SOUTH ASIAN MODERN

+ CONTEMPORARY ART
NEW YORK 12 SEPTEMBER 2018
1
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 SOUTH ASIAN MODERN
+ CONTEMPORARY ART
WEDNESDAY 12 SEPTEMBER 2018

PROPERTIES FROM AUCTION

The Collection of Gurcharan Das,
Wednesday 12 September 2018
New Delhi
The Mansavage Family Collection at 10.00 am (Lots 201-289)
The Collection of the Saleha and
Mohammad Abdur Rahim Family 20 Rockefeller Plaza
New York, NY 10020

VIEWING

Friday 7 September 10.00 am - 5.00 pm

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AUCTIONEER

Adrien Meyer (#1365994)

Front cover: Lot 211, 259

BIDDING ON BEHALF OF THE SELLER
Inside front cover: Lot 228
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Frontispiece: Lot 287 amount of the reserve either by making consecutive bids or by making bids in response to other
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[50]
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3
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4
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5
Photograph of Nasreen Mohamedi, circa 1970s
All images6courtesy the Rahim family
 NASREEN MOHAMEDI : A COLLECTION
From a young age, Nasreen Mohamedi’s life was unequivocally
cosmopolitan. Born in Bahrain and raised in India, she attended St.
Martin’s School of Art, London, from 1954-57 and from 1961-63
was a student at Monsieur Guillard’s Atelier, Paris. Through her life,
she spent considerable time in Bahrain, Iran and Turkey besides
India, and was deeply inspired by Islamic art, architecture and the
Arabic language. During a time when many of her contemporaries
were engaged in the figurative tradition, Mohamedi’s clean,
minimalist approach, that first emerged in her oil paintings and
later in her ink and graphite drawings and photographs was a
revelation. With an architect’s sensibility and through the language
of geometry, she developed a highly personalized vocabulary to
record her perceptions of the world.
“In the history of Indian Modernism, Nasreen Mohamedi is a
distinct figure who broke away from the mainstream art practice
of the early decades of post-Independent India, choosing the
less explored trajectory of the non-representational. Without
engaging in reconfiguring the world in images, Nasreen was
drawn to “space” and her art was inspired by both man-made
environments, especially architecture, geometry as well as the
underlying structures in Nature. The optical, metaphysical and
mystical overlapped in her quest for a non-objective, non-material
world.” (R. Karode, ‘A view to infinity NASREEN MOHAMEDI: A
Retrospective’, Kiran Nadar Museum of Art website, accessed
July 2018)
This selection of Mohamedi’s work, from the collection of the
artist’s sister Saleha Rahim and her husband Mohammad,
underscores both the versatility and virtuosity of her practice.
From early drawings sketched in a few assured lines that still
bear representational markers, to unique experiments with
collage and photography and abstract studies of grids in ink and
oil, this collection testifies to the freedom with which the artist
comprehended her artistic process. This independence of spirit
was an outstanding feature in Mohamedi’s personality, and
beyond that, a result of the irrevocable support the artist received
from her family throughout her life. Raised among many siblings,
Ashraf Mohamedi and Nasreen Mohamedi, circa late Nasreen Mohamedi, Ashraf Mohamedi and Saleha
1970s-early 1980s Rahim, circa 1969-70
who later lived across different continents, the family would stay
strongly connected, encouraging each other to develop their own
path, no matter what society dictated. For Mohamedi, this support
was decisive and helped her carry on despite the distance and
her fragile health. In a letter addressed to Saleha, affectionally
nicknamed ‘Mamoo’, written on the leaflet for a 1970s exhibition
of her work, Mohamedi gives a report on the opening. “The
responses were good and interesting and I feel a strong conviction
and confidence in the direction I am taking. You are constantly in
my thoughts and that gives me a still greater courage. I wish you
were here. Mumm, I can repeat this a million times and it will be
not enough that you have given me so much and you are still giving!
With this I can go on.” This exceptional collection is testimony to
the intimacy, support and outstanding liberalism of Mohamedi’s
family, enabling the artist to blossom and to create this diverse
body of works.
Mohamedi passed away in 1990 following a long struggle with a
neurological disease that made it almost impossible for her to
work. Besides being physically draining because of her illness,
the artist’s practice was always “marked by rigours of self-
discipline and self-restraint. Through acts of renunciation – of
figures, objects, narration, decoration and excess, she arrived
at an interiorized vision articulated in a sparse aesthetics and
frugal means of art making, using pencil and ink pen to plot a
phenomenological experience and breathe life into her lines, that
often remained restless and always at the edge to embrace a
view to infinity.” (R. Karode, Kiran Nadar Museum of Art website,
accessed July 2018)
In 2013, the Kiran Nadar Museum of Art (KNMA), New Delhi,
organized a major retrospective exhibition of the artist’s work.
KNMA, in collaboration with the Museo Nacional Centro de Arte
Reina Sofa, Madrid and The Metropolitan Museum of Art, New
York, also organized the travelling exhibition Nasreen Mohamedi:
Waiting is a Part of Intense Living, which was one of the inaugural
shows for the Metropolitan Museum’s new Breuer building in New
York in 2016.
Saleha Rahim, Ashraf Mohamedi, Suhail Rahim, in
front of lot 203, circa 1977
7
N. Joshi, ‘The Art of Nasreen Mohammedi’, Hindustan Times, 16 April 1972

8
PROPERTY FROM THE COLLECTION OF THE Much like her jottings and diary entries, Nasreen
SALEHA AND MOHAMMAD ABDUR RAHIM FAMILY
LOTS 201 205 Mohamedi’s photographic practice, which
spanned most of her career from the early 1960s
201 onwards, was a largely private pursuit. As Susette
NASREEN MOHAMEDI Min notes, these photographic prints, which were
not exhibited during the artist’s lifetime, can
1937 1990 perhaps be read as “personal notebooks that one
Untitled can turn to for insight into her motivations and
inscribed ‘I’ll wait like a (VIII)’ (on the reverse) cite as evidence of the sustained way in which she
cut and woven gelatin silver prints looked at the world through an abstract system
7æ x 10w in. (19.7 x 27.6 cm.) or structural order of lines, shapes, light, shade,
Executed circa 1970s textures and patterns.” (S. Min, ‘Fugitive Time:
Nasreen Mohamedi’s Drawings and Photographs’,
$18,000-25,000
Nasreen Mohamedi, Lines Among Lines, exhibition
catalogue, London, 2005, p. 22)
PROVENANCE
Acquired directly from the artist This is a unique work, composed of strips of
Thence by descent photographs woven together to create an
abstract composition. Some rays of light and
textured images can be distinguished in the
original photographs, revealing Nasreen’s wish to
extract the pictorial composition from the natural
world, and foreshadowing the prominent use of
the grid in her work from the 1970s onwards.
Roobina Karode describes the artist’s creative
process in the darkroom of the Vision Exchange
Workshop run by Akbar Padamsee during 1969-
71, writing, “Nasreen used cutouts from coloured
gelatin sheets, threads, small pen holders, and
containers on photosensitive sheets or combined
with an old negative to arrive at poetic images. […]
Photography enhanced Nasreen’s understanding
of perspective, of natural and artificial light, and
of shadows in her explorations of nature and
built environments.” (R. Karode, ‘Waiting Is a Part
of Intense Living’, exhibition catalogue, Madrid,
2016, p. 36)
9
 Letter from the artist to her sister Saleha Rahim, on the reverse of an invitation to her exhibition at Kunika-Chemould Art Centre, New Delhi, February 1971

10
202
NASREEN MOHAMEDI 1937 1990 Labyrinths, lines among lines –
Untitled A mesh
pencil and ink on paper
Difficult to destroy
7¿ x 10¬ in. (18.2 x 27 cm.)
Executed circa mid 1970s Yet one must
Walk
$30,000-50,000
Nothing more

PROVENANCE Out of chaos, form – silence

Acquired directly from the artist
Thence by descent - Nasreen Mohamedi (Diary entry, March 1968)

11
203
NASREEN MOHAMEDI 1937 1990
Untitled
signed, inscribed and dated ‘NASREEN / MOHAMEDI.
DELHI. 71.’ (on the reverse)
oil on canvas
15q x 15q in. (39.5 x 39.5 cm.)
Painted in 1971

$40,000-60,000

PROVENANCE
Acquired directly from the artist
Thence by descent

Nasreen Mohamedi, Untitled, circa early 1970s

Christie’s Mumbai, 11 December 2014, lot 16, sold for
INR 52,50,000 ($83,973)
13
 204
NASREEN MOHAMEDI
1937 1990
Untitled (Portrait of Nur Mohammed)
pencil and ink on paper
13¡ x 9¡ in. (33.9 x 23.8 cm.)
Executed circa early 1950s

$8,000-12,000

PROVENANCE
Acquired directly from the artist
Thence by descent

205
NASREEN MOHAMEDI
1937 1990
Untitled (Figure)
gouache on paper
9q x 9q in. (24.2 x 24.2 cm.)
Executed circa early 1960s

$8,000-12,000

PROVENANCE
Acquired directly from the artist
Thence by descent

Nasreen Mohamedi studied at St. Martin’s

School of Art in London from 1954 to 1957 and
experimented with several different mediums as
she honed her artistic vocabulary at the time.
These two early drawings give a sense of the
artist’s process at that time, leaning towards
abstraction even in her figuration. While lot 204
represents the familiar profile of the Mohamedi
family cook Nur Mohammed with only a few
lines and a black jacket, lot 205 is a slightly later
and more abstract rendering of a seated figure.
“Her early sketches and drawings exemplify her
rejection of anthropomorphic representation. The
stray attempts she made to capture the human
form offer sparse detail, her disinterest in the
full-bodied corporeality of the figures revealed by
their few lines and broken contours.” (R. Karode,
‘Waiting Is a Part of Intense Living’, exhibition
catalogue, Madrid, 2016, p. 41)

14
206
ZARINA B. 1937
Wall I
signed, numbered , titled and dated ‘8/20 WALL I Zarina 69’ (lower edge)
relief print from collaged wood on Indian handmade paper
15æ x 15æ in. (39.9 x 39.9 cm.)
Executed in 1969; number eight from an edition of twenty

$5,000-7,000

PROVENANCE
The Collection of Marvin Walowitz, owner of India Ink Gallery in Los Angeles
and Santa Monica, where Zarina’s work was exhibited in the 1970s
Hughes Estate Sale, Los Angeles, 5 May 2017, Lot 101
Acquired from the above by the present owner

15
 VASUDEO S. GAITONDE
Throughout his career, Vasudeo Santu Gaitonde challenged the limits of his
aesthetic reach, constantly reinventing his idiom in provocative and unique
ways. This experimental resolve was as much in the artist’s mind as in his
brush. Best described by Richard Bartholomew in 1959 as “a quiet man and a
painter of the quiet reaches of the imagination” (D. Nadkarni, Gaitonde, New
Delhi, 1983, unpaginated), Gaitonde was uncompromising in his belief that art,
the process and the final product, is an expression of the inner self.
This painting from 1958 represents a landmark in Gaitonde’s enduring
journey of experimentation and discovery. One of the earliest examples of
the artist’s radical shift from stylized figuration to a fundamentally non-
objective, meditative form of art, here figures and recognizable forms give
way to an expression of his deep fascination with light and color. As the critic
Holland Cotter states, “He [Gaitonde] learned to use color as an independent
expressive element and to break representational forms down to their abstract
core. In doing so, he revealed an important historical truth: Indian painting
had always been, fundamentally, about abstraction.” (H. Cotter, ‘An Indian
Modernist With a Global Gaze’ The New York Times, 1 January 2015)
The present painting, with its bold areas of color used like building blocks,
is also antecedent to Gaitonde’s expansive abstract works created by
Vasudeo S. Gaitonde, Untitled, 1958
Christie’s Mumbai, 15 December 2015, lot 70,
sold for INR 6,02,25,000 ($901,196)
16
painstakingly applying pigment in multiple layers to create vast non-objective
compositions that absorbed the viewer in their depths. Against a light ground,
angular blocks and passages of ochre, orange and greens come together in
perfect balance, although seemingly arranged without a specific sequence or
order in mind. Here too, the colors “perform a stylistic function by organising
the formal tensions in the available space and by quietly dramatising the
interplay of light, texture and space.” (D. Nadkarni, Gaitonde, New Delhi,
1983, unpaginated)
During the late 1950s, Gaitonde had a studio at the Bhulabhai Memorial
Institute in Bombay, where he worked among fellow painters, thespians,
musicians and dancers. Fond of Indian classical music and dance, the artist
thrived in this interdisciplinary environment on the edge of the Arabian Sea. In
this painting, the vivid abstracted forms seem to grow and move in harmony,
conveying moods and thoughts like the notes of a musical composition or the
steps of a dance sequence. Another influence on his work early in his career,
were the whimsical forms and use of line in Paul Klee’s paintings. Commenting
on Klee the same year this work was painted, Gaitonde said, “Something in his
use of line excited me. I gradually came to identify myself in his work. I liked
Klee’s imagination and fantasy.” (F. Nissen, ‘V. S. Gaitonde – Contemporary
Indian Artists 8’, Design, February 1958, unpaginated)
PROPERTY OF A DISTINGUISHED PRIVATE COLLECTION

207
VASUDEO S. GAITONDE 1924 2001
Untitled
signed and dated in Hindi (on the reverse)
oil on canvas
28 x 35 in. (71.5 x 89.2 cm.)
Painted in 1958

$250,000-350,000

PROVENANCE

Private Collection, Portugal

Sotheby’s New York, 18 September 2008, lot 30
Acquired from the above by the present owner

17
 Recto Verso

208
JAGDISH SWAMINATHAN
1928 1994
Untitled
ink on paper
14q x 10 in. (36.8 x 25.4 cm.)
10 x 9 in. (25.4 x 22.9 cm.)
Executed circa 1970s; one work on paper and one
double-sided work on paper (2)

$8,000-12,000

PROVENANCE
Acquired directly from the artist by the present owner

18
PROPERTY FROM AN IMPORTANT PRIVATE
COLLECTION, NEW YORK

209
ZARINA B. 1937
Atlas of my World
numbered, signed, dated and titled ‘10/20
Zarina March 2001 Atlas of my world’
(lower edge)
woodcut printed on handmade Indian paper
9 x 11¡ in. (23 x 29 cm.) plate
11 x 13¡ in. (27.9 x 34 cm.) sheet smallest
15¿ x 12¬ in. (38.5 x 32 cm.) plate
17¿ x 13æ in. (43.6 x 35 cm.) sheet largest
Executed in 2001; number ten from an edition
of twenty; six prints on paper (6)

$8,000-12,000

PROVENANCE
Bodhi Art, New York
Acquired from the above by the present owner

EXHIBITED
New York, Bose Pacia, Zarina - Mapping the
Dislocations, 2005 (another edition)
Mumbai, Bodhi Art, Zarina: Weaving Memory,
1990-2006, 2007 (another edition)
Los Angeles, Hammer Museum; New York,
Solomon R. Guggenheim Museum, Chicago,
Art Institute of Chicago, Zarina: Paper Like Skin,
September 2012 - September 2013
(another edition)

LITERATURE
Zarina - Mapping the Dislocations, exhibition
catalogue, New York, 2005 (another edition
illustrated, unpaginated)
Weaving Memory, 1990-2006, exhibition
catalogue, Mumbai, 2007 (another edition
illustrated, unpaginated)
Zarina: Paper Like Skin, exhibition catalogue,
New York, 2012 (another edition
illustrated, unpaginated)

Frequently, Zarina’s work explores the tenuous

presence of geographical boundaries, and the
ambiguous definition of words like ‘nation’ and
‘home’. Playing upon the simultaneous ability
of borders to divide and unite, the concept of
cartography assumes an increased significance
for the artist considering both her youth in pre-
partitioned India and her unique conception
of nationality and origin. Her extensive travels
through Europe, the Middle East, Latin
America and Asia have eroded the distinctions
between place, home and location, leading
Zarina to call more than twenty different cities
and towns her ‘home’. Influenced by the work
of conceptual artists like Lucio Fontana, Yves
Klein and Jean Arp as well as the minimal
sculptures of Richard Serra, her work employs
complex thought processes to produce clean,
uncomplicated art.

19
PROPERTY OF A DISTINGUISHED PRIVATE COLLECTION

210
SYED HAIDER RAZA 1922 2016
Untitled (Street Scene)
signed ‘S.H. RAZA.’ (lower right)
gouache and oil on paper
17q x 23q in. (44.5 x 59.7 cm.)
Executed circa late 1940s

$25,000-35,000

PROVENANCE
Acquired directly from the artist
The Collection of a British diplomat
Bonhams London, 12 October 2005, lot 320
Acquired from the above by the present owner
Akbar Padamsee with Cityscape , 1959, Jehangir Art Gallery, Bombay, 1960
Image reproduced from Work in Language, Mumbai, 2010, p. 183
21
 AKBAR PADAMSEE B. 1928
n 1958
Returns to India

n 1959
Tokyo and São Paulo
Biennales

n 1960
Solo show, Jehangir Art
Gallery Bombay

Returns to Paris

n 1962
n 1928 Lalit Kala Akademi
National Award
Born in Bombay
Group show, Galerie
9, Paris

1925 1930 1935 1940 1945 1950 1955 1960 1965

n 1951
Leaves for Paris
n 1963
Represented in Six Indian
n 1952
Painters, New York
First group show in Paris with
Souza & Raza; Trois Peintres
Indiens

n 1953
Exhibits at Venice Biennale

n 1954
Solo show at Jehangir Art
Gallery, Bombay, arrested
for obscenity for the painting
Lovers
Returns to Paris

n 1956
Exhibits at Venice Biennale

n 1964
Solo show Gallery Chemould,
Bombay
Publication of first
monograph Padamsee by
Shamlal

n 1966
Solo exhibition at the
Museum of Contemporary
Art of Montreal

Images reproduced from B. Padamsee and A. Garimella eds.,

Akbar Padamsee, Work in Language, Mumbai, 2010
n 1967
Artist in Residence at
Stout State University,
Wisconsin

n 1991
Group show, State of the
Art (first computer art n 2006
show in Bombay), Jehangir Solo exhibition, Lines of
Art Gallery, Bombay Distinction, Strokes of Genius,
Tamarind Art, New York
n 1994
Solo exhibition, Mirror n 2007
Images,Pundole Art Dayawati Modi Award 2007,
Gallery, Bombay New Delhi

n 1996 n 2008
n 1969 Heads and Female Solo exhibition of
Nehru Fellowship in Nudes, bronze heads and drawings and photographs,
New Delhi, organized watercolors, Pundole Art Sensitive Surfaces, Galerie
Vision Exchange Gallery, Mumbai Helen Lamarque, Paris
Workshop (VIEW) Roopdhar, Bombay Art
Bombay n 1997 Society Lifetime Achievement
Solo exhibition, Imaging Award, Mumbai
Gandhi, Pundole Art
Gallery, Mumbai n 2010
Publication of monograph,
n 1998 Work in Language
Kalidas Samman, awarded
by the government of
Madhya Pradesh

n 1972
Solo exhibition of
Metascapes and
Syzygy, Pundole Art
Gallery, Bombay

1970 1975 1980 1985 1990 1995 2000 2005 2010

n 1980
Solo exhibition, Muktibodh, Lalit
Kala Bhavan, Bhopal
n 2000 n 2012
Solo exhibition, Akbar Padamsee,
Compugraphics, Pundole Art Cityscape, 1959
n 1981
Gallery, Mumbai Christie’s New York, 21
India Myth and Reality, Aspects of
March 2012, lot 547, sold
Modern Indian Art, MOMA, Oxford
n 2001 for $1,314,500
Solo exhibition, Art Heritage, Delhi
Group show, Ashta Nayak,
with Gaitonde, Husain, Tyeb
n 1982 Mehta, Krishen Khanna, Bal
Exhibits at Venice Biennale Chhabda, Ram Kumar, Raza,
Tao Art Gallery, Mumbai

n 1985
n 2002
Group exhibition, Contemporary
Indian Art, organized by festival of Solo exhibition, The
India in London Tertiaries, Pundole Art
Gallery, Mumbai
Group show, Artistes Indiens en
France, Fondation National des
Arts Graphiques et n 2003
Plastiques, Paris Book release and solo
Group show, Thirty Indian Artists exhibition, Critical
from The Collection of Richardson Boundaries, Pundole Art
Hindustan, Jehangir Art Gallery, Mumbai
Gallery, Bombay
n 2004
n 1987 Solo exhibition of drawings,
Festival of India, Moscow watercolors, photographs,
Pundole Art Gallery, Mumbai
Lalit Kala Ratna Puraskar
award, Lalit Kala Akademi,
New Delhi
 AKBAR PADAMSEE : SHADES OF GRAY
Upon his return to Bombay in 1959 from a second trip to Paris, Akbar
Padamsee embarked on what was arguably one of the most ambitious
projects of his extensive artistic career. Progressively eliminating color from
his work, he began to paint only in shades of gray, on a scale he had not
attempted before.
With the purging of color, Padamsee discovered the potential to develop a
painterly language distinctly his own. The small number of imposing works he
created in this palette over the brief period from 1959-60 included four vast
horizontal landscapes and an immense reclining nude, and are among the
finest of Padamsee’s oeuvre. In fact, it can be said that everything that came
before – the artist’s early portraits and cityscapes – were preludes to his gray
paintings, and that everything that has come since – his unique metascapes,
mirror images and ‘tertiary’ paintings in sepia tones – are their epilogue. It is
noteworthy that he chose one of the paintings from this series, Juhu (1960) as
the cover for the major monograph on his artistic career published in 2010.
This limited body of monochromatic works was exhibited at Jehangir Art
Gallery in Bombay for just a week in March-April 1960. The brief show, which
was sponsored by Gallery 59, owned by Padamsee’s friend and fellow artist
Bal Chhabda, was a breakthrough event for Padamsee as well as the Indian
art community who had never seen anything like it. The sheer scale of the
canvases and their unique palette created quite a stir, as seen in reviews
and headlines that followed the show, including one in the Times of India on
1 April 1960 that boldly declared ‘The Painter’s Painter: Padamsee Enters
Exciting Phase’.
Shamlal, the artist’s first biographer, noted “In the case of an artist less sure
of himself such renunciation might have been fatal. With Padamsee the
renunciation becomes an act of self-discovery. By restricting himself to greys,
like the Chinese masters who confine themselves to the various shades of
black, he strikes the richest vein of poetry in his art. In the paintings of 1959
Akbar Padamsee, Pandit Jasraj, Bal Chhabda, and Krishen Khanna at Tao Art Gallery,
Mumbai, 2007
Image reproduced from B. Padamsee and A. Garimella eds., Akbar Padamsee, Work in
Language, Mumbai, 2010, p. 360
and 1960 there is a lyrical intensity which comes from a passionate love affair.
The affair is between the artist and his art, naked and defenceless.” (Shamlal,
Padamsee, Mumbai, 1964, p. 7)
Despite these glowing reviews, Padamsee didn’t find many takers for these
large, monochromatic paintings at the show. It was his artist friends who,
understanding the inspired nature and artistic merit of these works, bought
most of them. While Bal Chhabda purchased two of the landscapes, including
the present lot, Krishen Khanna and Maqbool Fida Husain bought one each.
Khanna even noted that they thought Padamsee “[...] had found his metier and
he painted with such zest and authority which seemed to confirm our feelings
that we were henceforth going to see only black and white paintings from
him.” (Work in Language, Mumbai, 2010, p. 182-83) The large gray reclining
nude ended up hanging above the doorway of the iconic Chelsea Hotel in
New York for several decades until its closure in 2011, bartered to the owner in
exchange for Padamsee’s rent when he stayed there in 1965.
Since the 1960 exhibition, many writers and art historians have asked
Padamsee to explain the inspiration behind his series of gray paintings.
Looking back on the exhibition, Padamsee recalls going to Chhabda for
guidance about what to show in Bombay after six years of being away. “I went
to Bal Chhabda’s place, from Bal’s window on the seventh floor I looked out
at the view and could see such wonderful buildings. Bal said, ‘Why don’t you
paint that?’ To which I replied, ‘I will do that’. So then back home I started
painting and without looking at the landscape, I reconstructed the schema.”
(In conversation with the artist, January 2012)
Padamsee expands on the meaning of this ‘schema’ anecdotally, recalling that
as a child he used to observe his father playing billiards. He remembers being
“fascinated by the way in which the ball bounced off the four boundaries of the
table, the force and angle at which it hit the edge, as well as the momentum
that carried it on the trajectory. He remarks that if the paths taken by the
Portrait of the artist, 1960
Image reproduced from ‘Padamsee’ Return’, Link, 10 April 1960, p. 39
With meticulously worked out tone, texture and form, his grey paintings of 1959-61 possess the paradoxical
qualities of intimacy and monumentality.
different balls are plotted, the result would be a mesh of superimposed lines
[...Drawing a parallel with his creative process, Padamsee notes,] I don’t paint
forms, forms emerge from the dynamism of movement. As the brush strokes
move across the canvas, as they hit the boundary of the picture space and
bounce back, an energy field is created and it is this energy field which is the
matrix of the image. When I did the Grey series, I was preoccupied with using
similar brush strokes across the canvas without any interruptions. This was
possible because I was using only grey and did not need to stop. There was
no distinction of hue between the background and figure except that at one
point it would emerge.” (S. Doshi, ‘Shades of Grey’, Work in Language, Mumbai,
2010, pp. 180-81)
Living in Juhu at the time, a seaside suburb of Bombay, Padamsee fondly
recollects, “Painting in my Juhu flat, I started working on it for three or four
nights. Because the sunlight was too much in my open courtyard, I had to work
at night. And a dog used to come and sit next to me. He was so wonderful
and really became a friend of mine. He didn’t budge, he would just sit in his
own place looking at me, not barking or anything, all night as I worked.” (In
conversation with the artist, January 2012)
The present lot, a monumental landscape from 1959 titled Rooftops, is the first
of Padamsee’s scroll-like paintings of his ‘gray period’, significant in its clear
illustration of the artist’s transition to a new method of working with paint
and a unique way of visualizing color, scale and composition. Speaking about
this, he noted, “[...] in order to overcome the practical problem of nearness,
I discovered this adventurous, new way of composing a picture. It was not
possible to see the entire painting unless I moved far behind. As the angle
of our vision is 28°, I would conceal the painting, and open it part by part as I
went along. It was as if it were unrolling itself in space. As I started composing
in this way, I found that I had discovered a very different kind of composition.”
(Artist statement, H. Bhabha, ‘Figure and Shadow: Conversations on the
Illusive Art of Akbar Padamsee’, Work in Language, Mumbai, 2010, p. 26)
Exhibition at Jehangir Art Gallery, 1960
Image reproduced from B. Padamsee and A. Garimella eds., Akbar Padamsee, Work in
Language, Mumbai, 2010, p. 347
- Geeta Kapur, 1972
A panoramic composition with no linear narrative or any definite beginning and
end, this dense landscape is almost entirely filled by block-like architectural
forms, abutting each other on what looks like a gentle hillside. The perspective
Padamsee employs seems to shift from frontal to aerial as the composition
progresses up the hill, with edifices of various shapes and sizes jostling
for space, including domed Mediterranean towers, red-roofed houses and
a few pointed turrets. As with all his works, this landscape has no specific
geographic or chronologic location or any clear residents. Inspired by a
fleeting glimpse of Bombay’s skyline from Chhabda’s window, this carefully
orchestrated vista instead suggests the timeless and the infinite.
Although in its individual architectural forms this painting corresponds with
Padamsee’s earlier Horizon series of landscapes (1956-57), it represents
a complete departure in their grouping. Here, in “daring and complex
compositional arrangements [...] The shapes retain their precision, but the
dark enclosing outline has all but disappeared: only occasionally is its vestigial
presence encountered. Unlike the earlier landscapes, the buildings in these
paintings have doors and windows. All these changes signify a new mood.” (S.
Doshi, ‘Shades of Grey’, Work in Language, Mumbai, 2010, pp. 187)
Soon even the hints of color visible in this painting vanished, and in the rest
of the paintings from this series, Padamsee used a palette consisting only of
“a whole array of greys which correspond to different colours. His grey palette
now ranged from the soft, pale, lustrous greys of silks and satins to the deep,
dark, ominous greys of the monsoon skies.” (S. Doshi, ‘Shades of Grey’, Work
in Language, Mumbai, 2010, p. 180)
Not only does Rooftops represent a momentous point of departure in
Padamsee’s oeuvre, but it is also a critical meditation on color, form and
movement – an examination of the very act of painting, and one that continues
to shape and inform the artist’s work even today.
Review of Padamsee’s 1960 exhibition, Times of India, 1 April 1960
25
PROPERTY FROM A DISTINGUISHED PRIVATE
COLLECTION, INDIA

