Summer 2016 Online Auction Catalogue

SUMMER ONLINE AUCTION
8 9 JUNE 2016
CONTENTS
6
10
SALES AND ENQUIRIES

THE AUCTION CATALOGUE
168
FREQUENTLY ASKED QUESTIONS
173
CONDITIONS FOR SALE
181
ABSENTEE/PROXY BID FORM
183
CLOSING SCHEDULE
185
INDEX
Cover
Lot 29
Back cover
Lot 26
Inside front cover

Lot 61
Inside back cover

Lot 25
Facing page
Lot 95
INTERNATIONAL SALES TEAM
AUCTION
All bidding will take place on saronart.com. All lots are published in the printed catalogue and may also be viewed
on the website. Select lots may also be viewed at Saronart in New York, London, and Mumbai by appointment.
AUCTION DATES
Start: Wednesday, 8 June 2016, 9 am Indian Standard Time
(11.30 pm US Eastern Time on 7 June 2016, and 4.30 am UK Time on 8 June 2016)
HUGO WEIHE
MINAL VAZIRANI
DINESH VAZIRANI
Chief Executive Ocer
Co-founder
Co-founder
Close: Thursday, 9 June 2016, 8.30 pm Indian Standard Time

(11 am US Eastern Time and 4 pm UK Time on 9 June 2016)
MUMBAI
Please note that bidding closes at dierent times according to Lot Groups. These times have been listed in theBid
Closing Schedule.
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6 pm onwards
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Wednesday, 1 June 2016
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The Fuller Building, 595 Madison Avenue, Suite 900, New York, NY 10022
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The artist himself is an enigma.

HIMMAT SHAH
I derive my... content and

colours from India.
B PRABHA
I am an agnostic but I
know about energy.
...life is a beautiful experience.

AMARNATH SEHGAL
BIREN DE
One idea is sucient

for an artist.
S H RAZA
"Everything starts from silence."
... whatever man creates

reects his character, his daily
life, his innermost thoughts,
indeed everything.
JAMINI ROY
V S GAITONDE
JUNE 2016 | Online Auction
The Auction Catalogue

Lots 1-24
Closing Time:
Thursday, 9 June 2016
7.30 pm (IST)
10 am (US Eastern Time)
10
11
JAMINI ROY
(1887 - 1972)
Untitled (Horse)
Signed in Bengali (lower right)
Tempera on card paper
18.5 x 12.25 in (47 x 31.4 cm)
The bankura horse recurs

throughout the folk and craft
traditions of Jamini Roys native
Bankura region of West Bengal. In
the present lot, Jamini Roy captures
the colours and vibrancy of the
traditional art of the region. Manasij
Majumdar writes that Roy often
preferred to make images with
bare minimal content and a rich
formalist handling. Even when he
treated a motif comprising two or
more gures, he always eschewed all
inessential representational details to
move towards extreme simplication
of the basic form, dened by smooth
easy curved brush strokes most often
in black or dark Indian red... the
motifs are evoked on a at pictorial
space structured and dened not
with colours but with the splendid
pictorial nality of uent, curved and
bold lines. What strikes the viewer
instantly is not any theme as such
but forms and gures with a striking
nesse of lineal elegance. Their
expressiveness lies not in any subtle,
complex or elaborate thematic
statement but in their rigorous
simplicity, scrupulous elimination
of naturalism and simple myth-like
evocativeness. (Manasij Majumdar,
Jamini RoyModernisms Nationalist
Face, Jamini Roy: National Art
Treasure, Kolkata: Purba, 2015, p. 55)
JAMINI ROY
(1887 1972)
Untitled
Watercolour on paper
15 x 10.25 in (38 x 26 cm)
$ 18,465 - 23,080
Rs 12,00,000 - 15,00,000
NON-EXPORTABLE NATIONAL ART TREASURE
PROVENANCE:
Acquired directly from the artist in 1956
Private Collection, Southern California
Private Collection, Maharashtra
PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION, GERMANY
$ 8,000 - 10,000
Rs 5,20,000 - 6,50,000
Bankura terracotta horses and elephants on display
at Bishnupur in Bankura district, West Bengal
Source: Amartyabag, via Wikimedia Commons
PROVENANCE:
Acquired by the present owner from Dhoomimal Gallery, New Delhi, in the 1980s
13
RAMGOPAL VIJAIVARGIYA
(1905 - 2003)
Untitled
Signed in Devnagari (lower right)
Circa 1940s
Watercolour and wash on paper pasted on paper
36.5 x 25 in (92.7 x 63.5 cm)
$ 38,465 - 53,850
Rs 25,00,000 - 35,00,000
PROVENANCE:
Private Collection, Kolkata
Private Collection, New Delhi
Born in Baler, Rajasthan in 1906, Ramgopal Vijaivargiya

found his inspiration from the Bengal School of
painting though he remained wholly unattached to
any particular school of Indian art. In the foreword to
The Art of Vijaivargiya (1935), Ram Chandra Tandan
wrote: The Art of Vijaivargiya is noteworthy not
only because of its actual achievement, which is
considerable, but also because of its great promise: for
the artist is still young and full of condence in himself.
(R C Tandan, The Art of Vijaivargiya, Allahabad:
Allahabad Block Works, p. 4) At the time, Ramgopal
Vijaivargiya was 30, and had sold nearly 1000 paintings
in the small space of the Indian art world of the 1930s.
R C Tandan noticed his talent and printed an album
of a few select works for the Hindustani Academy in
Allahabad, which were later displayed at exhibitions
in Calcutta and Bombay. Vijaivargiya later headed the
Rajasthan Kala Mandir and Rajasthan School of Art
from 1945 to 1966, and went on to win several state
and national awards.
Vijaivargiya had a strong individualistic sense as a
student of Hindu mythology, and his themes ...have
a wide range, grading from the spiritual at one end
to the almost erotic at the other, all characterised in
their execution by a certain suppleness and grace
of lines. (Tandan, p. 4) The present lot contains the
graceful lines and allusions to miniature painting and
mythology for which Vijaivargiyas work is acclaimed.
GAGANENDRANATH TAGORE
5
(1867 - 1938)
Untitled
Initialled 'G. T.' and inscribed 'Nitica' (lower right)
Pencil on paper
9.75 x 6.75 in (24.6 x 17 cm)
$ 7,695 - 10,770
Rs 5,00,000 - 7,00,000
PROVENANCE:
Acquired directly from the artist's family, Kolkata
SOMNATH HORE
(1921 - 2006)
Untitled (Khajuraho)
Dated '25.10.55' (lower right)
1955
Ink on paper
14.25 x 10.25 in (36.3 x 26.2 cm)
$ 3,080 - 4,620
Rs 2,00,000 - 3,00,000
PROVENANCE:
Acquired directly from the artist's family
Painted in 1959, Tile Factory highlights K K Hebbars

command over colour orchestration, texture,
composition and perspective. With the precision of an
architectural rendering and the deep understanding of
light and tonal variations, Hebbar captures the essence
of daily life in the working class setting of his painting.
It is possible that this work is based on a tile factory
that faced his studio in Mumbai, where he witnessed
a workers movement. The artists daughter Rekha
Rao recalls, In 1956, we lived in Mahim a suburb of
Mumbai... Below was a tile and brick making factory
which hummed with activity; we could see workers
sieve sand and cement and engage in construction
work. He would observe these men and women with
their careworn faces going about their work calmly.
(Kishore Singh ed., "K. K. Hebbar: The House the Brick
Layers Built," Masterpieces of Indian Modern Art, New
Delhi: DAG Modern, 2016, p. 196)
The present lot was selected for publication as a
double page spread in the Lalit Kala Akademis mini
series on the artist in 1960. V R Amberkar singled the
painting out as an example in evidence of design
and form. It is at once intense and emotionalised.
Hebbar is not satised with a competent statement
of mere facts. He renders this statement intensely
personal and at the same time expressive of a
particular feeling... Hebbars sympathies are with the
humblest of the earth. This has coloured his art in a
peculiar manner. The grandeur of vast open spaces,
the majesty of natural elements or histrionics of
opulence and power are rarely touched in his work.
His vision spans a personal, intensely natural drama
of human joys and sorrows on a normal level... Tile
Factory indicate[s] a maturity and control over the
means and materials with which Hebbar has been
painting for the last twenty-ve years. (V R Amberkar,
Hebbar: Contemporary Series of Indian Art, New Delhi:
Lalit Kala Akademi, pp. iv, vi)
Hebbar was born in Kattingeri, in South Kanara. His
training at the Sir J J School of Art in the 1930s was in
a formal, academic style, which he attempted to break
out of in the 1940s. He travelled to Europe and studied
at the Acadmie Julian in Paris, where he encountered
the works of Matisse and Braque. This inuenced his

style and is reected in the nuanced variations of
colour and space which was especially pronounced in
paintings made during the following decade.
Hebbar tried to bring out the active life-spirit within
Indias rustic village folk, the poor and the ordinary
people of his surroundings. He arrived at a point in life
when tranquillity and detachment prevail in his works,
promoting the possibility of inward contemplation
and search. The expression of reality with utmost
simplicity has been his aim throughout, and calmness
and quietude helped his creation. (Pran Nath Mago,
Some Consequential Contemporary Artists of India,
Contemporary Art in India: A Perspective, New Delhi:
National Book Trust, India, 2001, p. 147)
Brick Factory at Tortosa, Pablo Picasso, 1909

Heritage Image Partnership Ltd /Alamy Stock Photo
K K HEBBAR
(1911 - 1996)
Tile Factory
Signed and dated 'Hebbar 59' (lower right)
1959
Oil on canvas
29 x 39 in (73.5 x 99 cm)
$ 25,000 - 35,000
Rs 16,25,000 - 22,75,000
Cover of V R Amberkar, Hebbar: Contemporary Series of Indian Art, New
Delhi: Lalit Kala Akademi
Present lot published on pp. 1011
PUBLISHED:
V R Amberkar ed., Hebbar, New Delhi: Lalit Kala

Akademi, 1960, pp. 11-12 (illustrated)
19
7
7
recto
K H ARA
8
(1914 - 1985)
Untitled
Signed 'ARA' (lower left)
Watercolour and gouache on paper
28.75 x 20.75 in (73.2 x 53 cm)
$ 10,770 - 13,850
Rs 7,00,000 - 9,00,000
F N SOUZA
(1924 2002)
Untitled
Signed and dated 'Souza 54' (upper left)
1954
Watercolour and ink on paper
9.5 x 7.5 in (24.1 x 19 cm)
$ 5,000 - 7,000
Rs 3,25,000 - 4,55,000
PROVENANCE:
Christie's, London, 15 October 2004, lot 542
Saronart, 20-21 July 2011, lot 5
verso
21
F N SOUZA (1924 2002)

Untitled
Signed, dated and inscribed 'Souza 65/For Peter
Paone/friend & artist/London 1-5-67' (upper left)
1965
Acrylic, sketch pen, pen and ink on paper
14 x 10 in (35.6 x 25.4 cm)
$ 27,695 - 36,925
Rs 18,00,000 - 24,00,000
PROVENANCE:
Collection of Peter Paone
Collection of Julian Sherrier, London
Christie's, New York, 12 September 2012, lot 369
EXHIBITED:
The Naked and the Nude: The Body in Indian Modern Art,
New Delhi: Delhi Art Gallery, 2 February - 23 March 2013;
New York: Delhi Art Gallery, 8 December 2015 27 February 2016
For a brief period in the mid-1960s, Souza collaborated

with Rajasthani miniaturist, Mohan Sharma, producing
a series of works on paper that were inspired by Indian
miniature paintings. Sharma belonged to a family of
Nathdwara painters and was trained at the J J School
of Art, from where he graduated in 1965. Souza
invited Sharma to his studio soon after, and they
created paintings that combined the skilled mastery
of Souzas line with Sharmas technique of painted
gouache. They went on to exhibit their work together
at the Taj Art Gallery in Bombay the same year. The
present lot is the result of this symbiotic partnership
in which Souza provided the subject matter and
delicate lines which enabled Sharma to contemporise
Indian miniature painting, while also catapulting his
artistic career.
Souza dedicated the present lot to Peter Paone, friend
and artist. Paone, born in Philadelphia and educated
at the Philadelphia College of Art is a well-established
artist and educator whose works have been exhibited
and are owned by numerous private and museum
collections throughout the United States.
verso
recto
PROPERTY FROM AN IMPORTANT
PRIVATE COLLECTION, BANGALORE
10
S H RAZA
(b. 1922)
Untitled
Signed and dated 'RAZA 1953' (lower right); bearing
Vadehra Art Gallery label on the hardboard (on the
reverse)
1953
Pen and ink on newspaper
10.5 x 8.25 in (26.9 x 21.2 cm)
In the 1950s, when Raza lived in France, he did a

series of sketches on French newspapers using
a pen. They appear to be spontaneous, swiftly
executed, with short, energetic crisscrossing
strokes that create images of vitality and vigour.
The studies oer a glimpse into the artists
constant quest for creating forms and gures.
Razas involvement with guration was for a
brief period in a career largely dominated by
abstract paintings of landscapes.
M F HUSAIN
$ 6,155 - 9,235
Rs 4,00,000 - 6,00,000
(1913 2011)
Untitled
Sketch pen on paper
16.25 x 13.5 in (41.5 x 34.5 cm)
(Double-sided)
PROVENANCE:
Vadehra Art Gallery, New Delhi
PUBLISHED:
Ashok Vajpeyi ed., A Life in Art: S H Raza, New Delhi: Art
Alive Gallery, 2007, p. 179 (illustrated)
11
$ 7,000 - 9,000
Rs 4,55,000 - 5,85,000
Similar sketches, including the present lot, have been published
in Ashok Vajpeyi ed., A Life in Art: S H Raza, New Delhi: Art Alive
Gallery, 2007, pp. 86, 179
PROVENANCE:
Saronart, 21-22 April 2011, lot 10
25
12
S H RAZA
(b. 1922)
Eglise
Signed 'RAZA' (upper left); inscribed and
dated again 'RAZA 1953' and bearing Venice
Biennale label (on the reverse)
1953
Oil on board
23.5 x 16 in (60 x 40.8 cm)
$ 38,465 - 53,850
Rs 25,00,000 - 35,00,000
PROVENANCE:
Saronart, 16-17 June 2010, lot 75
EXHIBITED:
The Arts of France and the World, XXVIIIth, Venice:
Venice Biennale, 1956
PUBLISHED:
"An Insight into the Artists: Strategies of Being,"
Shodhganga, p. 258 (illustrated)
View of Gorbio in Alpes-Maritimes, France, where Raza lived

Source: Philippe rogez, via Wikimedia Commons
26
Syed Haider Raza went to Paris on a scholarship

in September 1950. Seeing original works by
Matisse, Picasso and Czanne had a huge impact
on his development as an artist. The following
decade witnessed tremendous innovation and
experimentation in his works, in style, medium and
form. His medium changed from gouache in tempera
to impasto in oil, signifying a major breakthrough
with the paint coming into its own. He moved out
to the countryside; to Czannes Provence, as a
matter of fact, and to the Maritime Alps where the
French landscape with its trees, mountains, villages,
and churches became his staple diet. (Yashodhara
Dalmia, Journeys with the Black Sun, The Making
of Modern Indian Art: The Progressives, New Delhi:
Oxford University Press, pp. 151-152)
Living in the town of Gorbio in the south of France,
Raza appreciated French artist Paul Czannes
methods of constructing a painting to reect form,
and his own works in the 1950s showed this thought
process. He captures the French countryside with its
churches and unembellished walls. Inuenced by the
Impressionists, several of the churches he painted
during this period demonstrate a strong use of bright,
intense pigmentsoften diametrically stark colours
of burning reds, yellows and oranges with dark blacks
and brownsaccompanied by his trademark black,
haunting sun. The present lot, Eglise, painted in 1953,
is an exception to this group of works. Although the
subject matterthe church in its country settingis
one Raza had explored many times before, he uses
none of the bright colours. In this monochromatic
painting of a church, presumably at night, he explores
the colour black in all its variations. The present lot is
a complex study of colour, which addresses darkness
and depth, while maintaining the formal structure of
his subject.
27
PHILIP LYON ROUSSEL 1923 2011

Philip Lyon Roussel was the son
of an English army ocer. Born
in London on 17 October 1923,
Roussel was sent to boarding
school at the age of three after his
parents divorced. When he was
sixteen, he cycled from Sussex,
England to Perthshire in Scotland
to meet his mother, but his stepfather banned the visit. Roussel
enlisted in the army in 1941, and
was sent to northern India. His
career included being promoted
to Major, reading English at St.
Edmund Hall, Oxford, going to
Philip Lyon Roussel
Image courtesy of the Roussel Family
Sudan as a district commissioner,
and spying on communist
sympathisers for the British Security Service, before completely shifting gears and
enrolling at the Chelsea Art School. There, he met Elisabeth Mary Bennett, whom
he would marry later.
Roussel continued to be deeply involved with India since his rst army posting in
the 1940s. In 1960, he and Elisabeth returned to India, where their daughter Tanya
was born. Roussel spent seven years in the country heading the British Councils
oces in Bombay and New Delhi, and cultivated a friendship with Indian artists
from whom he bought paintings and sculptures. He purchased the present lot
from Husain while in Bombay.
Roussel made important contributions to the art world throughout his career
and wherever he was posted. In 1972, Sir Edward Heath, the then prime minister
of the United Kingdom, appointed him to co-ordinate Europalia, a massive art
festival that was to showcase the best of British culture to the rest of Europe. This
was when the UK had gained entry into the European Economic Council, now
the European Union. The festival was a success and saw Roussels appointment as
OBE. Spurred by this success, in 1976, he convinced John Carter Brown, director
of the National Gallery of Art in Washington DC, to hold an exhibition on British
country houses. Roussels remarkable career continued to ourish as he became
Controller of Arts three years later, and oversaw the British Councils literary and
artistic events. Post retirement, he dabbled in painting and sculpture.
PROPERTY FROM THE ROUSSEL FAMILY COLLECTION, LONDON
13
M F HUSAIN
(1913 2011)
Untitled
Oil on canvas
10.75 x 14.5 in (27 x 37 cm)
$ 30,000 - 50,000
Rs 19,50,000 - 32,50,000
PROVENANCE:
Bought directly from the artist by Philip Lyon Roussel, in Mumbai, circa 1960
28
The present lot depicts the gure

