Anatomize by Nibha Sikander Booth 3D33 | Art Basel Hong Kong 2023

 March 5, 2024

About Anatomize Nibha Sikander’s artworks showcasing detailed representations of moths and birds are the artist’s attempt at a pointed confrontation of the violence we have exerted upon other species of our planet.

 In Anatomize, Sikander draws from a desire to elevate the level of deconstruction and abstraction that she had showcased in her last series, Wandering Violin Mantis. Moving away from anatomically accurate replicas of moths, the artist has made one major change in her work, by enlarging their forms. This allows her to study and analyse them in greater detail. Her arrangement of these details is influenced by the specimen-like presentation of taxidermy in museums. However, in this series Sikander’s methodical layout of the fragments of the species depicted appears closer to an imaginary script solidifying her position at the intersection of science, craft, and art.

As described by curator Roobina Karode, Sikander’s works “are manifestations of the artist’s entomological interest that seeks not to dissect, but to deconstruct the received notions of natural history.” Working exclusively with paper Sikander succeeds in creating a world that invites the viewer in closer, almost as if through a magnifying glass. According to her, paper mimics nature in its versatility – soft, stiff, malleable and flexible, almost like wings, feathers and antennae – allowing her to mould it to her will.

About the Artist

Nibha Sikander earned her Bachelors (2006) and Masters (2008) in Visual Arts from the Maharaja Sayajirao University, Vadodara.

In 2019, Nibha had her first solo exhibition, Wandering Violin Mantis at TARQ. Since her graduation, she has been part of several group exhibitions, some of which include The Inner Life of Things: Around Anatomies and Armatures at the Kiran Nadar Museum of Art, Noida (2022); ALCHEMY: Explorations in Indigo, Kasturbhai Lalbhai

Museum, Ahmedabad (2019); Beyond Borders, curated by the CONA Foundation at the Whitworth Gallery/Museum, Manchester, England (2017-18); A New Space, Nazar Art Gallery, Vadodara (2016); Back to College, VADFEST, Faculty of Fine Arts, Vadodara (2015); A Construal of Mourning and Rage, Emami Chisel Art, Kolkata (2014); Group show at Studio X, as part of the Paradise Lodge International Artist Residency, Mumbai (2013); Beauty and the Beast, Matthieu Foss Gallery, curated by Anne Maniglier, Mumbai, (2011); Show Girls!, Strand Art Room Gallery, curated by Anne Maniglier, Mumbai (2009); From our Cabinets to the Museum, Open Eyed Dreams Gallery, curated by Aparna Roy, Kochi (2009); and Class of 2008, Art Konsult Gallery, curated by Bhavna Khakkar, New Delhi (2008-09).

Museum, Ahmedabad (2019); Beyond Borders, curated by the CONA Foundation at the Whitworth Gallery/Museum, Manchester, England (2017-18); A New Space, Nazar Art Gallery, Vadodara (2016); Back to College, VADFEST, Faculty of Fine Arts, Vadodara (2015); A Construal of Mourning and Rage, Emami Chisel Art, Kolkata (2014); Group show at Studio X, as part of the Paradise Lodge International Artist Residency, Mumbai (2013); Beauty and the Beast, Matthieu Foss Gallery, curated by Anne Maniglier, Mumbai, (2011); Show Girls!, Strand Art Room Gallery, curated by Anne Maniglier, Mumbai (2009); From our Cabinets to the Museum, Open Eyed Dreams Gallery, curated by Aparna Roy, Kochi (2009); and Class of 2008, Art Konsult Gallery, curated by Bhavna Khakkar, New Delhi (2008-09).

She has taken part in residencies like Paradise Lodge International Artist Residency, Lonavala, Mumbai (November 2013); Sandarbh International Artists Residency Programme, Jaipur (November 2012); and Residency at the American School of Bombay, Mumbai (March – May 2010).