211
AKBAR PADAMSEE
B. 1928
Rooftops
signed and dated ‘PADAMSEE 59’ (lower left)
plastic emulsion on canvas
48æ x 93q in. (123.8 x 237.5 cm.)
Painted in 1959

$800,000-1,200,000

PROVENANCE
Formerly in the Collection of Bal Chhabda
Thence by descent
Acquired from the above by the present owner

EXHIBITED
Bombay, Gallery 59 at Jehangir Art Gallery,
Akbar Padamsee, 29 March - 4 April, 1960

LITERATURE
E. Alkazi ed., Akbar Padamsee: Retrospective,
exhibition catalogue, New Delhi, 1981, p. 22
B. Padamsee and A. Garimella eds., Akbar
Padamsee, Work in Language, Mumbai, 2010,
pp. 184-85 (illustrated)

26
It’s far more exciting for me as a painter, to work in grey or sepia. The brush can move freely from figure to
ground, and this interaction offers me immense formal possibilities.
- Akbar Padamsee
 212
AKBAR PADAMSEE B. 1928
Untitled
signed and dated ‘PADAMSEE 63’ (upper right)
gouache on paper
21¬ x 21¬ in. (54.8 x 54.8 cm.)
Executed in 1963

$25,000-35,000

PROVENANCE
Formerly in the Collection of French art critic and
collector Henri Adam-Braun
Ader Nordmann, 29 November 2013, lot 361
Acquired from the above by the present owner

28
No landscape painted by this young seer is an exact copy of the sights
which unfold before the spectator. He transfigures everything he sees,
and this process assumes, under his brush, a magic character. Villages are
detached from their earthy support and seem to move in the cold light of
a night fantasy. Houses shaken by earth tremors disintegrate and collapse.
Churches glide down on beds of cloud. The vault of the sky has spectral
lights of dawn or dusk.
- Waldemar George, 1959

Portrait of S.H. Raza in Paris, 1958

©Henri Cartier-Bresson/Magnum Photos 29
PROPERTY FROM AN IMPORTANT CANADIAN COLLECTION

213
SYED HAIDER RAZA 1922 2016
Paysage
signed and dated ‘RAZA ‘58’ (lower right); further signed, titled
and inscribed ‘RAZA “PAYSAGE” / P 161-58. / 25F’
(on artist’s label on the reverse) and inscribed ‘P 161.58’ (on the stretcher)
oil on canvas
31æ x 25æ in. (80.8 x 65.5 cm.)
Painted in 1958

$120,000-180,000

PROVENANCE
Galerie Lara Vincy, Paris
Galerie Dresdnere, Montreal
Acquired from the above by the present owner

For Syed Haider Raza, the 1950s were a stirring period of achievement and
experimention. During his travels across Europe, the artist visited numerous
museums and was deeply influenced by Western Modernism, particularly
the work of Paul Cézanne and Vincent Van Gogh. Integrating these new
aesthetics into his artistic vocabulary, and inspired by the rolling vistas of
rural France, Raza’s landscapes of the period evolve from a representational
approach towards one focused on colors and their power to evoke emotional
responses in the viewer.
Paysage was painted in 1958, almost a decade after the artist’s arrival
in France, by which time Raza had gained critical recognition, including
becoming the first foreign artist to be awarded the Prix de la Critique in 1956.
He had developed a small but strong circle of collectors and patrons in Paris
and his collaboration with Galerie Lara Vincy, which lasted from 1955 to
1971, would give him an exceptional platform to show his work in Paris and
internationally. Paysage was one of the paintings sent by the Parisian gallery to
Montreal to be exhibited at Galerie Dresdnere there in 1959. Acquired at that
time, Paysage has remained in the same collection ever since and is one of the
finest examples of the landscapes in which the artist distances himself from
the subject matter to liberate his palette and brushwork.
Writing about Raza’s work only a year after the artist painted this impressive
landscape, the critic Richard Bartholomew underscores the primacy of color
in his paintings, “The landscape is only a skeletal base, the structure of which
we forget when we follow the gesture. The joints, the action of individual
images, are not his primary concern. What is important to him is the leverage,
the pulsating thrust of colour, its areas of dryness and of moisture, its even
tranquility, its swirls of tension and its gathering of energy into knots of
sudden illumination.” (R. Bartholomew, ‘Paintings by S.H. Raza’, Thought,
16 May 1959, unpaginated)
In Paysage, a distant townscape can still be perceived along the crest of a
hill, reminiscent of the French countryside of Provence where villages seem
to hang from the steep hillsides. The last rays of light shine from the hilltop,
allowing a few swirling red, green and yellow sparks to break through the
cover of a deep blue night that is gradually enveloping the village. In this
evocative twilight, recognizable forms almost disappear to let color and
texture communicate an emotional rather than visual experience of the scene.

Paysage is emblematic of a stylistic shift which occurred in Raza’s work,

and represents his artistic resolution of the challenge of integrating the
abstraction he experienced in Europe with his Indian heritage and his earlier
work. Geeti Sen noted a questioning in the gaze of the artist as captured by
the photographer Henri Cartier-Bresson in 1958, the same year Paysage was
painted, writing, “the mood is stark, sombre, almost austere. He stands alone
in his studio, more mature perhaps (with a crew cut) and looks subdued. The
gaze is reflective, inward looking. Yet for all this, he seems more assured of
himself, and responsible for his position.” (G. Sen, Bindu, Space and Time in
Raza’s Vision, New Delhi, 1997, p. 73)

The village of Gorbio, France
Image reproduced from A. Vajpeyi,
A Life in Art: Raza, New Delhi, 2007, p. 69
We are grateful to Youri Vincy, director of Galerie Lara Vincy, Paris, for his
assistance in cataloguing this work.
Invitation, Raza – Peintures et
Gouaches, Galerie Dresdnere,
Montreal, May 1959
Courtesy Galerie Lara Vincy Archives
 214
HARI AMBADAS GADE
1917 2001
Untitled (Bombay)
signed ‘Gade’ (lower right); further signed and
dated ‘HA Gade 50’ and titled in Hindi
(on the reverse)
oil on board
39æ x 29w in. (101 x 76 cm.)
Painted in 1950

$10,000-15,000

PROVENANCE
Acquired directly from the artist, circa 1950s
Thence by descent
Acquired from the above by the present owner

215
SADANAND BAKRE
1920 2007
Untitled (Cityscape)
signed ‘BAKRE’, and signed and dated
in Hindi (upper right)
oil on canvas
30 x 19 in. (76.2 x 48.3 cm.)
Painted in 1961

$12,000-18,000

PROVENANCE
Acquired directly from the artist
Private Collection, Nagpur
Acquired from the above by the present owner

EXHIBITED
New York, Mumbai and New Delhi, Delhi Art
Gallery, Memory and Identity: Indian Artists
Abroad, 2016-17

LITERATURE
Memory and Identity: Indian Artists Abroad,
exhibition catalogue, 2016, p. 208 (illustrated)
214

32
215

33
PROPERTY FROM AN ESTEEMED PRIVATE COLLECTION
216
FRANCIS NEWTON SOUZA 1924 2002
Mountain Landscape
signed and dated ‘Souza 58’ (lower right); further inscribed,
titled and dated ‘GALLERY ONE / F.N. SOUZA / MOUNTAIN
LANDSCAPE - 1958’ (on the reverse)
oil on board
36 x 48 in. (91.4 x 121.9 cm.)
Painted in 1958
$150,000-200,000
Mountain Landscape was painted in 1958, perhaps the apex of Francis
Newton Souza’s career. Living in London it was the moment Souza had
gained the patronage and recognition that allowed him to embark upon his
most ambitious and fruitful projects. The artist met Harold Kovner, a wealthy
New York hospital owner in Paris two years prior, and the American became
his first major patron. Over the next four years Kovner commissioned many of
his most significant works. In 1958 Souza was one of five painters alongside
Ben Nicholson, John Bratby, Terry Frost and Ceri Richards invited to represent
Great Britain at the Guggenheim International Award with his iconic painting
Birth. Souza was now at the heart of the London art scene. This is evident in
the dedication of an entire gallery to his paintings in the major exhibition All
Too Human, currently on view at Tate Britain in London, focusing on prominent
painters from the 20th Century London School.
A. Kurtha, Francis Newton Souza: Bridging Western and Indian André Derain, Mountains at Collioure, 1905, National
Modern Art, Ahmedabad, 2006, cover, p.37 Gallery of Art, Washington DC
©Estate of F N Souza. All rights reserved, DACS / ARS 2018
34
PROVENANCE
Gallery One, London
The Collection of the artist
Acquired from the above by the present owner
LITERATURE
A. Kurtha, Francis Newton Souza: Bridging Western and Indian
Modern Art, Ahmedabad, 2006, p. 37 (illustrated)
In the late 1950s, Souza’s painting became more experimental, with the
artist beginning to play with the structure and composition of his works. His
landscapes in particular offer a visual key to his evolution over these years. While
many of his landscapes of the 1950s and 60s are centered on the recognizable
features of the North London borough of Hampstead, where he lived and worked,
Mountain Landscape appears more fantastical. The mountains in the foreground
may well be inspired by the hills of Hampstead Heath near his studio, yet Souza’s
unique use of color and composition creates an overwhelming sense of tension
and pathetic fallacy in this painting. With an almost Fauvist use of color, red
houses fight for space against the green landscape while the mountains cut
through a dark sky heightened with blues and yellow. Here, Souza focuses on the
dichotomy between the urban and the pastoral, a battle that is as relevant today
as it was when he painted Mountain Landscape.
 217
FRANCIS NEWTON SOUZA
1924 2002
Pieta
signed and dated ‘Souza 74’ (upper left); further
signed, titled, dated and inscribed ‘F. N. SOUZA
Pieta / 1974 / Acrylic / on canvas / 22 x 30’
(on the reverse)
acrylic on canvas
29w x 21w in. (76 x 55.5 cm.)
Painted in 1974

$25,000-35,000

PROVENANCE
Formerly from the Estate of Francis Newton Souza

218
FRANCIS NEWTON SOUZA
1924 2002
Minnesota (Urban Story 5)
signed and dated ‘Souza 1972’ (upper right) and
titled ‘MINNESOTA’ (lower left); further inscribed
‘5 / Urban / Story’ (on the reverse)
mixed media and chemical alteration
on printed paper
18¿ x 20 in. (46 x 50.7 cm.)
Executed in 1972

$6,000-8,000

PROVENANCE
Formerly from the Estate of Francis Newton Souza

36
219
AVINASH CHANDRA 1931 1991
Untitled
signed and dated ‘Avinash 1955’ (lower left)
oil on canvas laid on cloth
EXHIBITED
29¬ x 38q in. (75.4 x 97.8 cm.)
New York, Mumbai and New Delhi, Delhi Art Gallery, Memory and Identity:
Painted in 1955
Indian Artists Abroad, 2016-17
New York, Delhi Art Gallery, India’s Rockefeller Artists: An Indo-US Cultural
$30,000-50,000
Saga, 2017-18

LITERATURE
PROVENANCE
Memory and Identity: Indian Artists Abroad, exhibition catalogue, New Delhi,
The Collection of the artist
2016, p. 249 (illustrated)
Osborne Samuel, London
India’s Rockefeller Artists: An Indo-US Cultural Saga, exhibition catalogue,
Acquired from the above by the present owner
New Delhi, 2017, p. 161 (illustrated)

37
PROPERTY OF A DISTINGUISHED PRIVATE COLLECTION

220
SYED HAIDER RAZA 1922 2016
Untitled (The Oval, Bombay)
signed ‘S.H. RAZA’ (lower right)
watercolor on paper
15 x 22 in. (38.8 x 56.3 cm.)
Executed circa mid-1940s

$30,000-50,000

PROVENANCE
Sotheby’s London, 14 July 2005, lot 17
Acquired from the above by the present owner Oval Maidan, Mumbai, 2018 (current view of the park featured
in lot 220)

38
39
221
SYED HAIDER RAZA 1922 2016
Le Lac
signed and dated ‘RAZA ‘64’ (lower center); further signed, inscribed
and titled ‘RAZA / P_547 ‘64 / “le lac” / 50P’ (on the reverse)
acrylic on canvas
45w x 32 in. (116.5 x 81.3 cm.)
Painted in 1964

$280,000-350,000

PROVENANCE
Acquired directly from the artist
Private Collection, France
Acquired from the above by the present owner

Painted in 1964, Le Lac belongs to a key period in Raza’s career, during which
he began to experiment with a less structured pictorial space and explored the
translucent play of color in nature.
In 1962, while teaching at the University of California, Berkeley, Raza was
deeply impacted by the work of the Abstract Expressionists Sam Francis,
Hans Hoffman and Mark Rothko. Describing how his encounter with Rothko’s
work changed his vision, he notes, “It was like a door that opened to another
interior vision. Yes, I felt that I was awakening to the music of another forest,
one of subliminal energy. Rothko’s works brought back the images of japmala,
where the repetition of a word continues till you achieve a state of elated
consciousness. Rothko’s works made me understand the feel for spatial
perception.” (Raza: Celebrating 85 Years, exhibition catalogue, New Delhi,
2007, unpaginated)
defined depictions of the French countryside in his paintings became more
fractured and abstracted as Raza experimented with a new mood-evoking
style and palette. Le Lac maintains strong Indian connotations in its color
scheme and structure with a composition influenced by Rajasthani miniature
paintings, of which the artist had a few in his personal collection. While Raza
decided to title this work Le Lac (The Lake in French), there are barely any
visual clues that indicate the scene. Instead, the artist has chosen to focus
exclusively on light and color, working with a fluidity that had not been seen
as he shifted from using oils to acrylic, which allowed his brushstrokes more
agility and freedom. Vibrant ochres, oranges and vermilions pulsate from a
deep yet translucent surface, reminiscent of fragile rays of light reflecting on
the still surface of a lake during a crimson dusk, just before the last rays of
sunlight disappear, to finally reveal an abstract composition animated by a
rhythm orchestrated by color.

At the same time that he was deeply moved by the artistic freedom that the Conjuring a complex and fascinating aesthetic journey, Le Lac is a holistic
American avant-garde represented, Raza began to return to India regularly painting that invokes a deep sense of the land by fusing both abstract and
from 1959 through the 1960s and 1970s, leading him to question how to symbolic forms and colors to express the mood and atmosphere of the Indian
express the intersection of influences from East and West in his work. The landscapes Raza remembers from his youth.

Syed Haider Raza, Jour de Liesse, 1963 A Rajasthani miniature painting from
Christie’s New York, 17 September 2013, the artist’s collection. Image: A. Vajpeyi,
lot 127, sold for $267,750 Raza: A Life in Art, New Delhi, 2007, p.130
Published by Art Alive Gallery, New Delhi
 222
SYED HAIDER RAZA
1922 2016
Untitled
signed and dated ‘RAZA ‘78’ (lower right); further
signed and dated ‘RAZA 1978’ (on the reverse) EXHIBITED

acrylic on paper New Delhi, Delhi Art Gallery, 20th Century Indian
25º x 19º in. (64 x 48.8 cm.) Modern Art, 2014
Executed in 1978 Mumbai and New Delhi, Delhi Art Gallery, Indian
Abstracts: An Absence of Form, 2014-15
$20,000-30,000
LITERATURE
20th Century Indian Modern Art, exhibition
PROVENANCE catalogue, New Delhi, 2014, p. 265 (illustrated)
Saffronart, 26 March 2013, lot 71 Indian Abstracts: An Absence of Form, exhibition
Acquired from the above by the present owner catalogue, New Delhi, 2014, p. 337 (illustrated)

42
PROPERTY FROM A PRIVATE WEST COAST COLLECTION

223
MAQBOOL FIDA HUSAIN 1913 2011
Wilderness
Maqbool Fida Husain was drawn to Kerala in the 1950s and 1960s for its
signed ‘Husain’ (lower right) and signed in Hindi (upper left)
wonderfully lush natural flora and fauna, the beauty and simplicity of its
titled ‘WILDERNESS’ (on the reverse)
people, and its unique and ancient matriarchal society. This painting from the
oil on canvas
25¬ x 32¬ in. (65 x 83 cm.) late 1950s can be regarded as a precursor to the artist’s Kerala series, with its
Painted circa late 1950s typical luscious foliage that almost camouflages the figures within.

$70,000-90,000
PROVENANCE
Acquired directly from the artist by His Excellency the late Aga Hilaly,
Ambassador and High Commissioner of Pakistan to India, Sweden,
the United Kingdom and the United States
Christie’s New York, 16 September 2008, lot 186
Acquired from the above by the present owner
Characteristic of Husain’s works from this period are the figures that are
almost part of the landscape, with the viewer having to seek them out. Here,
this is the case with not only the seated figure at the center of the composition,
but more significantly the hint of a figure monumentally and masterfully
constructed within the tree on the left, reminiscent in pose of classical Indian
sculpture. Husain has also cleverly used his earthy palette to create depth
through the darker colors which recede into the background, with the brighter
shades of yellow and mustard highlighting the foreground.

43
PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA
224
AKBAR PADAMSEE B. 1928
Untitled
signed and dated ‘PADAMSEE 62’ (upper left)
oil on canvas
28w x 36º in. (73.3 x 92 cm.)
Painted in 1962
$80,000-120,000
Through the 1950s and early 60s, Akbar Padamsee moved back and forth
between India and France, absorbing as many aesthetic and philosophical
stimuli as he could, and developing his early work in unique, thought-provoking
directions. Although his first solo exhibition was held in Bombay in 1954,
the artist returned to Paris on several occasions after this. For him, the
French capital was a crucible for his creativity offering him the opportunity
to view great works of art in person and directly interact with artists like
Man Ray, Constantin Brancusi and Alberto Giacometti. In 1960, following a
second acclaimed solo exhibition of monumental monochromatic paintings in
Bombay (see lot 211), Padamsee once again returned to Paris, where he would
depart from his gray palette to portray rural and urban French landscapes.
Describing this period of Padamsee’s work, Beth Citron notes, “At this time,
he began an earnest investigation of light, colour, and form through village
landscape studies, following a classically French tradition that included
Lorrain and Corot to Cézanne [...] Through these studies, Padamsee began
to develop his own distinct idiom [...] with individual houses and churches
reduced to opaque squares and triangles, even as the composite images
would remain referential and legible as a landscape [...] skeletons of bustling
crowded settlements (like Rouen) as of those sites hollowed of houses where
large swathes of colour intimate a densely thick atmosphere.” (B. Citron,
‘Akbar Padamsee’s Artistic “Landscape” of the 1960s’, Akbar Padamsee, Work
in Language, Mumbai, 2010 pp. 195-197)
Akbar Padamsee, Untitled
(Landscape), 1962
Christie’s London, 12 June 2018, lot
21, sold for GBP 218,750 ($293,427)
PROVENANCE
Acquired directly from the artist, Paris, circa 1960s
by the late Elinor Kahn Kamath and M.V. Kamath
Thence by descent
In this painting from 1962, the artist’s use of warm, golden hues and masses
of architectonic forms evokes a largely experiential and sensory experience of
a French town. Additionally, as in most of his work across genres, this painting
seems to negotiate the dual forces of essence and substance, or as Ranjit Hoskote
describes it, the ‘mythic’ and the ‘material’. “Akbar Padamsee’s ground lies on the
border, the fluid border between the world of myth and the world of history. In his
iconography and his ideology [...] he secures for himself a particular interpretation
of the complex and not-easily-encapsulated relation of content to form. For him,
content usually connotes the mythic, the archetypal, and thus by definition, the
immutably determined basic factors: the couple, the land/earth, the sun and moon,
the city/settlement, the erect male, the poised female. As against this, form holds
the terrors and doubts of history – with his material and his handling, Padamsee
evokes questions and disturbances, brings an awareness of otherness to bear
upon the self-regarding monumentality of his conceptions.” (R. Hoskote, Akbar
Padamsee: Between the Heiratic and the Human, New Delhi, 1992, not paginated)
This painting was acquired by Elinor Kahn Kamath (1915-1992), during her stay in
Paris as a freelance writer, after having served in research positions at Stanford
University, the United Nations and the World Health Organization in America
and Europe. At the time, her husband the author, journalist and Padma Bhushan
recipient M.V. Kamath (1921-2014), was editor of The Sunday Times. Later, in Paris,
Geneva, Washington, New York and Mumbai, he would serve as correspondent
for The Times of India, editor of the Illustrated Weekly of India and chairman of the
public broadcaster Prasar Bharati.
PROPERTY OF A DISTINGUISHED PRIVATE COLLECTION

225
MAQBOOL FIDA HUSAIN 1913 2011
Untitled (Tribal)
signed and dated ‘Husain ‘59’ and signed in Urdu (lower right)
oil on canvas
18º x 57º in. (46.4 x 145.4 cm.)
Painted in 1959

$180,000-250,000

PROVENANCE
Sotheby’s London, 17 June 1998, lot 110
Acquired from the above by the present owner
Lost is the passage of sound in my jungle. Today the burnt bamboos have scratched the heart of
silent sky, and greens sucked in elephant jugs. White tusks daggered inside the stomach of black
mountain. They say: for seven days the passage of sound was lost.
Two large elephants emerging from the bamboo, with their trunks highlighted
in shades of blue, take center stage in this composition. Throughout his career
Maqbool Fida Husain returned to animals which he felt embodied specific
powerful qualities. Here, the elephant is a symbol of free-spirited frivolity,
unimpeded and unbridled. Husain imbues the painting with the warmth and
energy which he came to associate with his passion for the Keralan landscape
following his first visit to the state in the late 1950s.
The painting belongs to a series of works depicting grouped figures in the late
1950s and ’60s that Husain painted under the inspiration of classical music
and dance. They are representational of his belief in the interdependence of
art forms in India. The frieze of dancers depicted in various classical stances
move to the beat of the musician’s drum. There is a harmony and sense
of rhythm in the rendering of the musician and the dancers’ movements.
Invisible strains of music bind the two together and hold the dancers in
suspended motion. The dancing figure is also a ubiquitous motif in ancient
M. F. Husain, 1972
Indian sculpture. The influence of classical Indian sculpture, apparent in this
frieze-like work, illuminates Husain’s interest in conveying the sculptural and
three-dimensional on a flat surface. Husain has recurrently paid homage to
Indian cultural traditions in their classical forms. The inter-disciplinary nature
of music, sculpture, dance, painting and film provided enormous inspiration to
Husain at the time, and this painting embodies a masterful usage of his most
recognisable pictorial elements.
“Husain views each painting as a fragment of music whose counterpoint
exists elsewhere, and his entire painterly activity as one immense effort at
orchestration of all the notes that he hears struck upon his personality. No
painting is intended as a complete statement. In a continuing inquiry into the
nature of being, every one of his wide array of works, joyous or grave, leaves the
viewer with an intimation of other possibilities.” (R. Bartholomew and S. Kapur,
Husain, New York, 1972, p. 60)
47
 FRANCIS NEWTON SOUZA AND THE
PROGRESSIVE ARTISTS’ GROUP
“If art is in some ways a barometer, then the Progressive Artists
Group is emblematic of the formative years of modernism in India.
In its move towards individualism, its strong leanings towards
universal values and its non-hierarchical attitude, modernism has
met with resistance in this country. But to the Progressives goes
the credit for imbibing from internationalism and rooting it here
and lending it an iconic status.” (Y. Dalmia, The Making of Modern
Indian Art: The Progressives, New Delhi, 2001, p. x)
In the 1930s and 40s in India, the idea of modernism was linked
as much with the growth of individual consciousness and
internationalism as it was with the new sense of national identity
in the country. Its expression in literature, theatre, film, architecture
and art then had important historical and socio-political
dimensions, and was frequently supported by cultural practitioners
and groups oriented towards the Left. It was in this environment,
that Francis Newton Souza founded the Progressive Artists’ Group
(PAG) on the eve of India’s Independence in 1947 along with fellow
artists Syed Haider Raza, Krishnaji Howlaji Ara, Hari Ambadas
Gade, Sadanand Bakre, and Maqbool Fida Husain in Bombay.
Originally linked ideologically with the Communist Party of India,
the PAG soon invalidated these ties in favor of strong modernist
intentions. Rejecting academic realism and the art of the Bengal
school, the PAG looked towards folk art, classical painting and
sculpture, combining them with western art to produce a unique
mode of expression. Souza articulated this course concisely,
writing, “Today we paint with absolute freedom for content and
techniques almost anarchic; save that we are governed by one or
two sound elemental and eternal laws, of aesthetic order, plastic
S.H. Raza, Portrait of the Progressive Artists’ Group at their exhibition in Bombay, 1949
Image reproduced from Souza in the Forties, exhibition catalogue, New Delhi, 1983
48
co-ordination and colour composition. We have no pretensions of
making vapid revivals of any school or movement in art. We have
studied the various schools of painting and sculpture to arrive at
a vigorous synthesis.” (Artist statement, Painting and Sculpture
by the Progressive Artists’ Group, exhibition catalogue, Mumbai,
1949, unpaginated)
The absolute freedom of expression Souza spoke of drew as
much praise as it did suspicion, opposition and even controversy.
However, along with the other founding members of the group,
Souza stood steadfast in his beliefs and artistic practice. The
Progressive’s first exhibition was held in Baroda in February 1949,
and then another in Bombay later that year.
Although they took several different forms, and were expressed
across multiple genres, the modernist vocabularies of each of the
founding members of the PAG were united in their antithetical
position to the academic, romantic and orientalist schools of art
that they succeeded in replacing. Reminiscing about the first
years of the PAG, Raza wrote, “What we had in common besides
our youth and lack of means was that we hoped for a better
understanding of art. We had a sense of searching and we fought
the material world. There was at our meetings and discussions a
great fraternal feeling, a certain warmth and a lively exchange of
ideas. We criticised each other’s work as surely as we eulogised
about it. This was a time when there was no modern art in our
country and a period of artistic confusion.” (Artist statement,
S. Bahadurji, ‘Point of Creation’, Bombay Magazine, 7-21 March
1984, unpaginated)
Through the course of these artists’ careers, some extending
across nearly eight decades, these idioms evolved and expanded,
but their conviction and commitment to the ideal of building a
new, modern cannon of art for India remained unchanged. Writing
on the PAG many years later, Souza proudly stated, ‘Modern
Indian Art was launched by the Progressive Artists’ Group. Since
then, almost 50 years now, it appears that modern Indian art has
become the best art school in the world […] The point to be noted
here, is that the imagery that the Progressive Artists created was
revolutionary in the context of the art history of its time.’ (Artist
statement, ‘My Credo in Art’, Contemporary Indian Art, Glenbarra
Art Museum, Himeji)
The membership of the PAG evolved over the next few years
as Souza, Raza and Bakre left India, and close associates
of the group like Bal Chhabda, Vasudeo S. Gaitonde, Bhanu
Rajapadhya, Mohan Samant and Krishen Khanna expanded its
ranks. Eventually, as more members moved away from Bombay,
the PAG was officially dissolved in 1954. This fall, more than sixty
years later, the Asia Society Museum in New York will open the
exhibition The Progressive Revolution: Modern Art for a New India
dedicated to this ragtag, pioneering Group.
The Progressive Artists Group,
Left to Right: M.F. Husain, F. N. Souza,
H.A Gade, K.H. Ara, S. H. Raza, S.K. Bakre
Image reproduced from Mumbai Modern.
The Progressive Artists’ Group, 1947-2013,
exhibition catalogue, New Delhi, 2013, p. 26

49
 226
HARI AMBADAS GADE
1917 2001
Untitled (Figures)
signed ‘GADE’ (lower center)
mixed media on paper
24¬ x 19 in. (62.5 x 48.3 cm.)

