicated to Us as being acceptable for the notice, if required, under these conditions of ownership interest. 9. Extent of Our Liability sale by: sale of a Lot through the auction. GLOSSARY 9.1 We have an obligation to refund the sale price i. sending an email to the email address Rules: The Antiquities and Art Treasure Rules, 1973 and to the winning bidder only Buyer’s Premium disclosed by the bidder to Us; or Affiliates: Saffron Art Private Limited, Planet Saffron and any amendments made thereto from time to in the circumstances described above (in Inc., Planet Saffron Management Co. LLC, and their ii. sending a courier to the address disclosed time. paragraph 7). Damages to, or losses or loss holding or subsidiary companies as on the date of by the bidder to Us. in value of any of the Lots (excluding frames) the online auction. Technical Downtime: The time period during which incurred during shipping and transit are 11.2 Such legal notice shall be deemed to have Antiquities Act: The Antiquities and Art Treasures the Website or its server is not in operation due to covered as per the insurance policy obtained been properly served: Act, 1972 and any amendments made thereto by Us. In case the winning bidder opts out of a malfunction. i. in the case of email transmission - on the from time to time. insurance coverage arranged for by Us, We date of the transmission; or Website: Saffronart's website (www.saffronart.com), shall not entertain any claims for damage or Antiquity/Antiquities: An antiquity as per Section in Saffronart's capacity as Our service provider loss during shipping and transit. Subject to ii. in case of transmission by courier - 2 2 of the Antiquities Act and registered under the the authenticity guarantee above, neither Our business days after the dispatch of the provisions of Sections 14 and 16 of the Antiquities providing an online auction platform for the suppliers nor Us, nor any of Our employees notice by courier. Act. auction.
156 157 CONTEMPORARY INDIAN ART | ONLINE AUCTION | 4 – 5 DECEMBER 2018 CONTEMPORARY INDIAN ART | ONLINE AUCTION | 4 – 5 DECEMBER 2018 CLOSING SCHEDULE ABSENTEE/PROXY BID FORM
Auction Closing To enter absentee/proxy bids, please sign the completed form and email it to [email protected], or fax it to +91 22 2432 1187. You may also submit absentee/proxy bids online. For additional information, please refer For your convenience, especially if you are bidding on multiple lots, groups of lots are scheduled to close to our "Frequently Asked Questions (FAQs)" section at the back of the catalogue or on the Saffronart website. at different times on 5 December, 2018. “I request Saffronart, without legal obligation on its part, to bid on the Lots listed below, up to the maximum Pre-determined groups of lots will close according to the bid-closing schedule below unless a bid is price I have specified. I agree that my Bid will be treated as an offer and is subject to the Conditions for Sale recorded within a span of 2 minutes prior to the lot's scheduled closing time. In this case, the countdown listed in the catalogue and on saffronart.com. I understand that Saffronart is accepting written Bids for the clock for that lot will be reset to 2 minutes and the lot closing time will be extended accordingly. Bidding on convenience of clients and I will not hold it liable for failure to record my Bid. I understand that a maximum any lot will only end if there is no bid recorded for a span of 2 minutes. Bid, once recorded, may not be cancelled.” Lots have been allotted into groups, and the closing schedule for the various groups is as follows: Please print clearly in capital letters. Please mention the lot number and description accurately (artist name, title). Bidders are required to provide all invoicing details prior to the sale. The bidder as registered with Saffronart will be invoiced, and no invoices will be
Maximum Bid Amount Lot No. Artist/Description Closing Time Closing Time Closing Time Closing Time Closing Time Closing Time in USD / INR Groups Lot Number (India) (US Eastern) (US Pacific) (UK) (Japan) (Hong Kong)
1 1-15 08:00 PM 09:30 AM 06:30 AM 02:30 PM 11:30 PM 10:30 PM
2 16-30 08:15 PM 09:45 AM 06:45 AM 02:45 PM 11:45 PM 10:45 PM
12:00 AM 3 31-47 08:30 PM 10:00 AM 07:00 AM 03:00 PM 11:00 PM (Dec 6, 2018)
Name: Email:
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Signature
158 159 Bidding Increments Index
Bidding begins below the lower estimate, and increases in steps, or increments. The next valid bid is based on the increments listed below. If bidders enter a proxy bid online, the next bid is placed at the minimum incremental value.