of a woman seated on a tiger. A
possible allusion to Durga seated
on her mount, Husain often drew
from Indian mythology to create
images layered with symbolism.
The half moon is a recurring
symbol in his work. Husain uses
a muted palette of earth tones
and thick layers of paint to create
a composition dominated by a
ferocious tiger.
29
PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION, NEW DELHI
15
RAM KUMAR
(b. 1924)
Untitled
Signed and dated 'Ram Kumar 81' (on the reverse)
1981
Watercolour on paper pasted on mountboard
22.5 x 28.5 in (57.3 x 72.7 cm)
$ 9,235 - 12,310
Rs 6,00,000 - 8,00,000
PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION, BANGALORE
14
RAM KUMAR
(b. 1924)
Untitled
Signed and dated 'Ram Kumar 08' (on the reverse)
2008
Acrylic on canvas
35.75 x 47.75 in (90.8 x 121.1 cm)
$ 46,155 - 61,540
Rs 30,00,000 - 40,00,000
PROVENANCE:
Acquired directly from the artist
30
31
16
MANJIT BAWA
(1941 - 2008)
a) Untitled
Signed and dated 'Manjit Bawa
98' (lower right)
1998
Pen and ink on paper
14 x 21 in (36.1 x 53.8 cm)
$ 12,310 - 15,385
Rs 8,00,000 - 10,00,000
(Set of two)
32
b) Untitled
Signed and dated 'Manjit Bawa
99' (lower right)
1999
13.75 x 21 in (35.3 x 53.4 cm)
17
KRISHEN KHANNA
(b. 1925)
Untitled
Signed 'K Khanna' (lower centre)
Acrylic and charcoal on canvas
72 x 48 in (182.8 x 122 cm)
$ 38,465 - 53,850
Rs 25,00,000 - 35,00,000
33
18
AKBAR PADAMSEE
(b. 1928)
Untitled
Signed and dated 'PADAMSEE 2005' (upper right)
2005
14.75 x 22.75 in (37.5 x 57.6 cm)
$ 4,620 - 7,695
Rs 3,00,000 - 5,00,000
PROVENANCE:
19
RAM KUMAR
(b. 1924)
a) Untitled
Signed 'Ram Kumar' (on the reverse)
Ink and pastel on paper pasted on mountboard
7 x 10.75 in (17.9 x 27.4 cm)
$ 9,235 - 12,310
Rs 6,00,000 - 8,00,000
b) Untitled
Signed in Devnagari and dated '61' (on the reverse)
1961
Ink and pastel on paper pasted on mountboard
7 x 10.75 in (17.9 x 27.5 cm)
(Set of two)
34
35
20
M F HUSAIN
21
(1913 2011)
M F HUSAIN
(1913 - 2011)
Untitled
Signed in Devnagari (upper left)
Acrylic on linen
24 x 30 in (61 x 76.2 cm)
Untitled
Signed in Devnagari (upper right)
Oil crayon on paper pasted on wood
29.5 x 21.5 in (75 x 54.6 cm)
$ 20,000 - 25,000
Rs 13,00,000 - 16,25,000
$ 25,000 - 30,000
Rs 16,25,000 - 19,50,000
PROVENANCE:
Acquired from Pundole Art Gallery, Mumbai in 1977
Private Collection, USA
PROVENANCE:
21
36
37
22
M F HUSAIN
(1913 - 2011)
Untitled
Signed in Devnagari (lower right); signed again 'Husain' (on the reverse)
Oil on canvas
36.5 x 33.25 in (92.6 x 84.4 cm)
$ 107,695 - 138,465
Rs 70,00,000 - 90,00,000
PROVENANCE:
Sotheby's, New York, 18 September 2013, lot 84
38
39
24
23
GHULAM RASOOL
SANTOSH (1929 1997)
Untitled
Bearing Sao Paulo Biennale label on the
stretcher (on the reverse)
Acrylic on canvas
49.75 x 39.5 in (126.5 x 100.6 cm)
$ 30,770 - 46,155
Rs 20,00,000 - 30,00,000
23
PROVENANCE:
Acquired from the artist's family, New Delhi,
2002
Private Collection, Mumbai
40
PROPERTY FROM AN EMINENT

EAST COAST COLLECTION
24
GHULAM RASOOL
SANTOSH (1929 1997)
Untitled
Signed in Devnagari and dated '62'
(lower left)
1962
Oil on canvas
33.5 x 41.5 in (85 x 105.4 cm)
$ 6,000 - 8,000
Rs 3,90,000 - 5,20,000
41
Lots 25-51
Closing Time:
7.50 pm (IST)
10.20 am (US Eastern Time)
42
43
BILWA CHOWDHURY AND ELEONORE CHOWDHURYHABERL

Bilwa Kanta Chowdhury, an industrialist, and his wife
Eleonore (Laura) Chowdhury-Haberl were among
the rst collectors of modern Indian art in Bombay
in the 50s and 60s. Born in 1935 in Klagenfurt,
Austria, Eleonore married Bilwa in 1957 and moved to
Mumbai. Bilwa, or Bill, as he was known to those close
to him, was deeply involved in the art world from the
late 1950s. He began collecting Indian art following an
interaction with Georg Schfer, an important German
art collector, during a training session in Germany.
Eleonore remembers her husband as one of the rst
serious collectors of Indian paintings in Bombay... all
through the sixties. (Laura Chowdhury-Haberl, A
Progressive Patron, Art India, Vol. 7, Issue 3, Quarter 3,
Mumbai: Art India Publishing Co. Pvt. Ltd., 2002, p. 50)
Through him, she became involved with the work of
many leading modernists, and participated actively in
the art scene till the late 70s.
The Chowdhurys built an extensive collection of
modern Indian art throughout the 60s and 70s.
Their rst painting was a still-life by K H Ara, which
they bought in 1959. Over the next two decades,
they had expanded their collection to include most
of the signicant artists of that era. In those days we
collectors did not really see art as an investment. We
bought art for arts sake and never with the thought
in mind, that the painting would be worth much
more in the future. In fact no one ever thought
that the paintings would be worth anything. We
were considered quite crazy by most of our friends...
visitors to our home frequently asked whether I was
the painter, because they could not understand that
anybody would actually be willing to spend money on
modern Indian art, Chowdhury-Haberl recollected in
her article for Art India.
The Chowdhurys sought out art passionately, be
it at the studios of artists, or at art galleries. They
attended almost every art exhibition at the Jehangir
Art Gallery, and regularly visited the Taj Art Gallery
and Gallery Chemouldthe only art galleries at the
time. Their home became a hub for the Modernists,
who dropped by regularly and discussed art and art
44
Image Courtesy of Chowdhury-Haberl Family
books at length with them. The Chowdhurys circle

included Rudy von Leyden and Emanuel Schlesinger,
and art connoisseurs Karl Khandalavala and Octavio
Paz, who frequented their home.
Bill also played an important role in inuencing Jehangir
Nicholson to begin collecting Indian art. In 1976, the
Chowdhurys sold a part of their vast collection to him.
These paintings are part of the Jehangir Nicholson
Foundation in the CSMVS Museum in Mumbai, and
some are now a part of other collections in India, the
UK and the United States. The Chowdhury Collection
is now divided between Mumbai and Vienna, where
Eleonore moved in 1980. Since then, in addition to
Art India, she has published articles in the Austrian
magazines Wiener Zeitung and Parnass, and lectured
on modern Indian art in Vienna.
The following two lots (25, 26) have been part of the
Chowdhury family collection.
25
RAM KUMAR
(b. 1924)
Untitled
Signed and dated in Devnagari
(lower right)
1966
Oil on canvas
45 x 51 in (114.3 x 129.5 cm)
$ 100,000 - 150,000
Rs 65,00,000 - 97,50,000
PROVENANCE:
Property from the Chowdhury
Family Collection
Sotheby's, New York, 19 September
2006, lot 86
EXHIBITED:
Ram Kumar: A Retrospective, New
York: Aicon Gallery, 23 November 18 December 2010
Moved by the setting and landscapes he encountered on a trip to Banaras

in the 1960s, Ram Kumar abandoned his previous gurative paintings.
He embarked in a new direction, in an attempt to express the emotions
evoked by landscapes. The present lot eschews categorisation, striking
a ne balance between the abstract and the representational. The critic
Sham Lal writes of Kumars work, The sense of quiet that pervades his work
invites contemplation, not a gaze. (as quoted in Uma Prakash, Ram Kumar:
Selected Works 1950 2010, New Delhi: Vadehra Art Gallery, 2010, p. 21)
With an absence of gures and recognisable features, the landscape is
neither site-specic nor bound by time. The painting reveals glimpses of
architecture through blocks of blue, black, brown and grey against a largely
monochromatic background. Its palette echoes that seen in Kumars work
over the following decades. Kumar explains his approach to landscape
painting stating, The landscape haunted me for quite some time. Later
when I tried to paint my impressions on canvas, I could not imagine any
colors. The eternal silence of a wasted, barren earth which refused to
compromise with man could not be visualised in any other colours except
grey and black and white. (Prakash, p. 9)
45
REMEMBERING GAITONDE
BY ELEONORE CHOWDHURYHABERL
I met Vasudev Gaitonde for the rst time in 1960. It
must have been on the occasion of an exhibition at
the Jehangir Art Gallery or maybe in the Taj Art Gallery
(closed now for many years). Since my husband Bill
Chowdhury (Bilwa Kanta Chowdhury) and I started
collecting Indian art in 1959, we were regular visitors
to the few galleries which existed then in Bombay, and
of course to the studios of the artists.
We met Gaitonde again in 1962 when he had a studio
at the Bhulabhai Desai Institute on Warden Road
next to Husain and Akbar Padamsee. Madhuri Desai,
the widow of the eminent Bombay lawyer Bhulabhai
Desai, had put a wing of her rambling old family
mansion at the disposal of artists. We immediately
fell in love with Gaitonde's work. He had just started
his non-objective phase and we were enthralled by
his monochromatic luminous dreamlike canvasses.
We bought our rst Gaitonde that year, a fascinating
abstract canvas, in shades of red, a work which
was deeply moving and conducive to meditation.
Gaitonde was a regular visitor to our home on Marine
Drive in those years. We invited friends, showed them
our latest acquisitions and had endless discussions
over matters of art. I remember Gaitonde as being
a very quiet, reticent person who liked to keep to
himself. When we once asked him about the meaning
of one his abstract paintings, he replied: I cannot talk
about my work. I just paint. And it is up to the viewer
to nd something in the painting.
returned from abroad around 1965. One was a

brilliant ultramarine blue painting, and another one a
large light blue abstract work (which my husband lent
to the Lalit Kala Akademi in Delhi in 1972 for their
show: 25 years of Indian Independence). This work,
as well as a Klee-inspired blue/green water colour are
now in the Jehangir Nicholson collection. I left India in
the eighties, and although I returned to Bombay every
winter, I did not meet Vasudev Gaitonde again. I am
always reminded of him and of the many evenings
we spent together when I look at his painting in my
sitting room in Vienna.
Excerpts from this essay will be included in a forthcoming publication on
the Chowdhury Family Collection.
Already in these early years, my husband who was

so fascinated by Gaitonde's work started to look
around in Gaitonde's studio for his earlier work.
He was very keen to show his artistic development
over the years and he was lucky to nd a number of
Gaitonde's early drawings, water colours and sketches.
Thus he was able to trace back the various inuences
on Gaitonde's work. Paul Klee's inuence can clearly
be seen in a number of his early works.
We bought a number of paintings from Gaitonde
when he lived in the Walkeshwar studio after he
46
47
PROPERTY FROM THE CHOWDHURY

FAMILY COLLECTION
26
V S GAITONDE
(1924 2001)
Untitled
Signed and dated in Devnagari (lower left)
1953
Watercolour and pastel on paper
14.25 x 14.5 in (36 x 37 cm)
$ 80,000 - 100,000
Rs 52,00,000 - 65,00,000
PROVENANCE:
EXHIBITED:
V. S. Gaitonde: Painting as Process, Painting as Life,
New York: The Solomon R Guggenheim Museum,
24 October 2014 - 11 February 2015; Venice: Peggy
Guggenheim Collection, 3 October 2015 - 10 January
2016
PUBLISHED:
Sandhini Poddar, V. S. Gaitonde: Painting as Process,
Painting as Life, New York: The Solomon
R Guggenheim Museum, 2014, p. 51 (illustrated)
Roshan Sahani and Narendra Dengle, Vasudeo Santu
Gaitonde: Sonata of Light, Mumbai: Bodhana Arts and
Research Foundation, 2016 (forthcoming, illustrated)
The Beginnings of a Smile, Paul Klee, 1921

Source: Paul Klee [Public domain], via Wikimedia Commons
48
Painted in 1953, the present lot is a signicant work

that is poised at a pivotal moment in Gaitondes
oeuvre, when the need to establish a meaningful
relationship between line and painted surface,
according to critic Dnyaneshwar Nadkarni, was
one of the artists primary concerns. Gaitondes
work underwent a critical transformation in the
1950s, when he turned from the purely gurative,
towards abstraction. Early on this journey, he
encountered the work and writings of Swiss
German artist Paul Klee. Klee employed multiple
techniques and mixed media in his art, including
watercolours, and created luminous works which
deeply impacted Gaitondes own aesthetics.
Alongside Gaitondes early inspiration from
the traditions of Indian painting, the artist also
adopted Paul Klees expressiveness of line, color
harmonies, and playfulness of spirit as evidenced
in various works from the 1950s. (Sandhini
Poddar, Polyphonic Modernisms and Gaitondes
Interiorized Worldview,V S Gaitonde: Painting as
Process, Painting as Life, New York: The Solomon
R Guggenheim Museum, 2014, p. 20) This spirit of
lightness is visible in the present lot.
Writing of Gaitondes works between 1952 and
1954, Meera Menezes states, The richness of the
background, whether in watercolours or tempers,
now forms a perfect foil to the nely delineated
geometrical shapes that populate his works.
Circles, crescents, triangles and rectangles speak
of the newfound love of all things geometrical.
(Meera Menezes, Vasudeo Santu Gaitonde:
Sonata of Solitude, Mumbai: Bodhana Arts and
Research Foundation, 2016, p. 81) The present lot
contains the germs of the abstractions and deeply
philosophical simplicity that was to reveal itself in
the artists later work. We know that Gaitonde
admired the lyrical qualities of Klees line and colour
as well as his precision... Speaking about the impact
that Klee had on his work at the time, Gaitonde
remarked, Rather than saying I was inuenced by
Paul Klee, it should be said that I was drawn to the
wondrous forms, colour combinations, beauty of
line drawings in his work. (Menezes, p. 86)
Gaitondes method of working suggests that he

immersed himself in the essence of his inspirations.
In an essay on Gaitondes work, his friend, architect
Narendra Dengle writes, Gaitonde himself said that
when Paul Klee became a big inuence for him he
became Paul Klee. Hence one way would be to look at
the master's works, who became the guiding light for
Gaitonde and see the twists, bends, and interpretations
that assumed Gaitondes consciousness nding outlet
in his work...There have been paintings that appear
like abstract landscapes which are minimalist and

very much like some ancient Japanese or Chinese
paintings done with brushes of reeds. (Narendra
Dengle, Gaitonde: The Spirit of his Painting, Journal
of Landscape Architecture, No. 44, New Delhi: LA,
Journal of Landscape Architecture, June 2015, p. 99)
The present lot was loaned by the Chowdhury family
for the retrospective, Painting as Process, Painting as
Life, at the Guggenheim Museum in New York in
2014-15.
49
27
AKBAR PADAMSEE (b. 1928)

Untitled
Signed and dated 'PADAMSEE 87' (upper right)
1987
Oil on canvas
29.5 x 29.5 in (74.9 x 74.9 cm)
$ 60,000 - 80,000
Rs 39,00,000 - 52,00,000
PROVENANCE:
Christie's, New York, 20 September 2006, lot 120
PUBLISHED:
Bhanumati Padamsee and Annapurna Garimella
eds., Akbar Padamsee: Work in Language, Mumbai:
Marg Publications and Pundole Art Gallery, 2010,
p. 96 (illustrated)
Cover of Bhanumati Padamsee and Annapurna

Garimella eds., Akbar Padamsee: Work in Language,
Mumbai: Marg Publications and Pundole Art
Gallery, 2010
Present lot published on p. 96
50
In the present lot, Akbar Padamsee constructs the

gure through short, layered swatches of paint applied
with a palette knife. The earthy brown tones of the
gure, against patches of blue, set a contemplative tone
for the painting. The artist has been painting portraits
for several decades. After a period of developing his
concept of cityscapes and metascapes, he returned
to the portrait in the 1980s. The portraits he made
in this period were very dierent in treatment from
those made in the 1950s.
According to Ranjit Hoskote, His aim is to allude to
the human face in the border zone between likeness
and presence, an aim he shares with the Byzantine
iconographers of the 6th and 7th centuries AD, who
were similarly preoccupied with the reconciliation of
numinous spirit with recognisable body. Padamsee
dwells on the fascination with ones own face that one
experiences on looking into the mirror. He develops
this primal moment of narcissism into an invocation
to the enduring mystery in the glass: the double, an
image that is clearly oneself yet beyond reach on the
other side of the glass, and by looking at which we
image that most powerful index of the encounter
between the I and the Other, the faceThus, the face
marks the site of many encounters and identications
for PadamseeIn gazing at these apparently remote
gures, we confront our own predicaments, are
returned to the loom of time. (The Ricochet of
the Line, Akbar Padamsee: Drawings, Watercolours,
Photographs, Mumbai: Pundole Art Gallery, 2004,
pp. 45)
Lone gures have allowed him the possibility for
exploring the formal and existential meaning of space
and the location of the human in it. Singular males or
females appear to work on the canvas like architecture
does to populate and perhaps acculturate a terrain.
That is why his portraits... endow a monumentality and
ponderousness to the gures. (Bhanumati Padamsee
and Annapurna Garimella eds., Akbar Padamsee:
Work in Language, Mumbai: Marg Publications and
Pundole Art Gallery, 2010, p. 90)
51
28
AMRITA SHERGIL
(1913 1941)
Untitled
Charcoal on paper pasted on paper
21.5 x 17.25 in (54.7 x 44 cm)
$ 61,540 - 92,310
Rs 40,00,000 - 60,00,000
PROVENANCE:
Acquired from the artist's family, New Delhi
52
53
1932
Exhibits at Grand Salon, Paris, winning Gold Medal
Elected Associate of the Grand Salon, Paris
1933
Leaves the cole Nationale des Beaux-Arts and
starts a studio
1934
Returns to India, stays in Amritsar with family
1935
Moves back to Simla
Simla Fine Arts Society Fine Arts Prize (rejected)
Autographed photograph of Amrita Sher-Gil
Saronart Classical Indian Art Live Auction, 14 December 2015, lot 45
AMRITA SHER-GIL (19131941)

30 January 1913
Amrita Sher-Gil is born in Budapest
1921
The Sher-Gils move to India and settle in Simla
1923
Paints impressions, mainly of female characters
from novels and lms
1924
Goes to Florence with mother and sister. Joins
the Santa Annunciata Paggio Imperiaion
School
Returns to Simla
1929
The Sher-Gils leave for Paris
Joins the Grande Chaumire in Paris
Joins the cole Nationale des Beaux-Arts at the
studio of Lucien Simon
1930
The Sher-Gils go to Hungary
1931
Paints present lot in Zebegny
1936
Exhibits at the Taj Mahal Hotel, Bombay
Exhibits in Hyderabad
Somebody, somebody is remembering me...