$10,000-15,000

PROVENANCE
Saffronart, 21 July 2011, lot 63
Acquired from the above by the present owner

227
FRANCIS NEWTON SOUZA
1924 2002
Untitled
signed and dated ‘Souza 1941’; Souza 1944’
(recto and verso)
pencil on paper
6º x 7w in. (16 x 20 cm.) (each)
Executed in 1941, 1944; two double-sided
works on paper (2)

$3,000-5,000

PROVENANCE
Formerly from the Estate of Francis Newton Souza
226

227 (Recto) (Verso) (Recto) (Verso)

He is one of the most remarkable young artists of India, not as an accomplished master who
already has found his own style, but as an experimenter of an intensity rare in this country [...]
always provoking and trying out new techniques and new interpretations [...] Whatever Francis
Newton’s final style may be, in whatever manner it will be integrated into the all-Indian tradition,
his contribution will be an intensity and a fierce fire which the soft escapism of modern Indian art
has generally missed [...] From where he is fetching his techniques, does not matter. For all real art
starts only where an artist ceases to follow anybody, and dissolves all those lessons in the fire of
his own vision.
– Hermann Goetz, 1949
51
F.N. Souza with fellow artists, Bombay Art Society Salon, 1948
Image reproduced from A. Vajpeyi, Raza: A Life in Art, New Delhi,
2007, p. 33. Published by Art Alive Gallery, New Delhi

52
53
 FRANCIS NEWTON SOUZA : FAMILY
Francis Newton Souza moved from his native Goa to Bombay with his
widowed mother Lily Mary Antunes as a teenager. While she struggled to
make a living for them both from her dressmaking, Souza enrolled in the Sir
J.J. School of Art in 1940, only to be expelled in 1945 for his role in the protests
against its British Director Charles Gerrard during the Quit India movement.
The artist’s first biographer, Edwin Mullins describes the period, noting that
Souza was becoming “Increasingly vexed by the polite inertia of Bombay
society, with its borrowed aesthetic values and its indifference to the condition
of India [...]” (E. Mullins, Souza, London, 1962, p. 17) Branded a ‘Rebel Artist’
by the critic and curator Hermann Goetz, who acquired one of Souza’s first
paintings for the Baroda Museum where he worked, the artist soon found
himself in the company of other revolutionaries, eventually becoming member
of the Communist Party of India in 1947.
Geeta Kapur describes Souza’s short-lived involvement with the Party in
her seminal 1978 essay on the artist, ‘Devil in the Flesh’. “Souza’s process
of politicisation led him quickly to Marxism, and soon after he had been
expelled from the art school, he joined the Communist Party of India. Being
by temperament a fighter every pang of humiliation he felt as an individual
or as a “native” roused him to retaliation and attack. He converted this
fighting spirit into revolutionary politics. The Party welcomed him on the
popular front, and his art of the period did indeed merit enthusiasm from the
comrades. He devised his figures according to class-types, showed them in
their environment, labeled them with appropriate titles. He depicted the plight
of the poor (Goan peasants, Bombay Proletariat); he exposed the villains
(Capitalists in particular, the bourgeoisie in general). He painted, moreover,
in an idiom belonging broadly to the Social Realist category and was more
than willing, with the help of the party organisation, to show his paintings in
FRANCIS NEWTON, exhibition catalogue, Bombay, 1948
©Estate of F N Souza. All rights reserved, DACS / ARS 2018
the working class colonies of Bombay. He was hailed in the People’s Age, the
Party paper, as a patriot and a revolutionary.” (G. Kapur, Contemporary Indian
Artists, New Delhi, 1978, p. 7)
It was during this period that Souza, as a twenty-two year old ‘revolutionary’,
painted Family, a scathing socioeconomic portrait deeply influenced by his
Marxist views and the political climate in India at the time. One of the artist’s
most seminal works from the 1940s, this painting represents the brief but
dynamic formative period of Souza’s career that was instrumental in laying
the foundation for his later work in India and England. Although it bears
thematic similarities with Van Gogh’s famous 1885 canvas, The Potato Eaters,
this painting offers a more confrontational perspective on the circumstances
of the working class, closely allied with the work of Social Realist, Mexican
Revolutionary and German Expressionist artists.
Painted in 1946, the year after Souza’s first one-man show and shortly before
he would found the Progressive Artists’ Group, this family portrait represents
not only a significant point of inflection in the definition and evolution of
modern Indian art, but also in the political history of South Asia. Here, an
impoverished family of four sits down to a meagre meal on the floor of their
hut, holding tiny cups and surrounded by empty vessels. Slightly less stylized
than Souza’s Untitled (Indian Family), a similar portrait he painted a year later,
also notable in this picture is the artist’s overt references to Catholicism,
both in the oversize cross the woman wears on a rosary around her neck and
in the household shrine with the Madonna and Child that hangs on the wall
behind her. While Souza clearly highlights their poverty, largely perpetuated
by indebtedness and servitude to wealthier, more powerful masters, he
also draws attention to their faith, a result of centuries of conversion by
Francis Newton Souza, Beggars in Bombay
Christie’s New York, 18 March 2014, lot 97
©Estate of F N Souza. All rights reserved,
DACS / ARS 2018
In the entire history of Indian art he [Souza] is exceptional, in the sheer power and development of
his work to a truly distinctive style, which sets it apart. In no period of Souza’s work can you mistake
it with anyone else’s. What is this quality in him that sets him so uniquely apart and at the same time
does not make him derivative? His work has incredible vitality and one has to search for its basis.
- Ebrahim Alkazi, 2016

missionaries and colonizers. In its portrayal of the family’s living conditions,
paintings like this one established the foundation for the critique of religious
hypocrisy and the contempt for social hierarchies that Souza expressed
through his acclaimed works of the 1950s and 60s. They also inspired several
other Indian artists who were members and associates of the Progressive
Artists’ Group, most notably Ram Kumar, Krishen Khanna and Satish Gujral.
Although inspired by the warm colors of the Goan countryside and its
peasantry, this painting is very much a product of Souza’s time and experiences
in Bombay and was probably included in his exhibitions that toured through
the labourer colonies of the city. Also included in Souza’s first one-man
exhibition at the Bombay Art Society’s Salon in 1948 (titled Proletariat of Goa
at the time), Family is a political tour-de-force. As Goetz, who inaugurated
this exhibition noted, it is no wonder that Souza “thought it his duty to place
his art in the service of propaganda to alter such deplorable conditions; no
wonder he believed that this should be an art of the people for the people.”
(H. Goetz, ‘Rebel Artist: Francis Newton’, Baroda State Museum Bulletin, Vol.
4, 1949, p. 53)
This formative phase of the artist’s oeuvre, however, didn’t last very long. The
reviews of his 1948 show were less than favourable, with a large section of
viewers and critics left shocked by paintings like The Proselyte, Prostitute, A
Corner in our City’s Underworld – or the Pederasts and Naked Family. One
review titled ‘Propaganda Confused with Art’ railed against Souza’s capacity
for social critique through his paintings, noting that “this fanaticism is
Newton’s weakness as well as strength.” (R. Chaterji, ‘Propaganda Confused
with Art, Francis Newton’s Progressive Paintings’, January 1948)
In 1949, Souza quit the Communist Party, explaining later that it was because
they “told me to paint in this way and that. I was estranged from many cliques
who wanted me to paint what would please them. I don’t believe that a true
artist paints for coteries or for the proletariat. I believe with all my soul that he
paints solely for himself.” (Artist statement, Words and Lines, London, 1959,
p. 10) Later that year, the artist sailed from Bombay to London, in the hope of
finding a more receptive audience for his art outside India.
His first exhibition in London, featuring works from the 1940s he had taken
with him, possibly including this painting, was held at the Asian Institute
Gallery in November 1950. Unfortunately, the few critics who did view this
show tended to agree with Chaterji, but not from his morally conservative
standpoint. “The London critic [...] can afford to be less sensitive to the artist’s
evident desire to shock both morally, politically and traditionally, and can face
disinterestedly for instance the political questions of the wildly mixed racial
styles involved. But while he may appreciate the artist’s gift of line, and his
apparent social sincerity, he may well doubt whether the effort to appreciate
flat two-dimensional, crudely decorative use of raw colour rushed onto
unprepared beaverboard will be repaid here in this country, even though the
forms involved may have a certain Gauguinesque travel interest.” (C. Hogben,
‘Souza’, Art New and Review, London, 2 December 1950, p. 5)
The response to his work, both in India and England, together with his deep
disenchantment with life in post-war London, and the hypocrisy he saw in
those occupying positions of wealth and power, provoked the first major
transformation in Souza’s work, which would soon propel him to recognition
and even fame in London’s artistic circles.

Vincent Van Gogh, The Potato Eaters, 1885 Ram Kumar, Worker’s Family, 1955
Van Gogh Museum, Amsterdam Image: Directing Art. The Making of a
Image: Van Gogh At Work, exhibition catalogue, Amsterdam, 2013 Modern Indian Art World, Ahmedabad,
New Delhi, 2016, p. 101
55
56
H. Goetz, ‘Rebel Artist Francis Newton’ (excerpt)
Images reproduced from Marg, Vol.3, No.3, 1949
57
PROPERTY FROM AN ESTEEMED
PRIVATE COLLECTION

228
FRANCIS NEWTON SOUZA
1924 2002
Family
signed and dated ‘NEWTON.46’ (lower right)
further inscribed, titled and dated ‘F.N. SOUZA
Family 1946’ (on the reverse)
oil on card laid on board
27 x 40 in. (68.7 x 101.6 cm.)
Painted in 1946

$600,000-800,000

PROVENANCE
Acquired directly from the artist by the
present owner

EXHIBITED
Bombay, Bombay Art Society Salon,
Francis Newton, 19 January-1 February 1948

LITERATURE
H. Goetz, ‘Rebel Artist Francis Newton’, Marg,
Vol. 3, No. 3, Bombay, July 1949, p. 35 (illustrated)
A. Kurtha, Francis Newton Souza: Bridging
Western and Indian Modern Art, Ahmedabad,
2006, p. 17 (illustrated)

F. N. Souza, Untitled (Indian Family), 1947

Christie’s Mumbai, 11 December 2014, lot 44,
sold for INR 9,02,25,000 ($1,443,138)
©Estate of F N Souza. All rights reserved,
DACS / ARS 2018
 229
FRANCIS NEWTON SOUZA
1924 2002
Untitled (Head)
signed and dated ‘Souza 98’ (center left)
mixed media on paper
17w x 11w in. (45.5 x 30.3 cm.)
Executed in 1998

$8,000-12,000

PROVENANCE
Formerly from the Estate of Francis Newton Souza

230
FRANCIS NEWTON SOUZA
1924 2002
Untitled
signed and dated as illustrated
10w x 8º in. (27.7 x 21 cm.) smallest
10¬ x 8w in. (27 x 22.5 cm.) largest
six works on paper (6)

$5,000-7,000

PROVENANCE
Formerly from the Estate of Francis Newton Souza
229

230

60
231
FRANCIS NEWTON SOUZA 1924 2002
Untitled (Head of Christ)
signed and dated ‘Souza 99’ (center left)
mixed media on newspaper
14¬ x 11 in. (37 x 27.8 cm.)
Executed in 1999

$6,000-8,000

PROVENANCE
Formerly from the Estate of Francis Newton Souza

232 No Lot
61
PROPERTY FROM AN ESTEEMED PRIVATE COLLECTION

233
FRANCIS NEWTON SOUZA 1924 2002
Jesting Pilate
signed and dated ‘Souza 56’ (upper left); further inscribed, PROVENANCE

dated and titled ‘F.N. SOUZA - 1956 / JESTING PILATE Acquired directly from the artist by the present owner
(To go with Crowned Christ 1956)’ (on the reverse)
LITERATURE
oil on board
A. Kurtha, Francis Newton Souza: Bridging Western and Indian
48 x 36 in. (121.9 x 91.4 cm.)
Modern Art, Ahmedabad, 2006, p. 67 (illustrated)
Painted in 1956

$150,000-200,000

What is truth? said jesting Pilate, and would not stay for an answer.
– Francis Bacon, circa 1597–1612

Jesting Pilate represents one of the most important examples of the significant
role of the Catholic church and its scriptures in the oeuvre of Francis Newton
Souza. Painted in 1956, this was a significant year for Souza as he met the
wealthy American, Harold Kovner, who would become his first major patron
allowing him over the next half decade to paint many of the most significant
works of his career. Jesting Pilate was included in a series of works from the
same year on Jesus Christ and Pontius Pilate. In fact, Souza inscribed the
reverse of the painting ‘To go with Crowned Christ 1956’. Another major
work on the subject from the same series, the double portrait Christ and
Pilate, is included in the exhibition All Too Human, currently on view at Tate
Britain, London.
Pontius Pilate was the fifth Prefect of the Roman province of Judaea, who
served under the Roman Emperor Tiberius, and became notorious for the trial
leading to the crucifixion of Jesus Christ. In this trial, Pilate attempts to acquit
Christ from the fatal charges, proclaiming his innocence. Jesting Pilate refers
to a specific passage in the Gospel of St John, commonly dubbed ‘jesting
Pilate’ or ‘What is truth?’ In these verses, Pilate addresses Christ’s claim to
be the witness of truth. “Pilate therefore said unto him, Art thou a king then?
Jesus answered, Thou sayest that I am a king. To this end was I born, and for
this cause came I unto the world, that I should bear witness unto the truth.
Every one that is of the truth heareth My voice. Pilate saith unto Him, What is
truth? And when he had said this, he went out again unto the Jews, and saith
unto them, I find in him no fault at all.” (King James Bible, St. John 18:37–38)
This is a critical passage extolling the innocence of Christ in the eyes of Pilate.
It has been widely quoted and become the subject of philosophical debate
as to the true intention behind Pilate’s statement and whether it was said in
sincerity or jest. The most famous of these was Francis Bacon, the 1st Viscount
St. Alban, an English philosopher, parliamentarian and scientist in his writings
‘Of Truth’ which opens with his famous quote “WHAT is truth? said jesting
Pilate, and would not stay for an answer.” (F. Bacon ‘Of Truth’ , Essays, Civil and
Moral, 1909-1914, Bartleby website, accessed July 2018) In this treatise, Bacon
claims that humanity takes great pleasure in telling lies over the truth. Jesting
Pilate thus becomes the personification of humanity’s fatal flaw.
Souza’s Jesting Pilate is impressive in scale and a sense of gestalt. Discussing
the painting in 1959 the critic Richard Bartholomew describes Souza’s
“preoccupation with the monolithic. An impression of power, of mystery and
of imaginative strength is built up by the use of titanic figures […] they impress
because of their sheer mass.” (R. Bartholomew, ‘Trends in Modern Indian Art’,
Design Magazine, February, 1959, unpaginated) Souza interestingly portrays
Pilate somewhat critically as a monumental yet shadowy bust with a primitive
flattened face and a snout-like nose. His glowing white pupil-less eyes imbue
him with a sense of divine power. In many ways, Pilate is both sinner and
saint embodying Souza’s enduring fascination with these two extremes
of humanity.

A. Kurtha, Francis Newton Souza:
Bridging Western and Indian Modern Art,
Ahmedabad, 2006, p. 67
© Estate of F N Souza. All rights
reserved, DACS / ARS 2018
Francis Newton Souza,
Crowned Christ, 1956
© Estate of F N Souza.
All rights reserved,
DACS / ARS 2018
Francis Newton Souza, Christ and Pilate, 1956
Image reproduced from All Too Human, Bacon, Freud
and a Century of Painting Life, exhibition catalogue,
London, 2018, p. 95. © Estate of F N Souza.
All rights reserved, DACS / ARS 2018
64
65
 MANJIT BAWA : ACROBAT
Inspired by his early experiences with silk screen printing, which he studied at
the London School of Printing from 1967-71, Manjit Bawa utilized simplified,
uncluttered modes of expression to develop a signature style in his works on
canvas. Suspending figures and forms against richly hued backgrounds with
an effortless beauty borne from pristine, elegant simplicity, Bawa has created
an instantly recognizable aesthetic.
In this monumental painting, one of the artist’s largest, a circus acrobat
gracefully floats above two galloping horses, indifferent to the agitation of
the beasts, twirling an orange ribbon over her head. Part of a series of works
Bawa started working on in the late 1980s, inspired by street performers,
acrobats and circus activities he saw in his home state, Punjab, and almost
certainly in other artists’ imagery such as Fernand Léger, the artist eliminates
all extraneous detail in this composition in favor of bold contours and a
monochromatic, deep red backdrop of pure horizonless space. The influence
of classical Indian artistic traditions is evident both in Bawa’s poise and
palette. While the artist’s mastery of simplified yet lyrical forms set against
uncluttered expanses borrows from Kalighat paintings, the saturated gem-
toned backgrounds he paints take inspiration from various schools of Indian
miniature painting.
In the catalogue for Manjit Bawa’s 2000 solo exhibition at Bose Pacia, New
York, the critic Ranjit Hoskote encapsulates the fantastic and ethereal energy
that animates this seminal painting. “The mauve panther, the bull poised
to charge, the circus artiste whirling a streamer as she balances on two
Krishna on Kaliya, Kalighat School,
Fernand Léger, L’acrobate au cheval, 1953
Bengal, East India, Late 19th Century
Christie’s New York, 8 November 2000,
lot 70 Christie’s London, 12 June 2018, lot 82
spirited horses, the blue flautist – each form, animal and human, rejoices in its
plasticity and libidinal energy, its gymnastic ability to defy the structures of the
anatomist. The rounded contours of each toy-like figure speak of its prana, the
life-breath that gives it a vital buoyancy, allowing it to occupy rather than be
trapped in those flat, glowing, single-colour fields of red, yellow, green or blue
that are Bawa’s hallmark device.” (R. Hoskote, Manjit Bawa, Modern Miniatures
Recent Paintings, exhibition catalogue, New York, 2000, unpaginated)
According to fellow artist Jagdish Swaminathan, what is so outstanding about
Bawa’s unique practice is “[...] not the stroke-by-stroke structuring of the image
but its instant unveiling in animated suspension. As the image is revealed, the
backdrop itself becomes the enactment.” (J. Swaminathan, Let’s Paint the Sky
Red: Manjit Bawa, New Delhi, 2011, p. 37) The subtle chiaroscuro with which
Bawa depicts form and volume, faintly underlining the figures’ contours with
a different tone of the same color, gives a unique sense of dynamism to his
compositions. In the present painting, one of the largest canvases painted by
the artist, the three figures – an acrobat and two horses – appear as if eternally
suspended in perfect balance against an ethereal vermillion background. This
graceful staging of Bawa’s human and animal figures against luminescent,
monochromatic grounds does not indicate they are in a void, nor are these
screens merely formal mechanisms or tableaus. Rather, they become tangible
entities, as central to the work as the figures suspended against and within
them. These color fields are neither land, sea or sky, but some form of ether in
which Bawa’s protagonists are suspended in stasis, capturing moments and
interactions that would otherwise be lost.
Manjit Bawa, Untitled (Acrobat), 1988
Christie’s London, 11 June 2012, lot 92
Portrait of Manjit Bawa
Photograph by Jyoti Bhatt
67
PROPERTY OF A DISTINGUISHED PRIVATE COLLECTION

234
MANJIT BAWA 1941 2008
Untitled (Acrobat)
oil on canvas EXHIBITED

89æ x 68 in. (228 x 172.7 cm.) Mumbai, Sakshi Gallery; Kolkata, Academy of Fine Art; New Delhi,
Painted in 1999 Lalit Kala Akademi, bhav, bhaav, bhavya, Frames of Eternity,
February-April 1999
$600,000-800,000 New York, Bose Pacia, Manjit Bawa, Modern Miniatures, Recent Paintings,
8 April - 27 May 2000

PROVENANCE LITERATURE

Bose Pacia, New York bhav, bhaav, bhavya, Frames of Eternity, exhibition catalogue, Mumbai, 1999
Private East Coast Collection (illustrated twice, unpaginated)
Sotheby’s New York, 24 March 2010, lot 147 Modern Miniatures, Recent Paintings, exhibition catalogue, New York, 2000
Acquired from the above by the present owner (illustrated, unpaginated)

Often when I am half-awake or asleep, I see these familiar figures and realise once again
the truth that they are within me. My art is a mere expression of these feelings…there is no
intellectual pretension, no need to conform to social norms, instead only heartfelt honestly, an
expression of truth, as I feel it, see it and know it.
- Manjit Bawa

Manjit Bawa, Untitled (Krishna and Cow), 1998

Christie’s New York, 13 September 2017, lot
475, sold for $780,500
235 No Lot
 PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION,
MUMBAI LOTS 236 237

236
ARPITA SINGH B. 1937
Untitled (Women); The Hunter
signed and dated ‘ARPITA SINGH 1998’ (lower right); signed
and dated ‘ARPITA SINGH April 2007’ (lower right)
watercolor on paper
20 x 14 in. (50.8 x 35.6 cm.); 14 x 10æ in. (35.6 x 27.3 cm.)
Executed in 1998, 2007; two works on paper (2)

$12,000-18,000

PROVENANCE
Vadehra Art Gallery, New Delhi
Acquired from the above by the present owner

EXHIBITED
Bern, Kunst Museum, Signposts of a Journey: Paintings by
Arpita Singh, 20 September 2007 - 6 January 2008 (one)

LITERATURE
Signposts of a Journey: Paintings by Arpita Singh, exhibition
catalogue, New Delhi, 2007, p. 27 (one illustrated)

237
SUDHIR PATWARDHAN B. 1949
Inside (Window)
signed, titled, dated and inscribed ‘SUDHIR PATWARDHAN
‘WINDOW 2009’ / Acrylic on Canvas’ (on the reverse)
acrylic on canvas
48 x 36¿ in. (121.9 x 91.8 cm.)
Painted in 2009

236 $25,000-35,000

PROVENANCE
Sakshi Art Gallery, Mumbai
Acquired from the above by the present owner

EXHIBITED

Mumbai, Sakshi Gallery; New Delhi, Lalit Kala Akademi, Family

Fiction, Sudhir Patwardhan, January, March, 2011

LITERATURE
Family Fiction, Sudhir Patwardhan, exhibition catalogue, Mumbai,
2011, p. 43 (illustrated)

Speaking about his evolving relationship with the city of Mumbai

and its suburbs, where he has lived since the 1970s, Sudhir
Patwardhan notes, “Living here these past decades has become
a strain, and I have felt alienated from the city at times. One can
no longer encompass it as a whole in a panoramic image, and
one lacks the guts to embrace it at street level [...] Withdrawing
somewhat from this uncomfortable sense of fragmentation,
a third way of relating to the city has emerged in my work in
recent years: the city as seen from the window of one’s home
(Inside, 2009). One gazes from the safety of one’s own space.
The fragment is now held in steady view within the frame of
the window. The intimacy of a private space is brought into
relation with the outside. A play of inside and outside, a game of
inclusion and exclusion is set up. As an artist, I enjoy neither the
elevated position and authority of the panorama nor the sense of
belonging in a street crowd. One has to live with the un-certain
and shifting nature of this coming together of private and public
spaces.” (Artist statement, ‘Retreat from the Streets’, The Indian
Quarterly website, accessed July 2018)
236
237
PROPERTY FROM AN ESTEEMED PRIVATE COLLECTION
238
FRANCIS NEWTON SOUZA 1924 2002
Nude in Front of Mirror
signed and dated ‘SOUZA 1949’ (lower left); further inscribed, titled
and dated ‘F.N. SOUZA / Nude in front of mirror / 1949’ (on the reverse)
oil on board
36 x 24 in. (91.5 x 61 cm.)
Painted in 1949
$200,000-300,000
Born and raised in Goa, Francis Newton Souza moved with his mother to
Bombay at the age of thirteen in 1937 to join St. Xaviers’s High School and later
enroll in the prestigious Sir J.J. School of Art in Bombay. Souza’s rebellious
personality did not fit well with Jesuit education or the formal teaching
methods at the art school, still very much influenced by colonial British styles,
and he was expelled from both institutions. These formative years would be
decisive in the artist’s career and are fundamental to understand Souza’s
iconography. Edwin Mullins who published the first monograph on the artist in
1962 sums up his background with a succinct but comprehensive observation.
“An Indian painter, brought up a strict Roman Catholic under Portuguese
colonial rule, later a member of the Communist Party and now (1961) living in
London: these are the barest details about one of the most gifted and original
modern artists. Those writers on art who even today look upon all new painting
as the result of age-old cultural roots, must be rather baffled by such a history,
for it bears witness to a great number of contradictory influences which make
nonsense of conventional ideas of tradition.” (E. Mullins, Souza, London,
1961, p. 5)
As Mullins went on to explain, Souza’s iconographic horizon was complex,
stretching from classical and modern Western art history to ancient Indian
art and African tribal art, and deeply influenced by sociopolitical history as
well. Many of these sources may be read in Nude in Front of Mirror, painted in
1949, the same year Souza would embark on his move to London to further
his artistic career.
An early example of a nude by the artist, here Souza has chosen to depict
a theme that places this painting within an illustrious lineage dating from
Renaissance vanitas portraits in which a woman in front of a mirror, gazing
at her own image, joins the viewer in treating herself as an object of visual
A. Kurtha, Francis Newton Souza: Bridging F. N. Souza, Front-Back Nude, 1950
Western and Indian Modern Art, Ahmedabad, Christie’s Mumbai, 11 December
2006, p. 106 2014, lot 7
© Estate of F N Souza. All rights reserved, © Estate of F N Souza. All rights
DACS / ARS 2018 reserved, DACS / ARS 2018
PROVENANCE
Schuster Gallery, Detroit
The Collection of the artist
Acquired from the above by the present owner
LITERATURE
A. Kurtha, Francis Newton Souza: Bridging Western and Indian
Modern Art, Ahmedabad, 2006, p. 106 (illustrated)
This work is illustrated in the consignment listing of
Eugene I. Schuster, London Arts Group, Detroit
pleasure, to the works of artists like Pablo Picasso (1881-1973). In the present
lot, a standing nude gazes at her reflection in a mirror, her face in profile
and her body represented frontally. Her figure is carved with somber black
lines against a monochromatic background, and Souza uses a simple play
of light and shade to delineate her sensuous curves. Soon after he painted
this portrait, Souza would develop this distortion of the female body further,
combining front and back views of the protagonist in several drawings and
paintings like Front-Back Nude (1950), in an attempt perhaps to condense the
copulating couples found in ancient Indian temple sculptures into a singular
monolithic form.
This distorted treatment of the figure to present simultaneous, multiple views
of the female body is also testimony to the early influence that Picasso’s
experiments with Primitive and African art had on Souza. As Yashodhara
Dalmia notes, “Souza’s early works which were inadvertently imbibing these
influences were also incorporating the ‘Primitive’ via the mediation of the
West. In reclaiming the Primitive then Souza was virtually reinventing his
own art and that is where his strength lay.” (Y. Dalmia, The Making of Modern
Indian Art: The Progressives, New Delhi, 2001, p. 98) This influence is seen in
the stylized features and modular forms of this nude, as well as in the artist’s
bold, non-naturalistic use of flat color. The present painting illustrates the
artist’s preference for depicting robust, voluptuous women in bold frontal
poses, echoing the forms he discovered in the temple sculptures of Khajurao
and Mathura only a year earlier on a visit to Delhi.
An important, formative composition, Nude in Front of Mirror offers a
fascinating insight into Souza’s early creative process, which integrated a
plethora of external influences to deliver a unique and original image, in which
his exceptional talent can already be perceived.
Pablo Picasso, Girl Before a Mirror, 1932
Museum of Modern Art, New York
© 2018 Estate of Pablo Picasso / Artists
Rights Society (ARS), New York
 PROPERTY FROM A PRIVATE COLLECTION, UTAH

239
B. PRABHA 1933 2001
Untitled (Fisherwomen)
signed and dated in Hindi (lower left)
oil on canvas
41w x 26 in. (106.5 x 66 cm.)
Painted in 1969

$8,000-12,000

PROVENANCE
Acquired in New Delhi, 1969, while on assignment with the United States
Agency for International Development (USAID)
Thence by descent

PROPERTY OF A PRIVATE COLLECTOR, MICHIGAN

240
B. PRABHA 1933 2001
Vorsova Girls
signed and dated ‘b.prabha. 1960.’ (center left); further inscribed and titled
‘VORSOVA GIRLS’ [sic] (on artist’s label on the reverse)
oil on canvas
28¿ x 34º in. (71.5 x 87 cm.)
Painted in 1960

$6,000-8,000

PROVENANCE
Acquired in Michigan by the present owner
239

240
241
JAMINI ROY 1887 1972
Untitled (Chariot)
signed in Bengali (lower right)
tempera on card
19q x 33 in. (48.8 x 83.8 cm.)
Executed circa 1950s

$18,000-25,000

PROVENANCE
Acquired directly from the artist, circa 1956-61
Collection of Arthur J. and Betty Dashew Robins, Missouri
Betty Robins was a friend of the artist and a curator at the Museum
of Art and Archaeology, University of Missouri. She was an avid
collector of Indian folk art and has published various essays on Indian art.
Christie’s New York, 23 March 2011, lot 506
Aicon Gallery, New York
Acquired from the above by the present owner

75
 PROPERTY OF A PRIVATE COLLECTOR, NEW YORK

242
JAMINI ROY 1887 1972
Untitled (Cats with Prawn)
signed in Bengali (lower right); inscribed ‘1939’
(on the reverse)
tempera on card
21¬ x 17º in. (54.8 x 43.8 cm.)
Executed circa late 1930s

$8,000-12,000

PROVENANCE
Sotheby’s New York, 10 October 1997, lot 3
Acquired from the above by the present owner

242

PROPERTY OF A PRIVATE COLLECTOR, NEW MEXICO

243
JAMINI ROY 1887 1972
Untitled (Two Ladies)
tempera on card
16¿ x 9w in. (40.8 x 25 cm.)
Executed circa 1950s

$2,500-3,500

PROVENANCE
Acquired in the 1950s
Private Collection, Albuquerque, New Mexico
Acquired from the above by the present owner,
July 2015

243
244
JAMINI ROY 1887 1972
Untitled (Bal Krishna)
signed in Bengali (lower right)
tempera on card
19q x 22q in. (49.5 x 57.2 cm.)