A BALASUBRAMANIAM (b. 1971) ADITYA PANDE (b. 1976) ANANDAJIT RAY (b. 1965)
Below $5000 $500,000 ‒ $1,000,000 • By $100 up to but less than $1,000 • By $50,000 up to but less than $750,000 • By $150 up to but less than $2,500 • By $75,000 up to but less than $1,000,000 • By $250 up to but less than $5,000 $1,000,000 ‒ $10,000,000 $5,000 ‒ $10,000 • By $100,000 up to but less than $2,000,000 • By $500 up to but less than $7,500 • By $200,000 up to but less than $3,000,000 • By $750 up to but less than $10,000 • By $300,000 up to but less than $4,000,000 • By $400,000 up to but less than $5,000,000 $10,000 ‒ $50,000 Lot 1 p. 12 Lot 45 p. 138 Lot 30 p. 98 • By $500,000 up to but less than $6,000,000 • By $1,000 up to but less than $15,000 • By $600,000 up to but less than $7,000,000 • By $1,500 up to but less than $25,000 • By $700,000 up to but less than $8,000,000 • By $2,500 up to but less than $50,000 • By $800,000 up to but less than $9,000,000 $50,000 ‒ $100,000 • By $900,000 up to but less than $10,000,000 • By $5,000 up to but less than $75,000 • By $1,000,000 from $10,000,000 ANANT JOSHI (b. 1969) ANITA DUBE (b. 1958) ANJU DODIYA (b. 1964) • By $7,500 up to but less than $100,000
$100,000 ‒ $500,000 • By $10,000 up to but less than $150,000 • By $15,000 up to but less than $200,000
• By $20,000 up to but less than $250,000 INR increments are subject to change depending on • By $25,000 up to but less than $500,000 the exchange rate for the auction.
1. I agree and consent to paying the Buyer’s Premium calculated at the rate of 20% of the winning bid value Lot 13 p. 48 Lot 28 p. 92 Lot 18 p. 64 of up to and including USD 2,000,000; 15% of the winning bid value in excess of USD 2,000,000 up to and including USD 3,000,000; and 12% of the winning bid value in excess of USD 3,000,000. All applicable duties and taxes, and shipping and handling charges shall be borne by me.
2. I understand that if Saffronart receives identical absentee/proxy Bids, and if these Bids are the highest for the
Lot, Saffronart will sell the Lot to the Bidder whose Bid it received and accepted first. ANJU DODIYA (b. 1964) ATUL DODIYA (b. 1959)
3. I understand that absentee/proxy Bids submitted on “no reserve” lots will be executed at a minimum of 10% of the lower estimate (the "Minimum Value"), if there is no competing Bid, and the absentee/proxy Bid amount is greater than the Minimum Value.
For New Bidders If you have not previously registered with saffronart.com, please create a username on our website. To participate in this auction, you will have to pre–register with your login details. When contacted by our representative, please provide a proof of identity and address document, such as a copy of an official photo identity card (either a PAN Card, National Identity Card, Passport or Driver’s Licence). Once your documents are verified, you will be given access to bid. You may also call our auction helpline at +91 22 2432 2898. Lot 19 p. 68 Lot 8 p. 34 Lot 9 p. 36
160 161 BHARAT SIKKA (b. 1973) BHARTI KHER (b. 1969) CHINTAN UPADHYAY (b. 1972) JITISH KALLAT (b. 1974) JYOTHI BASU (b. 1960) L N TALLUR (b. 1971)
Lot 40 p. 128 Lot 33 p. 108 Lot 43 p. 134 Lot 34 p. 112 Lot 12 p. 46 Lot 36 p. 118
DAYANITA SINGH (b. 1961) DHRUVA MISTRY (b. 1957) G RAVINDER REDDY (b. 1956) MITHU SEN (b. 1971) MONALI MEHER (b. 1969) N S HARSHA (b. 1969)
Lot 16 p. 58 Lot 35 p. 114 Lot 5 p. 24 Lot 24 p. 84 Lot 27 p. 90 Lot 21 p. 74
GIRISH DAHIWALE (1974 - 1998) JAGANNATH PANDA (b. 1970) N S HARSHA (b. 1969) N N RIMZON (b. 1957) NATARAJ SHARMA (b. 1958)
Lot 41 p. 130 Lot 25 p. 86 Lot 32 p. 104 Lot 22 p. 76 Lot 26 p. 88 Lot 6 p. 28
162 163 NATARAJ SHARMA (b. 1958) PRANEET SOI (b. 1971) PUSHPAMALA N (b. 1956) SHILPA GUPTA (b. 1976) SUBODH GUPTA (b. 1964) SUDARSHAN SHETTY (b. 1961)
Lot 7 p. 30 Lot 44 p. 136 Lot 4 p. 22 Lot 14 p. 50 Lot 23 p. 80 Lot 37 p. 122
RAQS MEDIA COLLECTIVE REENA SAINI KALLAT (b. 1973) RINA BANERJEE (b. 1963) SUHASINI KEJRIWAL (b. 1961) SURENDRAN NAIR (b. 1956) TEJAL SHAH (b. 1979) (b. 1992)
Lot 15 p. 54 Lot 20 p. 70 Lot 17 p. 60 Lot 46 p. 140 Lot 47 p. 142 Lot 2 p. 16 Lot 3 p. 18 Lot 42 p. 132
SAKSHI GUPTA (b. 1979) SHEBA CHHACHHI (b. 1958) SHIBU NATESAN (b. 1966) THUKRAL AND TAGRA (b. 1976) TUSHAR JOAG (b. 1966)
Lot 10 p. 40
Lot 38 p. 124 Lot 29 p. 94 Lot 31 p. 102 Lot 39 p. 126 Lot 11 p. 44
PHOTOGRAPHY PROCESSING PRINTING JAYAKUMAR NAIR REPROSCAN PRODON ENTERPRISES
164 165 166 167 saffronart.com