Because I am very teary
And the peaks of the dark Parisian street
Are scraping the sky
Sad curtains of the sky.
Painful, sad diversions between
Two hills an open wound to the sky
I have come from peace and over the hills
I know peace is waiting for me peacefully.
AMRITA SHERGIL, 4 April 1934, Hungary
1937
Gold Medal, 46th Annual Exhibition, Bombay Art
Society
Exhibits at Allahabad University and at the Imperial
Hotel, New Delhi
Exhibits at the Falettis Hotel, Lahore
1938
Sails to Hungary from Bombay
Marries Dr. Victor Egan in Budapest
1939
Returns to India with her husband
1940
Bombay Art Society Award
1941
Moves to Lahore and settles there
56 December 1941
Sher-Gil dies following a brief illness
1976
Declared a National Art Treasure artist by the
Archaeological Survey of India, Government of
India
Lucien Simon with students of his atelier at the cole des Beaux-Arts: (in the centre, wearing a hat) Simon, (seated in the front row, third from the left) Amrita, 1931, Paris
Image courtesy the Estate of Amrita Sher-Gil
54
55
It seems to me that I never began painting, that I have always

painted. And I have always had, with a strange certitude, the
conviction that I was meant to be a painter and nothing else.
Although I studied, I have never been taught painting in the actual
sense of the word, because I possess in my psychological make-up
a peculiarity that resents any outside interference. I have always,
in everything, wanted to nd out things for myself.
AMRITA SHERGIL
Amrita, early 1930s, Paris

Photo by Umrao Singh
Image courtesy the Estate of Amrita Sher-Gil
56
57
29
AMRITA SHERGIL
(1913 1941)
Untitled (Zebegny Landscape)

1931
Oil on board
24 x 16 in (61 x 40.6 cm)
$ 600,000 - 800,000
Rs 3,90,00,000 - 5,20,00,000
PROVENANCE:
From a Private European Collection
Saronart, 19-20 September 2012, lot 3
PUBLISHED:
Vivan Sundaram ed., Amrita Sher-Gil: a self-portrait
in letters & writings, volume 2, New Delhi: Tulika
Books, 2010, p. 801 (illustrated)
Amrita Sher-Gil was one of Indias most important

20th century artists. In a career spanning just about
a decade, and with around 172 paintings made
during her brief lifetime, she was able to evolve a new
language for modern Indian art.
The present lot is one of the rare landscapes that SherGil painted during the early 1930s when she mainly
concentrated on the human gure. In an article for
Marg, Vivan Sundaram writes, Around 1930 she
started working in oils for the rst time, and during
these three years produced over sixty paintings. Some
of these are studies of models in the nude, a few are
still lives and a handful are landscapes; but mainly they
are portraits and self portraits. (Mulk Raj Anand ed.,
Amrita Sher-Gil: Life and Work, Marg, Vol. 25, No. 2,
Mumbai: Marg Publications, 1972, p. 10)
Executed with the condence of a well-established
artist and displaying a maturity surprising for SherGils years, this landscape portrays a grassy path
meandering along a thatched wall. While the light
in the foreground is dappled, passing through a row
of tall trees on the right, the sky beyond them is a
bright, clear blue. It is likely that Sher-Gil painted this
work en plein air during one of the many holidays she
spent in the Hungarian village of Zebegny on the
banks of the Danube, over the course of her stay in
Paris. Besides the plein-air painting in blots and the
use of bold colours, in Zebegny in 1932, Amrita came
face to face with the openness of the landscape, and
questions of composition about landscape painting
as opposed to interiors. (Keseru Katalin, Amrita SherGil, Budapest: Ernst Museum, 2001, pp. 55-56)
Street view of Zebegny, Hungary

Source: Balazs Kekesi, via Wikimedia Commons
58
Writing to her mother from Zebegny in August

1932, Sher-Gil states, Of late Ive been working a great
deal. I do nothing but paint the whole day I paint
landscapes as well as still lifes in this terrible heat. As a
result, I am completely exhausted and have to muster
up as much energy as is needed to even write a letter.
(Vivan Sundaram ed., Amrita Sher-Gil: a self-portrait in
letters & writings, volume 1, New Delhi: Tulika Books,
2010, pp. 83, 85)
59
PROPERTY OF A GENTLEMAN, MUMBAI
30
SANKHO CHAUDHURI
(1916 - 2006)
Untitled
Bronze
Height: 13 in (33.4 cm)
Width: 5.5 in (14.3 cm)
Depth: 0.25 in (1 cm)
$ 6,155 - 9,235
Rs 4,00,000 - 6,00,000
PROVENANCE:
Acquired from Sarjan Art Gallery
What makes an artist is his ability to respond to life in all its

forms and at every level.
SANKHO CHAUDHURI
Sankho Chaudhuris versatility as a sculptor who

had mastery over a range of mediumswood,
stone, bronze, welded metal, plasters, and stucco
prompted artist K G Subramanyan to call him an
indefatigable experimenter. In the present lot, the
bronze sculptures curved contours and internal cutout are space transformations... though many of his
forms are very simple they bring to mind the bird
form. These are free interpretations of birds, conveying
a light, airy feeling. His forms whether casted in
metal or worked in sheet-metal, enveloping space,
express the essential spirit of things. They are volume
creationsfrom material volume to virtual volume
and circumscribed mass imbued with a remarkable
sense of rhythm. The negative volumes produced by
openings perceived visually, although bodiless, are an
60
outstanding plastic element in Sankhos works. (Pran

Nath Mago, Some Consequential Contemporary
Artists of India, Contemporary Art in India: A
Perspective, New Delhi: National Book Trust, India,
2001, p. 182)
Sankho Chaudhuri has been an important gure
in the art scene of India for over fty years, during
which time there has been a new eorescence in
modern Indian sculpture. And Sankho was, without
doubt, one of the formative inuences within it, on
the strength of his contribution as a sculptor and
teacher and his relentless advocacy for the promotion
of sculpture on both public and private fora. (K G
Subramanyan, Sankho Chaudhuri, Circa 2005, Asia
Art Archives, online)
61
32
HIMMAT SHAH
(b. 1933)
Head of a King
Signed and dated 'Himmat 2006' (lower left on the base)
2006
Bronze
Height: 28.75 in (73 cm)
Width: 6.5 in (16 cm)
$ 10,000 - 15,000
Rs 6,50,000 - 9,75,000
Fifth from a limited edition of ve
Himmat Shah incorporates diverse inuences in his

work, drawing upon his personal history, as well as
the collective narrative of civilisation. Born in 1933
in Lothal, Gujarat, close to ancient Harappan ruins,
Shahs childhood was inuenced by his exploration of
caves and desert landscapes of Gujarat and Rajasthan.
He trained at the J J School of Arts in Bombay and
later in Baroda, followed by a scholarship in Paris. Shah
was one of the early members of the artist collective
Group 1890, making his mark with an exhibition in
1963 that showcased his drawings. Shah is primarily
concerned with the eect that the human presence
has upon the earth.
31
HIMMAT SHAH
(b. 1933)
Untitled
Signed 'Himmat' (lower left)
Acrylic on canvas
23 x 23.5 in (58.5 x 59.5 cm)
$ 10,000 - 15,000
Rs 6,50,000 - 9,75,000
PROVENANCE:
Private Collection, UK
62
The present lot is one of the few acrylic on canvas

works that Himmat Shah painted, before his focus
moved to sculptures later in his career. He has always
regarded drawing as a highly important aspect of his
oeuvre, and arrived at an extraordinary versatility... he
also used at times the constructive stroke with bricklike blocks of ink brush, creating visual magic. (Roobina
Karode, Himmat Shah: hammer on the square, A
Retrospective (1957 2015), Three Retrospectives:
Abstraction in Indian Modern Art 1960 onwards, New
Delhi: Kiran Nadar Museum of Art, 2016, p. 27)
Head of a King carries hints of autobiographical details

in its markings and wide open eyes. In his introductory
essay to a 2007 exhibition of works by the artist,
gallerist and writer Mortimer Chatterjee writes
that ...in all his work, what haunts him is either the
inscrutability and immensity of the world around us,
or the gure of man looking at it in agony or wonder.
In fact, the eyes that look out in wonder are none
else but Himmats own... Today that face has come
up again, but now in sculptural form. (Himmat Shah:
sculptures & drawings, Mumbai: Studio Conuence
and ABN AMRO Private Banking, December 2007,
unpaginated)
63
PROPERTY OF A DISTINGUISHED
GENTLEMAN, THE NETHERLANDS
33
BHUPEN KHAKHAR
(1934 2003)
Cruelty to Woman
Signed and dated in Gujarati and inscribed
'Cruelty to Woman' (lower right)
1996
16 x 12.25 in (40.5 x 31 cm)
$ 8,000 - 10,000
Rs 5,20,000 - 6,50,000
Cruelty to Woman epitomises Bhupen Khakhars

concerns with violence in society. Without resorting
to visual metaphors or euphemism, Khakhar forces
the viewer to confront brutality. He was unafraid to
show wounds, be it physical, psychological or social...
Bhupen Khakhar was drawing real people and real
bodies. They are not constructed images. (Geeta
Kapur quoted in the Hindustan Times, 14 February
2016, online)
His work became thematically more explicit over
time, and often confronted sensitive topics, such
as homosexuality. His painting style reected
this directness, as observed by Kamala Kapoor:
translucent, unmixed colorsairy blues, pinks, greens
and yellows, sometimes against a blaze of untouched
white backgroundappear brushed on in one shot,
without overlays or revisions, and the forms seem
free to situate themselves in the world... in an instant
of momentous clarity. (A Subversive Rasa, Bhupen
Khakhar: A Retrospective, Mumbai: The National
Gallery of Modern Art, 426 November 2003, p. 18)
64
In Khakhars case, though radical political and social

statement has not been a conspicuous determinant
in the work, it has dealt in ingenuous and ingenious
ways with the several aspects of socio-political
stratication in the country. Issues of class, the gender
divide, sexual preferences, aesthetic hegemonies and
the paradoxes and realities of middle class living in
subjectively loaded representations have continued
to be articulated through a passionate delity to the
painterly medium. (Bhupen Khakhar, p. 17)
A chartered accountant by profession, Khakhar was
a self-taught artist who developed an interest in art
during his student years at Bombay University. He
began painting in the 1960s, after moving to Baroda and
acquiring an MA in Art Criticism from the Faculty of
Fine Arts, M S University, Baroda. The artists paintings
are part of several private and public collections,
including the Metropolitan Museum of Art, New
York. In June 2016, the Tate Modern in London will
inaugurate a major six-month retrospective on the
artist, You Cant Please All.
PROPERTY OF A DISTINGUISHED GENTLEMAN,

THE NETHERLANDS
34
BHUPEN KHAKHAR
Untitled
Mixed media on ceramic
Height: 18.5 in (46.9 cm)
Width: 18.5 in (46.9 cm)
Depth: 3 in (7.5 cm)
$ 6,000 - 8,000
Rs 3,90,000 - 5,20,000
(1934 2003)
Bhupens versatility extended beyond canvas and paper, to

include textiles, silkscreen, linocuts, glass and ceramics. The
present lots (33, 34) belonged to a collector in the Netherlands,
who met Khakhar at an artists residency programme at the
European Ceramic Work Centre in Den Bosch, Holland.
Khakhar was working on sculptural pieces at his studio in Den
Bosch during his residency. At the request of the collector and
his wife, who went on to become close friends of Khakhar, he
painted a series of ceramic plates, including the present lot.
Khakhars ability to express his subject as easily on ceramic as
on paper or canvas is evident here.
65
PROPERTY OF A LADY, NEW DELHI
36
35
ARPITA SINGH
BHUPEN KHAKHAR
(1934 2003)
Untitled
Signed and dated in Gujarati (lower left)
1994
11.5 x 15.5 in (29 x 39.4 cm)
$ 10,770 - 13,850
Rs 7,00,000 - 9,00,000
PROVENANCE:
Sakshi Art Gallery, Mumbai
(b. 1937)
31 Days of December
Signed and dated 'ARPITA SINGH 98'
(lower left) and inscribed '31 Days of
December 1998' (upper right)
1998
Oil on canvas
48 x 24 in (121.9 x 61 cm)
$ 50,000 - 60,000
Rs 32,50,000 - 39,00,000
PROVENANCE:
Christie's, New York, 17 October 2001, lot 281
Saronart, 6 December 2006, lot 20
Christie's, New York, 23 March 2010, lot 53
Saronart, 18-19 January 2012, lot 25
EXHIBITED:
Harmony Show, Mumbai: Nehru Centre, 1999
Arpita Singh often explored issues of

communal violence that underpin
urban India, by juxtaposing images of
people with everyday objects, weaving
fragments of stories together. 31 Days of
December sets a solemn gure against
a backdrop of the days of the month,
scrawled anachronistically across
the canvas. Eyes shut, head bent and
ngers interlocked, he appears to be in
prayer, or in mourning. Above him is a
plane: a motif that appears frequently
in Singhs paintings. The gure and
the aeroplane stand in stark contrast
against the pastel-shaded background.
The present lot oers a subtle sociopolitical comment on separation and
loss, following the eects of communal
violence on the individual and family.
This painting was part of The Harmony
Show, a group exhibition held in 1999.
Singhs works are complex narratives
of people aected by issues which are
66
both immediate and concern a larger social context. Drawing on the

theme of existence, survival, dislocation and struggle, she eortlessly
merges everyday life and allegory, expressionism and ornament...
her formal approach is at once unassuming and painstaking.
(Understanding Arpita Singhs narrative, perspective and practice,
The Arts Trust, online)
67
37
37
KRISHEN KHANNA
(b. 1925)
Untitled
Signed and dated 'K Khanna 83' (lower right)
1983
Dry pastel on paper
24.75 x 18.5 in (62.6 x 47.3 cm)
$ 9,235 - 12,310
Rs 6,00,000 - 8,00,000
PROVENANCE:
Tao Art Gallery, Mumbai
68

PRIVATE COLLECTION, NEW DELHI
38
KRISHEN KHANNA
(b. 1925)
Untitled
Signed 'K Khanna' (lower right)
Acrylic and charcoal on canvas
36 x 30 in (91.4 x 76 cm)
38
$ 15,385 - 23,080
Rs 10,00,000 - 15,00,000
69
39
39
K LAXMA GOUD
(b. 1940)
Untitled
Signed and dated in Telugu (lower centre)
1993
Ink on paper
7.25 x 18.5 in (18.4 x 47 cm)
$ 2,000 - 3,000
Rs 1,30,000 - 1,95,000
(Diptych)
40
B PRABHA
(1933 2001)
Untitled (Fisherwoman)
Signed and dated in Devnagari (lower right)
1969
Oil on canvas
42 x 25.5 in (106.7 x 64.5 cm)
$ 15,000 - 20,000
Rs 9,75,000 - 13,00,000
PROVENANCE:
40
As a female artist who came from a small village
outside of Nagpur, Prabha was concerned with the
plight of rural and marginalised women, and spent
much of her career documenting them. Speaking of
the inuence of Sher-Gil on her work, Prabha said,
At that time, there were not too many women
painters (in India). I respected Amrita Sher-Gil a lot.
My ambition was to become a renowned painter (just
70
like her) and to take my paintings to all corners of the

world. (As quoted in A peep into artist B. Prabhas
oeuvre and her inspirations, The Arts Trust, online)
Prabha developed her own signature style, working
mainly with oils.
The monochrome blue tone of the composition
is typical of Prabhas palette. A dominant subject in
her work, the sherwoman, depicted in the present

lot, bears an elongated and almost regal form, a
characteristic style that the artist employs in rendering
many of her female gures. The demure countenance
and downcast eyes show up time and again in Prabhas
women. They speak volumes about the kind of quiet
dignity the women adopt in the face of hardships and
oppression.
71
PROPERTY OF A LADY, PUNE
41
B PRABHA
(1933 2001)
Untitled
1969
Oil on canvas
26 x 20 in (66.2 x 50.5 cm)
72
42
K H ARA
(1914 1985)
$ 6,155 - 9,235
Rs 4,00,000 - 6,00,000
Untitled
Signed 'ARA' (lower right)
Watercolour, gouache and pastel on paper
28.75 x 21 in (73.2 x 53.3 cm)
PROVENANCE:
Chemould Art Gallery, Mumbai
$ 9,235 - 12,310
Rs 6,00,000 - 8,00,000
73
43
K G SUBRAMANYAN
(b. 1924)
a) Untitled
Initialled in Tamil (lower left)
Ink and marker on paper pasted on mountboard
11.25 x 8.25 in (28.6 x 20.9 cm)
b) Untitled
Initialled in Tamil (lower right)
Ink on paper pasted on mountboard
11.25 x 8.25 in (28.5 x 21 cm)
$ 1,540 - 3,080
Rs 1,00,000 - 2,00,000
(Set of two)
74
44
K G SUBRAMANYAN
Untitled
Oil on board
29.5 x 21.75 in (75 x 55 cm)
$ 10,000 - 15,000
Rs 6,50,000 - 9,75,000
(b. 1924)
EXHIBITED:
K G Subramanyan: A Retrospective, New Delhi: National
Gallery of Modern Art, 30 January - 16 March 2003
PUBLISHED:
R Siva Kumar ed., K G Subramanyan: A Retrospective,
New Delhi: National Gallery of Modern Art and Brijbasi,
2003, p. 149 (illustrated)
75
46
JOGEN CHOWDHURY
(b. 1939)
Untitled
Dated '2000' and signed 'Jogen' (centre left);
initialled in Bengali (upper right) and inscribed in
Bengali (lower right)
2000
Pastel and ink on paper
10.75 x 14.75 in (27.4 x 37.6 cm)
$ 6,155 - 9,235
Rs 4,00,000 - 6,00,000
45
JOGEN CHOWDHURY
(b. 1939)
a) Untitled
Watercolour, pen and ink on paper pasted on board
9 x 7.25 in (23 x 18.6 cm)
b) Untitled
Watercolour, pen and ink on paper pasted on board
9 x 7.25 in (22.9 x 18.7 cm)
$ 18,465 - 23,080
Rs 12,00,000 - 15,00,000
(Set of two)
76
77

48
J SULTAN ALI
(1920 1990)
a) Untitled
Signed and dated 'Sultan Ali 1962'
and in Devnagari (lower left)
1962
Ink on paper
7 x 5 in (17.5 x 12.5 cm)
47
MANJIT BAWA
(1941 2008)
Untitled
Signed and dated 'Manjit Bawa 98' (lower right)
1998
14 x 20.75 in (35.4 x 52.4 cm)
c) Untitled
and in Devnagari (lower right)
1962
Ink on paper
7 x 5 in (17.5 x 12.5 cm)
$ 9,235 - 12,310
Rs 6,00,000 - 8,00,000
Manjit Bawas mastery of line is seen in this eortless
drawing where he pares down his subject to its
essence. In traditional Hindu iconography, Krishna is
depicted as playing the ute, surrounded by cattle.
Bawa often portrayed this theme in his unique
pictorial style. Krishna and the cows possess a uidity
of form. The muscles and legs of the cows, and the
owing lines that make up Krishnas limbs and dhoti,
are almost lyrical in composition.
78
b) Untitled
and in Devnagari (upper left); signed
again in Gujarati (upper right)
1962
Ink on paper
7 x 5 in (17.5 x 12.5 cm)
d) Untitled
and in Devnagari (lower left)
1963
Ink on paper
5 x 7 in (12.5 x 17.5 cm)
$ 2,000 - 3,000
Rs 1,30,000 - 1,95,000
c
(Set of four)
79
49
JERAM PATEL
50
(1930 - 2016)
Untitled
Blowtorch and enamel paint on wood
24 x 23.75 in (60.8 x 60.4 cm)
$ 10,770 - 13,850
Rs 7,00,000 - 9,00,000
PROVENANCE:
Private Collection, Vadodara
80
SAKTI BURMAN
(b. 1935)
Untitled
Signed 'Sakti Burman' (lower right)
Acrylic on canvas
45 x 34.25 in (114.1 x 87.1 cm)
$ 30,770 - 46,155
Rs 20,00,000 - 30,00,000
PROVENANCE:
Acquired directly from the artist, Paris
50
81