She is the recipient of the Nasreen Mohamedi Scholarship, Maharaja Sayajirao University, Vadodara, 2004-2005. She recently participated in India Art Fair 2020 in Delhi. Nibha currently works and lives in Murud-Janjira and Mumbai

About TARQ

TARQ was founded in 2014 by Hena Kapadia on the values of creating a meaningful conversation around art and its myriad connotations and contexts. It was envisioned as somet    hing of a laboratory – an incubator for young contemporary artists which would work towards pushing the boundaries of how contemporary art in India is exhibited and perceived. TARQ’s youthful and experimental ethos encourages collectors, novice and seasoned alike, to approach art collecting through a perspective that marries thoughtfulness with an inquisitive eye for aesthetics and artistic processes.

Since its conception, TARQ has endeavoured to create a robust outreach program that ties in with the gallery’s exhibitions and overall raison d’être. The program is an amalgam of educational initiatives in the form of workshops, gallery walk-throughs and talks. Our intention is to engage with a diverse audience to develop an informed viewership for contemporary art in the future

TARQ

KK (Navsari) Chambers, Ground Floor, 39B AK Nayak Marg, Fort, Mumbai 400001, 022-66150424

Tuesday – Saturday: 11:00am – 6:30pm

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Women’s Day Special: Sunny Chandiramani, Senior Vice President, Client Relations at AstaGuru Auction House

Sunny Chandiramani has been part of AstaGuru for over a decade, actively participating in more than 50 auctions. Her extensive experience goes beyond just understanding the significance of each artwork; she possesses a deep knowledge of market fundamentals and data, making her a seasoned professional in the field. Established in 2008, AstaGuru was founded with the mission of creating a secure and reliable platform for online auctions. The name “AstaGuru” is a deliberate fusion of the Italian term “Asta,” meaning auction, and a Sanskrit word signifying “master,” reflecting our exceptional expertise in auctioneering art and treasures in India.

AstaGuru has evolved, conducting curated auctions across various categories such as heirloom jewellery, silver, and timepieces over the years. Sunny reflects on her time at AstaGuru, expressing gratitude for the significant learning and growth opportunities. She emphasises the satisfaction derived from curating each auction catalogue, providing her with a deeper understanding of the artistic evolution of numerous renowned artists who have left a lasting impact on the modern Indian art scene.

1. What is it like to be a Woman Leader in an Auction House?

It’s a very proud feeling. However, what makes me happier is that women are playing important roles in almost every department at AstaGuru. Whether it is a forefront role such as client relations and auction curation or working behind the scenes in departments such as Restoration, Marketing or Content, women are integral to the overall functioning of AstaGuru. While I am of the view that success and achievements should not be analysed from the standpoint of gender, it makes me truly ecstatic that AstaGuru takes the spirit of gender equality very seriously and has been a staunch advocate of the same. Our CEO, Mr. Tushar Sethi, is to be credited for this as he has been a consistent source of inspiration and encouragement to each one of us through the years.

2. Could Sunny share her story of leading 50+ successful auctions and highlight key elements contributing to her success in this competitive environment?

Since joining AstaGuru in 2013, my experience has been incredibly rewarding as I delved into the intricate details of Modern Indian Art. Transitioning from a non-art background, my journey has involved a significant learning curve. Whether it’s recognising milestones achieved by revered Indian modernists or studying the overall evolution of Modern Indian Art, I’ve engaged in continuous exploration, research, and learning to cultivate a keen eye for the auction industry. Each auction has contributed to my growing confidence.

Artist: Amrita Sher-Gil

3. How does Sunny view the evolving roles of women in the Artworld from an industry perspective, and in what ways are they inspiring others?