$12,000-18,000

PROVENANCE
Private Collection, California, USA
Bonhams London, 2 June 2010, Lot 6
Acquired from the above by the present owner

77
245

PROPERTY OF A PRIVATE COLLECTOR, NEW MEXICO

245
JAMINI ROY 1887 1972
Untitled (Krishna and Balarama)
signed in Bengali (lower right)
tempera on canvas laid on board
14w x 25w in. (37.8 x 65 cm.)
246
HEMENDRANATH MAZUMDAR 1894 1948
Untitled (Lady with Fruit Basket)
signed ‘H. MAZUMDAR’ (upper left)
oil on canvas
19w x 16º in. (50.5 x 41.2 cm.)

$6,000-8,000 $18,000-25,000

PROVENANCE PROVENANCE
Acquired in the 1950s Private Collection, Great Neck, New York
Private Collection, Albuquerque, New Mexico Acquired from the above by the present owner
Acquired from the above by the present owner, July 2015

78
 246
Born in 1894 in Kishoreganj, now a part of Bangladesh, Hemendranath
Mazumdar was one of the few Indian artists of the early Twentieth Century to
achieve both academic and commercial success during his lifetime. Although
he was a close associate of Abanindranath Tagore, he preferred to work in the
European academic style rejected by the Bengal School.
Mazumdar’s oeuvre followed in the tradition of Raja Ravi Varma and explored
a comparable range of themes focussing mainly on oil paintings of women. His
wife frequently sat for these portraits, explaining the similarities seen between
many of the artist’s subjects. Set against the backdrop of socially conservative
Bengal in the 1920s, the magnetic power of Mazumdar’s women lay in their
palpability and immediacy. At a time when women were behind purdah,
his subject in the present painting, a young village girl carrying a basket of
fruit unabashedly holds the gaze of the viewer. Although a peasant woman,
Mazumdar has depicted her wearing elaborate jewellery and a luminous gold
sari which stands out in dramatic contrast against the dark background.
During his lifetime Mazumdar was awarded many high profile commissions,
including decorating a celebratory gate to welcome King George V of England
to India in 1911. The Maharajas of Jaipur, Bikaner, Kashmir, Patiala, Cooch
Behar and Mayurbhanj, to name a few, commissioned many works from him
for their palaces. The Maharaja, Bhupinder Singh of Patiala, a devoted patron,
also engaged him as a state artist for five years (1932-38).
79
 PROPERTY OF A DISTINGUISHED PRIVATE COLLECTION

247
ZAINUL ABEDIN 1914 1976
Untitled (Santhal Women)
signed and dated ‘Zainul 69’ (lower right)
oil on canvas
61¿ x 27 in. (155.3 x 68.6 cm.)
Painted in 1969

$30,000-50,000

PROVENANCE
The Collection of Mohammad Fayyaz
The Collection of Wahab Jaffer, Karachi
Sotheby’s London, 8 June 2000, lot 168
Acquired from the above by the present owner

LITERATURE
I. ul Hassan, Painting in Pakistan, Lahore, 1991,
p. 55 (illustrated)

In 1947, the year of the partition of the Indian subcontinent,

Zainul Abedin moved from Calcutta (now Kolkata) to
Dhaka, the capital of present day Bangladesh (then East
Pakistan). In Calcutta, Abedin had been a student and
an art teacher, and was deeply influenced by the political
environment of his time and by artists like Atul Bose,
Jamini Roy (lots 241-245), Ramkinkar Baij and Chittaprosad
Bhattacharya (lot 253). Profoundly moved by events like the
devastating famine in Bengal in 1943, “Abedin has been one
of the few painters who have, from the outset, recognised
the necessary relationship of art to life. He revolted
against the suppression of subject matter drawn from
life, which Abanindranath and his followers were inclined
to do, and unlike them he found much grandeur in the
common man [...] The simplicity of execution and complete
disregard of details, necessitated by an emotional urgency
in the sketches, guide his later work, to explore aesthetic
possibilities inherent in the subject. His predilection for
linear harmonies has strong affinity with the Bengali folk
artist; the corporal aspect of mass is never much developed.
His stylization is not merely a manner taken from the village
artist, it is based on a genuine desire to convey the essential
poetry, rhythms and colours of nature.” (I. ul Hassan,
Painting in Pakistan, Lahore, 1991, pp. 54-56)

I. ul Hassan, Painting in Pakistan, Lahore, 1991, cover, p. 55

80
PROPERTY OF A DISTINGUISHED A leading proponent of the Western academic
PRIVATE COLLECTION
style, Allah Bux was bestowed the title of ‘Ustad’ or
248 ‘Master’ because of his abilities and achievements
as an artist. A master of both watercolor and oil
ALLAH BUX 1895 1978 painting, Bux painted from natural phenomena
Untitled (Village Girls) which he later adapted in the studio. His work is
heavily influenced by both local and folk cultural
signed and dated ‘Allah bux 1954’ (lower right)
oil on canvas heritage, and western artistic practice. The artist’s
42º x 59w in. (107.3 x 152.1 cm.) depictions of rural Pakistani life and mythology
Painted in 1954 have enjoyed great popularity and success.
$60,000-80,000 “Bux explored a variety of subjects during his
early years as a painter. Before Partition, he was
PROVENANCE well-known for his representations of Krishna,
The Collection of Sadruddin Hashwani though he also engaged in landscape and portrait
Acquired from the above by the painting. He was as versatile with media as with
present owner, 2011 subject matter, and some of his mixtures of
media were quite innovative. His painting was
realistic with a romantic edge, inspired by the
Indo-Western style practiced in Bombay and the
European paintings in the Royal Patiala collection.”
(M. Sirhandi, Contemporary Painting in Pakistan,
Lahore, 1992, p. 27)
Born in Wazirabad, a small town in Punjab, Bux
often looked to his homeland for inspiration. Here,
he creates a leisurely scene with young women
from the village gathered in a verdant landscape,
conversing over bowls of sweets, strolling, or
reading quietly in a corner with baskets and trays
laden with fruit and a little child playing in the
foreground. The close attention to the rendering
of their layered, embroidered clothing and gold
jewelry is typical of the artist’s style. Untitled
(Village Girls) is an outstanding example of Bux’s
ability to capture the sentimental nature of idyllic
Punjabi village life.
81
 PROPERTY OF A DISTINGUISHED
PRIVATE COLLECTION

249
SADEQUAIN 1930 1987
Untitled (Artist in Shackles)
signed and dated in Urdu (lower left)
oil and felt tip pen on canvas
30æ x 15æ in. (78.1 x 40 cm.)
Painted in 1983

$18,000-25,000

PROVENANCE
The Collection of Mrs Farida Ataullah
Bonhams London, 12 October 2005, lot 258
Acquired from the above by the present owner

250
ABDUR RAHMAN
CHUGHTAI 1894 1975
Untitled (Mosque, Lahore)
signed ‘Rahman Chughtai’ (lower left)
etching on paper
8º x 9æ in. (21 x 24.8 cm.) plate
10¿ x 12º in. (25.8 x 31.2 cm.) sheet

$2,000-3,000

PROVENANCE
Formerly from the Collection of Dr. Ralph Lane
Private Collection, San Francisco
Acquired from the above

249

PROPERTY OF A DISTINGUISHED PRIVATE

COLLECTION

251
ABDUR RAHMAN
CHUGHTAI 1894 1975
Untitled (Lady with Sunflowers)
signed in Urdu (lower left)
watercolor on paper
17 x 15 in. (43.2 x 38.1 cm.)

$20,000-30,000

PROVENANCE
Property from the collection of a friend of the
artist, who met Chughtai at a reception in San
Francisco and fostered a friendship with him
through exchanges of art books for his paintings
Bequeathed to a Canadian private collector
by the above
Christie’s New York, 21 September 2005, lot 256
Acquired from the above by the present owner
250
251
What distinguishes Abdur Rahman Chughtai’s work is his
exceptional skill as a draughtsman. In his paintings, which allowed
him a larger surface than his etchings and drawings, he indulged
in exceptionally detailed compositions with subtle, flowing lines.
Described as “inaudible poetry made visible” (J. Bautze, Interaction
of Cultures: Indian and Western Painting, 1780-1910, Virginia, 1998,
p. 137), Chughtai’s attractive watercolors are based on subjects
ranging from Buddhist stories and Hindu epics to Islamic history,
illustrative paintings for the Rubaiyat of Omar Khayyam and
portraits based on Ghalib’s poetry.
The delicacy of the line contouring his female figures and the richly
detailed rendering of their ornaments and the drapery of their
flowing outfits illustrate Chughtai’s conscious resolution to revive
the Persian style miniature painting, with close attention to Mughal
aesthetics. The unique style he developed has been called ‘Persian-
Mughal mannerism’ (I.U. Hassan, Painting in Pakistan, Lahore, 1991,
p. 37) and bears the influence of the Pre-Raphaelite paintings the
artist encountered in London and other cities during his travels in
Europe as well.
83
252

252 253
CHITTAPROSAD BHATTACHARYA BIKASH BHATTACHARJEE 1940 2006
1915 1978 Jhumki
Untitled signed and dated ‘Bikash 88’ (lower left); further titled and inscribed
‘JHUMKI / ARTIST - BIKASH BHATTACHARJEE’ (on the reverse)
linocuts on paper
oil on canvas
7æ x 5q (19.6 x 14 cm.) smallest
46 x 42 in. (116.8 x 106.7 cm.)
12 x 9 in. (30.5 x 22.9 cm.) largest
Painted in 1988
four prints on paper (4)
$50,000-70,000
$4,000-6,000

PROVENANCE
PROVENANCE Private Collection, Kolkata
Private Collection, Kolkata (two) Private Collection, Mumbai
Collection of the artist’s family, Kolkata (two) Acquired from the above by the present owner
Acquired from the above by the present owner
LITERATURE

M. Majumder, Close to Events: Works of Bikash Bhattacharjee,

New Delhi, 2007, p. 216 (illustrated)

84
253
Unlike his predecessors, Bikash Bhattacharjee was neither
interested in traditional Indian painting techniques nor the
modernist art scene in Bombay. Bhattacharjee considered
himself a Surrealist, citing Salvador Dali as his favorite artist
and inspiration. These inclinations are apparent in his tendency
to contort his otherwise commonplace subjects in sinister ways,
frequently using deep shadows to accomplish this. Rebuffing
abstraction altogether, the artist instead focused on photorealist
depictions of subjects often omitted from Indian visual culture,
such as destitute children in hostile city environments, heavily
made-up prostitutes, and the common women of his home city of
Calcutta. “Most of his pictures give a glimpse of a world that lies
beyond the canvas which, on its part, ceases to be a quadrangular
piece of linen and becomes a door leading to a world unknown
– a world of immeasurable depth, haunted by mute, mysterious
myrmidons of secretive, sulking souls.” (A. Banerjee, ‘Exhibitions’,
Lalit Kala Contemporary, New Delhi, 1974, p. 35)
Quite a few of Bhattacharjee’s oil paintings from the 1980s and
‘90s are sensitively rendered portraits of unkempt child laborers
from city slums. In the present painting titled Jhumki (earring),
set against a background of ominous black, is a small unclothed
beggar child wearing just a necklace and an armband. Her eyes
have a haunting quality to them as they draw the viewer’s gaze to
her scarred but radiant face. Bhattacharjee held a strong belief
in the potential for shadows to create drama in even seemingly
mundane compositions. Here, the artist builds a narrative around
the mood brought about by his shadows, relying on both his
technical mastery and the natural allegorical tendencies of
darkness. “I prefer to lay the dark colours first and then build up
the lights and the highlights. This process has helped me to give
dimension to my pictures to say what I want to, and also to give the
canvas the texture and characters that I desire.” (Artist statement,
A. Banerjee, ‘Conversations with Artists: Bikash Bhattacharjee’,
Lalit Kala Contemporary 15, New Delhi, 1973, p. 18)
85
 254
FRANCIS NEWTON SOUZA 1924 2002
Untitled
signed and dated as illustrated
7w x 4æ in. (20 x 12 cm.) smallest
11æ x 8w in. (30 x 22.5 cm.) largest
ten works on paper (10)

$10,000-15,000

PROVENANCE

Formerly from the Estate of Francis Newton Souza

86
Then there is the work inspired by Khajuraho, where the woman is derived from classical
form and the man is more contemporary and somewhat autobiographical. Then there is
the yakshini pose, the full-breasted woman with the foot touching the tree. He explored
this very pervasive influence of sculpture for quite some time.
– E. Alkazi

87
PROPERTY FROM AN ESTEEMED PRIVATE COLLECTION
255
FRANCIS NEWTON SOUZA 1924 2002
The Jealous Lover
signed and dated ‘SOUZA 49’ (lower right); further titled, inscribed
and dated ‘The Jealous Lover / F.N. SOUZA / 1949’ (on the reverse)
oil on board
36 x 24 in. (91.4 x 60.9 cm.)
Painted in 1949
$200,000-300,000
In 1948, Francis Newton Souza travelled to Delhi with Maqbool Fida Husain
where they attended a major exhibition of Indian antiquities and classical art
organized to celebrate the first year of India’s independence. Their mutual
friend and admirer Ebrahim Alkazi recalls the striking effect this close viewing
of classical Indian sculpture and painting had on the two artists. “I remember
Souza and Husain came to Delhi to see and suddenly their eyes were opened
to the richness of Indian art, particularly in sculpture. The exhibition which was
at Rashtrapati Bhavan, was the first large exhibition after Independence to be
organized by the Indian government in 1948. It later travelled to Burlington
House in England. It was the first presentation after Independence of the
Indian point of view and was a watershed.” (E. Alkazi, Ebrahim Alkazi, Directing
Art, The Making of a Modern Indian Art World, Ahmedabad, 2016, p. 81)
Painted only a year later in 1949, The Jealous Lover is a fascinating reflection
of this new imagery on Souza’s work. The sculptures he discovered from the
temples of Khajuraho for example, carved in black and red stone, permeated
Souza’s brushwork, particularly in the female figure he represents in The
Jealous Lover. The voluptuous woman with almond-shaped eyes who occupies
half of the composition is facing the viewer in a yakshini pose, reminiscent of
the sculptures of ancient Indian temples. Wearing only earrings and anklets,
her intimidating figure emerges through vigorous brushstrokes in saturated
tones of green, yellow and brilliant pink, which seem to catch the reflection
of the sun.
A. Kurtha, Francis Newton Souza: Railing pillar, 2nd Century A.D
Bridging Western and Indian Modern Art, Image reproduced from J.
Ahmedabad, 2006, p. 108 Kumar, Masterpieces of Mathura
©Estate of F N Souza. All rights reserved, Museum, Mathura, 1989, p. 65
DACS / ARS 2018
PROVENANCE
Acquired directly from the artist by the present owner
LITERATURE
A. Kurtha, Francis Newton Souza: Bridging Western and Indian
Modern Art, Ahmedabad, 2006, p. 108 (illustrated)
P. Dave-Mukerji, ed., Ebrahim Alkazi, Directing Art, The Making of a
Modern Indian Art World, Ahmedabad, 2016, p. 83 (illustrated)
The nude female figure was a subject of both momentous torment and
endless fascination for Souza. Frequently revisiting this archetype throughout
his career, Souza’s extended engagement with the female form is well
documented. These works explore a wide range of physiognomies from the
most sublime and tender nudes to distorted and grotesque figures, expressing
the artist’s complex views on the human condition, corruption, sexuality
and religion.
Characterized by the artist’s distinct, powerful lines with a bold, provocative
composition, The Jealous Lover is simultaneously imbued with a sense of raw
energy and refined beauty. Of the scenes of lovers that Souza painted over
the course of his six-decade career, this painting stands out as one of the
most powerful, with the unique intimacy and theatrical presence its subjects
convey. The male lover, dagger in hand, backs his partner as if on the verge
of walking away from her, as she smirks behind him. The dramatic plot that
Souza weaves here finds resonance in the recurring classical representations
of the intoxication of the senses and of the woman as evil temptress.
Painted in 1949, The Jealous Lover foreshadows and perfectly embodies
the imagery and artistic obsessions that would haunt Souza over the next
several decades, and offers vibrant testimony of the foundations of his
exceptional iconography.
PROPERTY OF A DISTINGUISHED PRIVATE COLLECTION
256
MAQBOOL FIDA HUSAIN 1913 2011
Eternal Lovers
signed in Hindi (upper right); further signed, dated and titled ‘Husain
XII ‘68 / “ETERNAL LOVERS”’ (on the reverse)
oil on canvas
48¿ x 30¿ in. (122.2 x 76.5 cm.)
Painted in 1968
$200,000-300,000
“One of the most revealing aspects of an artist’s work is his sense of the
past: his capacity to assimilate in his mind and being the consciousness of
his race, and his ability to direct the totality of that awareness through the
filter of his creative imagination into an engagement with the contemporary
situation […] Behind every stroke of the artist’s brush is a vast hinterland of
traditional concepts, forms, meanings. His vision is never uniquely his own; it
is a new perspective given to the collective experience of his race. It is in this
fundamental sense that we speak of Husain being in the authentic tradition
of Indian art. He has been unique in his ability to forge a pictorial language
which is indisputably of the contemporary Indian situation but surcharged
with all the energies, the rhythms of his art heritage.” (E. Alkazi, M. F. Husain,
New Delhi, 1978, p. 3)
The unique ‘pictorial language’ of Maqbool Fida Husain described by his
friend, admirer and collector Ebrahim Alkazi in 1978 is masterfully represented
in Eternal Lovers. By the time he painted this double-portrait, Husain had
travelled extensively across India and had seen and closely studied various
forms of folk and classical Indian art. Here, he borrows the theme of the
timeless couple from traditional representations of Shiva and his wife, the
goddess Parvati, represented as Uma Maheshvara. Seated on a tiger skin,
the usual attribute of Shiva, the couple is represented closely entwined in an
intimate embrace. In this image borrowed from the canon of South Asian art
iconography, Shiva is referred to as Maheshvara, while Parvati is called Uma,
and they are represented seated on Mount Kailash overlooking the valley.
Borrowing the main features of the myth, Husain uses Shiva and Parvati to
represent his own interpretation of the ideal union between man and woman
as Eternal Lovers.
A Black Stone Stele of Umamaheshvara, Maqbool Fida Husain, Untitled (Uma-Maheshvara), late 1960s
India, Gujarat, 11th Century Christie’s New York, 23 March 2011, lot 549
Christie’s New York, 13 September 2017,
lot 614
PROVENANCE
The Collection of Rustomji ‘Russi’ Mody, ex-Chairman and
Managing Director of Tata Steel
Sotheby’s London, 8 June 2000, lot 242
Acquired from the above by the present owner
Complementing his use of ancient Indian iconography, the treatment of the
figures here also draws from the temple sculptures of Mathura and Khajuraho
that Husain discovered as early as 1948 when he travelled to Delhi with Francis
Newton Souza. Husain recalls, “We went to Delhi together to see that big
exhibition of Indian sculptures and miniatures which was shown in 1948 [...] It
was humbling. I came back to Bombay in 1948 with five paintings, which was
the turning point in my life. I deliberately picked up two or three periods of
Indian history. One was the classical period of the Guptas. The very sensuous
form of the female body. Next, was the Basholi period. The strong colours
of the Basholi miniatures. The last was the folk element. With these three
combined, and using colours – very boldly as I did with cinema hoardings [...] I
went to town [...] That was the breaking point [...] To come out of the influence
of British Academic painting and the Bengal revivalist school.” (Artist
statement, P. Nandy, The Illustrated Weekly of India, 4-10 December 1983)
In Eternal Lovers, which displays all of the above influences, Husain uses both
earthy and vibrant tones, reminiscent of miniature paintings, to almost sculpt
his two figures from the dark background. The lovers’ bodies are delineated
with sharp, strong lines and the sensuous body of the female figure radiates
subtle rays of pine green and yellow. By the late 1960s, when this work was
painted, Husain had defined his unique style with confident brushstrokes
and a thick application of paint. In its theme and aesthetics, Eternal Lovers
represents the complete spectrum of Husain’s ingenuity, particularly the
artist’s unique way of channeling various traditions to create an original,
modern artistic language.
 PROPERTY OF A DISTINGUISHED
PRIVATE COLLECTION

257
GEORGE KEYT 1901 1993
Untitled
signed and dated ‘G Keyt 81’ (lower left)
acrylic on canvas
48 x 30 in. (122.5 x 76.2 cm.)
Painted in 1981

$25,000-35,000

PROVENANCE
Sotheby’s London, 23 May 2006, lot 114
Acquired from the above by the present owner

258
GEORGE KEYT 1901 1993
Untitled (By the Stream)
signed and dated ‘G Keyt 55’ (upper left)
acrylic on board
14 x 36 in. (35.5 x 91.3 cm.)
Painted in 1955

$10,000-15,000

PROVENANCE
Sotheby’s New York, 2003
Acquired from the above by the present owner
257

258
Portrait of Tyeb Mehta
Image reproduced from Tyeb Mehta,
exhibition catalogue, New Delhi, 1971-72

93
94
I was trying to work out a way to define space…to activate a canvas. If I divided it
horizontally and vertically, I merely created a preponderance of smaller squares or
rectangles. But if I cut the canvas with a diagonal, I immediately created a certain
dislocation. I was able to distribute and divide a figure within the two created triangles
and automatically disjoint and fragment it. Yet the diagonal maintained an almost
centrifugal unity…in fact became a pictorial element in itself.
- Tyeb Mehta

95
Diagonal XV in situ at the New Delhi home of Gurcharan Das, 2018
96
97
 GURCHARAN DAS:
SCHOLAR, COLLECTOR, PUBLIC INTELLECTUAL
Gurcharan Das is a celebrated author, columnist and commentator
based in New Delhi. His ongoing study of philosophy and
politics, his long corporate career and his keen interest in art,
aesthetics and the notion of pleasure continue to inform his
best-selling publications.
In September 2018, Penguin Random House will launch his latest
book, Kama: The Riddle of Desire. India is the only civilisation to
elevate kama – desire and pleasure to a goal of life. Here he weaves
a compelling narrative filled with philosophical, historical and
literary ideas in the third volume of his trilogy on life’s goals – India
Unbound was the first, on artha, ‘material well-being’; The Difficulty
of Being Good was the second on dharma, ‘moral well-being’. Here,
in magnificent prose, he examines how to cherish desire to live a
rich, flourishing life.
Born in pre-partition India, Das grew up in Shimla, Delhi and
Washington D.C. He studied philosophy at Harvard University and
later attended Harvard Business School’s Advanced Management
Program, where he now features in three case studies taught
there. After thirty years in the corporate sector, which culminated
with him serving as CEO of Procter & Gamble (P&G) India and
Managing Director (Strategic Planning), P&G Worldwide, Das took
early retirement at age fifty to become a full-time writer.
Das joined the P&G India office (then known as Richardson
Hindustan Limited) in Bombay as a trainee in 1966, and during
his long, pioneering tenure there, was instrumental in building the
firm’s impressive collection of modern and contemporary Indian
art. One of the earliest and finest corporate art collections in India,
this group of works included seminal paintings by modern masters
like Maqbool Fida Husain, Akbar Padamsee, Vasudeo S. Gaitonde
and Tyeb Mehta as well as early pieces by younger artists like
Sudhir Patwardhan and Gieve Patel who Das had also befriended.
In 1985, Das organized an exhibition of select works from the
collection at Jehangir Art Gallery in Bombay, in order share them
with the wider public.
For the past twenty-three years, Das has written a regular column
for half a dozen Indian newspapers, including the Times of India,
and has contributed periodically to the Financial Times Wall
Street Journal, Foreign Affairs and the New York Times. He has
also been a speaker and consultant for some of the world’s largest
corporations and has served on the juries of the Templeton Prize,
Milton Friedman Prize and the McKinsey Award.
Das is best known for his international best seller, India Unbound,
which is available in sixteen languages and was filmed by the
BBC. Reviewing this book, The New York Times said, “Something
tremendous is happening in India and Das, with his keen eye
and often elegant prose has his finger firmly on the pulse of the
transformation” and the Guardian called it “a quiet earthquake”. His
India Grows at Night was on the Financial Times’s list of the best
books of 2013. Martha Nussbaum called the Difficulty of Being
Good, “One of the best things I have read about the contribution of
great literature to ethical thought”. He is also editor for the fifteen-
volume series, The Story of Indian Business. His other literary
works include the semi-biographical novel, A Fine Family, a book
of essays, The Elephant Paradigm: India Wrestles with Change, and
the anthology, Three English Plays.
Today, Das has turned his focus to the future through philanthropy.
One of the founders of Ashoka University, he is particularly
interested in strengthening the infrastructure for primary
education in India, and in enabling the immense talent he believes
exists in the country. By offering one of the works from his
impressive private art collection at this auction, Das hopes to raise
funds to realize some important projects in this direction.
Tyeb Mehta is striving for simple, clean solutions to the problems of painting. This simplicity is the
hardest thing to achieve. In pursuing this aim, Tyeb has cleared a new path, which has led him far
beyond the ‘identity crises’ of contemporary Indian art. In fact it is no longer really interesting, or
important, whether Tyeb Mehta is an Indian. He speaks to us as a lonely twentieth century man of
integrity and conviction.
Throughout his career, Tyeb Mehta sought to express the struggles
of man as a member of contemporary society. From his early
trussed bulls that underline the plight of the helpless animal in
Bombay’s slaughter houses, to his falling figures hurtling toward
a metaphorical abyss and trapped rickshaw pullers who cannot
escape the vehicles that have become extensions of themselves,
Mehta’s paintings reflect his own disillusionment with the world
around him. His unique formal treatment of the canvas only serves
to heighten the impact of these images. The sight of dismembered
figures with flailing limbs set against a fractured picture plane is a
glaring reminder to the viewer to consider and address the violence
and suffering that is both around and within.
In the late 1960s, following a year-long stay in New York on
a Rockefeller III Fund Fellowship in 1968, Mehta abandoned
the expressionistic style and thickly applied paint that had
characterized his work in the preceding years. Instead, moved
by minimalism and the work of artists like Barnett Newman that
he encountered in America, he worked to achieve pristine planes
of saturated color, on which not a single brush stroke could be
discerned. Apart from their precise construction and conscious
two-dimensionality, the most striking element of these new
paintings, was the diagonal line Mehta often included in their
composition which aggressively bisected the painted surface.
In a 1976 review of Mehta’s new diagonal series, fellow artist
Jagdish Swaminathan explained, “What strikes one immediately
in these works, is the strictly formal geometrical arrangement,
or invocation of space-colour, and the line embodying the
figure pulled apart like a doll and put together again – laid flat,
defining, so to speak, the iconographic area […] What appears
at first glance as a formal exercise in relating line to colour on
a flat plane suddenly becomes very disturbing. While one was
immediately moved by the angst portrayed in his former works,
one could immediately reach out and share the unfathomable
terror, the unrelieved sadness of man alienated, the present
Tyeb Mehta ’79 ’74 ’75, exhibition catalogue, Gallery Chemould, 1975
– Georgina and Ulli Beier, 1982
works enter the realm of the mystical; terror, pathos and sorrow
are objectivised entities, masks, implacable deities, setting up a
grotesque tableau. You enter a world of magic and are enthralled
by the elemental dance of the emotions, which freeze and cease to
speak the moment you seek to identify yourself with them. What
Tyeb has achieved is a double transformation. In his former phase,
he has isolated and insulated man’s loneliness, protecting it, so
to speak, from the profane. Now he has set it up in its own right,
impervious to human touch, yet threatening man’s complaisance.”
(J. Swaminathan, G. and U. Beier, ‘Contemporary Art in
India’, Aspect: Art and Literature, Australia, no. 23, January
1982, unpaginated)
In the present work, the focus is on two fragmented figures at
the center. Their bodies, portrayed as disjointed components, are
further divided by a green and orange lightning-bolt diagonal that
runs from the upper right to the lower left. Heightened against the
deep maroon ground, these splintered figures communicate the
trauma of not being whole and together, representative perhaps of
the violent centrifugal forces at play in the larger social context to
which they belong. The blank expression etched on the single face
they share reflects the despondency that results from their daily
struggles. Mehta gives this painting a sense of balance through a
calculated placement of teal and viridian expanses that anchor the
diagonal and focus attention on the figures.
Paintings from the diagonal series are the first of Mehta’s
mature style, with an emphasis on form over content, and mark
a watershed in his long engagement with figuration. The artist
explained, “Painters who are over concerned with content, burn
themselves out […] my experience is now transformed into colour
and form. When you transpose your ideas into colours and forms,
you are making a suggestion. A suggestion is stronger than a
direct message.” (Artist statement, G. and U. Beier, ‘Contemporary
Art in India’, Aspect: Art and Literature, Australia, no. 23, January
1982, unpaginated)
Barnett Newman, Onement 1, 1948,
Museum of Modern Art, New York
@2018 Barnett Newman Foundation
Artists Rights Sociaty (ARS), New York 99
PROPERTY FROM THE COLLECTION OF GURCHARAN DAS, NEW DELHI