ASIAN PRIVATE COLLECTION
51
S H RAZA
(b. 1922)
Horizon
Signed and dated 'Raza 79' (centre left);
signed and dated again 'RAZA 79' (on
the reverse)
1979
Acrylic on canvas
39 x 39 in (99.1 x 99.1 cm)
$ 100,000 - 150,000
Rs 65,00,000 - 97,50,000
PROVENANCE:
Saronart, 10-12 March 2010, lot 44
PUBLISHED:
Ashok Vajpeyi ed., A Life in Art: S H
Raza, New Delhi: Art Alive Gallery, 2007,
pp. 214-215 (illustrated without artist's
reorientation and retitling)
On the back of this 1979 painting, Raza has inscribed:

One of the rst painting of the early period when Bindu
became the central image. As such, the importance of this
quintessential Raza work cannot be overstated. For Raza, the
Bindu symbolises the seed, bearing the potential of all life,
in a sense. It is also a visible form containing all the essential
requisites of line, tone, colour, texture and space. The black
space is charged with latent forces aspiring for fullment.
(The artist quoted in Geeti Sen, Bindu: Space and Time in
Razas Vision, New Delhi: Media Transasia Ltd., 1997, p. 134)
Razas work underwent a signicant transition in the 1970s.
So radical was this shift, that he believes it was only at this
point that he was born as a painter. He states, In terms of
painting, immense possibilities seemed to open based on
elementary geometric forms. (Sen, p. 126) Moving away
from expressionism, he began exploring geometric forms,
frequently centring on a solid black dot or Bindu. This
concentrated point symbolised both the beginning and end
of the cosmos from which all matter and life is generated, and
into which it is eventually reabsorbed.
The cosmic energy of the sun setting on the horizon is

reected in Raza's Bindu.
82
In the present lot, Raza divides the surface between two

horizontal elds of complementary colours. At the very
centre of the surface is the Bindu, straddling both elds as
if to suggest it controls the delicate equilibrium maintained
between opposing forces. In this self-described earliest
painting from the Bindu series, Raza seems to have taken
some time to consider the possibilities which the square
format oered to a perfectly centred circle, on a canvas
divided equally into two colours. His thought process is
reected in his inscriptions on the back of this painting. By
deciding to change the orientation and naming it Horizon,
the essence of the Bindu as the whole that contains the
juxtapositions of earth and sky were manifested. Raza has
continued to explore the endless profundity of the concept.
For me, the bindu has been a vast subject with its variations
throughout my life.
S H RAZA
83
Lots 52-77
Closing Time:
8.10 pm (IST)
10.40 am (US Eastern Time)
84
85
52
JAMINI ROY (1887 1972)

Untitled
Tempera on canvas pasted on masonite board
42.25 x 17.75 in (107 x 44.8 cm)
$ 23,080 - 30,770
Rs 15,00,000 - 20,00,000
PROVENANCE:
Dhoomimal Gallery, New Delhi
Jamini Roys life, like his art, is representative of the

nationalist movement in post-independence India.
His work has played a large role in dening the
importance of folk art within the context of Indian
modernism. For an artist who is so associated
with the rejection of the modern, Western world
in a desire to return to his roots, the image of the
Christ gure in his works may seem an anomaly.
As Debashis Dhar points out, however, The
Christ paintings bear testimony to Roys profound
understanding of the visual languages of other
cultures, not withstanding his indigenism. (Dhar,
Jamini Roy: A Martyr to Mastery, Jamini Roy:
National Art Treasure, Kolkata: Purba, 2015, p. 80)
His works based on Christian themes, including
the present lot, draw from the solemnity of
Byzantium art while retaining the bold lines and
limited palette of Roys native pat paintings.
Putting Roys oeuvre into a larger perspective,
Suneet Chopra writes, Apart from rustic images
of the gods of the Hindu pantheon, his images of
Christ are not only among the best of his works,
but one can feel how Christianity is part and parcel
of our home-bred tradition and its history in India
goes well beyond its acceptance by Europe. Jamini
Roys Christian images remind us of our own
ancient links with this creed requiring no external
intervention. (Chopra, Jamini Roy: Grass Roots
Modernism, Jamini Roy, p. 41)
86
53
JAMINI ROY (1887 1972)

Untitled
18 x 11.25 in (46 x 28.5 cm)
$ 8,000 - 10,000
Rs 5,20,000 - 6,50,000
PROVENANCE:
Acquired by the present owner from Dhoomimal Gallery, New Delhi, in the 1980s
87
DR. HERBERT HRTEL 1921 2006

In many ways, art historian Herbert Hrtel was a pioneer in the eld of Indian art, both in his home country of
Germany, and in India. Born in 1921 in the small town of Hoyerswerda, Hrtel fought in World War II until he was
seriously wounded in 1941. A few years later, he began studying Indology with Professor Ernst Waldschmidt, a
renowned specialist in Indian philosophy and archaeology. After earning a PhD in the subject in 1953, Hrtel joined
the Ethnological Museum in the then divided West Berlin as a curator for their collection of Indian Art. He spent
the next ten years painstakingly restoring their collection of art and artefacts, which had been scattered across West
Germany during the war.
During this decade, he was responsible for turning the Indian Art department into a separate and independent
Museum of Indian Art, which was founded in 1963 with Hrtel as its director. Two year later, he introduced and
taught Indian Art as a new subject at the Free University of Berlin.
In the late 1950s, Hrtel undertook an eight-month long expedition to India, where he interacted with leading
specialists and Indian institutions of art and archaeology. This trip later led to his own eld work in archaeology
in India through the support of the Deutsche Archologische Gesellschaft (German Archaeological Society).
During a second expedition through India in 1960, Hrtel took up the initiative to set up a bureau for the
German Archaeological Society. With the express task of nding a site for excavation and getting permissions
to establish a bureau, he zeroed in on a dilapidated fortress in the village of Sonkh in Mathura district of Uttar
Pradesh. After crossing many bureaucratic hurdles, he began his work in earnest, with funding from the Deutsche
Forschungsgemeinschaft (German Research Foundation). Subsequently, from 1966 to 1974, Hrtel conducted eight
successive campaigns with the help of nearly 200 local workers, which unearthed numerous archaeological nds.
One of these excavations included parts of a red sandstone apsidal temple, or gajaprastha, which bore reliefs carved
by artists of the Mathura school, during the reign of King Kanishka I of the Kushan Empire. Some of the unearthed
nds have been exhibited in India and Germany at the Berlin Museum fr Indische Kunst, which he headed.
Hrtels interests extended to modern art as well. During his time in India, he met Modernists such as Biren De, M F
Husain, Laxman Pai, and Satish Gujral, and built a collection of artworks that he bought directly from them. Some
are part of the collection of the Museum of Asian Art in Berlin. The following ve lots were part of Hrtels personal
collection.
Hrtel passed away in 2006, leaving behind a legacy of scholarship which includes the discovery and preservation
of cultural heritage.
Facing page, clockwise from top left:

Herbert Hrtel
Herbert Hrtel in Sonkh, Mathura in 1973
Herbert Hrtel in Sonkh, Mathura
Images courtesy of the Hrtel family
88
89
PROPERTY FROM THE ESTATE OF DR. HERBERT HRTEL
54
AMARNATH SEHGAL (1922 2007)

Untitled
Signed and dated 'Sehgal 67' (on the base)
1967
Bronze
Width: 6.25 in (16 cm)
$ 2,000 - 3,000
Rs 1,30,000 - 1,95,000
PROVENANCE:
Gifted by the artist
The present lot was gifted to Dr. Herbert Hrtel as

a personal gift by the artist during one of Hrtels
excavation campaigns in India. Perhaps it held a
particular appeal to Dr. Hrtel because in some ways
it resembles an archaeological artefact. The works of
Sehgal are indeed aesthetic artefacts; they eectively
communicate his thoughts and feelings, and serve as
a bridge between the artist and his audience. Sehgals
specic aesthetic purpose may be described as the
intent to inform and persuade, to express through
artefacts the ideas and feelings that are important to
humanity. (Pran Nath Mago, Some Consequential
Contemporary Artists in India, Contemporary Art in
India: A Perspective, New Delhi: National Book Trust,
2001, pp. 185-186)
Amarnath Sehgal was a poet, philosopher, artist
and craftsman. Unfettered by any particular style or
medium, his work is mainly informed by a need to
investigate the human experience. Sehgal observes
beauty, wherever it be, regardless of time, scale or
culture. (Mago, p. 185)
90
91
56
55
AjitGuptawas born in 1923 and studied at the Art

College in Delhi. He went to Europe in 1958 and
continued his studies at the Central School of Art in
London. He went to Berlin, Germany in 1967 where he
lived and worked until his death in 2001. Gupta met
Hrtel during his time in Berlin and the present lot
92
was acquired by him, directly from the artist. His work

was shown at an exhibition titled Happy Season at
the Galerie Baku Berlin in 2015. Gupta was a member
of the Society of Berlin Artists, and an exhibition
scheduled by them for December 2016 will include
some of the artists works.
PROPERTY FROM THE ESTATE OF

DR. HERBERT HRTEL
PROPERTY FROM THE ESTATE OF

DR. HERBERT HRTEL
55
56
AJIT GUPTA (1923 - 2001)
AJIT GUPTA (1923 - 2001)
a) Untitled
Signed 'Ajit' (lower left)
12.25 x 27.75 in (31.5 x 70.5 cm)
Untitled
Signed 'Ajit Gupta' (lower left)
14.25 x 20.5 in (36 x 52 cm)
b) Untitled
Signed 'Ajit' (lower right)
19 x 23.75 in (48 x 61 cm)
$ 2,000 - 3,000
Rs 1,30,000 - 1,95,000
PROVENANCE:
$ 3,000 - 5,000
Rs 1,95,000 - 3,25,000
(Set of two)
PROVENANCE:
93
57
BIREN DE
(1926 - 2011)
The Moment
Signed and dated 'Biren De 68' (lower left); inscribed
and dated 'THE MOMENT - AUGUST '68'/BIREN DE'
(on the reverse)
1968
Oil on canvas
45.25 x 45.25 in (115 x 115 cm)
$ 8,000 - 12,000
Rs 5,20,000 - 7,80,000
PROVENANCE:
Acquired directly from the artist in the late 1960s
Early in his career, Biren De concentrated mainly

on human gures and portraiture. That changed
during the late 1950s, when he, along with some of
his contemporaries, began tiring of the gurative. De
eschewed what he considered to be an appropriated
style, and rejected life in a studio. Through the
following decade, he spent his time among tribal
communities, pilgrimage sites, and tirthasthans, where
he acquainted himself with yogis and tantrics. This set
him on a path to spirituality, which manifested in his
work. Des gaze had shifted from the outer, material
world, to encapsulate an inner truth that deed
denition and structure. Though he rejected the term,
Des art has often been dened as tantric.
Des paintings capture the implosion of energy devoid
of any agitated movement; only blinding eulgence
at its heart. His imagery evokes a metaphysical
introspection through recurrent symbols of the
lotus, the sun, the wheel and the bursting seeds... the
appearance of streaks of light represents a journey
through possible eorescence... Averse to the
hard edge abstraction of the West, Des uid and
suggestive geometry was about dispersion, diusion
and dematerialisation. Colour in his hands became
translucent enough to convert into light. Sometimes
it made the viewer witness as if a miracle that blinds all
with its radiance. (Roobina Karode ed., Manifestations
IV, New Delhi: Delhi Art Gallery, January 2010, p. 65)
94
I am not a cult painter and my work is not the result of any

esoteric practice. But if you agree that the essential objective of
Tantra is the discovery of the true nature of thing, of self-realisation,
then I am a tantric and so are you, and anybody.
BIREN DE
95
58
M F HUSAIN
(1913 - 2011)
Untitled
Signed and dated in Devnagari (upper left); inscribed
'Husain/B. ZEENAT MANZIL/L. JAMSHEDJI AD./
MAHIM/BOMBAY-16' (on the reverse)
1963
Oil on board
13.5 x 9.75 in (34.5 x 24.5 cm)
$ 15,000 - 20,000
Rs 9,75,000 - 13,00,000
PROVENANCE:
Acquired directly from the artist in the late 1960s
The 1960s were a period of broad experimentation

for M F Husain. According to critic Shiv S Kapur, the
artists paintings during this time bore witness to
his sensuous enjoyment of life and of the process
of painting itself. (Richard Bartholomew and Shiv
S Kapur, Husain, New York: Harry N Abrams, Inc.,
1971, p. 46) Many of Husains works during this time
represented an inner quest to understand the nature
of being.
The present lot, painted in 1963, demonstrates a
specic technique in a masterful painting process.
Husain works with fragmented shapes that contain
layers of thick paint to create a portrait. Between
1963 and 1965, he produced several works that had
a similar visual technique, which were, according
to Kapur, images of pictorial sensation. He writes,
These and others like them are mainly anecdotal
or objective works... and their concern is primarily
with the visual and tactile values of paint... The artist
uses thick encrustations of paint for their texture, to
suggest a rugged and time-beaten strength. (Kapur,
p. 46)
96
97
59
F N SOUZA
Head of Ganesh
Signed and dated 'Souza 66' (upper
left) and inscribed 'F.N. Souza / Head of
Ganesh' (on the reverse)
1966
Chemical alterations on paper
13 x 9.25 in (33 x 23.5 cm)
$ 2,000 - 3,000
Rs 1,30,000 - 1,95,000
98
(1924 2002)
60
F N SOUZA
PROVENANCE:
Gifted by the artist
Thence by descent
(1924 2002)
Untitled
1988
Oil on cardboard
29.25 x 22 in (74 x 56 cm)
$ 8,000 - 10,000
Rs 5,20,000 - 6,50,000
PROVENANCE:
Acquired by the present owner from
Dhoomimal Gallery, New Delhi, in the 1980s
99
100
101
Painted by Souza in 1961, the present lot suggests

a subversion of the iconic painting, Venus of Urbino
by Italian Renaissance artist Titian. Titians 1538
Renaissance painting depicts the Roman Goddess
Venus reclining on a plush bed in a luxurious palace,
with attendants in the background. Souza retains
every element of Titians work down to the smallest
detailthe sheets and pillows on the bed, the
attendants in the background, the tapestry on the
wall, the gures pose and hairstyle, the bracelet on the
arm, the curled-up dog on the bedand yet, Souzas
work is nothing like Titians Venus. Souza deliberately
strips away the sensuality and realism of Titians work,
choosing rather, to portray his subject in stark lines,
with minimal detail.
Souzas painting has more in common with the
19th century Impressionist artist douard Manets
rendition of the same subject. Manets Olympia,
painted in 1863, was considered confrontational
and shocking for its time. It had none of the divine
allusions of Titians work, and several indicators in
the painting suggested that the female nude was a
prostitutea subject that often recurred in Souzas
works. One of the reasons Souza produced nudes,
according to art historian Edwin Mullins, was to
out moral conventions. His art stood in violent
opposition to the self-righteous values of the
Roman Catholic Churchan environment he grew

up in during his childhood in Goa. Souza had also
studied art in British India, where the puritanical
Victorian values borrowed and adopted by his fellow
countrymen rankled against his aesthetic sensibilities
far more. Souza had discovered in classical Indian art,
particularly Khajuraho sculptures, a tradition of erotic
art incomparably more sensitive and pure than the
academic art taught in Bombay. (Edwin Mullins, F N
Souza, London: Anthony Blond Ltd., 1962, p. 44)
There are the huge, eshy nudes who sprawl over
his canvases. These are not really erotic paintings in
the true sense, but variations of a conventional theme
explored by European artists... His nudes are only
occasionally painted as beautiful or even as graceful...
On the whole his paintings of nudes are more
gentle that most of his other work; they have less
impassioned ferocity about them. At the same time
they are often the most perverse and obsessed... They
suggest a personal fascination with the female body...
(Mullins, pp. 42-43)
The present lot forms a connection between the
European art tradition and Souzas personal life.
He is able to manifest his own distinct personality
on a subject that has been variously interpreted by
Western artists over time.
61
F N SOUZA
(1924 2002)
Untitled (after Titian's Venus of Urbino and Manet's Olympia)

Signed and dated 'Souza 61' (centre right); signed and dated again
'F N SOUZA/1961' (on the reverse)
1961
Oil on board
24 x 30 in (61 x 76.2 cm)
$ 170,000 - 200,000
Rs 1,10,50,000 - 1,30,00,000
PROVENANCE:
Ragnar Zedell, Stockholm
Christopher P Wood, London
Private Collection, London
Sotheby's, London, 24 May 2007, lot 48
102
Venus of Urbino, Titian, 1538
Olympia, Edouard Manet, 1863, Muse d'Orsay, Paris
Artepics /Alamy Stock Photo
PAINTING /Alamy Stock Photo
EXHIBITED:
Modern Indian Paintings, London: Grosvenor Gallery, 17-25 February 2005
103
62
PRABHAKAR BARWE

PRIVATE COLLECTION, NEW DELHI
(1936 1995)
63
Showcase Objects
Signed and dated in Devnagari (lower right);
inscribed and dated again ''SHOWCASE
OBJECTS'/1995/BARWE' (lower left)
1995
Mixed media on paper
13 x 19.5 in (32.8 x 49.5 cm)
PRABHAKAR BARWE (1936 1995)

Mythical Reality
Signed, dated and inscribed 'PRABHAKAR BARWE/
MYTHICAL REALITY/1981' (on the reverse)
1981
Acrylic and enamel on canvas
49.5 x 59.5 in (125.8 x 151.3 cm)
$ 6,155 - 9,235
Rs 4,00,000 - 6,00,000
$ 38,465 - 53,850
Rs 25,00,000 - 35,00,000
PROVENANCE:
Gallery Espace, New Delhi
PROVENANCE:
EXHIBITED:
Manifestations 5: 20th Century Indian Art, New Delhi:
Delhi Art Gallery, 18 April - 18 June 2011
PUBLISHED:
Kishore Singh ed., Manifestations 5: 20th Century Indian Art,
New Delhi: Delhi Art Gallery, 2011, pp. 27-28 (illustrated)
63
Prabhakar Barwes art is restrained and meditative.
Symbols often appear to oat in space, removed from
their original context and taking on new meanings.
While a student at the J J School of Arts in the 1950s,
his art was more realistic and gradually transitioned
to abstraction. In the 1970s, Barwes thematic and
stylistic concerns altered drastically. Newly interested
in space as a metaphysical concept, he began striving
for a purity of form and colour. The uid relationship
between an object, an idea, and its translation into
an image became a meta-level concern. The works
begin to take on a gentle lyricism. (Amrita Jhaveri, A
Guide to 101 Modern & Contemporary Indian Artists,
Mumbai: India Book House Pvt. Ltd., 2005, pp. 14-15)
62
104
The present lot, Mythical Reality, is composed of the

motifs and imagery that Barwe developed through the
1980s. The work is replete with scattered references to
classical architecture and archaeology. A dilapidated
faade of a brick wall, a chipped colonnade, a remnant

of a pot featuring a sh motif, and a part of a wheel
emerging as a half-moon in the sky create a surreal, yet
serene world. His mode of working was partly that of
the mystic-poet and partly that of the mathematician.
Having cleared the mental apparatus of the stipulations
of the obvious, Barwe would embark on his journey
into the territories beyond mundane signication to
seek out that eeting pure moment when meaning
comes into being in a ash; and having made one
of his discoveries, would return to reect upon the
possibilities of its import. His work suggests a search
to exist in that part of the consciousness where the
child and the sage meet, and where the mysterious is
elucidated into a formulation of crystalline cogency.
(Chaitanya Sambrani, The Poetics of Suggestion:
a tribute to Barwe, The Asian Age, online through
bodhana.org)
105
65
64
BADRI NARAYAN
106
(1929 2013)
M F HUSAIN
(1913 2011)
Still Life
Inscribed and dated ''Still-Life'/by Badri Narayan/23rd
August 1994' (on the reverse)
1994
Watercolour, pen and ink on handmade paper
13 x 15.5 in (32.8 x 39.4 cm)
Untitled
Signed and dated 'Husain 1966' and signed again in
Devnagari (upper left)
1966
Oil on canvas
38.5 x 29.5 in (98 x 75 cm)
$ 4,620 - 7,695
Rs 3,00,000 - 5,00,000
$ 35,000 - 45,000
Rs 22,75,000 - 29,25,000
PROVENANCE:
Pundole Art Gallery, Mumbai, 1996
Helga Scaper Collection, Bangalore
PROVENANCE:
Collection of the late Harold Leventhal (1919-2005)
Thence by descent
Private Collection, Florida
Saronart, 18-19 January 2012, lot 4
65
The present lot was originally part of the private
collection of Harold Leventhal. Leventhals
relationship with art and India was notable for his
friendships with artists including Maqbool Fida
Husain and Satish Gujral. He helped to coordinate
a number of ground-breaking exhibitions on India
in the USA, which included artworks by Jamini Roy,

Maqbool Fida Husain and Satish Gujral, theatre and
plays by Rabindranath Tagore and screenings of work
by Satyajit Ray. Leventhals personal art collection
portrayed his profound appreciation for some of
Indias leading artists.
107
66
M F HUSAIN
(1913 2011)
Untitled
Signed 'Husain' (upper right)
Oil on canvas
23.75 x 47.75 in (60.4 x 121.4 cm)
$ 123,080 - 153,850
Rs 80,00,000 - 1,00,00,000
PROVENANCE:
Collection of Mrs. Contractor, a close friend of
the artist, Mumbai
Private Collection, Pune
Husains horse paintings are arguably among the best

known in the artists oeuvre. He began painting the
horse in the 1950s and continued to create the animal
in varied incarnations throughout his life. Husains
preoccupation with the horse developed from his
encounter with the animal at a very young age. He
spent a lot of time with Acchan Mian, a farrier who
was his grandfathers friend, and often xed iron shoes
on tonga horses. The horse was also a signicant part
of the Muharram processions he witnessed in Indore
during his childhood. Duldul, the Imams horse was
108
bedecked and venerated, during the ceremonial

processions.
The present lot exemplies Husains ability to harness
the vigour and elegance of horses through a masterful
use of line and colour. Light and shadow add another
dimension to the bucking and rearing horses whose
frenzied energy is barely contained within the painting.
He creates a dynamic equilibrium between two
contrary movements of looking back and running
forward. (K Bikram Singh, Maqbool Fida Husain, New
Delhi: Rahul & Art, 2008, p. 179)
Husain drew inspiration from a multitude of sources.

The horses are painted with strong lines which break
the surface and give them the feel of armour, which
is a technique he borrows from Chinese painting
traditions. German Expressionist Franz Marc, and Italian
sculptor Marino Marini, also inuenced his treatment
of the horse. Husain ...removes his animal gures from
their traditional context or natural environment and
places them in a new setting that invests them with
new meanings. In addition, he experiments with
their forms and gives them new forms transcending
realism... The meaning of horse as a symbol and as a

motif continues to grow over the years and acquires
resonances that are not conned only to its formal
values or to its associations with man in activities of
war and peace. (Singh, pp. 169, 171)
The present lot represents some of his nest work
and demonstrate[s] the power of his draftsmanship,
his deep understanding of the myths associated with
the horse in the multi-faceted Indian artistic and
cultural tradition and his talent to invest them with a
new contemporary meaning. (Singh, p. 192)
109
PROPERTY FROM THE COLLECTION OF A DISTINGUISHED FAMILY, MUMBAI
67
S H RAZA
(b. 1922)
Bindu
Signed and dated 'RAZA 90' (lower centre); signed and dated again 'RAZA 1990',
inscribed 'BINDU' and inscribed again in Devnagari (on the reverse)
1990
Acrylic on canvas
39.25 x 39.25 in (100 x 100 cm)
$ 123,080 - 153,850
Rs 80,00,000 - 1,00,00,000
"I have been obsessed by the idea of Bindu as a

seed, as a vital geometric shape. The seed generates
energy, and the energy is revealed in colour..."
S H RAZA
110
111
68
RAM KUMAR
(b. 1924)
Untitled
Oil on canvas
45 x 72 in (114.3 x 182.9 cm)
$ 107,695 - 138,465
Rs 70,00,000 - 90,00,000
PROVENANCE:
Pundole Art Gallery, Mumbai, 1979
Private Collection, Delhi
EXHIBITED:
Masterpieces of Indian Modern Art, New
York: DAG Modern, 8 March 4 June 2016
Ram Kumars abstract landscapes capture the essence

of place without the use of overt symbolism. Writing
of the complex quality of Kumars work, critic
Richard Bartholomew writes, When I see a Ram
Kumar painting... I get the feeling that Ive been there
before... The very forms of the composition suggest
that. The hard and the soft, the tangible and the
elusive, the structure and the sensation... Rams work
draws us into its eld of vision, involving us visually,
stimulating us to see this detail or that. The mood
is built up imperceptibly as it happens in a Chinese
painting. There is great depth, in perspective and
feeling. The experience encountered is extremely
rened. A reductive principle in composition and an
immaculate technique determine the scale. (Richard
Bartholomew, Ram Kumar 73, The Art Critic, New
Delhi: Bart, 2012, p. 536)
112
113
69
F N SOUZA
PROPERTY FROM A DISTINGUISHED

PRIVATE COLLECTION, GERMANY
(1924 2002)
70
Untitled
Signed and dated 'Souza 86' (centre left)
1986
Acrylic on canvas
52 x 32 in (132 x 81.3 cm)
F N SOUZA
(1924 2002)
a) Untitled
1985
Ink on paper
29.25 x 21.75 in (74.5 x 55 cm)
$ 30,000 - 35,000
Rs 19,50,000 - 22,75,000
b) Untitled
Signed and dated 'Souza 1985' (upper right)
1985
Ink on paper
29.5 x 22 in (75 x 55 cm)
PROVENANCE:
Sotheby's, London, 14 July 2005, lot 61
$ 10,000 - 15,000
Rs 6,50,000 - 9,75,000
(Set of two)
PROVENANCE:
Acquired by the present owner from Dhoomimal Gallery,
New Delhi, in the 1980s
69
114
70
115
e) Untitled
Inscribed and dated 'ZurichNew York /31.V.88' (lower right)
1988
Pen and pencil on paper
6 x 4.25 in (15.5 x 10.5 cm)
f) Untitled
Inscribed and dated 'New
York/8 june '88' (lower left)
1988
Pencil on paper
6 x 4.25 in (15.5 x 10.5 cm)
71
M F HUSAIN
(1913 2011)
a) Untitled
1988
Pencil on paper
6 x 4.25 in (15.5 x 10.5 cm)
e
b) Untitled
1988
Pencil on paper
6 x 4.25 in (15.5 x 10.5 cm)
c) Untitled
1988
Pencil on paper
6 x 4.25 in (15.5 x 10.5 cm)
116
d) Untitled
1988
Pencil on paper
6 x 4.25 in (15.5 x 10.5 cm)
g) Untitled
Inscribed and dated 'New
York/13 june 88' (lower left)
1988
Pencil on paper
6 x 4.25 in (15.5 x 10.5 cm)
h) Untitled
Inscribed and dated 13 june
88/'New York' (lower right)
1988
Pencil on paper
6 x 4.25 in (15.5 x 10.5 cm)
i) Untitled
Inscribed and dated '21 june 88/
New York' (upper right)
1988
Pencil on paper
6 x 4.25 in (15.5 x 10.5 cm)
j) Untitled
Inscribed and dated '21 june '88
/New York' (upper left)
1988
Pencil on paper
6 x 4.25 in (15.5 x 10.5 cm)
$ 12,310 - 15,385
Rs 8,00,000 - 10,00,000
(Set of ten)
PROVENANCE:
117
72
MANJIT BAWA
(1941 2008)
Untitled
Signed and dated 'Manjit Bawa 99' (lower right)
1999
21 x 14.5 in (53.3 x 36.8 cm)
118
73
GANESH PYNE
(1937 2013)
$ 7,695 - 10,770
Rs 5,00,000 - 7,00,000
Untitled
Signed and dated in Bengali (lower right)
1999
Mixed media on board
12.5 x 9.75 in (31.9 x 24.8 cm)
PROVENANCE:
$ 12,310 - 15,385
Rs 8,00,000 - 10,00,000
119
74
SANKHO CHAUDHURI
Untitled
Wood
Width: 4.5 in (11.4 cm)
Depth: 3.5 in (8.8 cm)
(1916 - 2006)
There are so many dierent kinds of lines, the crack on the wall,
the crack on an old pot but in reality, there is no line in nature.
HIMMAT SHAH
$ 10,770 - 13,850
Rs 7,00,000 - 9,00,000
PROVENANCE:
75
HIMMAT SHAH
(b. 1933)
Untitled
Terracotta with gold leaf
Width: 7.25 in (18.5 cm)
$ 23,080 - 30,770
Rs 15,00,000 - 20,00,000
PROVENANCE:
Sakshi Art Gallery, Mumbai
120
121
PROPERTY FROM AN IMPORTANT PRIVATE

COLLECTION, NEW DELHI
77
76
G RAVINDER REDDY
MRINALINI MUKHERJEE
(b. 1956)
Natural History #16

Bronze
Width: 19 in (48.2 cm)
Depth: 5.75 in (14.8 cm)
Untitled
Signed 'G. Ravinder Reddy' (on the reverse)
Polychrome bronze and gold leaf applied by hand,
on a steel base
Height: 17.75 in (44.8 cm)
Width: 8.75 in (22.5 cm)
Depth: 13.75 in (35.2 cm)
76
122
(1949 2015)
$ 10,770 - 13,850
Rs 7,00,000 - 9,00,000
$ 18,465 - 23,080
Rs 12,00,000 - 15,00,000
PROVENANCE:
Thirtieth from a limited edition of thirty-ve
PUBLISHED:
Peter Nagy, Mrinalini Mukherjee: new bronzes, New
Delhi: Nature Morte, 2004, p. 25 (illustrated)
77
123
Lots 78-109
Closing Time:
8.30 pm (IST)
11 am (US Eastern Time)
124
125
PROPERTY FROM THE COLLECTION OF A DISTINGUISHED FAMILY, MUMBAI
78
M F HUSAIN
(1913 2011)
Untitled
Signed 'Husain' (upper right)
Oil and acrylic on canvas
23 x 16.75 in (58.5 x 42.5 cm)
$ 38,465 - 53,850
Rs 25,00,000 - 35,00,000
Suddenly, a black horse noticed me.

He paused, turned back and said to me,
Go forth and see the world.
Indeed it is true.
Seeing the world is to understand ones own existence.
Husain knows this well.
Hence he never stays at one place for long.
M F HUSAIN
126
127
79
M F HUSAIN
(1913 2011)
Untitled
Signed 'Husain' (lower right)
Circa 1980s
Watercolour and marker on paper
14.5 x 21.5 in (36.8 x 54.4 cm)
$ 18,465 - 23,080
Rs 12,00,000 - 15,00,000
PROVENANCE:
80
M F HUSAIN
(1913 2011)
Untitled
Signed 'Husain' (lower right); signed again 'Husain' (on the reverse)
Circa 2000s
18.5 x 13.75 in (47.2 x 34.9 cm)
$ 18,465 - 23,080
Rs 12,00,000 - 15,00,000
PROVENANCE:
128
129
81
F N SOUZA
(1924 2002)
Landscape
Signed and dated 'Souza 87' (upper right); inscribed
'F.N.Souza/Landscape' (on the reverse)
1987
Oil on canvas
15.25 x 47.25 in (38.6 x 120.3 cm)
$ 61,540 - 92,310
Rs 40,00,000 - 60,00,000
Red Trees, Black Skies, an article by F N Souza in The Times of India on 4 June 1989. He singled out the present lot
to represent his landscape paintings and to illustrate how he and other members of the Progressive Artists Group
formed their own unique language for landscape painting in India.
130
PROVENANCE:
It is in his landscapes that are mostly of houses about

to be ripped open from the surface of the earth that
we sense an apocalyptic vision. It is as if a volcanic
eruption is taking place and nothing can remain
stationary. It is a virtual prediction of the end of the
world. It was evident that a deep gloom underlay the
brazen, audacious exterior of Souza. (Yashodhara
Dalmia, Souza in London, New Delhi: British Council,
12-28 February 2004, p. 13)
131
82
N S BENDRE
(1910 1992)
Untitled (Sinhalese Lady)

1967
Oil on canvas
24 x 24 in (61 x 61 cm)
$ 30,770 - 46,155
Rs 20,00,000 - 30,00,000
PROVENANCE:
The Classic Source, Mumbai
83
ANJOLIE ELA MENON
(b. 1940)
Untitled
Signed and dated 'Anjolie Ela Menon 85' (upper left)
1985
Oil on masonite board
24.75 x 21.25 in (62.7 x 54.2 cm)
$ 30,770 - 46,155
Rs 20,00,000 - 30,00,000
132
133
84
K G SUBRAMANYAN
(b. 1924)
a) Beast Goddess
Gouache on board
14.5 x 14.5 in (36.8 x 36.8 cm)
It is my aim to paint the trauma and tragedy of women.

B PRABHA
b) Girl in the garden

Gouache on board
14.5 x 14.5 in (36.8 x 36.8 cm)
$ 9,235 - 12,310
Rs 6,00,000 - 8,00,000
(Set of two)
EXHIBITED:
New Works K.G. Subramanyan 2014,
New Delhi: India Habitat Centre and
Art Heritage; Chandigarh: Government
Museum and Arts Gallery, 2014
a
85
B PRABHA
(1933 2001)
Untitled
Signed and dated in Devnagari (lower left)
1983
Oil on canvas
30.25 x 25 in (76.8 x 63.6 cm)
b
$ 18,465 - 23,080
Rs 12,00,000 - 15,00,000
PROVENANCE:
Dhoomimal Gallery, New Delhi
134
In the 80s and 90s, Prabha explored

the concept of motherhood in
many of her works, with variations
of mother and child against a rural
backdrop. The diaphanous owing
garments and muted background
in the present lot are typical of
Prabha's oeuvre.
135
86
T VAIKUNTAM
(b. 1942)
Untitled
Signed and dated in Telugu (lower left)
2009
Acrylic on canvas
35.75 x 59.75 in (90.9 x 151.5 cm)
$ 30,770 - 46,155
Rs 20,00,000 - 30,00,000
87
T VAIKUNTAM
(b. 1942)
Untitled
Signed in Telugu (upper left of left ap and
lower right of the reverse)
Oil paintings on all sides, front aps and on
inside aps.
Width: 18 in (46 cm)
$ 15,000 - 20,000
Rs 9,75,000 - 13,00,000
PROVENANCE:
136
137
PROPERTY FROM AN EMINENT EAST COAST COLLECTION
88
K LAXMA GOUD
(b. 1940)
a) Untitled
Signed and dated in Telugu (lower right)
1993
Gouache on paper
13.5 x 9.5 in (34 x 24 cm)
b) Untitled
Signed and dated in Telugu (lower right)
1983
Gouache on paper
13.5 x 9.5 in (34 x 24 cm)
$ 6,000 - 8,000
Rs 3,90,000 - 5,20,000
b
138
(Set of two)
89
K LAXMA GOUD
(b. 1940)
Untitled
14 x 10.5 in (35.7 x 26.6 cm)
$ 6,155 - 9,235
Rs 4,00,000 - 6,00,000
PROVENANCE:
139
PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION, MUMBAI
90
MANU PAREKH
(b. 1939)
Evening at Banaras
Signed and dated 'Manu Parekh '07' (lower left of the left panel);
signed 'Manu Parekh' (on the reverse of both panels)
2007
Acrylic and charcoal on board
48 x 144 in (122 x 365.8 cm)
$ 38,465 - 53,850
Rs 25,00,000 - 35,00,000
(Diptych)
140
EXHIBITED:
Manu Parekh: Banaras - Eternity watches
Time, Mumbai: Jehangir Art Gallery,
26 February - 4 March 2007
PUBLISHED:
Tanuj Berry, Manu Parekh: Banaras Eternity watches Time, Ahmedabad: Mapin
Publishing Pvt. Ltd., and Hampshire: Lund
Humphries, 2007, pp. 64, 66-79 (illustrated)
141
92
91
SOHAN QADRI
91
142
92
(1932 2011)
GHULAM RASOOL SANTOSH
(1929 1997)
Untitled
Signed and dated 'Qadri 04' (lower right)
2004
Ink and dye on paper
39 x 27 in (99.1 x 68.6 cm)
Untitled
Signed in Devnagari and dated '72' (lower left)
1972
Oil on canvas board
17.5 x 13.5 in (44.4 x 34 cm)
$ 5,000 - 7,000
Rs 3,25,000 - 4,55,000
$ 3,000 - 5,000
Rs 1,95,000 - 3,25,000
PROVENANCE:
Private Collection, Delaware
PROVENANCE:
Galerie Schreiner, Basel
Private Collection, Pennsylvania
143
93
PARAMJIT SINGH
(b. 1935)
Untitled
Signed and dated 'Paramjit Singh 06' (lower left); signed and
dated again 'Paramjit Singh 2006' (on the reverse)
2006
Oil on canvas
48 x 66 in (122 x 167.6 cm)
$ 10,000 - 15,000
Rs 6,50,000 - 9,75,000
PROVENANCE:
94
PARITOSH SEN
(1918 - 2008)
Hasya Rasa or The Comic Sentiments

Inscribed 'HASYA RASA OR THE COMIC
SENTIMENTS By Paritosh Sen' (on the reverse)
2002
Acrylic on canvas
72 x 48 in (183 x 122 cm)
$ 10,000 - 15,000
Rs 6,50,000 - 9,75,000
144
PROVENANCE:
Saronart, 10-12 May 2005, lot 14
145
95
JAGANNATH PANDA
(b. 1970)
Feral Move
Signed and dated 'Jagannath Panda 04' (lower right);
signed and dated again 'Jagannath Panda 04' and inscribed
'JAGANNATH PANDA 04' (on the reverse)
2004
Acrylic on canvas
58.5 x 70.25 in (148.5 x 178.3 cm)
$ 15,385 - 23,080
Rs 10,00,000 - 15,00,000
PROVENANCE:
Saronart, 16-17 June 2010, lot 64
PUBLISHED:
Peter Nagy and Deeksha Nath eds., Jagannath Panda, New Delhi:
Nature Morte, 2005 (illustrated, unpaginated)
146
96
GIGI SCARIA
(b. 1973)
Untitled
Signed and dated 'GIGI SCARIA '08' (lower right)
2008
Acrylic on paper
74.25 x 57.5 in (188.3 x 145.8 cm)
$ 9,235 - 12,310
Rs 6,00,000 - 8,00,000
PROVENANCE:
147