259
TYEB MEHTA 1925 2009
Diagonal XV PROVENANCE
Gallery Chemould, Mumbai
signed and dated ‘Tyeb 75’ (on the reverse); further inscribed,
Formerly in the Collection of Richardson Hindustan
titled and dated ‘TYEB MEHTA (23) DIAGONAL XV 170 x 131 CMS
(now Procter & Gamble), Mumbai
1975 OIL’ (on artist label on the reverse)
The Collection of Gurcharan Das, New Delhi
oil on canvas
66 x 51 in. (167.6 x 129.5 cm.) EXHIBITED
Painted in 1975 Bombay, Gallery Chemould, Tyeb Mehta ‘73 ‘74 ‘75, 1975
Bombay, Jehangir Art Gallery, Thirty Indian Artists from the
$1,500,000-2,000,000 Collection of Richardson Hindustan, 16-22 December, 1985

LITERATURE

Thirty Indian Artists from the Collection of Richardson Hindustan,

exhibition catalogue, Mumbai, 1985 (illustrated, unpaginated)

The diagonal, the fierce weapon by which space could be reorganized and the self could stage
its battle with itself was born almost fortuitously, out of painterly frustration. Having come to
an impasse in his handling of the relationship between figure, field and colour, in 1969, Tyeb
suddenly flung a black slash across one of his paintings: beginning as an improvisatory resolution
to a periodically intractable problem, the diagonal became a device to activate the painting, and
eventually, a symbol of scission, of that simultaneous separation and twinning by which the self
recognizes and comes to healing terms with its own contradictions.
- Ranjit Hoskote

Tyeb Mehta, Untitled (Diagonal), 1975

Christie’s Mumbai, 18 December 2016, lot
111, sold for INR 10,23,25,000 ($1,508,217)

100
 260
TYEB MEHTA 1925 2009
Untitled
signed and dated ‘Tyeb 05’ (lower right)
pencil on paper
14 x 10q in. (35.6 x 26.7 cm.)
Executed in 2005

$18,000-25,000

PROVENANCE
Vadehra Art Gallery, New Delhi
Private Collection, India
Acquired from the above by the present owner

EXHIBITED
New Delhi, Vadehra Art Gallery, Tyeb Mehta:
Triumph of Vision, 15 January - 18 February 2011

LITERATURE
Tyeb Mehta: Triumph of Vision, exhibition
catalogue, New Delhi, 2011, p. 71 (illustrated)

260

PROPERTY FROM A PRIVATE COLLECTION,

NEW JERSEY

261
MAQBOOL FIDA HUSAIN
1913 2011
Untitled (Yatra)
signed ‘Husain’ (lower right); numbered
‘62/200’ (lower left)
lithograph in color
13æ x 17. æ in. (35 x 45 cm.) plate
17æ x 22 in. (45 x 56 cm.) sheet
Executed circa 1950s; number 62 from
an edition of 200

$2,500-3,500

PROVENANCE
Private Collection, New York
Acquired from the above by the
present owner, 2017

261
PROPERTY FROM A CALIFORNIA PRIVATE COLLECTION

262
MAQBOOL FIDA HUSAIN 1913 2011
Untitled (Horse)
signed ‘Husain’ (upper right)
oil on canvas
39¿ x 28¡ in. (99.5 x 72 cm.)
Painted circa 1960s

$60,000-80,000

PROVENANCE
Kumar Gallery, New Delhi
Acquired from the above, March 2001
Thence by descent

103
PROPERTY FROM A PRIVATE MIDDLE EASTERN COLLECTION
263
MAQBOOL FIDA HUSAIN 1913 2011
Untitled (Three Horses)
signed and dated ‘Husain 1970’, and signed in Hindi and Urdu
(lower left); further signed and inscribed ‘M.F.HUSAIN / J-20,
JUNGPURA EXT. / NEW DELHI / 15 august 1970’ (on the reverse)
oil on canvas
29w x 48 in. (76 x 122 cm.)
Painted in 1970
$150,000-250,000
Maqbool Fida Husain’s horses are both personal and universal. They became a
central part of his oeuvre since his first representation of the animal in the early
1950s, and are depicted as strong creatures, usually galloping, with reared
heads and a tremendous sense of movement. Husain encountered the equine
figure throughout his life across continents and cultures. He acknowledges
the influence of Tang pottery horses and the monochromatic paintings of
galloping horses by Xu Beihong he studied on a trip to China, as well as the
equestrian sculptures of the Italian artist Marino Marini (1901-80), which he
discovered after a trip to Italy. Horses also resonate with Husain’s admiration
for Ancient Greece, a civilization which championed and deified the equestrian
form. The Trojan Horse, Pegasus and Alexander’s prized Bucephalus are only
a few iconic stallions which permeate the mythological and historical past of
hallowed antiquity. However, what is liable to have been more influential still
on the artist’s work is an event he witnessed for the first time when he was
fifteen. Once a year during Muharram when the religious mourned the death
of Imam Husain, the Prophet’s son, they would carry tazias or effigies of Imam
Husain’s faithful horse in a procession through the streets. “[…] the earliest
icon that he had a part in creating was the apocalyptic horse of the tazias. He
was to remain loyal to that icon; it never strayed far from his imagination in
his subsequent paintings.” (R. Bartholomew and S. Kapur, Husain, New York,
1971, p. 32)
According to Ebrahim Alkazi, horses are usually recognized as
symbols of the sun and knowledge. They are associated with life
giving and sustaining forces. Here again, Husain’s horses have become
104
PROVENANCE
The collection of Richard and Martha Alt
Sotheby’s New York, 19 September 1996, lot 208
Private Collection
RL Fine Arts, New York
Acquired from the above by the present owner
EXHIBITED
New York, RL Fine Arts, The Modernists, 22 July - 29 August, 2010
“a vehicle for multiple utterances - aggression, power and protection.”
(R. Shahani, Let History Cut Across Me: Without Me, New Delhi, 1993, p. 8)
The juxtaposition of human and animal figures is a another theme that Husain
frequently returned to, in particular the pairing of women and horses. Husain’s
women are as important and integral to his body of work as are his horses.
Whether he chooses to depict them in a simple rural setting attending to
mundane household chores or as female warriors astride charging stallions, as
in this painting, his women are symbolic of inner strength. They are sensuous
figures depicted in postures reminiscent of classical Indian sculpture,
illuminating Husain’s interest in conveying sculptural and three-dimensional
forms on his flat canvases. Discussing the prevalence of the tribhanga pose,
with three bends in the body, in traditional temple sculpture, Husain notes,
“One reason why I went back to the Gupta period of sculpture was to study
the human form [...] when the British ruled we were taught to draw a figure
with the proportions from Greek and Roman sculpture...in the East the human
form is an entirely different structure [...] the way a woman walks in the village
there are three breaks...from the feet, the hips and the shoulder...they move in
rhythm, the walk of a European is erect and archaic.” (P. Nandy, The Illustrated
Weekly of India, 4-10 December, 1983, unpaginated)
This painting is economic in its use of color, and simplicity of line, yet appears
strong and forceful. The figure of the woman is highlighted against a vertical
column of gold and ochre. She is seated partially on a horse and partially on a
huge shimmering yellow sun.
My horses like lightning, cut across many horizons. Seldom their hooves are shown. They hop
around the spaces. From the battlefield of “Karbala” to Bankura terracotta, from the Chinese
Tse pei Hung horse to St. Marco horse, from ornate armoured “Duldul” to challenging white of
“Ashwamedh” [...] the cavalcade of my horses is multidimensional.
– M. F. Husain, 1987

105
 PROPERTY OF A PRIVATE COLLECTOR, NEW YORK

264
A. KRISHNA REDDY B. 1925
Child Descending; Sun Worshippers
signed, titled and inscribed ‘Imp. by the artist
11/20 “Child Descending” A. Krishna Reddy’
(lower edge); signed, titled and inscribed ‘Artist
Proof 5/10 “SUN WORSHIPPERS” A. Krishna
Reddy’ (lower edge)
mixed color intaglio on paper
12¬ x 19q in. (32 x 49.5 cm.) plate
22º x 27¬ in. (56.5 x 70.3 cm.) sheet
13¬ x 17º in. (34.5 x 43.7 cm.) plate
19¬ x 25æ in. (49.8 x 65.5 cm.) sheet
Two prints on paper; number eleven from an
edition of twenty and number five from an
edition of ten (2)

$5,000-7,000

PROVENANCE
Private Collection, Chicago
Acquired from the above by present owner

EXHIBITED
Baroda, Faculty of Fine Arts, The Maharaja
Sayajirao University, Prof. Krishna Reddy
Retrospective Show, January 2014 (others
from the editions)
Hilo, Campus Center Gallery, University Of Hawaii,
Three Master Printmakers: Lee Chesney, Krishna
Reddy and Ken Kerslake, 2008 (another from
one edition)

LITERATURE
R. Sengupta, Krishna’s Cosmos: The Creativity of
an Artist ,Sculptor & Teacher, Ahmedabad, 2003,
pp. 67, 89 (others from the editions illustrated)
Krishna Reddy: A Retrospective, exhibition
catalogue, New York, 1981, pp. 31, 44 (others from
the editions illustrated)

264

265
266

PROPERTY OF A PRIVATE AMERICAN COLLECTOR

265 266

AVINASH CHANDRA 1931 1991 GANESH HALOI B. 1936

Untitled Untitled
signed and dated ‘Avinash 69’ (lower left); further inscribed, signed signed and dated in Bengali (lower right)
and dated ‘AC/38/17 / Avinash 69 / New York’ (on the reverse) gouache on board
oil on canvas 24 x 24 in. (61 x 61 cm.) image
35æ x 72 in. (90.5 x 183 cm.) Executed in 1994
Painted in 1969
$8,000-12,000
$8,000-12,000
PROVENANCE

PROVENANCE Centre of International Modern Art (CIMA), Kolkata

Acquired directly from the artist, 1969 Acquired from the above by the present owner

107
PROPERTY FROM AN IMPORTANT PRIVATE
COLLECTION, NEW YORK

267
RAM KUMAR 1924 2018
Untitled (Varanasi)
signed, dated and inscribed ‘Ram Kumar / 1982
25x70’ (on the reverse)
oil on canvas
29 ¡ x 70 º in. (74.5 x 178.5 cm.)
Painted in 1982

$70,000-90,000

PROVENANCE
Bodhi Art, New York
Acquired from the above by the present owner

108
Ram Kumar’s landscapes often straddle the boundary between abstraction
and naturalism, quoting both but succumbing to neither. In the early 1960s,
the artist abandoned figuration after a pivotal journey to Varanasi. Since then,
the landscape remained his focus for the rest of his artistic career, though his
images and interpretations of it have undergone several changes.
In his works from the 1980s like the present lot, it is the movement in the
canvas that captures the viewer, “[...] as if all that was arrested and frozen until
now, has been ‘touched’ by some unknown god who by releasing its bonds
makes it free and lets it flow in its own momentum.” (N. Verma, ‘From Solitude
to Salvation’, Ram Kumar: A Journey Within, New Delhi, 1996, p. 26) There is a
move from larger, relatively flat expanses of color to a more fractured pictorial
surface where the image is created from shorter, jagged strokes with a
palette knife.
In this expansive landscape, brilliant blues emerge from what seems to be a
dense fog of aqua, grey and tawny yellow and brown. Kumar’s prime motifs are
informed by the numerous Indian landscapes he experienced, from the river
banks of the holy town of Varanasi to the impregnable mountains of Ladakh.
This painting is an expression of the artist’s dramatic exaltation of these vistas
that inspired him for much of his life.
“His ‘abstractions’ are not flights into the ‘unknown’, but like a shifting beam
of light they move, passing through the entire space of the painting, from one
segment of reality to another, uncovering the hidden relations, between the
sky, the rock, the river. The sacred resides not in the objects depicted, but in
the relations discovered.” (N. Verma, ‘From Solitude to Salvation’, Ram Kumar:
A Journey Within, New Delhi, 1996, p. 27)
 268
SYED HAIDER RAZA
1922 2016
Untitled
signed and dated ‘RAZA ‘78’ (lower right); further
signed and dated ‘RAZA / 1978’ (on the reverse)
acrylic on paper
25q x 19º in. (64.8 x 48.8 cm.)
Executed in 1978

$20,000-30,000

PROVENANCE
Private Collection, Mumbai
Acquired from the above by the present owner

EXHIBITED

Mumbai, Delhi Art Gallery, Mumbai Modern:

Progressive Artists’ Group, 1947-2013, 2013
Mumbai and New Delhi, Delhi Art Gallery, Indian
Abstracts: An Absence of Form, 2014-15

LITERATURE
Mumbai Modern: Progressive Artists’ Group,
1947-2013, exhibition catalogue, New Delhi, 2013,
p. 196 (illustrated)
Indian Abstracts: An Absence of Form, exhibition
catalogue, New Delhi, 2014, p. 336 (illustrated)

269
NARAYAN SHRIDHAR BENDRE
1910 1992
Untitled (Benares)
signed in Hindi (lower right)
pencil and watercolor on paper
18q x 26q in. (47 x 67.3 cm.)

268 $6,000-8,000

PROVENANCE
Private Collection, New Delhi
Acquired from the above by the present owner

270
SYED HAIDER RAZA
1922 2016
Untitled (Village dans un Paysage)
signed and dated ‘RAZA ‘55’ (lower right)
oil on board
21æ x 28 in. (55.2 x 71.1 cm.)
Painted in 1955

$100,000-150,000

PROVENANCE
Private Collection, France
Acquired from the above by the present owner
269
270
One of India’s leading modern masters, Syed Haider Raza was a founding
member of the revolutionary Bombay Progressive Artists’ group formed
in 1947, the year of India’s Independence. A few years later, Raza left India
for France, arriving in Paris in October 1950 to attend the École Nationale
Supérieure des Beaux-Arts.
The mid 1950s marked a period of experimentation in Raza’s body of work,
where the artist strove to reconcile his personal vocabulary and the artistic
sensibilities of his homeland with the academic and modernist aesthetics
in which he had immersed himself in the West. Untitled (Village dans un
Paysage), painted in 1955 only a few years after Raza’s arrival in France,
captures this critical point of transition in his oeuvre. Here, Raza’s rigid lines
of the early 1950s dissolve as the artist liberates his forms from the almost
Cubist constructions that had dominated his practice. Using bold, primary
colors, this composition is neatly sectioned by the spreading branches of a
dark tree in the foreground. On the left, the rooftops and steeples of a small
French village sit quiet under the midnight blue sky. On the right, however, the
ground is blood-red, with what appears to be either a boat setting sail or the
calvaire (calvary) of the village in extreme close-up. This painting represents
a moment of departure, as Raza embraced a new visual idiom in which the
landscape remained the principle protagonist, but was expressed through
color as a function of the emotions it evoked in the artist rather than through
its visual components.
111
 PROPERTY OF A DISTINGUISHED PRIVATE COLLECTION

271
BIREN DE 1926 2011
Conjunction
signed and dated ‘Biren dé ’61’ (lower left)
further signed, inscribed, titled, and dated
‘CONJUNCTION / BIREN DE ’61 / “CONJUNCTION”
1961 / Biren de ‘61’ (on the reverse)
oil on canvas
30 x 21 in. (76.8 x 55.2 cm.)
Painted in 1961

$10,000-15,000

PROVENANCE
Osian’s Mumbai, 27 March 2003, lot 20
Acquired from the above by the present owner

112
272
PRABHAKAR BARWE 1936 1996
Untitled
signed and dated in Hindi (lower right)
gouache on paper
22 x 28 in. (55.8 x 71 cm.)
Executed in 1991

$12,000-18,000

PROVENANCE
Cheffins, 10 July 2008, lot 109
Acquired from the above by the present owner

113
273 274
JERAM PATEL 1930 2016 ARPITA SINGH B. 1937
Untitled Beginning of the Festival
signed and dated ‘JERAM PATEL / 2004’ (on the reverse) titled and inscribed ‘“BEGINNING OF THE FESTIVAL”
enamel and blowtorch on wood ARPITA SINGH’ (on the reverse)
24 x 24 x 1º in. (61 x 61 x 3 cm.) oil on canvas
Executed in 2004 45 x 45 in. (114.3 x 114.3 cm.)
Painted in 1972-74
$20,000-30,000
$50,000-70,000

PROVENANCE
Acquired directly from the artist, Vadodara, 2005 PROVENANCE
Formerly from the collection of the artist, Jeram Patel
EXHIBITED
New Delhi, New York and Mumbai, Delhi Art Gallery, LITERATURE
Group 1890: India’s Indigenous Modernism, 2016-17 A. Jhaveri, A Guide to 101 Modern & Contemporary Indian
Artists, Mumbai, 2005, p. 84 (illustrated)
LITERATURE
Group 1890: India’s Indigenous Modernism, exhibition
catalogue, New Delhi, 2016, p. 233 (illustrated)
Arpita Singh’s compositions combine personal and mythical narratives which
she describes as ‘a memory of something once known and since forgotten, like
childhood or paradise’.
Writing about her work from the early 1970s, Richard Bartholomew noted that
“Arpita Singh’s paintings convey the feeling of disconcerting familiarity and of
quiet which is the hallmark of sensitive surrealism. In fact, the paraphernalia
of her work – the imagery – is in ‘suspense’, strung and sprung, as it were,
to change pace and sensation at the slightest emotive identification and
response from the spectator. All this is reinforced with an impressive
continuity and consistency of theme and imagery.” (R. Bartholomew, Arpita
Singh, exhibition catalogue, Mumbai, 1976)
During the early 1970s, still a formative period in Singh’s oeuvre, the artist was
influenced by a wide range of visual stimuli or ‘paraphernalia’ including local
bazaars, Indian folk art and Western Pop Art. In these enchanted, enigmatic
worlds Singh creates, “Fruits, flowers, boats, and figures all achieve an equal
significance in animated manifestations. They dissolve into one another,
life metamorphosing into life, creating a magical symbiosis.” (Y. Dalmia,
Expressions and Evocations: Contemporary Women Artists of India, Mumbai,
1996, pg. 70)
This painting from 1972-74 offers the viewer a whimsical, seemingly staged
scene, rendered in a vivid palette dominated by green and purple. With a
playful use of discrepancies of scale and perspective, and various elements,
ranging from nautical equipment and potted plants to boats and bottles, the
artist invites the viewer to muse on what is seen and to imagine what remains
unseen. The convergence of interior and exterior, private and public in this
fantastical tableau, also foreshadows Singh’s later work in which she explores
the different facets of women’s lives.
115
PROPERTY OF A PRIVATE AMERICAN COLLECTOR PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION, NEW YORK

275 276
RAJENDRA DHAWAN 1936 2012 NATARAJ SHARMA B. 1958
Untitled Untitled (from the Earth Study series)
faintly signed ‘DHAWAN’ (on the reverse) gouache on paper in artist’s iron frame
oil on canvas 6 x 8 w in. (15.5 x 22.5 cm.) each image
48w x 74 in. (124 x 188 cm.) 11º x 14¡ in. (28.5 x 36.4 cm.) each frame
Painted circa 1990s Executed in 2007; two works (2)

$8,000-12,000 $5,000-7,000

PROVENANCE PROVENANCE
Acquired directly from the artist, Paris, circa 1990s Bodhi Art, New York
Acquired from the above by the present owner
PROPERTY FROM AN IMPORTANT PRIVATE
COLLECTION, NEW YORK

277
NATARAJ SHARMA
B. 1958
Structure 2
etching with aquatint
78º x 58º in. (198.8 x 148 cm.)
Executed in 2006

$10,000-15,000

PROVENANCE
Bodhi Art, New York
Acquired from the above by the
present owner

EXHIBITED
Singapore, Singapore Tyler Print
Institute; New York and Mumbai,
Bodhi Art, Stretch, 2007
(another from the edition)

117
278
ISMAIL GULGEE 1926 2007
Untitled
signed and dated ‘Gulgee ‘96’ (lower right)
oil on canvas
36 x 35w in. (91.5 x 91 cm.)
Painted in 1996

$10,000-15,000

PROVENANCE
Acquired directly from the artist

PROPERTY FROM THE MANSAVAGE

FAMILY COLLECTION

279
MOHAMMAD KIBRIA
1929 2011
Untitled (Painting in Black, Gray and
Green and Brown)
signed and dated ‘Kibria ‘70’ (lower left); further
dated, inscribed, signed and titled ‘1967-1968
Rs. 4000 / Kibria 69.70 / 40” x 34” / Painting in
Black / gray and green / and Brown’ and bearing
artist’s label (on the reverse)
oil on canvas
40¿ x 34 in. (102 x 86.5 cm.)
Painted in 1967-70

$5,000-7,000

PROVENANCE
Acquired directly from the artist in Dhaka, 1974,
while on assignment with the United States
Agency for International Development (USAID)
Thence by descent

“Kibria’s inquiry into the abstract qualities of line,

colour and texture became more persistent [...]
The shift from the image to the basic grammar
of painting put him in a convenient position to
capture the intangible forces, which were now
his focal interest. These forces could emanate
from his response to a meaningless texture of
earth, an incidental scratching on a wall, shades of
atmosphere, or effects of light. Quite often, more
than one of these elements find their way into a
single picture [...] Kibria’s work of the late sixties is
noticeable for its artistic restraint.” (I. ul Hassan,
Painting in Pakistan, Lahore, 1991, p. 113)
280
PRABHAKAR BARWE 1936 1996 PROVENANCE
Untitled (Designs for Weavers Service Centre) Weaver’s Service Centre, Mumbai
signed and dated as illustrated Acquired from the above by the present owner
ink and watercolor on paper
9 x 9 in. (22.9 x 22.9 cm.) smallest; 11 x 11 in. (27.9 x 27.9 cm.) largest
Executed in 1975-77; four works on paper (4)

$25,000-35,000
119
 PROPERTY OF A PRIVATE AMERICAN COLLECTOR

281
ARPANA CAUR B. 1954
Tree of Desire (Kalpavriksha)
signed and dated ‘Arpana 96’ (lower right); further signed, dated and titled
‘Arpana Caur 96 / TREE OF DESIRE (Kalpavriksha) / 1996’ (on the reverse)
oil on canvas
57¬ x 67w in. (146.5 x 172.5 cm.)
Painted in 1996

$7,000-9,000

PROVENANCE
Acquired directly from the artist by the present owner

120
PROPERTY FROM A PRIVATE MIDDLE
EASTERN COLLECTION

282
MAQBOOL FIDA HUSAIN
1913 2011
Maya V
signed in Hindi (lower right); further titled, dated
and signed ‘“Maya V” / 1973 / Husain’
(on the reverse)
oil on canvas
50 x 33 in. (127 x 83.9 cm.)
Painted in 1973

$60,000-80,000

PROVENANCE
Saffronart, 12 December 2001, lot 49
Private Collection
RL Fine Arts, New York
Acquired from the above by the present owner

The present lot is part of a series of paintings

that Maqbool Fida Husain executed in the 1970s.
Husain was deeply inspired by depictions of Indian
mythology in classical painting and sculpture. This
painting, titled Maya V depicts a sitting, faceless
figure of a woman, Husain could be referencing
Maya, the Hindu goddess of illusion. With her face
in the form of a gently swaying flower head, this
could also be Husain’s interpretation of Queen
Maya and the conception of Buddha. According
to legend, the queen had a dream that she was
being attended to by celestial beings who anointed
her with perfume and bedecked her with divine
flowers. The Buddha as a six-tusked white elephant
holding a white lotus flower in its trunk entered her
womb. Devoid of the grandeur that is often seen in
the depictions of this story, Husain’s interpretation
focuses purely on the vibrant color palette and the
emotive use of form. In the monumental figure
of Maya, Husain’s awareness of classical Indian
sculpture is also evident.