PRIVATE COLLECTION, MUMBAI
97
JAGANNATH PANDA
(b. 1970)
Untitled
Signed and dated 'Jagannath Panda 12'
(lower right); signed and dated again
'Jagannath Panda 11' and inscribed
'JAGANNATH PANDA 2011' (on the
reverse)
2011-12
Acrylic, fabric and glue on canvas
54.25 x 120 in (137.7 x 305 cm)
$ 30,770 - 46,155
Rs 20,00,000 - 30,00,000
PROVENANCE:
Saronart, 19-20 September 2012, lot 49
148
149
98
SUBODH GUPTA
(b. 1964)
Untitled
2009
Stainless steel
Width: 42 in (106.7 cm)
Depth: 17.5 in (44.4 cm)
$ 150,000 - 200,000
Rs 97,50,000 - 1,30,00,000
PROVENANCE:
Hauser & Wirth, London
The Guardian called him the subcontinental

Marcel Duchamp. Like the French conceptual artist,
Subodh Gupta utilises readymades, ubiquitous,
everyday objects, to create works of art that brim,
in this instance, with cultural complexities and ritual
associations.
In the present lot, Gupta returns to a familiar subject
stainless steel utensils, objects of mass utility found in
every Indian middle class home. According to critic
Gayatri Sinha, stainless steel, initially a product of the
Nehruvian era of industrialisation, soon became a
mark of middle-class aspirations and tastes. (Gayatri
Sinha ed., Subodh Gupta: Object World, Voices of
Change: 20 Indian Artists, Mumbai: Marg Publications,
2010, p. 174)
In a sweeping arch, Gupta fuses together ordinary
utensils of consumption, such as stainless steel
glasses, bowls, thaalis (plates) and the dabba (tin
box)every working mans necessity, with objects of
ritual association, such as the lotaa or the kalasham,
between two baltis (buckets). The result suggests a
metaphorical spill-over between the prosaic and the
sacred, consumerism and religion.
Ray, Subodh Gupta, 2012, NGMA

A similar installation by Gupta using stainless steel utensils.
Eesha Patkar
150
In its shiny innocuity, the stainless-steel utensil

signies middle-class ritual exchange, as for instance
in the wedding dowry or as gifts for Brahmins during
shraadh or death ceremonies. Whereas Indian
modernity has followed the paradigm of attening
social dierences and gaining the broad features of
internationalism, Subodhs strong formal language
and the dramatic staging of the isolated object brings
the question back to region and class aesthetics. Even
as the world identies India with software and hi-tech,
Gupta draws us into low-tech objects; symbols of the
heroism of the domestic and the everyday. (Sinha,
p. 174)
151

PRIVATE COLLECTION, PORTUGAL
99
SUBODH GUPTA
(b. 1964)
Round the Corner

Signed in Devnagari, dated '04' and
inscribed 'SUBODH GUPTA/ROUND
THE CORNER' (on the reverse)
2004
Oil on canvas
66 x 90 in (167.6 x 228.6 cm)
$ 80,000 - 120,000
Rs 52,00,000 - 78,00,000
PROVENANCE:
EXHIBITED:
Red, New Delhi: Palette Art Gallery, 2004
PUBLISHED:
Red, New Delhi: Palette Art Gallery, 2004
(illustrated, unpaginated)
Yashodhara Dalmia ed., Journeys: Four
Generations of Indian Artists in Their Own
Words, Volume II, New Delhi: Oxford
University Press, 2011, p. 171 (illustrated)
152
153
100
GIEVE PATEL
(b. 1940)
The Letter Home

Inscribed and dated '"The Letter Home"/(2002)/Gieve
Patel' (on the reverse)
2002
Acrylic on canvas
59.25 x 71.5 in (150.8 x 181.3 cm)
$ 38,465 - 53,850
Rs 25,00,000 - 35,00,000
EXHIBITED:
Select Works of Gieve Patel, New Delhi: Gallery Threshold, 24
September - 22 October 2009
Gieve Patel: Select Works 1971-2006, Mumbai: Chemould
Prescott Road, 7 May - 11 June 2010
PUBLISHED:
Yashodhara Dalmia ed., Journeys: Four Generations of Indian
Artists in Their Own Words, Volume I, New Delhi: Oxford
University Press, 2011, p. 299 (illustrated)
I dont think I paint only the

dispossessed... I paint common
people, thats all.
GIEVE PATEL
Gieve Patels primary focus is on the gurative. The present

lot belongs to a group of the artists works whose subject
is the common man in the city of Mumbai. He paints
details of public life and its physical components with
almost altruistic detachment. It is as though the fact of
the matter, already a familiar feature, alters in dimension
and meaning when singled out and highlighted. There is a
caustic silence in his paintings an imperceptible pause,
in a way the moment of potential. In this, the narrative
is strongest, assigning a special place to the most banal...
(Mala Marwah, Notes on Four Artists: Vivan Sundaram,
Nalini Malani, Gieve Patel, Bhupen Khakhar, rst published
in Lalit Kala Contemporary, Vols. 24, 25, April 1978, pp. 2530, accessed through The Critical Collective)
154
155
101
CHINTAN UPADHYAY
(b. 1972)
Untitled
Signed and dated 'Chintan 2003' (on the reverse)
2003
Oil on canvas
48 x 36 in (122 x 91.4 cm)
$ 6,000 - 8,000
Rs 3,90,000 - 5,20,000
EXHIBITED:
Portraits of a Decade, Kolkata: Centre for International
Modern Art, 2003; Mumbai: Jehangir Art Gallery, 2004
156
102
DHANANJAY SINGH
(b. 1977)
Untitled
Signed and dated 'Dhananjay 015' (on the base)
2015
Brass and stainless steel wire
Width: 15.75 in (40.1 cm)
Depth: 15.25 in (38.8 cm)
$ 7,695 - 10,770
Rs 5,00,000 - 7,00,000
157
104
SUHASINI KEJRIWAL
(b. 1973)
Untitled
Signed 'Suhasini Kejriwal' (on the reverse)
Acrylic on canvas
19.5 x 29.25 in (49.6 x 74.6 cm)
$ 4,620 - 7,695
Rs 3,00,000 - 5,00,000
EXHIBITED:
Ping Pong, New Delhi: Jamia Millia Islamia, The Centre for
European and Latin American Studies, and The Embassy of
Columbia in India, 6-20 November 2013
103
RINA BANERJEE
(b. 1963)
Mushroom and Moon

2008
Mixed media on paper
29.5 x 21.75 in (75 x 55 cm)
$ 5,000 - 7,000
Rs 3,25,000 - 4,55,000
158
PROVENANCE
Private Collection, India
Private Collection, Denmark
EXHIBITED:
Finding India: Contemporary Art Exhibition, Taipei: Museum of
Contemporary Art, 22 October - 12 December 2010
159
105
SUDARSHAN SHETTY (b. 1961)

Untitled
Signed and dated 'Sudarshan Shetty '05' and
inscribed 'Untitled' (on the reverse)
2005
Acrylic on canvas
71.5 x 47.5 in (181.5 x 120.8 cm)
$ 9,235 - 12,310
Rs 6,00,000 - 8,00,000
The present lot is one of Sudarshan Shettys

photorealist paintings in which he uses domestic
interiors as the setting from which to explore the
theme of human absence. The photorealist style
enhances the stark emptiness of the space. Shetty
creates a feeling of silence and solitude through the
conspicuous lack of the human gure in a space that
is made for human habitation. It seems as though
someone has just left the carefully constructed space
or is just about to enter the frame. Many of his works
evoke strongly a eeting memory of another space,
other interiors, long lost except to that special faculty
of memory that we all possess, (Radhika Desai, All
that is solid melts into air, Af-fair: 15 Contemporary
Indian Artists, Dubai: 1x1 Art Gallery, 2008, p. 57)
I am interested in the idea of absence, a human absence, of being

elsewhere. I think most of us are condemned to be elsewhere: I
embrace this predicament and rejoice in it.
SUDARSHAN SHETTY
160
161
106
A BALASUBRAMANIAM
162
(b. 1971)
G.C.A.C
Signed 'A Balasubramaniam', inscribed 'G.C.A.C.' (centre)
and dated '97' (lower centre)
1997
Serigraphy and collage on paper pasted on board
30 x 22 in (76.3 x 56 cm)
107
$ 6,155 - 9,235
Rs 4,00,000 - 6,00,000
$ 9,235 - 12,310
Rs 6,00,000 - 8,00,000
BOSE KRISHNAMACHARI
(b. 1963)
Untitled
Oil on canvas
53.75 x 53.75 in (136.5 x 136.5 cm)
163
PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION, MUMBAI
108
G R IRANNA (b. 1970)

The Story of Five Gentlemen - II
Signed and dated 'Iranna 06' (lower right of the right panel)
2006
Acrylic on canvas
52.25 x 132 in (132.4 x 335 cm)
$ 18,465 - 27,695
Rs 12,00,000 - 18,00,000
(Diptych)
164
165
109
BAIJU PARTHAN
(b. 1956)
Spill
Signed and dated 'Baiju Parthan 2010' (lower left); signed and dated
again 'Baiju Parthan 2010' and inscribed ''SPILL' (SOFT GRAFFITI)' (on
the reverse)
2010
Acrylic and gel on canvas
71.75 x 71.75 in (182 x 182 cm)
$ 12,310 - 15,385
Rs 8,00,000 - 10,00,000
EXHIBITED:
Dislocation: Milljunction Part 2, London: Aicon Gallery, 15 July - 13 August
2011
One of the rst Indian artists to embrace the digital media and the topographies
of cyberspace, Parthan combines his painterly commitment with an equally strong
interest in science and technology: the brush and palette knife serve him as well as
programming code and source feed from television channels or the Net do. He is
also academically trained in the discipline of comparative mythology, which informs
his art both consciously and at a subliminal level. (Ranjit Hoskote, Passwords, Baiju
Parthan: A Users Manual, Mumbai: Afterimage Publishing, 2006, pp. 15, 17)
The present lot, Spill, was part of Dislocation (Milljunction Part 2), a 2011 exhibition at
Aicon Gallery in London. Parthans work is a lament on the rapidly changing realities
of urban space. The urban land in question is Mumbai, once associated with textile
mills and one-room chawls. Now a landscape of high rise towers, the city oers little
refuge to the mill workers who once contributed to its developing modernity.
Parthan depicts this juxtaposition of the old with the new in Spill. Two identical
taxis mirror each other against the backdrop of a receding factory, while a military
helicopter hovers above. Contrasting washes of sepia and blue, the former suggesting
a bygone era, separate the past from the present. As the blue engulfs the space and
threatens to diminish the sepia-toned past, Parthan drives his point home further.
The old at taxis which are being phased out, the chawl building where workers
used to live, and also the man on the street, mostly the labourer as a vestige of the
Mill presence. How the familiar is erased all the time to make way for the new. (Baiju
Parthan, Dislocation: Milljunction Part 2, London: Aicon Gallery, 2011, online)
Interspersed on the surface of this composition are numerical computer codes, a
recurring motif in Parthans works. These dripping symbols of cyberspace further
illustrate how virtual reality and technology have overwhelmed our physical space.
166
167
FREQUENTLY ASKED QUESTIONS

How do I view the lots?
All lots for sale are featured in this auction catalogue. The
number listed next to each image is the lot number and
should be used as a reference during bidding or for any
information requests. The lots in this sale may be viewed
through any of the following:
i. Previews and Viewings Details listed in the 'Sales
and Enquiries section' of the printed catalogue
ii. The online auction catalogue available on
saronart.com
iii. The printed auction catalogue
iv. The mobile auction catalogue available for download
on your mobile device
What do you mean by Condition of Lots?
All lots will be shipped out in an as is condition,
meaning that the item is sold with all existing faults and
imperfections. Saronart encourages all potential buyers
to inspect each item carefully before bidding and to not
rely on an illustration of any item given in the catalogue.
Condition reports for all lots are available as a free service,
online or upon request by email, fax, or telephone.
What are special lots?
Lots marked as "Art Treasures" and/or "Antiquities" under
the Antiquities and Art Treasures Act, 1972 cannot be
exported outside India. Buyers are solely responsible for
meeting the requirements of the Antiquities and Art
Treasures Act, 1972 or any related state legislation.
What are Price Estimates?
Each lot has a price range listed. These estimates are based
on characteristics of the lot such as condition, quality,
rarity, provenance. These estimates are provided only as
a guide for buyers and do not include buyers premium
or applicable taxes. If applicable there is a link for pricing
achieved for similar art works at auction available next to
the lot in the online catalogue. Price estimates may be
subject to revision.
What is a Reserve Price?
Unless stated otherwise, all lots oered in the auction are
subject to a reserve price, which is the minimum price
that the lot may be sold for. No lot will be sold below its
168
in order to protect all bidders and maintain the

ecacy of the process.
reserve price and the reserve price will not exceed the low
price estimate. Reserve prices are condential and will not
be disclosed.
How do I register to bid?
Bidders are advised to register at least 24 hours in advance
of the sale. Bidders may choose to register online or send
in their details to Saronart and we will process the details
for you. Saronart requires the following details from a
rst time bidder to register and process an approval to bid:
i. Name
ii. Address
iii. Telephone Number
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v. Know Your Customer (KYC) documents
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deposits
In some cases, Saronart may request for a bidding limit
value which is a per lot limit based on your current bid
value.
If you have bid or been approved to bid with us before,
please use your Saronart login and password to accept
the Conditions for Sale online. Please note the invoicing
details provided at the time of registration cannot be
changed after the sale.
How do I Bid?
i.
Bidding Online: Once you have identied the lot
that you would like to bid on, click on "Bid Now"
and enter either the bid amount for regular bidding,
or a maximum price for proxy/automatic bidding.
Regular bidding is the method by which you actively
participate in the bidding process by entering the
next valid bid (or one of a higher value) each time
you are outbid. Your screen will display the next
(minimum) valid bid, based on a predetermined
increment. You may enter a bid at that exact value
only. You may also view the entire bid history prior
to making your decision. After you enter your bid, it
is advisable to view the bid history to verify that your
bid has been recorded. Please note that bidders may
be contacted during the auction for bid verication
ii.
Bidding on the Phone: Saronart accepts requests

from bidders to place bids on the phone with our
sta depending on availability. To avail of this service,
you must be registered as a bidder. Please note
that the number of telephone lines available for
telephone bidding may be limited and this facility is
provided at Saronarts discretion.
iii.
Bidding on the Mobile: Bidders may download a

software application from Saronart onto their
eligible mobile device and use it to place bids during
the sale. To avail of this service, you must be registered
as a bidder. Download the app from the iTunes App
Store and Google Play Store.
iv.
Absentee/Proxy Bids: Bidders may place bids prior

to the sale either online or in writing by submitting
the absentee/proxy bid form. See the Absentee/
Proxy Bid Form available at the back of the printed
catalogue, or on the website.
What are bid increments?

Any new bid must be greater than the current highest
bid by a minimum increment. The next valid bid
amount is the current highest bid plus the minimum
increment value. The auctioneer may vary the
increments during the course of the auction at his or
her discretion. Online bids however, are accepted only
at the next valid bid based on the minimum increment.
Please refer to the bid increments printed at the back
of the catalogue (on the reverse of the Absentee/Proxy
Bid Form).
Can a bid be cancelled?
Once the auction has started, bids may not be cancelled
by a bidder. Absentee/Proxy bids may be altered prior
to the start of the auction. Absentee/Proxy bids placed
online may be lowered if the bidder has not reached their
proxy (maximum) value. Saronart reserves the right to
cancel a bid at its discretion if it considers it necessary to
do so.
What is the currency of bidding?

Bids may be placed in US Dollars (USD) or Indian Rupees
(INR). However, only buyers in India may pay for their
purchases in INR at the close of the auction. All other
buyers must complete payment in USD. Certain lots have
been marked with the sign . These lots are not situated in
India and therefore, may only be bid for and purchased in
USD. Persons residing in India wishing to bid in USD must
be eligible under the various foreign exchange regulations
to make payments overseas. Please contact Saronart for
further details. Please see the exchange rate section in our
Conditions for Sale online.
What is an Opening/Start Bid?
The opening/start bid is the value at which the auction
house starts the bidding on a particular lot.
Absentee/proxy bids received before the start of the
auction will be recorded as follows:
i. If the absentee/proxy bid is less than the opening
bid value it will be recorded and displayed below
the opening bid value at the time of the start of
the auction in the bid history for that particular
lot.
ii. If the absentee/proxy bid is greater than the opening
bid value and is less than the next valid bid for that
lot (based on the minimum increments) it will be
recorded and displayed as the current highest bid
above the opening bid value at the time of the start
of the auction in the bid history for that particular
lot. The next valid bid in this case will be greater than
the current highest bid by a minimum increment,
which applies to that bid value.
iii. Multiple absentee/proxy bids received on a particular
lot before the start of the auction will be recorded
and displayed in the bid history of the lot according
to the values with the highest bid being the current
valid bid at the time of the start of the auction.
Absentee/proxy bids received at the same value will
be prioritised based on the time of receiving the bids
and will be shown in the bid history of the lot.
169
How do I track my bids?

Under My Bids on the page "My Auction Gallery",
bidders can keep track of their bids. For ease of tracking
bids, bidders are advised to assign bidding nicknames to
themselves when prompted.
The most updated bid values shall be shown only when
the page on the website containing the information on bid
values is refreshed, which shall happen either automatically
at regular intervals (indicated at the top of the page), or
when a bidder clicks on the "click to refresh immediately"
link on the page, or on the "refresh" or "reload" button
on his/her internet browser. After the values on the page
have been refreshed, any changes in bid values shall not
be visible to the bidder until the values are refreshed again
whether automatically or by the bidder.
We encourage bidders to set absentee/proxy bids for lots
they are interested in well in advance of the closing time
for a lot.
When does a lot sell? What are closing and winning
bids?
The closing bid for a lot is the highest bid at the time a
particular lots bidding has ended. No further bids can
be made at that point. The closing bid is considered a
winning bid, only if the bid equals or exceeds the reserve
price. If the closing bid on a particular lot is below the
reserve price, it will not be considered a winning bid and
the lot will be deemed unsold. However, if the closing bid
belongs to a proxy bidder and is below the reserve price,
but the proxy bidders maximum bid price exceeds or
equals the reserve price, then the lot will be sold to the
proxy bidder at the reserve price. The winning bids for all
sold lots will be posted on the website after the close of
the auction.
Groups of lots are scheduled to close at dierent times
on the last day of the auction. The bid closing schedule
for each auction is listed online, and at the back of the
printed catalogue. Pre-determined groups of lots will
close according to the bid-closing schedule unless a bid
is recorded within a span of 2 minutes prior to the lots
scheduled closing time. In this case, the lot closing time
will be extended to 2 minutes after the time of the last
bid. If this time extension takes place, bidding on any lot
will only end if there is no bid recorded for a continuous
period of 2 minutes. Bidders are advised to click on the
"click to refresh immediately" link on the website page
170
Any sale of lots originating from India to an address

in India is subject to a 12.5% VAT on the winning
bid value and a 15% Service Tax on the Buyer's
Premium. A CST of 2% instead of the 12.5% VAT
will be applicable on the winning bid value only
if the purchasing entity is a business; the delivery
location of the lot is outside the state of the location
of the sale as mentioned in the Sales and Enquiries
section of the catalogue and the Buyer provides the
necessary documentation required by the Sales Tax
authorities. The nal charges will be determined at
the close of the auction and will be sent by email to
the winning bidder.
being viewed by them, or on the "Refresh" link if bidding

on a mobile, at regular intervals for updates on latest bids
and time extensions if any.
What is Buyer's Premium?
In respect of each sale at the auction, Saronart shall
charge a Buyer's Premium calculated at 20% of the
winning bid value on each lot up to and including USD
1,000,000; 15% of the winning bid value in excess of USD
1,000,000 up to and including USD 1,600,000; and 12% of
the Winning Bid in excess of USD 1,600,000. For lots being
shipped from India, a service tax on the Buyer's Premium
shall be to the account of the Buyer. This is applicable for
deliveries within India as well as overseas.
ii.
How will I be invoiced?
If you win a bid, you will be sent an email after the close of
the auction, containing an invoice for the winning bid plus
additional charges (shipping, handling, duties and taxes
as applicable) and the Buyer's Premium plus service tax
at applicable rates. The invoicing details provided at the
time of registration will be used to raise the invoice and no
changes will be accepted after the sale.
You may review acceptable modes of payment described
in the section below. If you are the winning bidder, you
are legally bound to purchase the item from Saronart.
Please note that purchases will not be shipped out until
payment has been received and cleared.
What are additional charges?
All post-sales expenses, including packing, insurance,
shipping or handling charges, are borne by the buyer.
Shipping will be charged on courier rates and are
determined by the value, origin and destination of the
package. Local deliveries will be charged at actuals.
You may choose to make your own arrangements for
shipping and handling. However, all documentation
requirements must be complied with. Please contact us
for further details.
What are the Duties and Taxes applicable on my
purchase?
All duties and taxes applicable shall be borne by the buyer
and will depend on the value, origin and destination of
the package.
i.
Deliveries in India for lots originating in India:
International shipments for lots originating in

India:
For lots originating from India, a 15% Service Tax
on the Buyer's Premium is applicable. There may be
duties and taxes levied depending on the delivery
destination which typically will be on the total of
the winning bid and shipping and handling values.
Depending on the shipping address, these duties and
taxes vary according to customs regulations in the
destination country. Any shipments to EU countries
will be charged an additional VAT as applicable.
Please contact Saronart for further details.
For imports, the terms of sale are Delivered Duty
Unpaid (DDU). It is the Buyers responsibility to
pay all international duties, customs charges, taxes
and taris to the respective authorities. Normally,
the couriers we contract will pay import duties on
behalf of the buyer and get reimbursed at the time
of delivery.
iii.
Shipments and Deliveries for Lots originating

outside India (lots marked with the symbol ):
These lots are located outside India. Persons residing
in India can bid on and pay for in USD by complying
with the appropriate foreign exchange regulations
for making overseas payments. There are import
duties applicable on artworks shipped into India.
Please contact Saronart for further details.
In the event that the lot is to be shipped internationally,

additional charges for international shipments mentioned
in the above section shall apply.
Please Note: Lots may require permits for import or
be subject to import restrictions to certain countries.

Potential buyers are advised to check import regulations
prior to making a bid decision.
How do I make payment?
Buyers will be required to complete payment within a
period of 7 business days from the receipt of the invoice
via email. If you have not received your invoice within 48
hours of the close of the sale, please contact us.
For Buyers in India
Payment can be made in INR only by the following
acceptable modes of payment:
i. Cheque/Demand Draft: To be made in favour of
Saron Art Private Limited
ii. RTGS/NEFT: Details will be included with the invoice
and available upon request
iii. Credit card: up to INR equivalent of USD 5,000
For Buyers outside India
Payment can be made in USD only by the following
acceptable modes of payment:
i. Cheque: To be made in favour of Saron Art Private
Limited
ii. Direct wire transfer: Details will be included with the
invoice and available upon request
iii. Credit card: up to USD 5,000
iv. Payment from an NRE account: The invoice will be
raised in USD based on the winning bid value, and
the buyer will have to transfer an equivalent INR
amount at the bank exchange rate
When will my purchases be delivered/can I collect
my purchases?
Purchases shipped out within 10 - 15 business days of
the payment being cleared are insured under the terms
of Saronarts insurance policy (please note that frames
are not insured). If there is an expected delay in dispatch,
the buyer will be informed of the delay via email, unless
the buyer has indicated an alternative preferred mode of
communication.
Buyers may choose to collect their purchases from
the Saronart oce in Mumbai. In such cases, buyers
171
are requested to make an appointment to collect

purchases within 10 - 15 business days of completion of
all payments and documentation formalities. Buyers who
have completed payment formalities and have not taken
delivery of their lots from Saronart within 30 days of the
completion of payment formalities will be charged storage
and insurance at applicable rates.
What documentation will I receive with my
purchases?
Upon conrmation of delivery or receipt of shipment, we
will send you the invoices for your purchases along with
any relevant documentation for the lot that has been
mentioned in the lot details. Please note that Saronart
does not issue any authenticity certicates and does not
provide artist authenticities either.
What if my shipment reaches damaged?
All purchases from this sale are nal. In the unlikely event
of your receiving a damaged product, please notify
Saronart directly within ve days of receipt of the lot.
Please call or email us at any of our locations mentioned
in the Sales and Enquiries section. If Saronart does not
receive any notication within 7 business days of delivery,
it shall be assumed that the lot has been received in good
condition, and no claims will be entertained.
What are some of the symbols used next to the lots

on auction?
Lots marked with are not situated in India and
therefore, may only be bid for and purchased in
USD. Persons residing in India, wishing to bid in USD
must be eligible under the various foreign exchange
regulations to make payments overseas. Please
contact Saronart for further details.
Lots marked with indicate that Saronart owns the
lot in whole or in part or has an economic interest in
the lot equivalent to an ownership interest.
The seller of lots marked with are guaranteed a
minimum price. This guarantee may be provided
by Saronart, or jointly by Saronart and any third
party, or any third party.
How do I participate in your next auction?
If you would like to register to bid or consign to any of our
upcoming auctions please contact any of our locations
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CONDITIONS FOR SALE

These conditions for sale set out the terms on which We
oer the Lots listed in the Auction Catalogue for sale on
behalf of the seller, and if you make a successful bid, will
form a contract for sale between you and the seller.
By participating in this online auction, you acknowledge
that you are bound by these conditions for sale as listed
below and on the Website. You will nd a glossary at the
end explaining the meanings of the words and expressions
which are in bold.
1. Our role as the agent of the Seller
1.1 We undertake to sell the Lots through this online
auction as agents for and on behalf of sellers. Unless
stated otherwise, We have no ownership interest in
any Lot in this online auction.
1.2 Making a bid online constitutes an irrevocable oer
to purchase the Lot and the acceptance of a bid as
the winning bid by Us shall result in an enforceable
contract of sale between Us, acting solely as the
agent of the seller, and the winning bidder.
2. Catalogue Descriptions and Condition of Lots
2.1 We oer all Lots for sale at the online auction on
an "as is" basis, meaning that each Lot is sold with
all existing faults and imperfections. We encourage
all potential buyers to inspect each item carefully
before bidding.
2.2 Any statements made by Us, including by Our
representatives/employees, about any Lot, whether
orally or in writing, concerning attribution of
such Lot to, for example, any school of art or
craftsmanship, country or origin, history, provenance
or condition, are only expressions of Our opinion
or belief. Such opinions or beliefs have been formed
honestly in accordance with the standard of care
expected of an auction house, having due regard to
the estimated value of each Lot. We have not carried
out any exhaustive research or analysis on any Lot to
be sold in this online auction, and potential buyers
should seek appropriate advice on the condition of
each Lot from their own professional advisors.
172
2.3 For the convenience of bidders, We provide

condition reports on Lots upon request free of
charge. The report includes Our bona de opinion
on the condition of the Lot and is not an alternative
to viewing and inspecting a Lot by a bidder, or a
bidder's duty to seek independent advice on the Lot,
including its description, condition and authenticity.
2.4 The bidders undertake to:
(i) inspect and satisfy themselves prior to the online
auction as to the condition and description of
the Lot;
(ii) rely on their own judgment as to whether the
Lot matches its description; and
(iii) not rely on an illustration of any Lot given in the
Auction Catalogue.
2.5 Neither We nor any of Our Aliates, agents,
representatives, employees or directors shall be liable
for errors or omissions in any of the representations
made in the Auction Catalogue or otherwise, with
respect to the authenticity, description or condition
of any Lot for sale through the online auction.
3. Viewing the Lots and Bidder Registration
3.1 All Lots for sale are featured in the Auction
Catalogue. The number listed next to each image
is the lot number and should be used as a reference
during bidding, or for any information requests. The
Lots in this sale may be viewed through any of the
following:
(i) Previews and Viewings details listed in the
'Sales and Enquiries' section;
(ii) The Online Auction Catalogue;
(iii) The Printed Auction Catalogue; and
(iv) The Mobile Auction Catalogue
3.2 We may withdraw any Lot before, during, or after
the online auction, if We have reasons to believe
that the authenticity of the Lot or the accuracy of
the description of the Lot is in doubt, or if there is a
breach of Our terms of business, or if We otherwise
believe, in Our sole discretion, that it would be
improper to include the Lot in the auction.
173
3.3 All Lots shall be sold subject to the Reserve Price. If the
winning bid is below the Reserve Price, the Lot shall
be considered unsold. The Reserve Price on each Lot
shall be condential and We shall have no obligation to
disclose the same to any bidder. Lots sold in "Absolute
Auctions" or marked as sold with "No Reserve" are
not subject to a Reserve Price and will be sold to the
highest bidder, irrespective of the bid amount.
3.4 We have the sole and absolute discretion to: (i)
determine the form and content of the descriptions
of Lots in the Auction Catalogue, (ii) granting
bidding access to a bidder, (iii) recording, rejecting
or accepting bids, and (iv) deciding which bid
constitutes the winning bid, if any.
3.5 Online bidding access, and access to the MobileApp
and the telephone bidding facility, shall be given at
Our discretion and We may set limits on the number
of bids that may be made by a bidder and/or require
payment guarantees or deposits as a precondition
to giving bidding access to a bidder. Bidders will be
informed of their bidding limits, if any, and will not
be allowed to bid further if their bidding limit has
been exhausted.
3.6 Bid updates and time extensions, if any, shall be
updated on the Website. On the Website, bidders
may refresh bidding values by clicking on the
"Refresh" icon or the re-load/refresh buttons on
their browsers, to view latest bid updates and time
extensions, if any. We shall evaluate the bid histories
of specic Lot groups periodically to preserve the
ecacy of the auction process. This exercise may be
conducted by Us internally or through third parties
solely at Our discretion.
3.7 All bidders are required to provide complete and
accurate invoicing details to Us at the time of
registration for the auction and invoicing details
once registered will not be changed. The bidder
shall be invoiced based on details provided at the
time of registering for the auction. New bidders are
advised to register at least 48 hours prior to the bid.
Know-Your-Customer (KYC) documents and/or
nancial reference letters are required for individual
and corporate clients and we will not grant bidding
access if the bidder registration and KYC procedures
are not complete.
174
4. Bidding
4.1 For the convenience of bidders, in particular bidders
who are placing bids on more than one Lot, Lot
groups are scheduled to close at dierent times
during the auction.
4.2 The bidding for various Lot groups shall be closed in
accordance with the bid closing schedule. However,
a bid can be recorded by Us in the 2 minutes prior to
the closing time of the Lot. The closing time for such
Lot shall be extended to a time that is 2 minutes after
the time that the last bid was made. In the event of
extension of closing time in accordance with this
paragraph, bidding on the Lot shall only end if no
bid is recorded by Us for a continuous period of 2
minutes. Bidders are advised to click on the "Refresh"
icon on the Website page being viewed by them
or on the "Refresh" button in the browser at regular
intervals (in accordance with the provisions of
paragraph 4.4 below) for updates on latest bids and
time extensions, if any.
4.3 The Website shall also contain a "My Auction"
ltered view of the Auction Catalogue and the
bidder may click on this link to access information
on all bids made by the bidder in respect of various
Lots. For ease of tracking bids, bidders are advised
to assign bidding nicknames to themselves. The
Website shall contain the bid history for each Lot,
being the bid amounts that have been recorded
since the start of the auction till the current highest
bid; and a countdown clock indicating the amount
of time available for placing bids before the closing
time.
4.4 The bid history, current bid and countdown clock
shall be accurate at the time of downloading of
those values. However, such information shall not
reect any changes in the bid history, current bid
and/or countdown clock that may have occurred
during the time taken for this information to reach
the bidder's computer from Our server. The most
updated bid values shall be shown only when the
information on bid values is refreshed, which shall
happen either automatically, or when a bidder clicks
on the "Refresh" icon on the Website page, or on
the "Refresh" or "Reload" button on his/her internet
browser. After the values on the page have been
refreshed, any changes in the bid history shall not
be visible to the bidder until the values are refreshed

again, whether automatically on the Website, or by
the bidder.
4.5 When the countdown clock counts down to zero,
in the case where the closing time in respect of
a particular Lot has been extended by a further
2 minutes pursuant to paragraph 4.2 above, the
countdown clock may not reect such extension.
The bidder may wait for the values on the page to
refresh automatically on the Website, or click on
the "Refresh" icon on the page, or on the "Refresh"
or "Reload" button on his/her internet browser after
the countdown clock has counted down to zero
to determine whether the closing time has been
extended for that Lot.
4.6 The countdown clock combined with the current
highest bid as shown on the bid history on the
Website shall only be an indication of the highest
bid amount at the time when the values on the
Website were refreshed in the manner set out in
paragraph 4.5 above. Should bidders want more
frequent updates, they are advised to refresh values
as described in paragraph 4.5 above in order to view
the most updated bid history and countdown clock.
4.7 Bidders may download the MobileApp onto any
mobile device that supports Android and iOS,
and use it to place advance bids. To avail of this
service, you must be registered as a bidder. We do
not accept any liability in the unlikely event that a
bid through the MobileApp is not executed or
executed incorrectly.
4.8 The foreign currency exchange rate used is constant
during the auction, and has currently been set at 1:65
(USD:INR). Prior to the start of the auction, We may
at Our discretion change the exchange rate used,
based on uctuations in market exchange rates. The
estimates for individual Lots have been 'rounded o'
for ease of reference and may not reect the exact
exchange rate used for bid calculations.
4.9 Technical Downtime: In the unlikely event that the
Website or MobileApp is inaccessible to bidders
or partially disabled due to Technical Downtime
at any time during the half an hour prior to the
scheduled closing time of the auction for any of
the Lot groups, the closing time of that Lot group

and subsequent Lot groups will be extended by the
duration of such Technical Downtime. In case the
Technical Downtime extends beyond the closing
time for a particular Lot group, the Website and
the MobileApp, as the case may be, shall, after the
Technical Downtime, show the auction for the
particular Lot group as closed. However, the closing
time for such Lot group and subsequent Lot groups
shall be extended by the duration of the Technical
Downtime and appropriate details of the extension
shall be published on the Website shortly after recovery
from the Technical Downtime. Bids recorded prior to
any Technical Downtime will be treated as valid. We
shall not be liable for any loss of information due to the
Technical Downtime. The data logs of Our server will
determine the duration of the Technical Downtime
and any determination made by Us in respect of
extension of the closing time shall be nal.
4.10 Due to the nature of internet and/or mobile trac,
there may be an unpredictable time-lag between a
bidder placing a bid, and that bid being received by
Us. Therefore, although a bidder may have placed
his/her bid prior to the closing time, the bid may be
received by Us after the closing time for the Lot in
respect of which the bid has been placed and shall,
in such an event, be rejected. In order to prevent bids
being rejected in such a manner, bidders may set
proxy bids/automatic bids on Lots which the bidder
wishes to bid for.
4.11 Proxy bids may be recorded with Us 12 hours prior
to the closing time, subject to the other provisions
of these conditions for sale, including any limits
imposed by Us on the number of bids that a bidder
may place. Proxy Bids are accepted from bidders
once they have been given bidding access for the
auction and may be entered prior to auction start
and up until the auction closes.
4.11 a
Once a bid is registered in Our system, whether

placed by an active bidder or by proxy, it is
immediately and automatically displayed for all
registered users to see.
4.12 Bidders are advised to keep their login ID and

password secure at all times. We will hold the bidder
responsible for all bids placed using their login ID and
175
password, whether via the Website or through the

MobileApp. Bidders choosing to bid via telephone
are advised to re-set their passwords at the close of
the auction.
4.13 Our employees may not bid in the auction once
the auction has started. They may, however, submit
an absentee/proxy bid for an amount which may
be equal to or above the lower estimate of a Lot
before the auction commences. Once the auction
has started, they may not increase their bid or alter
it in any way. Our employees may also bid in charity
auctions that are held on the Auction Platform.
5. Completing the Purchase