The faceless female figure could also be an

expression of Husain’s childhood experience of
loss, as his mother died when he was just two
years old. He recalls, “Can anyone make up for
the loss of a mother? I don’t even have a picture
of her. She refused to get herself photographed.
In those days people were afraid of the camera.
They thought it cast an evil eye and shortened life.
Sadly, I have nothing which remotely resembles
or reminds me of my mother. She is just a name
to me, not even a memory.” (Artist Statement,
Y. Dalmia, The Making of Modern Indian Art: The
Progressives, New Delhi, 2001, p. 111)

121
PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION, NEW YORK

283
RAM KUMAR 1924 2018
Untitled (Falling Bird)
signed in Hindi and dated ‘68’ (lower center); further signed PROVENANCE

and dated ‘Ram Kumar / 1968’ (on the reverse) Sotheby’s New York, 29 March 2006, lot 47
oil on canvas Bodhi Art, New York
67 º x 47 º in. (170.8 x 120 cm.) Acquired from the above by the present owner
Painted in 1968

$200,000-300,000

To trace Ram Kumar’s evolution as a painter is to map the course of contemporary Indian painting:
in the spiritual crises he has undergone, the choices of style he has made, we see reflected the
tensions of an unfolding post-colonial modernity, full of surprises and uncertainties. Ram Kumar
has broken his pilgrimage at several way-stations of experiment.
– R. Hoskote, 1996

The 1960s saw Ram Kumar moving almost abruptly from figuration to
abstraction. In 1961, following a life-altering visit to the city of Benares
(Varanasi), known for its veneration of the dead, the artist would forever
abandon literal representation in his paintings. Kumar felt that the world of
figuration could not express the existential elements at the heart of his creative
impetus. “In Varanasi, where religion and corruption flourish interwoven, where
the zones of faith and torment intersect, he found a potent symbol by which
to denote human suffering under the tyranny of putrefying social customs
[...] By banishing the figure from the kingdom of shadows, Ram Kumar was
able to emphasize the nullification of humanity.” (R. Hoskote, ‘The Poet of the
Visionary Landscape’, Ram Kumar: A Journey Within, New Delhi, 1996, p. 37)
Painted in 1968, Untitled (Falling Bird) represents a fleeting moment of figuration
in a sea of abstraction. This monumental painting captures a rapturous energy
conveyed through dynamism and loose gestural brushstrokes. Here, it seems
as if the artist’s melancholic impoverished sentinel figures of the 1950s have
dissolved into a more fluid, expressive style.
In discussing the motivations behind Ram Kumar’s seismic shift towards his
iconic abstract configurations, Richard Bartholomew states, “Towards the end
of the 1960s Ram took stock of the entire situation, it appears […] he had come
far, far away from the gaunt dramatic themes of his early paintings […] He
then saw everything as an emanation of nature. But whilst he chose to release
or reassemble the angular, mysterious forms, he also chose the multiple
perspectives he had learnt to master.” (R. Bartholomew ‘The Abstract as a
Pictorial Proposition’, Ram Kumar: A Journey Within, New Delhi, 1996, p. 30)
Here, the falling bird is a potent symbol for a loss of control, as this winged
creature plummets to a seemingly unavoidable fate. There are comparisons
to be made with fellow modern master, Tyeb Mehta, who won the gold
medal in India’s first Trienale in the mid-1960s for his first image of a falling
figure. During this pivotal period, both artists became consumed with the
postcolonial fate of humanity and the existential dread that the new, urban
India inspired. However, in the present painting, Kumar injects a sense of
speed, urgency and potency into his falling bird, leaving the viewer uncertain
whether it can recover and rise to its own salvation.

Tyeb Mehta, Falling Bird, 1999
Christie’s London, 10 June 2010,
lot 214
Peter Paul Rubens, The Fall of Icarus, 1636.
Musées Royaux des Beaux-Arts, Brussels
Image: J. S. Held, The Oil Sketches of Peter
Paul Rubens, A Critical Catalogue, Volume
II, New Jersey, 1980, plate 207
PROPERTY FROM A PRIVATE EAST COAST COLLECTION

284
FRANCIS NEWTON SOUZA
1924 2002
Winter Landscape
signed and dated ‘Souza 56’ (lower right); further signed,
titled and dated ‘F.N.SOUZA / WINTER LANDSCAPE - 1956’
(on the reverse)
oil on board
32 x 41w in. (81.3 x 106.5 cm.)
Painted in 1956

$150,000-200,000

PROVENANCE
Acquired through Harold Kovner, circa late 1950s
Thence by descent

“Whether standing solidly in enamelled petrification

or delineated in thin colour with calligraphic intonations,
the cityscapes of Souza are purely plastic entities with no
reference to memories or mirrors.” ( J. Swaminathan, ‘Souza’s
Exhibition’, Lalit Kala Contemporary 40, New Delhi, March
1995, p. 31)

A large work painted in 1956, Winter Landscape depicts Francis

Newton Souza’s immediate North London surroundings
around Belsize Park and Hampstead Heath, where he lived
and worked during the 1950s and 60s. The hilly areas of
Hampstead were a muse for the artist during this period, and
track the evolution of his landscape painting style from the
bold architectonic forms of the 50s into the more gestural and
fluid compositions of the early 1960s. Here, Souza captures
the pale, desolate atmosphere on a crisp winter’s day in
London. The composition, with earthy hills in the foreground,
suggests that this is likely a depiction of Hampstead Heath, a
landmark at the heart of the artist’s neighborhood.

The thick black line so quintessential to Souza’s oeuvre of

the period, delineates the almost geometric architectural
structures of stylized Victorian buildings, broken up by a
few trees, almost barren but for a few traces of green
foliage cowering against the luminescent chalk-colored
winter sky. The artist’s palette of blues and whites with
highlights of ochre, brown, green and red is reminiscent of the
stained glass windows found in churches, and alludes to the
Catholic imagery of Souza’s practice in the mid-1950s. This
Winter Landscape, enshrouded in seasonal frost, resonates
with pathetic fallacy, its pallid color scheme conjuring a
primal power and a sense of the sublime. Souza creates a
trichotomy between man, religion and nature, as pastoral
and urban traditions collide in a genre at the very heart of the
artist’s oeuvre.

124
PROPERTY FROM A PRIVATE COLLECTION

285
FRANCIS NEWTON SOUZA 1924 2002
Untitled (Still Life with Fish)
signed and dated ‘Souza 61’ (upper right)
oil on canvas
29¿ x 46º in. (74 x 117.5 cm.)
Painted in 1961
$180,000-250,000
PROVENANCE
Vincent Kosman Fine Art, Edinburgh
Acquired from the above by the present owner, circa early 2000s
LITERATURE
E. Alkazi, ‘Souza’s Seasons in Hell, Art Heritage, Vol. 6, New Delhi,
1986-87, p. 84 (illustrated)
Still Life with Fish represents a compositional cornerstone in Francis Newton
Souza’s oeuvre. It is one of Souza’s finest examples of the genre of still life.
At first glance the highly structured domestic setting appears secular and
mundane. However, the religious symbolism encoded within reflects Souza’s
strict Catholic upbringing in Portuguese Goa and the influence of the Church
on his psyche. “The Roman Catholic Church had a tremendous influence
over me, not its dogmas but its grand architecture and the splendour of its
services.” (E. Mullins, Souza, London, 1962, p. 42) In his seminal book, Words
and Lines published in 1959, Souza fondly describes dining at a priest’s
home in Goa, even including an illustration depicting the pontiff at his table.
Souza writes, “Sunday evenings, the vicar invited me to dine with him […]
A laundered tablecloth was spread only when he [the Vicar] had guests, a
luxury he permitted himself with touching simplicity.” (F. N. Souza, ‘Nirvana of
a Maggot’, 1955, F. N. Souza: Words and Lines, London, 1959, pp. 17-18) This
setting and sentiment is encapsulated in Still Life with Fish.

Painted in 1961, shortly after Souza returned from a scholarship funded

trip to Rome, it is no surprise that the visual culture of Catholicism was at
the heart of the artist’s practice. The fish at the center of the composition
overtly references the Biblical miracle in which Jesus Christ feeds a multitude
of five thousand followers with five loaves of bread and two fish. The
complementary colossal chalices atop the table further suggest the liturgy
of the holy sacrament of Communion. The towering vessels, rendered with
Souza’s signature geometric and elliptic detailing, glow with blues and greens
referencing the palette of stained glass church windows, while the rich reds of
the patterned tablecloth allude to the tunics and vestments of the clergy of the
church often seen in Souza’s portraits from this seminal period.

Souza also follows the tradition of vanitas painting, a genre that flourished in
the Netherlands during the 17th Century and depicts collections of objects
symbolic of the inevitability of death and the transience of earthly pursuits and
pleasures. These symbols of mortality or momento mori are evident here in the
depiction of the lifeless fish in the center of the composition.

The thick back outlines of the foregrounded forms are in stark contrast to the
delicate floral detailing in the blue backdrop, suggesting an open window or
opulent brocade. This reveals Souza’s ability as a painter and draughtsman
to transcend traditional genres. Through symbolism and juxtaposition, Souza
uses the genre of still life to express the dichotomies of good and evil, light and
dark, the human and the divine.

Pieter Claesz, A roemer, a herring and olives on pewter
platters, with a roll, a knife, a wine glass and grapes on a
partially draped, circa 1643
Christie’s London, 3 December 2014, lot 127
F. N. Souza, Still Life with Bread
and Fish, 1962
Christie’s New York, 17 September
2015, lot 772, sold for $233,000
©Estate of F N Souza. All rights
reserved, DACS / ARS 2018
 FRANCIS NEWTON SOUZA : OEDIPUS REX
Oedipus Rex (the King) is the title of the first of the three Theban plays of
Sophocles written around 450 BC seen as the pinnacle of Greek Tragedy. The
trilogy recounts the epic story of Oedipus, King of Thebes, who was fated to kill
his father, and then marry and have children with his mother. Oedipus’ parents
take every precaution to prevent and escape this horrific destiny, including
abandoning the baby Oedipus to perish. However, Oedipus is rescued by
passers-by who bring him up and then as an adult, never having known his
true parents, fulfils the prophecy by killing a stranger who turns out to be his
father and taking the queen of Thebes, his mother, as his wife. The most iconic
moment in this play is when Oedipus, having the horrific truth revealed to him,
gouges out his own eyes with pins, underlining the bitter irony that only as
a blind man could he see the truth. This is the moment that Francis Newton
Souza portrays in this 1961 painting, Oedipus Rex.
The father of psychoanalysis, Sigmund Freud gave Sophocles’ play a new
significance in the Twentieth Century when he famously adopted the story
to illustrate what he called the ‘Oedipus complex’, which, he argued, was a
condition of the unconscious mind in all men to covet their mothers and kill
FN Souza, Gallery One, exhibition catalogue, London, 1961, cover and E. Mullins, Souza, London, 1962, cover and inside page
inside page
All images ©Estate of F N Souza. All rights reserved, DACS / ARS
2018
their fathers. It is this Freudian interpretation that Souza directly addresses in
his seminal book Words and Lines, writing, “I’ve always had a curious feeling
of an ancient guilt that I had inadvertently killed my father because he died
soon after my birth. My mother was like the mother of Oedipus; spartan in
shape. She was temperamentally unpredictable and very sophisticated. I used
to watch her bathe herself through a hole I had bored in the door. I was afraid
if she would thrust something in, I might get a bleeding eyeball.” (F.N. Souza,
Words and Lines, London, 1959, p. 25)
In this pseudo self-portrait, Souza ironically uses multiple eyes overlaying the
bandaged face of his subject, illustrating the new approach to representation
and portraiture that he adopted in the early 1960s. The same year he painted
Oedipus Rex, Souza stated, “I started using more than two eyes, numerous
eyes and fingers on my paintings and drawings of human figures when I
realised what it meant to have the superfluous and so not need the necessary.
Why should I be sparse and parsimonious when not only this world, but worlds
in space are open to me? I have everything to use at my disposal.” (Artist
statement, F N SOUZA, exhibition catalogue, London, 1961, unpaginated)
A. Kurtha, Francis Newton Souza:
Bridging Western and Indian Modern Art,
Ahmedabad, 2006, p. 84
129
PROPERTY FROM AN ESTEEMED PRIVATE COLLECTION

286
FRANCIS NEWTON SOUZA
1924 2002
Oedipus Rex
signed, titled and dated ‘F. N. SOUZA / OEDIPUS
REX / 1961’ and further titled ‘Oedipus Rex’ on a
Gallery One label (on the reverse)
oil on canvas
27 x 41 in. (68.6 x 104.1 cm.)
Painted in 1961

$150,000-200,000

PROVENANCE
Gallery One, London
The Collection of the artist
Acquired from the above by the present owner

EXHIBITED
London, Gallery One, F N Souza, 1961

LITERATURE
F N Souza, exhibition catalogue, London, 1961,
p. 9 (illustrated)
E. Mullins, Souza, London 1962, p. 96 (illustrated)
A. Kurtha, Francis Newton Souza: Bridging Western
and Indian Modern Art, Ahmedabad, 2006,
p. 84 (illustrated)

130
287
FRANCIS NEWTON SOUZA 1924 2002
Untitled (Still Life with Flowers)
signed and dated ‘Souza 64’ (upper left)
oil on canvas
32¡ x 30w in. (82.2 x 78.5 cm.)
Painted in 1964

$180,000-220,000

PROVENANCE
Grosvenor Gallery
Bonhams London, 17 October 2002, lot 59
Acquired from the above by the present owner

EXHIBITED
London, Grosvenor Gallery, Souza, Black Art & Other Paintings,
10 May - 4 June, 1966

LITERATURE
Souza, Black Art & Other Paintings, exhibition catalogue,
London, 1966 (unpaginated)

In the early 1960s, Francis Newton Souza’s static painting style evolved
to become more dynamic and gestural. Here, through the genre of still life
painting, Souza articulates this fundamental shift in oeuvre. In stark contrast
with the immovable monolithic vessels of Souza’s still life paintings of a few
years earlier, Untitled (Still Life with Flowers) centers on an hourglass shaped
vase that appears to crumple and dissolve within the space of the painting
as if itself alive and an extension of the tentacle-like stems protruding from
its body. The draughtsman’s black line is still present here, but appears more
fluid and expressive, fighting to contain the composition and colors. Gesture
and movement bring the flowers and fruit upon the table to life, as if they are
bursting to break free of the canvas.
Souza’s palette compliments this vitality and Untitled (Still Life with Flowers)
becomes a celebration of vivid color heightened with whites, imbuing the
composition with vibrancy and jubilation. The artist’s palette can be compared
to stained glass windows and perhaps the fruit on the table reference the
tradition of vanitas (see lot 285). However, unlike so many of Souza’s still life
paintings of the 1950s and early 1960s, Untitled (Still Life with Flowers) avoids
any overtly religious connotations. Instead, this painting with its flowers in full
bloom is a celebration of life and ecstasy. Painted in 1964, the year of Souza’s
first exhibition with Grosvenor Gallery in London, the present lot offers a
striking contrast to the infamous series of ‘black paintings’ Souza would
create the following year.

F. N. Souza, Untitled (Still Life), 1964

Christie’s London, 10 June 2015, lot 76,
sold for GBP 116,500 ($180,928)
©Estate of F N Souza. All rights reserved,
DACS / ARS 2018
 288
KRISHNAJI HOWLAJI ARA 1914 1985
Untitled
signed ‘ARA’ (lower right)
gouache on paper
20æ x 28 in. (52.6 x 71.1 cm.)

$6,000-8,000

PROVENANCE
Gifted by the artist to Lieutenant Colonel R. S. Nandal
Thence by descent to Aditya Nandal, New Delhi
Acquired from the above by the present owner

134
135
PROPERTY OF A PRIVATE AMERICAN COLLECTOR

289
MANJIT BAWA 1941 2008
Untitled (Krishna and Cow)
signed and dated ‘Manjit / 97’ (on the reverse)
oil on canvas
35w x 59w in. (91 x 152 cm.)
Painted in 1997

$250,000-350,000

PROVENANCE
Acquired directly from the artist
Private Collection, India
Acquired from the above by the present owner

Manjit Bawa’s instantly recognizable paintings present elegantly distilled
stylized forms floating within exquisite, intensely hued backgrounds. Bawa’s
formal training as a silk screen printer is evident in the bold contouring and
brilliant backdrops which give his paintings a powerful gestalt associated
more commonly with graphic design. The influence of classical Indian artistic
tradition is also evident. The mastery of lyrical contours borrows from Kalighat
paintings, while the saturated gem-toned fields of pure color take inspiration
from Indian miniature painting.
Suspended within a crimson background, the kneeling flautist in drapery
playing to a bovine audience by a single tree suggests the god Krishna in an
homage to the long tradition in classical Indian painting depicting the youthful
deity. The present painting consciously avoids the trappings of direct narrative,
excluding the usual fastidiously decorated pastoral landscape and adoring
gopis from this scene. Bawa condenses his forms to focus on specific images
and interactions, leaving the rest to suggestion and the viewer’s imagination.
Untitled (Krishna with Cow) conjures a window into a celestial world of myth,
mysticism and magic. Bawa’s enchanting painting reveals an serene realm
populated by the gods, their consorts and the sacred beasts that accompany
them. Here, the artist unites the two protagonists through color; the cow’s
shimmering skin and Krishna’s clothing are rendered in the same off-white
tones, while the violet of Krishna’s flesh and the yellow of his drapery and
flute are reflected in the brow and belly of the cow, as if it is basking in his
divine glow. Bawa’s luminescent monochromatic background, so unique to
his oeuvre, resonates with potency binding the composition to the subjects
within it.

Krishna on a rock with cows addressing a

bird, Bikaner, 1845, Christie’s Mumbai, 15
December 2015, lot 114
END OF SALE
 INDEX

A M

Abedin, Z., 247 Mazumdar, H., 246

Ara, K.H., 288 Mehta, T., 259, 260
Mohamedi, N., 201, 202, 203,
B
204, 205
Bakre, S., 215
Barwe, P., 272, 280 P
Bawa, M., 234, 289 Padamsee, A., 211, 212, 224
Bendre, N.S., 269 Patel, J., 273
Bhattacharjee, B., 253 Patwardhan, S., 237
Bhattacharya, C., 252 Prabha, B., 239, 240
C
Caur, A., 281 R

Chandra, A., 219, 265 Raza, S.H., 210, 213, 220, 221,
Chughtai, A.R., 250, 251 222, 268, 270
Reddy, A.K., 264
D Roy, J., 241, 242, 243, 244, 245
De, B., 271
Dhawan, R., 275 S

G
Sadequain, 249
Gade, H.A., 214, 226 Sharma, N., 276, 277
Gaitonde, V.S., 207 Singh, A., 236, 274
Gulgee, I., 278 Souza, F. N., 216, 217, 218, 227,
228, 229, 230, 231, 233, 238,
H 254, 255, 284, 285, 286, 287
Haloi, G., 266 Swaminathan, J., 208
Husain, M.F., 223, 225,
256, 261, 262, 263, 282 Z
Zarina, H., 206, 209
K
Keyt, G., 257, 258
Kibria, M., 279
Kumar, R., 267, 283

138
INDIAN, HIMALAYAN AND
SOUTHEAST ASIAN WORKS OF ART
New York, 12 September 2018
VIEWING CONTACT
7–11 September 2018 Tristan Bruck
20 Rockefeller Plaza tbruck@christies.com
New York, NY 10020 +1 212 636 2190

AN IMPORTANT BRONZE GROUP OF SHIVA AND UMA

SOUTH INDIA, TAMIL NADU, LATE CHOLA–EARLY VIJAYANAGARA PERIOD,
LATE 13TH–EARLY 14TH CENTURY
26 in. (66 cm.) and 18 in. (47 cm.) high
$600,000 - $800,000

Dr. J.R. Belmont Collection, Basel, by 1955, by repute.

The Pan-Asian Collection, Los Angeles, by 1972.
The Collection of Robert Hatfield Ellsworth, New York, by 1982.
Christie’s New York, 23 March 1999, lot 35.

On loan to the Los Angeles County Museum of Art (L.72.18.3 and L.72.18.4), 1972-1977.
On loan to the Denver Museum of Art (70.1977 and 97.1977), 1977-1982.

139
 ASIA
CONTEMPORARY
ART WEEK 7ITX2SZ
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Thinking Collections
This fall, ACAW expands to a full season with 30 + leading museums and
galleries presenting cutting-edge exhibitions and public programs citywide.
The platform also stages a series of ACAW curated exhibitions, studio visits,
and discussions around ideas of collections and collecting as an artistic,
educational, and curatorial practice.

%'%;/MGO3Ĉ
/I]RSXI
Sun Sept 9th | Christie’s
For a full agenda visit
With acclaimed artist and 2018 Kochi Biennale
%'%;-2*3 Curator Anita Dube in conjunction with Christie’s
Modern and Contemporary South Asian Art Auction
preview & reception

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6SPPMRW*MRI%VX`9PXIVMSV+EPPIV]`%PWIVOEP%ZIRYI (Dubai)`'PEVO,SYWI-RXMEXMZI (Mumbai)
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140
Krishen Khanna. News of Gandhiji’s Death, 1948. Oil on canvas. H. 33 1/2 x W. 33 1/2 in. (85.1 x 85.1 cm). Radhika Chopra and Rajan Anandan. Photography by Richard Goodbody

141
219,(:6(37(0%(5 ǵ -$18$5<

Asia Society Museum | 725 Park Avenue (at 70th Street) | New York City | AsiaSociety.org/NY
 ®
GW
KL
The New Malaysia has awoken—and in these tides of change the 3rd Edition of
GALLERY WEEKEND KUALA LUMPUR reinforces the region’s dynamic cultural identity.

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JOIN US! NOVEMBER 29 - DECEMBER 2, 2018

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Stay Partner: THE MAJESTIC HOTEL

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Mapping the Multidiscipline | Nov 29 - Dec 2, 2018

142
 RINA BANERJEE
MAKE ME A SUMMARY OF THE WORLD
Oct 27, 2018 – Mar 31, 2019
pafa.org
Image: Rina Banerjee (b. ����), Take me, take me, take me…to the Palace of love, ����;
Plastic, antique Anglo-Indian Bombay dark wood chair, steel and copper framework,
floral picks, foam balls, cowrie shells, quilting pins, red-colored moss, antique
stone globe, glass, synthetic fabric, shells, and fake birds; ��� × ��� × ��� inches;
Courtesy of artist and Galerie Nathalie Obadia, Paris/Brussels. ©Rina Banerjee.
May 18, 2019 – Oct 6, 2019
SanJoseMuseumofArt.org
Image courtesy of Pennsylvania Academy of the Fine Arts, Philadelphia/Barbara
Katus. Installation View: Rina Banerjee: Make Me a Summary of the World;
Pennsylvania Academy of the Fine Arts, October ��, ���� – March ��, ����. Rina
Banerjee: Make Me a Summary of the World was co-organized by the Pennsylvania
Academy of the Fine Arts, Philadelphia, and the San José Museum of Art, California.
 © ADAGP, Paris and DACS, London 2018
JEAN DUBUFFET 1901 1985
Chien (Dog)
signed with the artist’s initials and dated ‘J.D. 73’ (lower right)
ink and paper collage on card
8º x 11æ in. (21 x 29.8 cm.)
Executed in 1973
£10,000 - £15,000

FIRST OPEN LONDON

Online Auction, 12–20 September 2018
VIEWING
7–20 September 2018
8 King Street
London SW1Y 6QT

CONTACT
Anna Touzin
atouzin@christies.com
+44 0207 752 3064
$0/%*5*0/4
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CONDITIONS OF SALE
These Conditions of Sale and the Important Notices and
Explanation of Cataloguing Practice set out the terms on
which we offer the lots listed in this catalogue for sale.
By registering to bid and/or by bidding at auction you
agree to these terms, so you should read them carefully
before doing so.You will find a glossary at the end
explaining the meaning of the words and expressions
coloured in bold.
Unless we own a lot in whole or in part (∆ symbol),
Christie’s acts as agent for the seller.
"
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-054
(a) Certain words used in the catalogue description have
special meanings.You can find details of these on the
page headed “Important Notices and Explanation
of Cataloguing Practice” which forms part of these
terms.You can find a key to the Symbols found next
to certain catalogue entries under the section of the
catalogue called “Symbols Used in this Catalogue”.
(b) Our description of any lot in the catalogue, any
condition report and any other statement made
by us (whether orally or in writing) about any
lot, including about its nature or condition,
artist, period, materials, approximate dimensions,
or provenance are our opinion and not to be
relied upon as a statement of fact.We do not carry
out in-depth research of the sort carried out by
professional historians and scholars. All dimensions
and weights are approximate only.


063
3&410/4*#*-*5:
'03
063

%&4$3*15*0/
0'
-054
We do not provide any guarantee in relation to the
nature of a lot apart from our authenticity warranty
contained in paragraph E2 and to the extent provided in
paragraph I below.
3 CONDITION
(a) The condition of lots sold in our auctions can vary
widely due to factors such as age, previous damage,
restoration, repair and wear and tear.Their nature
means that they will rarely be in perfect condition.
Lots are sold “as is,” in the condition they are in at
the time of the sale, without any representation or
warranty or assumption of liability of any kind as to
condition by Christie’s or by the seller.
(b) Any reference to condition in a catalogue entry
or in a condition report will not amount to a full
description of condition, and images may not show
a lot clearly. Colours and shades may look different
in print or on screen to how they look on physical
inspection. Condition reports may be available to
help you evaluate the condition of a lot. Condition
reports are provided free of charge as a convenience
to our buyers and are for guidance only.They offer
our opinion but they may not refer to all faults,
inherent defects, restoration, alteration or adaptation
because our staff are not professional restorers or
conservators. For that reason condition reports
are not an alternative to examining a lot in person
or seeking your own professional advice. It is your
responsibility to ensure that you have requested,
received and considered any condition report.

7*&8*/(
-054
13&ƀ"6$5*0/
(a) If you are planning to bid on a lot, you should
inspect it personally or through a knowledgeable
representative before you make a bid to make sure
that you accept the description and its condition.We
recommend you get your own advice from a restorer
or other professional adviser.
(b) Pre-auction viewings are open to the public free of
charge. Our specialists may be available to answer
questions at pre-auction viewings or by appointment.
5 ESTIMATES
Estimates are based on the condition, rarity, quality
and provenance of the lots and on prices recently paid
at auction for similar property. Estimates can change.
Neither you, nor anyone else, may rely on any estimates
as a prediction or guarantee of the actual selling price of
a lot or its value for any other purpose. Estimates do
not include the buyer’s premium or any applicable
taxes.
146

8*5)%3"8"-
Christie’s may, at its option, withdraw any lot from
auction at any time prior to or during the sale of the
lot. Christie’s has no liability to you for any decision to
withdraw.

+&8&--&3:
(a) Coloured gemstones (such as rubies, sapphires and
emeralds) may have been treated to improve their
look, through methods such as heating and oiling.
These methods are accepted by the international
jewellery trade but may make the gemstone less
strong and/or require special care over time.
(b) All types of gemstones may have been improved
by some method.You may request a gemmological
report for any item which does not have a report if
the request is made to us at least three weeks before
the date of the auction and you pay the fee for
the report.
(c) We do not obtain a gemmological report for
every gemstone sold in our auctions.Where we
do get gemmological reports from internationally
accepted gemmological laboratories, such reports
will be described in the catalogue. Reports from
American gemmological laboratories will describe
any improvement or treatment to the gemstone.
Reports from European gemmological laboratories
will describe any improvement or treatment only if
we request that they do so, but will confirm when no
improvement or treatment has been made. Because of
differences in approach and technology, laboratories
may not agree whether a particular gemstone has
been treated, the amount of treatment, or whether
treatment is permanent.The gemmological
laboratories will only report on the improvements or
treatments known to the laboratories at the date of
the report.
(d) For jewellery sales, estimates are based on the
information in any gemmological report. If no report
is available, assume that the gemstones may have been
treated or enhanced.


8"5$)&4

$-0$,4
(a) Almost all clocks and watches are repaired in
their lifetime and may include parts which are
not original.We do not give a warranty that any
individual component part of any watch is authentic.
Watchbands described as “associated” are not part of
the original watch and may not be authentic. Clocks
may be sold without pendulums, weights or keys.
(b) As collectors’ watches often have very fine and
complex mechanisms, you are responsible for
any general service, change of battery, or further
repair work that may be necessary.We do not give a
warranty that any watch is in good working order.
Certificates are not available unless described in the
catalogue.
(c) Most wristwatches have been opened to find out
the type and quality of movement. For that reason,
wristwatches with water resistant cases may not
be waterproof and we recommend you have them
checked by a competent watchmaker before use.
Important information about the sale, transport and
shipping of watches and watchbands can be found in
paragraph H2(f).
#
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#*%%&34
(a) If this is your first time bidding at Christie’s or you
are a returning bidder who has not bought anything
from any of our salerooms within the last two years
you must register at least 48 hours before an auction
begins to give us enough time to process and approve
your registration.We may, at our option, decline to
permit you to register as a bidder.You will be asked
for the following:
(i) for individuals: Photo identification (driver’s
licence, national identity card, or passport) and,
if not shown on the ID document, proof of your
current address (for example, a current utility bill
or bank statement);
(ii) for corporate clients:Your Certificate of
Incorporation or equivalent document(s)
showing your name and registered address
together with documentary proof of directors and
beneficial owners; and
(iii) for trusts, partnerships, offshore companies and
other business structures, please contact us in
advance to discuss our requirements.
(b) We may also ask you to give us a financial reference
and/or a deposit as a condition of allowing you to
bid. For help, please contact our Credit Department at
+1 212-636-2490.