5.1 We will raise invoices on the winning bidder for the
sale price and Buyer's Premium, applicable taxes
on sale of Lots and other additional charges that
may be incurred by Us, if any, including shipping and
handling of the Lot and additional levies.
5.2 The title to the Lot shall pass from the seller to Us
outside the territory of the United States of America.
The title to the Lots purchased shall pass to the
winning bidder at the time that bidding is closed for
each Lot and such winning bidder shall thereafter
assume full risk and responsibility for such Lot. In
any event, the Lots purchased will not be released
or shipped out to the winning bidder or his/her
representative until the winning bidder has fullled
his payment and other obligations as described in
these conditions for sale.
4.14 Our auction platform does not allow any bids to be

placed by Us on behalf of a seller. All bids recorded
are from registered bidders.
4.15 We have the right to exercise reasonable discretion
in setting bid increments, refusing any bid, advancing
the bidding, withdrawing or dividing any Lot,
combining any two or more Lots, and in the case of
error or dispute, during or after the sale, determining
the successful bidder, continuing the bidding,
cancelling the sale or reoering and reselling the
item in dispute. If any dispute arises after the sale,
then, in the absence of any evidence to the contrary,
the sale record maintained by Us will be conclusive.
4.16 We reserve the right not to award the winning bid to
the bidder with the highest bid at the closing date if
We deem it necessary to do so.
4.17 We shall retain the right to display the results of the
sale and Lot details sold by Us, including catalogue
descriptions and prices on the Website at all times,
including after the completion of the sale. We regret
that We cannot agree to requests to remove these
details from the Website.
4.18 At Our discretion, proxy bids submitted on "no
reserve" Lots will be executed at a minimum of 10%
of the lower estimate of the relevant Lot if there is
no competing bid, and provided that the proxy
bid amount is greater than such minimum value.
Notwithstanding the above, in the event that there
is a bid lower than such minimum value and there
is no competing higher bid, then We may, at Our
discretion, execute the Lot at such lower value.
176
5.3
In respect of each sale at the auction, We shall charge

a Buyer's Premium calculated at the rate of (i) 20%
of the winning bid value of up to and including USD
1,000,000 (ii) 15% of the winning bid value in excess
of USD 1,000,000 up to and including USD 1,600,000
and (iii) 12% of the winning bid value in excess of
USD 1,600,000. For Lots being shipped from India, a
service tax on the Buyer's Premium shall be to the
account of the winning bidder. This is applicable for
deliveries within India as well as overseas.
5.4 Irrespective of the currency in which the bidders

have placed their bids, winning bidders located in
India will be invoiced in INR and all other winning
bidders will be invoiced in USD. Payments must be
made in the currency on the invoice in any of the
following modes of payment.
For INR payments
1. Cheque/Demand Draft
2. RTGS/NEFT
3. Credit card: up to INR equivalent of USD 5,000
For USD payments
1. Cheque
2. Direct wire transfer
3. Credit card: up to USD 5,000
NOTE: Payments in excess of USD 5,000 (or its INR
equivalent) must be made through a wire transfer
or cheque. We and Our Aliates will not be held

responsible for any refusal or failure to accept modes of
payment not outlined above.
5.5 The winning bidder shall pay the sale price and
Buyer's Premium in full (including applicable taxes
and other charges, if any) within 7 business days
from the closing date of the auction. No shipment
or delivery of the Lots will be made to the winning
bidder if the sale price and Buyer's Premium
(including applicable taxes and other service
charges, if any) are not received by Us and until all
proper documentation in connection with the sale
of the Lot has been completed. Payments will not
be accepted from any parties other than the winning
bidder as recorded on the invoice.
5.6 The winning bidder acknowledges that We will abide
by any export restrictions that may apply in the
countries from where specic Lots will be shipped.
The winning bidder shall also be responsible to ensure
that the concerned Lot is freely importable into his/
her country or to the country where the destination
for delivery (as specied by the winning bidder) is
located. If the winning bidder or We become aware
of any restrictions to such import subsequent to the
completion of the auction, the winning bidder shall
provide an alternate delivery destination to Us. All
costs associated with the process of delivery and
storage (when required) of the Lot shall be borne by
the winning bidder. The Lot(s) shall be handed over
to the winning bidder or his nominee only upon full
payment of all such costs.
5.7 Lots marked as "Art Treasures" under the Antiquities
and Art Treasures Act of 1972 cannot be exported
outside India. If you are the successful bidder for any
such Lot, you agree not to export such Lot outside
India. Each winning bidder is solely responsible for
meeting the requirements of the Antiquities and Art
Treasures Act of 1972 or any related state legislation.
Please note that the Lots are marked for your
convenience only, and We do not accept any liability
for errors or for failing to mark the Lots.
5.8
Non payment: In case payments are not received

within 7 business days of each invoice, We shall
treat the same as a breach of contract of sale by
the winning bidder, and the seller may, in such an
event, authorise Us to take any steps (including

the institution of legal proceedings), as it may
deem to be appropriate to enforce payment by
the winning bidder. In addition, the winning bidder
will be charged demurrage at 1% of the total value
(winning bid plus Buyer's Premium), or INR 10,000
per month, whichever is higher, till the date of actual
payment.
5.9 Failure to collect: If the winning bidder informs Us
that he/she wishes to collect the Lot from Us in
person and if such Lot is not collected by the winning
bidder within 30 days of the payment formalities
being completed, We shall arrange for storage of the
Lot at the winning bidders expense, and shall only
release the Lot after payment has been made, in full,
of the sale price and Buyer's Premium, including
storage and insurance at applicable rates.
5.10 We shall be entitled to exercise a lien on the Lot for
payment of any sums due to Us from the winning
bidder, including the sale price, Buyer's Premium or
costs relating to storage and insurance where they
are to be borne by the winning bidder, in relation to
any Lot purchased by the winning bidder.
6. Authenticity Guarantee
6.1 We provide a limited guarantee on the authenticity
of the Lots for a period of one year from the date
of the auction of such Lots. Under this limited
guarantee, We only guarantee characteristics or
features mentioned in all capital letters in the
heading of the "Description of the Property" in the
Auction Catalogue (in the case of the MobileApp
Auction Catalogue, the characteristics or features
mentioned in all capital letters may be displayed in a
position other than the heading) till such time that
the Lot is in Our possession. We do not guarantee
any other attribute of such Lot.
6.2 In the unlikely event that within one year from the
sale of the Lot through auction, it is proved by the
winning bidder, to Our reasonable satisfaction, that
the Lot was not authentic and if, in Our opinion,
bidders being aware of such error or omission would
have bid signicantly less than the actual sale price,
We shall be entitled to rescind the sale, and the seller
will be liable to refund to the winning bidder the sale
price paid for the Lot.
177
6.3 The guarantee above shall be subject to the following

conditions:
(i) the claim is made by the winning bidder as
registered with Us (the benet of the claim is not
assignable to any subsequent owners or others
who may acquire or have an interest in any of the
Lots);
(ii) the concerned property in the Lot is returned to
Us in the same condition that it was in at the
time of delivery of such property in the Lot to
the winning bidder; and
(iii) the concerned property in the Lot is indisputably
the same as purchased through the auction;
Once We obtain the refunded amount from the seller, We
shall forward the same along with the amount charged by
Us as the Buyer's Premium to the winning bidder. We
shall not be accountable to the winning bidder for any
taxes, shipping, handling or any other charges that may
have been applicable at any time from the sale of the Lot
till the claim.
6.4 All such claims will be handled on a case-by-case
basis, and in the case of an authenticity claim,
will require that examinable proof, which clearly
demonstrates that the Lot is not authentic, is
provided by an established and acknowledged
authority. Our decision in respect of such claims
shall be nal and binding.
6.5 In all cases, We retain the right to consult with, at
the expense of the winning bidder, two recognised
experts in the eld (such experts being mutually
acceptable to Us and the winning bidder), to
examine the Lot under question before deciding
to rescind the sale and oer the refund under the
guarantee set out above. The opinion of the experts
shall not be binding on Us.
178
disclose such information to any third party, unless

otherwise required by law or a governmental authority.
8. Extent of Our Liability
8.1 We have an obligation to refund the sale price and
Buyer's Premium to the winning bidder only in
the circumstances described above (in paragraph 6).
Damages to, or losses or loss in value of any of the
Lots (excluding frames) incurred during shipping
and transit are covered as per the insurance policy
obtained by Us. In case the winning bidder opts out
of insurance coverage arranged for by Us, We shall
not entertain any claims for damage or loss during
shipping and transit. Subject to the authenticity
guarantee above, neither Our suppliers nor Us, nor
any of Our employees or agents, shall be responsible,
either for the correctness of any statements as to the
authorship, origin, date, age, attributes or genuineness
of any Lot in the sale, or for any mistakes in the
description of the Lots, or for any faults or defects in
the Lots, or for any other act or omission whatsoever.
We oer no guarantee or warranty other than the
limited guarantee set out in paragraph 6 above.
8.2 The rescission of the sale and the refund of the total
sale price paid by the winning bidder is the sole
remedy that may be sought by a winning bidder,
and such remedy is exclusive and in lieu of any other
remedy which may otherwise be available under
law. We shall not be liable for any incidental or
consequential damages incurred or claimed.
(i) sending an email to the email address disclosed

by the bidder to Us; or
(ii) sending a courier to the address disclosed by the
bidder to Us.
The seller of lots marked with are guaranteed a

minimum price. This guarantee may be provided
by Saronart, or jointly by Saronart and any
third party, or any third party.
10.2 Such legal notice shall be deemed to have been

properly served:
(i) in the case of email transmission: on the date of
the transmission; and
(ii) in case of transmission by courier: 2 business days
after the dispatch of the notice by courier.
GLOSSARY
1. Aliates: Saron Art Private Limited, Planet Saron
Inc., Planet Saron Management Co. LLC, and their
holding or subsidiary companies as on the date of
the online auction.
2.
12. Governing Law and Jurisdiction

12.1 These conditions for sale are subject to the laws of:
(i) India, in the event that the seller is located in
India; and
(ii) The United States of America, in the event that
the seller is located in any jurisdiction other than
in India.
Auction Catalogue: The catalogue published by

Us, whether in print, on the MobileApp or on the
Website, containing details of the auction along
with the description, price and other details of Lots
to be oered for sale at such auction. In case of any
discrepancy between the print Auction Catalogue,
the MobileApp Auction Catalogue, the online
Auction Catalogue and/or the eCatalogue, the
online Auction Catalogue, as modied by Us from
time to time, shall take precedence.
3.
Buyer's Premium: The amount charged by Us

from a winning bidder for services rendered by
Us, in accordance with these conditions of sale, in
connection with the purchase of the Lot(s) by the
winning bidder.
Such laws shall apply to the construction of the

conditions for sale and to the eect of the provisions
thereof.
4.
Lot/Lots: An item to be oered at the online

auction, including two or more items to be oered
at the online auction as a group.
5.
Our/Us/We: Saronart Management Corporation,

acting either on its own behalf, or as a representative
of any of its Aliates.
6.
MobileApp: Mobile application developed by Us,

providing a mobile auction platform for the auction.
7.
Reserve Price: The minimum price that a seller has

communicated to Us as being acceptable for the
sale of a Lot through an auction.
8.
Technical Downtime: The time period during

which Our server or Website or MobileApp is not
in operation due to a malfunction.
9.
Website: Our website for the purposes of the online

auction, located at the URL www.saronart.com.
11. Severability
If any part of these conditions for sale is found by any
court of law to be invalid, illegal or unenforceable, that
part may be discounted and the rest of the conditions
shall be enforceable to the fullest extent permissible by
law.
12.2 All parties are subject to the exclusive jurisdiction of

courts at:
(i) Mumbai, Maharashtra, India, in the event that
the seller is located in India; and
(ii) New York, USA, in the event that the seller is
located in any jurisdiction other than in India.
6.6 In the event of the sellers failure to refund the

proceeds as stated in this paragraph, the winning
bidder shall return the concerned property in the
Lot to Us and authorise Us as its agent to initiate
legal proceedings against the seller. Any such steps
taken or legal proceedings instituted by Us against
the seller shall be to the cost of the winning bidder.
9. Copyright
All content of Our Auction Catalogue, the print
catalogue, eCatalogue and content on the Website and
the MobileApp are copyright protected in favour of
"Saronart". All trademarks, names, brand names, etc. used
in the print Auction Catalogue and on the Website
and the MobileApp are either trademarks or registered
trademarks of Saronart, or of their respective owners.
Any rights not expressly granted herein are reserved. No
image, illustration or written material may be used or
required without Our prior written permission. We and
the seller(s) make no representation or warranty that
the winning bidder of a Lot will acquire any copyright or
other reproduction rights in it.
7. Privacy of Personal Information

We will maintain the condentiality of your personal
information as disclosed to Us and undertake to not
10. Legal Notices

10.1 We may validly serve a bidder with a legal notice, if
required, by the following means:
Lots marked with indicate that Saronart owns the

lot in whole or in part or has an economic interest in
the lot equivalent to an ownership interest.
13. Symbols used in this catalogue

Lots marked with are not situated in India and
therefore, may only be bid for and purchased in
USD. Persons residing in India, wishing to bid in USD
must be eligible under the various foreign exchange
regulations to make payments overseas. Please
contact Saronart for further details.
179
BID ON THE GO
SAFFRONART MOBILEAPP
SUMMER ONLINE AUCTION | 89 JUNE 2016
ABSENTEE/PROXY BID FORM

To enter absentee/proxy bids, please sign the completed form and email it to auction@saronart.com, or fax it to +91 22 2432 1187.
You may also submit absentee/proxy bids online. For additional information, please refer to our "Frequently Asked Questions
(FAQs)" section at the back of the catalogue or on the Saronart website.
I request Saronart, without legal obligation on its part, to bid on the Lots listed below, up to the maximum price I have specied.
I agree that my Bid will be treated as an oer and is subject to the Conditions for Sale listed in the catalogue and on saronart.com.
I understand that Saronart is accepting written Bids for the convenience of clients and I will not hold it liable for failure to record my
Bid. I understand that a maximum Bid, once recorded, may not be cancelled.
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 Saronart will be invoiced, and no invoices will be changed after
the sale.
Lot No.
Artist/Description
Maximum Bid Amount in USD / INR
SUMMER ONLINE AUCTION

8 9 JUNE 2016
Name:
Bid real time

Get alerts on selected lots
View auction catalogues
View past results
App available on Google Play and iTunes
Email:
Address:
City:
Pin/Post Code:
Tel (mobile):
Tel (oce/home):
Country:
Sa ronart username:
Signature
181
BIDDING INCREMENTS
Bidding begins below the lower estimate, and increases in steps, or increments. The next valid bid is based on the increments listed below.
If bidders enter a proxy bid online, the next bid is placed at the minimum incremental value.
SUMMER ONLINE AUCTION | 89 JUNE 2016
CLOSING SCHEDULE
Auction Closing
Below $5001
$100,001 $500,000
By $100 up to $1,000
By $10,000 up to $150,000
By $150 up to $2,500
By $15,000 up to $200,000
By $250 up to $5,000
By $20,000 up to $250,000
By $25,000 up to $500,000
$5,001 $10,000
By $500 up to $7,5000
By $750 up to $10,000
$500,001 $1,000,000
By $50,000 up to $750,000
By $75,000 up to $1,000,000
For your convenience, especially if you are bidding on multiple lots, groups of lots are scheduled to close at dierent times
on June 9, 2016.
Pre-determined groups of lots will close according to the bid-closing schedule below unless a bid is recorded within a span
of 2 minutes prior to the lot's scheduled closing time. In this case, the countdown clock for that lot will be reset to 2 minutes
and the lot closing time will be extended accordingly. Bidding on any lot will only end if there is no bid recorded for a span
of 2 minutes.
Lots have been allotted into groups, and the closing schedule for the various groups is as follows:
$10,001 $50,000
By $1,000 up to $15,000
$1,000,001 $5,000,000
By $1,500 up to $25,000
By $100,000 up to $2,000,000
By $2,500 up to $50,000
By $150,000 up to $3,000,000
Groups
Lot Number Closing Time Closing Time Closing Time Closing Time Closing Time Closing Time
(India)
(US Eastern) (US Pacic)
(UK)
(Japan)
(Hong Kong)
By $200,000 up to $4,000,000
$50,001 $100,000
By $250,000 up to $5,000,000
By $5,000 up to $75,000
1-24
07:30 PM
10:00 AM
07:00 AM
03:00 PM
11:00 PM
10:00 PM
25-51
07:50 PM
10:20 AM
07:20 AM
03:20 PM
11:20 PM
10:20 PM
52-77
08:10 PM
10:40 AM
07:40 AM
03:40 PM
11:40 PM
10:40 PM
78-109
08:30 PM
11:00 AM
08:00 AM
04:00 PM
12:00 AM
11:00 PM
By $7,500 up to $100,000
INR increments are subject to change depending on 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 on each lot
up to and including USD 1,000,000; 15% of the winning bid value in excess of USD 1,000,000 up to and including USD
1,600,000; and 12% of the Winning Bid in excess of USD 1,600,000. All applicable duties and taxes, and shipping and
handling charges shall be borne by me.
2.
I understand that if Saronart receives identical absentee/proxy Bids, and if these Bids are the highest for the Lot,
Saronart will sell the Lot to the Bidder whose Bid it received and accepted rst.
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 saronart.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 ocial photo identity card (either a PAN Card, National Identity Card, Passport or
Drivers Licence). Once your documents are veried, you will be given access to bid. You may also call our auction helpline at
+91 22 2432 2898.
182
183
INDEX
Lot 13 (Detail)
184
185
186
187
188
189
190
191
Processing: REPROSCAN | Printing: PRODON ENTERPRISES
192
193
CLASSICAL INDIAN ART

EVENING SALE | MUMBAI | LIVE
8 DECEMBER 2016
RAGAPUTRA BHRAMARANANDA OF MALKOS RAGA

Basohli, circa 1700, gouache on paper heightened with gold
Sold for INR 96, 00,000
Live Auction of Classical Indian Art | Mumbai, 14 December 2015
NOW ACCEPTING CONSIGNMENTS

auction@coantiques.com
MUMBAI
Dhwani Gudka | + 91 22 2436 4113
Auction conducted by
C OLLEC TIBLE S ANTIQUE S INDIA

Powered by
PARVATI
Tamil Nadu, 15th16th Century, Bronze
Sold for INR 6.48 crores
Live Auction of Classical Indian Art | Mumbai, 14 December 2015
194
195
COMING SOON
EVENING SALE
AKBAR PADAMSEES MASTERPIECE
NEW DELHI | LIVE

8 SEPTEMBER 2016
AKBAR PADAMSEE, Greek Landscape, 1960, Oil and plastic emulsion on canvas, 52 x 144 in
Estimate on request
saffronart.com
saffronart.com

Summer 2016 Online Auction Catalogue

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SUMMER ONLINE AUCTION

SALES AND ENQUIRIES

FREQUENTLY ASKED QUESTIONS

CONDITIONS FOR SALE

ABSENTEE/PROXY BID FORM

Inside front cover

Inside back cover

INTERNATIONAL SALES TEAM

Chief Executive Ocer

Close: Thursday, 9 June 2016, 8.30 pm Indian Standard Time

VIEWINGS AND PREVIEWS

Senior Vice President

Associate Vice President

Associate Vice President

AMIT KUMAR JAIN

Associate Vice President

Viewings and Appointments:

Viewings and Appointments:

Osborne Samuel Gallery

23 28 May and 6 9 June 2016

Contact: Punya Nagpal, Dhanashree Waikar or Shaheen Virani

The artist himself is an enigma.

I derive my... content and

...life is a beautiful experience.

One idea is sucient

"Everything starts from silence."

... whatever man creates

JUNE 2016 | Online Auction

The Auction Catalogue

JUNE 2016 | Online Auction

The bankura horse recurs

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION, GERMANY

Born in Baler, Rajasthan in 1906, Ramgopal Vijaivargiya

Painted in 1959, Tile Factory highlights K K Hebbars

the works of Matisse and Braque. This inuenced his

Brick Factory at Tortosa, Pablo Picasso, 1909

V R Amberkar ed., Hebbar, New Delhi: Lalit Kala

F N SOUZA (1924 2002)

For a brief period in the mid-1960s, Souza collaborated

In the 1950s, when Raza lived in France, he did a

View of Gorbio in Alpes-Maritimes, France, where Raza lived

JUNE 2016 | Online Auction

Syed Haider Raza went to Paris on a scholarship

PHILIP LYON ROUSSEL 1923 2011

PROPERTY FROM THE ROUSSEL FAMILY COLLECTION, LONDON

JUNE 2016 | Online Auction

The present lot depicts the gure

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION, NEW DELHI

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION, BANGALORE

JUNE 2016 | Online Auction

JUNE 2016 | Online Auction

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION, NEW DELHI

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION, NEW DELHI

JUNE 2016 | Online Auction

JUNE 2016 | Online Auction

JUNE 2016 | Online Auction

JUNE 2016 | Online Auction

PROPERTY FROM AN EMINENT

JUNE 2016 | Online Auction

BILWA CHOWDHURY AND ELEONORE CHOWDHURYHABERL

JUNE 2016 | Online Auction

Image Courtesy of Chowdhury-Haberl Family

books at length with them. The Chowdhurys circle