3&563/*/(
#*%%&34
As described in paragraph B(1) above, we may at our
option ask you for current identification, a financial
reference, or a deposit as a condition of allowing you to
bid. If you have not bought anything from any of our
salerooms within the last two years or if you want to
spend more than on previous occasions, please contact
our Credit Department at +1 212-636-2490.

*
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If in our opinion you do not satisfy our bidder
identification and registration procedures including, but
not limited to completing any anti-money laundering
and/or anti-terrorism financing checks we may require
to our satisfaction, we may refuse to register you to bid,
and if you make a successful bid, we may cancel the
contract for sale between you and the seller.



#*%%*/(
0/
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1&340/
If you are bidding on behalf of another person,
that person will need to complete the registration
requirements above before you can bid, and supply
a signed letter authorising you to bid for him/her. A
bidder accepts personal liability to pay the purchase
price and all other sums due unless it has been agreed
in writing with Christie’s, before commencement of the
auction, that the bidder is acting as an agent on behalf
of a named third party acceptable to Christie’s and that
Christie’s will only seek payment from the named
third party.

#*%%*/(
*/
1&340/
If you wish to bid in the saleroom you must register for a
numbered bidding paddle at least 30 minutes before the
auction.You may register online at www.christies.com
or in person. For help, please contact the Credit
Department on +1 212-636-2490.

#*%%*/(
4&37*$&4
The bidding services described below are a free service
offered as a convenience to our clients and Christie’s
is not responsible for any error (human or otherwise),
omission, or breakdown in providing these services.
(a) Phone Bids
Your request for this service must be made no
later than 24 hours prior to the auction.We will
accept bids by telephone for lots only if our staff
are available to take the bids. If you need to bid in a
language other than in English, you must arrange this
well before the auction.We may record telephone
bids. By bidding on the telephone, you are agreeing
to us recording your conversations.You also agree that
your telephone bids are governed by these Conditions
of Sale.
(b) Internet Bids on Christie’s LIVE™
For certain auctions we will accept bids over
the Internet. For more information, please visit
https://www.christies.com/buying-services/
buying-guide/register-and-bid/ As well as these
Conditions of Sale, internet bids are governed by the
Christie’s LIVE™ Terms of Use which are available
on is https://www.christies.com/LiveBidding/
OnlineTermsOfUse.
(c) Written Bids
You can find a Written Bid Form at the back of our
catalogues, at any Christie’s office, or by choosing the
sale and viewing the lots online at www.christies.
com.We must receive your completed Written
Bid Form at least 24 hours before the auction. Bids
must be placed in the currency of the saleroom.The
auctioneer will take reasonable steps to carry out
written bids at the lowest possible price, taking into
account the reserve. If you make a written bid on
a lot which does not have a reserve and there is no
higher bid than yours, we will bid on your behalf at
around 50% of the low estimate or, if lower, the
amount of your bid. If we receive written bids on a
lot for identical amounts, and at the auction these are
the highest bids on the lot, we will sell the lot to the
bidder whose written bid we received first.
$
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We may, at our option, refuse admission to our premises
or decline to permit participation in any auction or to
reject any bid.

3&4&37&4
Unless otherwise indicated, all lots are subject to a reserve.
We identify lots that are offered without reserve with the
symbol ¤ next to the lot number.The reserve cannot be
more than the lot’s low estimate.

"6$5*0/&&3ŝ4
%*4$3&5*0/
The auctioneer can at his or her sole option:
(a) refuse any bid;
(b) move the bidding backwards or forwards in any way
he or she may decide, or change the order of the lots;
(c) withdraw any lot;
(d) divide any lot or combine any two or more lots;
(e) reopen or continue the bidding even after the
hammer has fallen; and
(f) in the case of error or dispute and whether during or
after the auction, to continue the bidding, determine
the successful bidder, cancel the sale of the lot, or
reoffer and resell any lot. If any dispute relating
to bidding arises during or after the auction, the
auctioneer’s decision in exercise of this option
is final.

#*%%*/(
The auctioneer accepts bids from:
(a) bidders in the saleroom;
(b) telephone bidders;
(c) internet bidders through ‘Christie’s LIVE™ (as
shown above in paragraph B6); and
(d) written bids (also known as absentee bids or
commission bids) left with us by a bidder before
the auction.

#*%%*/(
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The auctioneer may, at his or her sole option, bid on
behalf of the seller up to but not including the amount
of the reserve either by making consecutive bids or by
making bids in response to other bidders.The auctioneer
will not identify these as bids made on behalf of the seller
and will not make any bid on behalf of the seller at or
above the reserve. If lots are offered without reserve,
the auctioneer will generally decide to open the bidding
at 50% of the low estimate for the lot. If no bid is made
at that level, the auctioneer may decide to go backwards
at his or her sole option until a bid is made, and then
continue up from that amount. In the event that there
are no bids on a lot, the auctioneer may deem such lot
unsold.

#*%
*/$3&.&/54
Bidding generally starts below the low estimate and
increases in steps (bid increments).The auctioneer will
decide at his or her sole option where the bidding should
start and the bid increments.The usual bid increments
are shown for guidance only on the Written Bid Form at
the back of this catalogue.

$633&/$:
$0/7&35&3
The saleroom video screens (and Christies LIVE™)
may show bids in some other major currencies as well as
US dollars. Any conversion is for guidance only and we
cannot be bound by any rate of exchange used. Christie’s
is not responsible for any error (human or otherwise),
omission or breakdown in providing these services.

46$$&44'6-
#*%4
Unless the auctioneer decides to use his or her discretion
as set out in paragraph C3 above, when the auctioneer’s
hammer strikes, we have accepted the last bid.This means
a contract for sale has been formed between the seller
and the successful bidder.We will issue an invoice only
to the registered bidder who made the successful bid.
While we send out invoices by mail and/or email after
the auction, we do not accept responsibility for telling
you whether or not your bid was successful. If you have
bid by written bid, you should contact us by telephone
or in person as soon as possible after the auction to get
details of the outcome of your bid to avoid having to pay
unnecessary storage charges.

-0$"-
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You agree that when bidding in any of our sales that you
will strictly comply with all local laws and regulations in
force at the time of the sale for the relevant sale site.
%
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not apply to any information other than in the

5)&
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13&.*6. Heading even if shown in UPPERCASE type.
In addition to the hammer price, the successful bidder (c) The authenticity warranty does not apply to any
agrees to pay us a buyer’s premium on the hammer Heading or part of a Heading which is qualified.
price of each lot sold. On all lots we charge 25% of the Qualified means limited by a clarification in a lot’s
hammer price up to and including US$250,000, 20% catalogue description or by the use in a Heading
on that part of the hammer price over US$250,000 of one of the terms listed in the section titled
and up to and including US$4,000,000, and 12.5% of Qualified Headings on the page of the catalogue
that part of the hammer price above US$4,000,000. headed “Important Notices and Explanation of
Cataloguing Practice”. For example, use of the term
2 TAXES “ATTRIBUTED TO…” in a Heading means that
The successful bidder is responsible for any applicable the lot is in Christie’s opinion probably a work by
taxes including any sales or use tax or equivalent tax the named artist but no warranty is provided that
wherever such taxes may arise on the hammer price, the lot is the work of the named artist. Please read
the buyer’s premium, and/or any other charges the full list of Qualified Headings and a lot’s full
related to the lot. catalogue description before bidding.
For lots Christie’s ships to or within the United States, (d) The authenticity warranty applies to the
a sales or use tax may be due on the hammer price, Heading as amended by any Saleroom Notice.
buyer’s premium, and/or any other charges related (e) The authenticity warranty does not apply where
to the lot, regardless of the nationality or citizenship of scholarship has developed since the auction leading
the successful bidder. Christie’s is currently required to to a change in generally accepted opinion. Further,
collect sales tax for lots it ships to the following states: it does not apply if the Heading either matched the
California; Florida; Illinois; New York; generally accepted opinion of experts at the date of the
Rhode Island and Texas. The applicable sales tax rate auction or drew attention to any conflict of opinion.
will be determined based upon the state, county, or (f) The authenticity warranty does not apply if the
locale to which the lot will be shipped. lot can only be shown not to be authentic by a
In accordance with New York law, if Christie’s arranges scientific process which, on the date we published
the shipment of a lot out of New York State, New the catalogue, was not available or generally accepted
York sales tax does not apply, although sales tax or other for use, or which was unreasonably expensive or
applicable taxes for other states may apply. If you hire impractical, or which was likely to have damaged
a shipper (other than a common carrier authorized by the lot.
Christie’s), to collect the lot from a Christie’s New York (g) The benefit of the authenticity warranty is only
location, Christie’s must collect New York sales tax available to the original buyer shown on the invoice
on the lot at a rate of 8.875% regardless of the ultimate for the lot issued at the time of the sale and only if
destination of the lot. on the date of the notice of claim, the original buyer
If Christie’s delivers the lot to, or the lot is collected is the full owner of the lot and the lot is free from
by, any framer, restorer or other similar service provider any claim, interest or restriction by anyone else.The
in New York that you have hired, New York law benefit of this authenticity warranty may not be
considers the lot delivered to the successful bidder in transferred to anyone else.
New York and New York sales tax must be imposed (h) In order to claim under the authenticity warranty
regardless of the ultimate destination of the lot. In this you must:
circumstance, New York sales tax will apply to the lot (i) give us written notice of your claim within 5 years
even if Christie’s or a common carrier (authorized by of the date of the auction. We may require full
Christie’s that you hire) subsequently delivers the lot details and supporting evidence of any such claim;
outside New York. (ii) at Christie’s option, we may require you to
Successful bidders claiming an exemption from sales tax provide the written opinions of two recognised
must provide appropriate documentation to Christie’s experts in the field of the lot mutually agreed by
prior to the release of the lot or within 90 days after you and us in advance confirming that the lot is
the sale, whichever is earlier. For shipments to those not authentic. If we have any doubts, we reserve
states for which Christie’s is not required to collect sales the right to obtain additional opinions at our
tax, a successful bidder may have a use or similar tax expense; and
obligation. It is the successful bidder’s responsibility to pay all (iii) return the lot at your expense to the saleroom
taxes due. Christie’s recommends you consult your own from which you bought it in the condition it
independent tax advisor with any questions. was in at the time of sale.
(i) Your only right under this authenticity warranty is
&
8"33"/5*&4
to cancel the sale and receive a refund of the purchase

4&--&3ŝ4
8"33"/5*&4 price paid by you to us.We will not, under any
circumstances, be required to pay you more than the
For each lot, the seller gives a warranty that the seller:
purchase price nor will we be liable for any loss
(a) is the owner of the lot or a joint owner of the lot
of profits or business, loss of opportunity or value,
acting with the permission of the other co-owners or,
expected savings or interest, costs, damages, other
if the seller is not the owner or a joint owner of the
damages or expenses.
lot, has the permission of the owner to sell the lot, or
(j) Books.Where the lot is a book, we give an
the right to do so in law; and
additional warranty for 21 days from the date of the
(b) has the right to transfer ownership of the lot to
auction that any lot is defective in text or illustration,
the buyer without any restrictions or claims by
we will refund your purchase price, subject to the
anyone else.
following terms:
If either of the above warranties are incorrect, the seller
(a) This additional warranty does not apply to:
shall not have to pay more than the purchase price
(i) the absence of blanks, half titles, tissue guards or
(as defined in paragraph F1(a) below) paid by you to us.
advertisements, damage in respect of bindings,
The seller will not be responsible to you for any reason
stains, spotting, marginal tears or other defects
for loss of profits or business, expected savings, loss of
not affecting completeness of the text or
opportunity or interest, costs, damages, other damages
illustration;
or expenses.The seller gives no warranty in relation to
(ii) drawings, autographs, letters or manuscripts,
any lot other than as set out above and, as far as the seller
signed photographs, music, atlases, maps
is allowed by law, all warranties from the seller to you,
or periodicals;
and all other obligations upon the seller which may be
(iii) books not identified by title;
added to this agreement by law, are excluded.
(iv) lots sold without a printed estimate;
(v) books which are described in the catalogue as

063
"65)&/5*$*5:
8"33"/5:

sold not subject to return; or
We warrant, subject to the terms below, that the lots in
(vi) defects stated in any condition report or
our sales are authentic (our “authenticity warranty”).
announced at the time of sale.
If, within 5 years of the date of the auction, you give
(b) To make a claim under this paragraph you must
notice to us that your lot is not authentic, subject to the
give written details of the defect and return the
terms below, we will refund the purchase price paid
lot to the sale room at which you bought it in
by you.The meaning of authentic can be found in the
the same condition as at the time of sale, within
glossary at the end of these Conditions of Sale.The terms
21 days of the date of the sale.
of the authenticity warranty are as follows:
(k) South East Asian Modern and Contemporary
(a) It will be honored for claims notified within a
Art and Chinese Calligraphy and Painting.
period of 5 years from the date of the auction. After
In these categories, the authenticity warranty
such time, we will not be obligated to honor the
does not apply because current scholarship does not
authenticity warranty.
permit the making of definitive statements. Christie’s
(b) It is given only for information shown in
does, however, agree to cancel a sale in either of
UPPERCASE type in the first line of the
these two categories of art where it has been proven
catalogue description (the “Heading”). It does
the lot is a forgery. Christie’s will refund to the
original buyer the purchase price in accordance
with the terms of Christie’s Authenticity Warranty,
provided that the original buyer notifies us with full
supporting evidence documenting the forgery claim
within twelve (12) months of the date of the auction.
Such evidence must be satisfactory to us that the
property is a forgery in accordance with paragraph
E2(h)(ii) above and the property must be returned
to us in accordance with E2h(iii) above. Paragraphs
E2(b), (c), (d), (e), (f) and (g) and (i) also apply to a
claim under these categories.
'
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50
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(a) Immediately following the auction, you must pay the
purchase price being:
(i) the hammer price; and
(ii) the buyer’s premium; and
(iii) any applicable duties, goods, sales, use,
compensating or service tax, or VAT.
Payment is due no later than by the end of the
7th calendar day following the date of the auction
(the “due date”).
(b) We will only accept payment from the registered bidder.
Once issued, we cannot change the buyer’s name on an
invoice or re-issue the invoice in a different name.You
must pay immediately even if you want to export the
lot and you need an export licence.
(c) You must pay for lots bought at Christie’s in the
United States in the currency stated on the invoice in
one of the following ways:
(i) Wire transfer
JP Morgan Chase Bank, N.A.,
270 Park Avenue, New York, NY 10017;
ABA# 021000021; FBO: Christie’s Inc.;
Account # 957-107978,
for international transfers, SWIFT: CHASUS33.
(ii) Credit Card.
We accept Visa, MasterCard, American Express
and China Union Pay. A limit of $50,000 for
credit card payment will apply.This limit is
inclusive of the buyer’s premium and any
applicable taxes. Credit card payments at the New
York premises will only be accepted for New
York sales. Christie’s will not accept credit card
payments for purchases in any other sale site.
To make a ‘cardholder not present’ (CNP) payment, you
must complete a CNP authorisation form which you
can get from our Post-Sale Services.You must send a
completed CNP authorisation form by fax to +1 212
636 4939 or you can mail to the address below. Details of
the conditions and restrictions applicable to credit card
payments are available from our Post-Sale Services, whose
details are set out in paragraph (d) below.
(iii) Cash
We accept cash payments (including money
orders and traveller’s checks) subject to a
maximum global aggregate of US$7,500 per
buyer per year at our Post-Sale Services only
(iv) Bank Checks
You must make these payable to Christie’s Inc.
and there may be conditions.
(v) Checks
You must make checks payable to Christie’s Inc.
and they must be drawn from US dollar accounts you owe us.
from a US bank.
(d) You must quote the sale number, your invoice
number and client number when making a payment. 1 COLLECTION
All payments sent by post must be sent to:
Christie’s Inc. Post-Sale Services,
20 Rockefeller Center, New York, NY 10020.
(e) For more information please contact our Post-Sale
Services by phone at +1 212 636 2650 or fax at +1
212 636 4939 or email PostSaleUS@christies.com.

53"/4'&33*/(
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You will not own the lot and ownership of the lot will
not pass to you until we have received full and clear
payment of the purchase price, even in circumstances
where we have released the lot to you.

53"/4'&33*/(
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50
:06

The risk in and responsibility for the lot will transfer to
you from whichever is the earlier of the following:
(a) When you collect the lot; or
(b) At the end of the 30th day following the date of the
auction or, if earlier, the date the lot is taken into
care by a third party warehouse as set out on the
page headed ‘Storage and Collection’, unless we have
agreed otherwise with you.

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(a) If you fail to pay us the purchase price in full by
the due date, we will be entitled to do one or more
of the following (as well as enforce our rights under
paragraph F5 and any other rights or remedies we
have by law):
(i) we can charge interest from the due date at a rate of
up to 1.34% per month on the unpaid amount due;
(ii) we can cancel the sale of the lot. If we do this,
we may sell the lot again, publically or privately
on such terms we shall think necessary or
appropriate, in which case you must pay us any
shortfall between the purchase price and the
proceeds from the resale.You must also pay all
costs, expenses, losses, damages and legal fees we
have to pay or may suffer and any shortfall in the
seller’s commission on the resale;
(iii) we can pay the seller an amount up to the net
proceeds payable in respect of the amount bid
by your default in which case you acknowledge
and understand that Christie’s will have all of
the rights of the seller to pursue you for
such amounts;
(iv) we can hold you legally responsible for
the purchase price and may begin legal
proceedings to recover it together with other
losses, interest, legal fees and costs as far as we are
allowed by law;
(v) we can take what you owe us from any amounts
which we or any company in the Christie’s
Group may owe you (including any deposit or
other part-payment which you have paid to us);
(vi) we can, at our option, reveal your identity and
contact details to the seller;
(vii) we can reject at any future auction any bids made
by or on behalf of the buyer or to obtain a
deposit from the buyer before accepting any bids;
(viii) we can exercise all the rights and remedies of
a person holding security over any property in
our possession owned by you, whether by way
of pledge, security interest or in any other way
as permitted by the law of the place where such
property is located.You will be deemed to have
granted such security to us and we may retain
such property as collateral security for your
obligations to us; and
(ix) we can take any other action we see necessary
or appropriate.
(b) If you owe money to us or to another Christie’s
Group company, we can use any amount you do pay,
including any deposit or other part-payment you
have made to us, or which we owe you, to pay off any
amount you owe to us or another Christie’s Group
company for any transaction.

,&&1*/(
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If you owe money to us or to another Christie’s Group
company, as well as the rights set out in F4 above, we
can use or deal with any of your property we hold or
which is held by another Christie’s Group company
in any way we are allowed to by law.We will only release
your property to you after you pay us or the relevant
Christie’s Group company in full for what you owe.
However, if we choose, we can also sell your property in
any way we think appropriate.We will use the proceeds
of the sale against any amounts you owe us and we will
pay any amount left from that sale to you. If there is a
shortfall, you must pay us any difference between the
amount we have received from the sale and the amount
(
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(a) We ask that you collect purchased lots promptly
following the auction (but note that you may not
collect any lot until you have made full and clear
payment of all amounts due to us).
(b) Information on collecting lots is set out on the storage
and collection page and on an information sheet
which you can get from the bidder registration staff or
Christie’s cashiers at +1 212 636 2495.
(c) If you do not collect any lot promptly following
the auction we can, at our option, remove the lot
to another Christie’s location or an affiliate or third
party warehouse. Details of the removal of the lot to a
warehouse, fees and costs are set out at the back of the
catalogue on the page headed ‘Storage and Collection’.
You may be liable to our agent directly for these costs.
(d) If you do not collect a lot by the end of the 30th day
following the date of the auction, unless otherwise
agreed in writing:
(i) we will charge you storage costs from that date.
(ii) we can, at our option, move the lot to or within
an affiliate or third party warehouse and charge
you transport costs and administration fees for
doing so.
(iii) we may sell the lot in any commercially
reasonable way we think appropriate.
(iv) the storage terms which can be found at
christies.com/storage shall apply.
147
(e) In accordance with NewYork law, if you have paid for
the lot in full but you do not collect the lot within 180
calendar days of payment, we may charge you NewYork
sales tax for the lot.
(f) Nothing in this paragraph is intended to limit our rights
under paragraph F4.

4503"(&
(a) If you have not collected the lot within 7 days from the
date of the auction, we or our appointed agents can:
(i) charge you storage fees while the lot is still at our
saleroom; or
(ii) remove the lot at our option to a warehouse and
charge you all transport and storage costs
(b) Details of the removal of the lot to a warehouse, fees
and costs are set out at the back of the catalogue on
the page headed ‘Storage and Collection’. You may
be liable to our agent directly for these costs.
)
53"/41035
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4)*11*/(
We will enclose a transport and shipping form with each
invoice sent to you.You must make all transport and
shipping arrangements. However, we can arrange to pack,
transport, and ship your property if you ask us to and
pay the costs of doing so.We recommend that you ask us
for an estimate, especially for any large items or items of
high value that need professional packing.We may also
suggest other handlers, packers, transporters, or experts
if you ask us to do so. For more information, please
contact Christie’s Post-Sale Services at +1 212 636 2650. (g) Watches
See the information set out at www.christies.com/
shipping or contact us at PostSaleUS@christie.com.We
will take reasonable care when we are handling, packing,
transporting, and shipping a. However, if we recommend
another company for any of these purposes, we are not
responsible for their acts, failure to act, or neglect.

&91035
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*.1035
Any lot sold at auction may be affected by laws on
exports from the country in which it is sold and the
import restrictions of other countries. Many countries
require a declaration of export for property leaving
the country and/or an import declaration on entry of
property into the country. Local laws may prevent you
from importing a lot or may prevent you selling a lot in paragraph H2, please note that lots are marked as a
the country you import it into.
(a) You alone are responsible for getting advice about
and meeting the requirements of any laws or
regulations which apply to exporting or importing
any lot prior to bidding. If you are refused a licence or
there is a delay in getting one, you must still pay us in
full for the lot.We may be able to help you apply for
the appropriate licences if you ask us to and pay our
fee for doing so. However, we cannot guarantee that
you will get one. For more information, please contact
Christie’s Art Transport Department at +1 212 636
2480. See the information set out at www.christies.
com/shipping or contact us at ArtTransportNY@
christies.com.
(b) Endangered and protected species
Lots made of or including (regardless of the
percentage) endangered and other protected species
of wildlife are marked with the symbol ~ in the
catalogue.This material includes, among other things,
ivory, tortoiseshell, crocodile skin, rhinoceros horn,
whalebone certain species of coral, and Brazilian
rosewood.You should check the relevant customs
laws and regulations before bidding on any lot
containing wildlife material if you plan to import
the lot into another country. Several countries refuse
to allow you to import property containing these
materials, and some other countries require a licence
from the relevant regulatory agencies in the countries
of exportation as well as importation. In some cases,
the lot can only be shipped with an independent
scientific confirmation of species and/or age, and you
will need to obtain these at your own cost.
(c) Lots containing Ivory or materials
resembling ivory
If a lot contains elephant ivory, or any other wildlife
material that could be confused with elephant ivory
(for example, mammoth ivory, walrus ivory, helmeted
hornbill ivory) you may be prevented from exporting
the lot from the US or shipping it between US
States without first confirming its species by way of
a rigorous scientific test acceptable to the applicable
Fish and Wildlife authorities.You will buy that lot at
your own risk and be responsible for any scientific
test or other reports required for export from the
USA or between US States at your own cost. We
will not be obliged to cancel your purchase and
refund the purchase price if your lot may not be
exported, imported or shipped between US States, or
it is seized for any reason by a government authority.
It is your responsibility to determine and satisfy the
requirements of any applicable laws or regulations
relating to interstate shipping, export or import of
property containing such protected or
regulated material.
(d) Lots of Iranian origin
Some countries prohibit or restrict the purchase,
the export and/or import of Iranian-origin “works
of conventional craftsmanship” (works that are not
by a recognized artist and/or that have a function,
(for example: carpets, bowls, ewers, tiles, ornamental
boxes). For example, the USA prohibits the import
and export of this type of property without a license
issued by the US Department of the Treasury, Office
of Foreign Assets Control. Other countries, such as
Canada, only permit the import of this property in
certain circumstances. As a convenience to buyers,
Christie’s indicates under the title of a lot if the lot
originates from Iran (Persia). It is your responsibility
to ensure you do not bid on or import a lot in
contravention of the sanctions or trade embargoes
that apply to you.
(f) Gold
Gold of less than 18ct does not qualify in all countries
as ‘gold’ and may be refused import into those
countries as ‘gold’.
Many of the watches offered for sale in this catalogue are
pictured with straps made of endangered or protected
animal materials such as alligator or crocodile.These lots
are marked with the symbol ^ in the catalogue.These
endangered species straps are shown for display purposes
only and are not for sale. Christie’s will remove and
retain the strap prior to shipment from the sale site.At
some sale sites, Christie’s may, at its discretion, make the
displayed endangered species strap available to the buyer
of the lot free of charge if collected in person from the
sale site within 1 year of the date of the auction. Please
check with the department for details on a particular lot.
For all symbols and other markings referred to in
convenience to you, but we do not accept liability for
errors or for failing to mark lots.
*
063
-*"#*-*5:
50
:06
(a) We give no warranty in relation to any statement
made, or information given, by us or our
representatives or employees, about any lot other than
as set out in the authenticity warranty and, as far
as we are allowed by law, all warranties and other
terms which may be added to this agreement by law
are excluded.The seller’s warranties contained in
paragraph E1 are their own and we do not have any
liability to you in relation to those warranties.
(b) (i) We are not responsible to you for any reason
(whether for breaking this agreement or any other
matter relating to your purchase of, or bid for, any
lot) other than in the event of fraud or fraudulent
misrepresentation by us or other than as expressly
set out in these conditions of sale; or
(ii) give any representation, warranty or guarantee
or assume any liability of any kind in respect of
any lot with regard to merchantability, fitness
for a particular purpose, description, size, quality,
condition, attribution, authenticity, rarity,
importance, medium, provenance, exhibition
history, literature, or historical relevance. Except
as required by local law, any warranty of any kind
is excluded by this paragraph.
(c) In particular, please be aware that our written and
telephone bidding services, Christie’s LIVE™,
condition reports, currency converter and
saleroom video screens are free services and we are
not responsible to you for any error (human or
otherwise), omission or breakdown in these services.
(d) We have no responsibility to any person other than a
buyer in connection with the purchase of any lot.
(e) If, in spite of the terms in paragraphs I(a) to (d) or
E2(i) above, we are found to be liable to you for
any reason, we shall not have to pay more than the
purchase price paid by you to us.We will not be
responsible to you for any reason for loss of profits
or business, loss of opportunity or value, expected
savings or interest, costs, damages, or expenses.
+
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063
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In addition to the other rights of cancellation contained
in this agreement, we can cancel a sale of a lot if we
reasonably believe that completing the transaction is,
or may be, unlawful or that the sale places us or the seller
under any liability to anyone else or may damage
our reputation.

3&$03%*/(4
We may videotape and record proceedings at any
auction.We will keep any personal information
confidential, except to the extent disclosure is required
by law. However, we may, through this process, use
or share these recordings with another Christie’s
Group company and marketing partners to analyse our
customers and to help us to tailor our services for buyers.
If you do not want to be videotaped, you may make
arrangements to make a telephone or written bid or bid
on Christie’s LIVE™ instead. Unless we agree otherwise
in writing, you may not videotape or record proceedings
at any auction.

$01:3*()5
We own the copyright in all images, illustrations and
written material produced by or for us relating to a
lot (including the contents of our catalogues unless
otherwise noted in the catalogue).You cannot use them
without our prior written permission.We do not offer
any guarantee that you will gain any copyright or other
reproduction rights to the lot.

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5)*4
"(3&&.&/5
If a court finds that any part of this agreement is not
valid or is illegal or impossible to enforce, that part of the
agreement will be treated as being deleted and the rest of
this agreement will not be affected.


53"/4'&33*/(
:063
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You may not grant a security over or transfer your rights buyer’s premium: the charge the buyer pays us along
or responsibilities under these terms on the contract of
sale with the buyer unless we have given our written
permission.This agreement will be binding on your
successors or estate and anyone who takes over your
rights and responsibilities.

53"/4-"5*0/4

If we have provided a translation of this agreement, we
will use this original version in deciding any issues or
disputes which arise under this agreement.

1&340/"-
*/'03."5*0/

We will hold and process your personal information and and high estimate means the higher figure.The mid
may pass it to another Christie’s Group company for
use as described in, and in line with, our privacy notice at hammer price: the amount of the highest bid the
www.christies.com/about-us/contact/privacy.

8"*7&3
No failure or delay to exercise any right or remedy
provided under these Conditions of Sale shall constitute other damages: any special, consequential, incidental
a waiver of that or any other right or remedy, nor shall
it prevent or restrict the further exercise of that or any
other right or remedy. No single or partial exercise of
such right or remedy shall prevent or restrict the further
exercise of that or any other right or remedy.

-"8
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This agreement, and any non-contractual obligations
arising out of or in connection with this agreement, or
any other rights you may have relating to the purchase of catalogue headed ‘Important Notices and Explanation of
a lot will be governed by the laws of New York. Before
we or you start any court proceedings (except in the
limited circumstances where the dispute, controversy or
claim is related to proceedings brought by someone else saleroom notice: a written notice posted next to
and this dispute could be joined to those proceedings),
we agree we will each try to settle the dispute by
mediation submitted to JAMS, or its successor, for
mediation in New York. If the Dispute is not settled by
mediation within 60 days from the date when mediation beginning of the sale, or before a particular lot
is initiated, then the Dispute shall be submitted to JAMS, is auctioned.
or its successor, for final and binding arbitration in
accordance with its Comprehensive Arbitration Rules
and Procedures or, if the Dispute involves a non-U.S.
party, the JAMS International Arbitration Rules.The seat are correct.
of the arbitration shall be New York and the arbitration
shall be conducted by one arbitrator, who shall be
appointed within 30 days after the initiation of the
arbitration.The language used in the arbitral proceedings
shall be English.The arbitrator shall order the production
of documents only upon a showing that such documents
are relevant and material to the outcome of the Dispute.
The arbitration shall be confidential, except to the extent
necessary to enforce a judgment or where disclosure
is required by law.The arbitration award shall be final
and binding on all parties involved. Judgment upon the
award may be entered by any court having jurisdiction
thereof or having jurisdiction over the relevant party or
its assets.This arbitration and any proceedings conducted
hereunder shall be governed by Title 9 (Arbitration)
of the United States Code and by the United Nations
Convention on the Recognition and Enforcement of
Foreign Arbitral Awards of June 10, 1958.


3&1035*/(
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Details of all lots sold by us, including catalogue
descriptions and prices, may be reported on
www.christies.com. Sales totals are hammer price
plus buyer’s premium and do not reflect costs,
financing fees, or application of buyer’s or seller’s credits.
We regret that we cannot agree to requests to remove
these details from www.christies.com.
,
(-044"3:

authentic: authentic : a genuine example, rather than a
copy or forgery of:
(i) the work of a particular artist, author or
manufacturer, if the lot is described in the
Heading as the work of that artist, author
or manufacturer;
(ii) a work created within a particular period or
culture, if the lot is described in the Heading as a
work created during that period or culture;
(iii) a work for a particular origin source if the lot is
described in the Heading as being of that origin
or source; or
(iv) in the case of gems, a work which is made of a
particular material, if the lot is described in the
Heading as being made of that material.
authenticity warranty: the guarantee we give in this
agreement that a lot is authentic as set out in paragraph
E2 of this agreement.
with the hammer price.
catalogue description: the description of a lot in the
catalogue for the auction, as amended by any saleroom
notice.
Christie’s Group: Christie’s International Plc,
its subsidiaries and other companies within its
corporate group.
condition: the physical condition of a lot.
due date: has the meaning given to it paragraph F1(a).
estimate: the price range included in the catalogue or
any saleroom notice within which we believe a lot may
sell. Low estimate means the lower figure in the range
estimate is the midpoint between the two.
auctioneer accepts for the sale of a lot.
Heading: has the meaning given to it in paragraph E2.
lot: an item to be offered at auction (or two or more
items to be offered at auction as a group).
or indirect damages of any kind or any damages which
fall within the meaning of ‘special’, ‘incidental’ or
‘consequential’ under local law.
purchase price: has the meaning given to it in
paragraph F1(a).
provenance: the ownership history of a lot.
qualified: has the meaning given to it in paragraph
E2 and Qualified Headings means the paragraph
headed Qualified Headings on the page of the
Cataloguing Practice’.
reserve: the confidential amount below which we will
not sell a lot.
the lot in the saleroom and on www.christies.com,
which is also read to prospective telephone bidders and
notified to clients who have left commission bids, or
an announcement made by the auctioneer either at the
UPPER CASE type: means having all capital letters.
warranty: a statement or representation in which the
person making it guarantees that the facts set out in it
05/06/2018
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ALL lots whether sold or unsold maybe subject to
storage and administration fees. Please see the details
in the table below. Storage Charges may be paid in
advance or at the time of collection. Lots may only be
released on production of the ‘Collection Form’ from
Christie’s. Lots will not be released until all outstanding
charges are settled.
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Christie’s Post-Sale Service can organize domestic
deliveries or international freight. Please contact them
on +1 212 636 2650 or PostSaleUS@christies.com.
To ensure that arrangements for the transport of your
lot can be finalized before the expiration of any free
storage period, please contact Christie’s Post-Sale
Service for a quote as soon as possible after the sale.
1):4*$"-
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Christie’s will accept liability for physical loss and damage
to sold lots while in storage. Christie’s liability will be
limited to the invoice purchase price including buyers’
premium. Christie’s liability will continue until the lots
are collected by you or an agent acting for you following
payment in full. Christie’s liability is subject to Christie’s
Terms and Conditions of Liability posted on christies.com.
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Please note lots marked with a square Q will be moved to
Christie’s Fine Art Storage Services (CFASS in Red Hook,
Brooklyn) on the last day of the sale. Lots are not available
for collection at Christie’s Fine Art Storage Services until
after the third business day following the sale. All lots
will be stored free of charge for 30 days from the auction
date at Christie’s Rockefeller Center or Christie’s Fine
Art Storage Services. Operation hours for collection from
either location are from 9.30 am to 5.00 pm, Monday-
Friday. After 30 days from the auction date property may
be moved at Christie’s discretion. Please contact Post-Sale
Services to confirm the location of your property prior to
collection. Please consult the Lot Collection Notice for
collection information. This sheet is available from the
Bidder Registration staff, Purchaser Payments or the
Packing Desk and will be sent with your invoice.
4503"(&
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Failure to collect your property within 30 calendar days of
the auction date from any Christie’s location, will result in
storage and administration charges plus any applicable
sales taxes.
Lots will not be released until all outstanding charges
due to Christie’s are paid in full. Please contact Christie’s
Post-Sale Service on +1 212 636 2650.

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LARGE OBJECTS SMALL OBJECTS

CHARGES PER LOT
e.g. Furniture, Large Paintings, and Sculpture e.g. Books, Luxury, Ceramics, Small Paintings

1-30 days after the auction Free of Charge Free of Charge

31st day onwards: Administration $100 $50

Storage per day $10 $6

Will be charged on purchased lots at 0.5% of the hammer price or capped at the total storage charge,
Loss and Damage Liability
whichever is the lower amount.
All charges are subject to sales tax.
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Long-term storage solutions are also available per client request. CFASS is a separate subsidiary of Christie’s and clients enjoy complete confidentiality.
Please contact CFASS New York for details and rates: +1 212 636 2070 or storage@cfass.com

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20 Rockefeller Plaza, New York 10020 62-100 Imlay Street, Brooklyn, NY 11231
Tel: +1 212 636 2000 Tel: +1 212 974 4500
nycollections@christies.com nycollections@christies.com
Main Entrance on 49th Street Main Entrance on Corner of Imlay and Bowne St
Receiving/Shipping Entrance on 48th Street )PVST

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19/08/16

149
4:.#0-4
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The meaning of words coloured in bold in this section can be found at the end of the section of the catalogue headed ‘Conditions of Sale’
º x
Christie’s has a direct financial interest in the lot.
See Important Notices and Explanation of Cataloguing
Practice.
∆ ¤
Owned by Christie’s or another Christie’s Group
company in whole or part. See Important Notices and
Explanation of Cataloguing Practice.
Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or failure to, mark a lot.
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∆ Property Owned in part or in full by Christie’s
From time to time, Christie’s may offer a lot which it owns in whole or in
part. Such property is identified in the catalogue with the symbol ∆ next
to its lot number.
º Minimum Price Guarantees
On occasion, Christie’s has a direct financial interest in the outcome of
the sale of certain lots consigned for sale.This will usually be where it has
guaranteed to the Seller that whatever the outcome of the auction, the
Seller will receive a minimum sale price for the work.This is known as a
minimum price guarantee.Where Christie’s holds such financial interest
we identify such lots with the symbol º next to the lot number.
º x Third Party Guarantees/Irrevocable bids
Where Christie’s has provided a Minimum Price Guarantee it is at risk
of making a loss, which can be significant, if the lot fails to sell. Christie’s
therefore sometimes chooses to share that risk with a third party. In such
cases the third party agrees prior to the auction to place an irrevocable
written bid on the lot.The third party is therefore committed to bidding
on the lot and, even if there are no other bids, buying the lot at the level of
the written bid unless there are any higher bids. In doing so, the third party
takes on all or part of the risk of the lot not being sold. If the lot is not sold,
the third party may incur a loss. Lots which are subject to a third party
guarantee arrangement are identified in the catalogue with the symbol º x.
In most cases, Christie’s compensates the third party in exchange for

%3"8*/(4

13*/54

accepting this risk.Where the third party is the successful bidder, the third
party’s remuneration is based on a fixed financing fee. If the third party is
not the successful bidder, the remuneration may either be based on a fixed
fee or an amount calculated against the final hammer price.The third party
may also bid for the lot above the written bid.Where the third party is the
successful bidder, Christie’s will report the final purchase price net of the
fixed financing fee.
Third party guarantors are required by us to disclose to anyone they are
advising their financial interest in any lots they are guaranteeing. However,
for the avoidance of any doubt, if you are advised by or bidding through
an agent on a lot identified as being subject to a third party guarantee you
should always ask your agent to confirm whether or not he or she has a
financial interest in relation to the lot.
150
Christie’s has a direct financial interest in the lot and
has funded all or part of our interest with the help of
someone else. See Important Notices and Explanation
of Cataloguing Practice.
Lot offered without reserve which will be sold to
the highest bidder regardless of the pre-sale estimate in
the catalogue.
Other Arrangements
Christie’s may enter into other arrangements not involving bids.These
include arrangements where Christie’s has given the Seller an Advance on
the proceeds of sale of the lot or where Christie’s has shared the risk of a
guarantee with a partner without the partner being required to place an
irrevocable written bid or otherwise participating in the bidding on the lot.
Because such arrangements are unrelated to the bidding process they are
not marked with a symbol in the catalogue.
Bidding by parties with an interest
In any case where a party has a financial interest in a lot and intends to bid
on it we will make a saleroom announcement to ensure that all bidders are
aware of this. Such financial interests can include where beneficiaries of
an Estate have reserved the right to bid on a lot consigned by the Estate or
where a partner in a risk-sharing arrangement has reserved the right to bid
on a lot and/or notified us of their intention to bid.
Please see http://www.christies.com/ financial-interest/ for a more
detailed explanation of minimum price guarantees and third party
financing arrangements.
Where Christie’s has an ownership or financial interest in every lot in the
catalogue, Christie’s will not designate each lot with a symbol, but will state
its interest in the front of the catalogue.
'03
1*$563&4
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.*/*"563&4
Terms used in this catalogue have the meanings ascribed to them below.
Please note that all statements in this catalogue as to authorship are made
subject to the provisions of the Conditions of Sale and authenticity
warranty. Buyers are advised to inspect the property themselves.Written
condition reports are usually available on request.
26"-*'*&%
)&"%*/(4
In Christie’s opinion a work by the artist.
*“Attributed to …”
In Christie’s qualified opinion probably a work by the artist in whole or
in part.
*“Studio of …”/ “Workshop of …”
In Christie’s qualified opinion a work executed in the studio or workshop
of the artist, possibly under his supervision.
*“Circle of …”
In Christie’s qualified opinion a work of the period of the artist and
showing his influence.
~
Lot incorporates material from endangered species
which could result in export restrictions. See Paragraph
H2(b) of the Conditions of Sale.
Q
See Storage and Collection pages in the catalogue.
^
Lot incorporates material from endangered species that
is not for sale and shown for display purposes only. See
Paragraph H2(g) of the Conditions of Sale.
18/05/17
*“Follower of …”
In Christie’s qualified opinion a work executed in the artist’s style but not
necessarily by a pupil.
*“Manner of …”
In Christie’s qualified opinion a work executed in the artist’s style but of
a later date.
*“After …”
In Christie’s qualified opinion a copy (of any date) of a work of the artist.
“Signed …”/“Dated …”/
“Inscribed …”
In Christie’s qualified opinion the work has been signed/dated/inscribed
by the artist.
“With signature …”/ “With date …”/
“With inscription …”
In Christie’s qualified opinion the signature/
date/inscription appears to be by a hand other than that of the artist.
The date given for Old Master, Modern and Contemporary Prints is the
date (or approximate date when prefixed with ‘circa’) on which the matrix
was worked and not necessarily the date when the impression was printed
or published.
*This term and its definition in this Explanation of Cataloguing Practice
are a qualified statement as to authorship.While the use of this term
is based upon careful study and represents the opinion of specialists,
Christie’s and the seller assume no risk, liability and responsibility for the
authenticity of authorship of any lot in this catalogue described by this
term, and the Authenticity Warranty shall not be available with respect
to lots described using this term.
1045

'63/*563&
All items of post-1950 furniture included in this sale are items either
not originally supplied for use in a private home or now offered solely
as works of art.These items may not comply with the provisions of the
Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended
in 1989 and 1993, the “Regulations”). Accordingly, these items should not
be used as furniture in your home in their current condition. If you do
intend to use such items for this purpose, you must first ensure that they
are reupholstered, restuffed and/or recovered (as appropriate) in order that
they comply with the provisions of the Regulations.These will vary by
department.
18/05/17
 WRITTEN BIDS FORM
CHRISTIE’S NEW YORK

SOUTH ASIAN MODERN Written bids must be received at least 24 hours before the auction begins.
+ CONTEMPORARY ART Christie’s will confirm all bids received by fax by return fax. If you have not
WEDNESDAY 12 SEPTEMBER 2018 received confirmation within one business day, please contact the Bid Department.
AT 10.00 AM Tel: +1 212 636 2437 on-line www.christies.com
20 Rockefeller Plaza
New York, NY 10020 16048
Client Number (if applicable) Sale Number
CODE NAME: DARSHAN
SALE NUMBER: 16048
Billing Name (please print)
(Dealers billing name and address must agree
with tax exemption certificate. Invoices cannot Address
be changed after they have been printed.)
BID ONLINE FOR THIS SALE AT CHRISTIES.COM City State Zone

BIDDING INCREMENTS Daytime Telephone Evening Telephone

Bidding generally starts below the low estimate and increases in steps
(bid increments) of up to 10 per cent. The auctioneer will decide where
the bidding should start and the bid increments. Written bids that do Fax (Important) Email
not conform to the increments set below may be lowered to the next
bidding-interval. Please tick if you prefer not to receive information about our upcoming sales by e-mail

US$100 to US$2,000 by US$100s I W B F C S —B ’ A

US$2,000 to US$3,000 by US$200s
US$3,000 to US$5,000 by US$200, 500, 800 Signature

(e.g. US$4,200, 4,500, 4,800)

US$5,000 to US$10,000 by US$500s If you have not previously bid or consigned with Christie’s, please attach copies of the following
US$10,000 to US$20,000 by US$1,000s documents. Individuals: government-issued photo identification (such as a photo driving licence,
national identity card, or passport) and, if not shown on the ID document, proof of current address,
US$20,000 to US$30,000 by US$2,000s
for example a utility bill or bank statement. Corporate clients: a certificate of incorporation.
US$30,000 to US$50,000 by US$2,000, 5,000, 8,000 Other business structures such as trusts, offshore companies or partnerships: please contact the
Credit Department at +1 212 636 2490 for advice on the information you should supply. If you are
(e.g. US$32,000, 35,000, 38,000) registering to bid on behalf of someone who has not previously bid or consigned with Christie’s,
US$50,000 to US$100,000 by US$5,000s please attach identification documents for yourself as well as the party on whose behalf you are
US$100,000 to US$200,000 by US$10,000s bidding, together with a signed letter of authorisation from that party. New clients, clients who
Above US$200,000 at auctioneer’s discretion have not made a purchase from any Christie’s office within the last two years, and those wishing
to spend more than on previous occasions will be asked to supply a bank reference.
The auctioneer may vary the increments during the course of the
auction at his or her own discretion.
PLEASE PRINT CLEARLY
1. I request Christie’s to bid on the stated lots up to the Lot number Maximum Bid US$ Lot number Maximum Bid US$
maximum bid I have indicated for each lot. (in numerical order) (excluding buyer’s premium) (in numerical order) (excluding buyer’s premium)
2. I understand that if my bid is successful the amount payable
will be the sum of the hammer price and the buyer’s
premium (together with any applicable state or local sales
or use taxes chargeable on the hammer price and buyer’s
premium) in accordance with the Conditions of Sale—
Buyer’s Agreement). The buyer’s premium rate shall be
an amount equal to 25% of the hammer price of each lot
up to and including US$250,000, 20% on any amount over
US$250,000 up to and including US$4,000,000 and 12.5%
of the amount above US$4,000,000.
3. I agree to be bound by the Conditions of Sale printed in
the catalogue.
4. I understand that if Christie’s receive written bids on a lot
for identical amounts and at the auction these are the highest
bids on the lot, Christie’s will sell the lot to the bidder whose
written bid it received and accepted first.
5. Written bids submitted on “no reserve” lots will, in the
absence of a higher bid, be executed at approximately 50% of
the low estimate or at the amount of the bid if it is less than
50% of the low estimate.
I understand that Christie’s written bid service is a free service
provided for clients and that, while Christie’s will be as careful as
it reasonably can be, Christie’s will not be liable for any problems
with this service or loss or damage arising from circumstances If you are registered within the European Community for VAT/IVA/TVA/BTW/MWST/MOMS
beyond Christie’s reasonable control.
Please quote number below:
AUCTION RESULTS: CHRISTIES.COM

02/08/17 19/01/2015 151

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+54 11 43 93 42 22 +49 (0)21 14 91 59 352 +52 55 5281 5546 +886 2 2736 3356 ESTIMATES
Cristina Carlisle Arno Verkade Gabriela Lobo Ada Ong Tel: +1 212 492 5485
"6453"-*" '3"/,'635 MONACO 5)"*-"/% www.christies.com
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+61 (0)2 9326 1422 Natalie Radziwill Nancy Dotta +66 (0)2 652 1097 COLLECTIONS
Ronan Sulich )".#63( Benjawan Uraipraivan Tel: +1 212 636 2464
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563,&: Email: gsudlow@christies.com
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+49 (0)89 24 20 96 80
038":
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(Consultant) +971 (0)4 425 5647
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Sonal Singh $)3*45*&ŝ4
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INDONESIA Ť)0/(
,0/( +44 (0)20 3219 6010 New York
5030/50 +852 2760 1766 Tel: +1 212 355 1501
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Fax: +1 212 355 7370
Brett Sherlock (Consultant) +62 (0)21 7278 6268 Ť4)"/()"*
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$)*-& AND WALES
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Denise Ratinoff de Lira +972 (0)3 695 0695 +351 919 317 233
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Ť.*-"/ London
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Juanita Madrinan MOSCOW Fax: +44 (0)20 7665 4351
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(Consultant) Juliet Lomberg Christine Ryall (Consultant) 3&"-
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Barbro Schauman
(Consultant) VENICE (Independent Consultant) 6/*5&%
45"5&4 New York
+39 041 277 0086 Tel: +1 212 468 7182
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Rachele Guicciardi 4065)
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+39 055 219 012 Jun Lee
(Consultant)
Alessandra Niccolini di 41"*/ MIAMI $)3*45*&ŝ4
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+1 212 636 2000
+33 (0)5 56 81 65 47 Alessandra Allaria Singapore
Marie-Cécile Moueix SWEDEN /&81035
(Consultant) 450$,)0-. Tel: +65 6543 5252

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Chie Hayashi
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+33 (0)6 61 81 82 53 ."-":4*" 48*5;&3-"/% David G. Ober (Consultant)
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Eveline de Proyart +1 415 982 0982
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For a complete salerooms & offices listing go to christies.com
26/03/18
$)3*45*&ŝ4
$)3*45*&ŝ4
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François Pinault, Chairman
Guillaume Cerutti, Chief Executive Officer
Stephen Brooks, Deputy Chief Executive Officer
Jussi Pylkkänen, Global President
François Curiel, Chairman, Europe and Asia
Jean-François Palus
Stéphanie Renault
Héloïse Temple-Boyer
Sophie Carter, Company Secretary
*/5&3/"5*0/"-
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Stephen Lash, Chairman Emeritus, Americas
The Earl of Snowdon, Honorary Chairman, EMERI
Charles Cator, Deputy Chairman, Christie’s Int.
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Marc Porter, Chairman
Jennifer Zatorski, President
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Ben Hall, Chairman
Alexander Rotter, Co-Chairman
Bonnie Brennan, Deputy Chairman
Cyanne Chutkow, Deputy Chairman
Sheri Farber, Deputy Chairman
Loïc Gouzer, Co-Chairman
John Hays, Deputy Chairman
Conor Jordan, Deputy Chairman
Richard Lloyd, Deputy Chairman
Maria C. Los, Deputy Chairman
Andrew Massad, Deputy Chairman
Ellanor Notides, Deputy Chairman
Jonathan Rendell, Deputy Chairman
Capera Ryan, Deputy Chairman
Barrett White, Deputy Chairman
Eric Widing, Deputy Chairman
Athena Zonars, Co-Chairman
$)3*45*&ŝ4
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".&3*$"4 Peggy Gottlieb,Lindsay Griffith, Margaret Gristina,
John L. Vogelstein, Chairman
Herb Allen, Elizabeth Ballantine, Charlie Blaquier,
Stephen Bronfman, Christina Chandris,
Bruno Eberli, Lynn Forester de Rothschild,
Ambassador Stuart E. Eizenstat,
Ashton Hawkins, Esq., J Tomilson Hill III,
Barbara Jakobson, Nancy M. Kissinger,
George Klein, Ambassador William H. Luers,
Hon. Nicholas Platt, Li Chung Pei,
Jeffrey E. Perelman, Tara Rockefeller, Denise Saul,
Andrew N. Schiff, M.D., Clifford M. Sobel,
Michael Steinhardt, Archbold D. van Beuren
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Rachel Adey, Kelly Ayers, Martha Baer, Tyron Armstrong, Nicole Arnot, Nishad Avari,
Diane Baldwin, Heather Barnhart, Alyson Kristin Bisagna, Bernadine Boisson,
Barnes, Michael Bass, G. Max Bernheimer, Vanessa Booher, Anne Bracegirdle,
Rita Boyle, Catherine Busch, Max Carter, Elaine Brens, Christiana Bromberg, Natalie Brown,
Angelina Chen, Sandra Cobden, Dan Conn, Tristan Bruck, Elisa Catenazzi, Michelle Cha,
Kathy Coumou, Deborah Coy, Francois de Poortere, Megha Choudury, Patrick Conte, Cathy Delany,
Carrie Dillon, Yasaman Djunic, Monica Dugot, Alessandro Diotallevi, Julie Drennan, William Fischer,
Richard Entrup, Lydia Fenet, Jessica Fertig, Emily Fisher, Sara Fox, Kristen France, Juarez Francis,
Dani Finkel, Johanna Flaum, Sara Friedlander, Russell Gautsch, Emily Gladstone, Douglas Goldberg,
Sayuri Ganepola, Virgilio Garza, Benjamin Gore, Robert Gordy, Julia Gray, Emily Grimball,
Karen Gray, Jennifer K. Hall, Bill Hamm, Rachel Hagopian, Olivia Hamilton, Amy Indyke,
William Haydock, Darius Himes, Margaret Bennett Jackson, Stephen Jones, Paige Kestenman,
Hoag, Koji Inoue, Erik Jansson, Rahul Kadakia, Peter Kalogiannis, Jean M. Kim, Kirill Kluev,
Kathy Kaplan, Julie Kim, Sharon Kim, Stefan Kist, Paula Kowalczyk, Sibyl Lafontant, Madeline Lazaris,
Deepanjana Klein, David Kleiweg de Zwaan, Andrew Lick, David Lieu, Malcolm Lindquist,
Susan Kloman, Timothy Kompanchenko, Alexander Locke, Samantha Margolis,
James Leitch, Daphne Lingon, Gabriela Lobo, Laura Mathis, Nina Milbank, Ruth Mauldin,
Rebecca MacGuire, Erin McAndrew, Adrien Meyer, Nicole Moffatt, Leo Montan, Melissa Morris,
Rick Moeser, Richard Nelson, Tash Perrin, Takaaki Murakami, Libia Nahas, Margaret O’Connor,
Jason Pollack, Denise Ratinoff, Kimberly Ray, Ayub Patel, Daniel Peros, Jessica Phifer,
John Reardon, Margot Rosenberg, Sonya Roth, Nell Plumfield, Joseph Quigley, Rebecca Roundtree,
Sara Rutter, Nicole Sales, Emily Salzberg,
Caroline Sayan, Veronique Shagnon-Burke,
Adnan Shafique, Jill Sieffert, Jason Simonds,
Muys Snijders, Will Strafford, Sarah Vandeweerdt,
Hilary Smith, Victoria Solivan, Hannah Fox Solomon,
Cara Walsh, Hartley Waltman, Amy Wexler,
Natalie Stagnitti-White, Joey Steigelman,
Allison Whiting, Marissa Wilcox, Jody Wilkie,
Joanna Szymkowiak, Victoria Tudor, Lillian Vasquez,
Zackary Wright, Steven Wrightson, Steven J. Zick
Mike Wang, Stella Wang, Izzie Wang, Seth Watsky,
Candace Wetmore, Elizabeth Wight, Emma Winder,
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Tylee Abbott, Christine Layng Aschwald,
Danielle Austin, Victoria Ayers, Diane Baldwin,
Marina Bertoldi, Adrian Bijanada, Katie Bollom, ".&3*$"/
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Cristina Carlisle, John Caruso, Elisa Catenazzi, Lisa Cavanaugh, Lydia Kimball, Natalie Lenci,
Ana Maria Celis, Veronique Chagnon-Burke, Mary Libby, Juanita Madrinan, David G. Ober,
Michelle Cheng, Margaret Conklin, Betsy Ray, Nancy Rome, Brett Sherlock
Kristen de Bruyn, Elise de la Selle, Aubrey Daval,
Cathy Delany, Ashish Desai, Christine Donahue,
Caitlin Donovan, Lauren Frank, Vanessa Fusco,
Christina Geiger, Joshua Glazer, Lisa Gluck,
Izabela Grocholski, Helena Grubesic,
James Hamilton, Elizabeth Hammer-Munemura,
Natalie Hamrick, Minna Hanninen, Anne Hargrave,
Val Hoyt, Sima Jalili, Tianyue Jiang, Emily Kaplan,
Jessica Katz, Sumako Kawai, Marisa Kayyem,
Caroline Kelly, Peter Klarnet, Alexis Klein,
Kristin Kolich, Samantha Koslow, Noah Kupferman,
Alexandra Lenobel, Richard Lopez, Ryan Ludgate,
Adam McCoy, Michael Moore, Danielle Mosse,
Caroline Moustakis, Christopher Munro,
Libia Nahas, Laura Nagle, Marysol Nieves,
Remi Nouailles, Jonquil O’Reilly,
Rachel Orkin-Ramey, Joanna Ostrem,
Sam Pedder-Smith, Carleigh Queenth,
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