The past few decades have played a crucial role in elevating the recognition of women in the art world. Women artists have left a lasting impact with grand retrospectives at esteemed institutions sparking a surge of interest in the artistic achievements of Indian women. Notable examples include Arpita Singh’s retrospective, ‘Six Decades of Painting,’ at the Kiran Nadar Museum of Art in New Delhi and Nalini Malani’s retrospective at the Centre Pompidou in Paris, both earning consistent critical acclaim. The art market has witnessed remarkable auction results for works by women artists, prompting the collector community to take notice and acknowledge their mastery. These triumphs signify a significant shift in the Indian art market, recognising and honouring women artists with the recognition they have long deserved.

Esteemed contemporary artists such as Anju Dodiya and Bharti Kher have also received praise for their distinctive works and practices, echoing the recognition seen in various aspects of the Indian art world. Whether in the roles of collectors, bidders, gallerists, art writers, or critics, women are shattering the glass ceiling on a global scale. The trend continues in the auction industry, where women actively contribute to various facets of auction house operations. Their involvement extends to outstanding curation and restoration work, as well as supporting departments like Logistics, Marketing, PR, and Content, showcasing the diverse and impactful roles women play in shaping the art landscape.

4. What are Sunny Chandiramani’s top 3 favourite Women Artists, and what qualities in these artists does she find inspiring?

My choice would be Amrita Sher-Gil, as she undeniably stands as one of the preeminent avant-garde women artists of the early 20th century, credited with single-handedly elevating Indian art onto the global stage. Even after eight decades since her untimely passing in 1941, she remains the focal point of numerous auctions and exhibitions showcasing Indian art. Another artist I deeply appreciate is Meera Mukherjee, celebrated for her distinctive creations. Her artistic journey featured innovative bronze casting techniques, and she played a pivotal role in refining traditional Dhokra style sculpture by incorporating lost-wax casting methods, acquired during her time among artisans in the Bastar region of central India. I’m also an avid admirer of Arpita Singh’s work. With a unique style and technique, each of her compositions narrates its own story. I particularly value her exploration and presentation of women’s lives, weaving a complex tapestry drawn from diverse sources, including personal experiences, mythology, fiction, and Bengali folklore.

Meera Mukherjee – Dancing Baul

5. Finally, what advice does Sunny have for the next generation of Women aiming to make an impact in the Artworld? How can they navigate challenges and build successful careers in this dynamic industry?

The Indian art scene thrives with a multitude of artists, each possessing a unique visual language. Engaging with various mediums, these artists continually explore, pushing the boundaries of traditional art definitions. My advice to all, including women artists, is to remain authentic in your artistic expression and maintain an open mindset towards continuous learning. The nuances of the art world are ever-evolving, making the journey of understanding a perpetual process.

AstaGuru

Head Office Hargovindas Building, 2nd Floor, K. Dubash Marg, Kala Ghoda, Fort, Mumbai – 400 001.

Gallery 22/26 ICIA Building, K. Dubash Marg, Kala Ghoda, Fort, Mumbai – 400 001.

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. Jogen Chowdhary / Tapas Konar / Jatin Das / Chandra Bhattacharyya / Riyas Komu More then 300 artists around the world

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Jogen Chowdhary / Tapas Konar / Jatin Das / Chandra Bhattacharyya / Riyas Komu

More then 300 artists around the world

Miniature Postage Stamp Masterpieces

KOLKATA -Joy of Art city

Curated by Nilesh Kinkale

Date: 2nd April to 8th April 2024

Time: 11am - 5pm

Host

Srabani Sarkar

Tel Phone: +91 9845041552

Gallery Charubasona

Jogen Chowdhury Centre For Arts. Charubasona. 388B/1 Prince Anwar Shah Road. Kolkata, India.

Tathi Premchand

By

Nippon Gallery

Mumbai- 400 001

 

Umakant Tawde Solo show at Jehangir Art Gallery 2024

Address: 161B, Mahatma Gandhi Road, Kala Ghoda, Fort, Mumbai, Maharashtra 400001

Phone: 022 2284 3989

 

New York: Adam Pendleton An Abstraction / May 3 – Jun 20, 2024

 

Pace is pleased to present An Abstraction, an exhibition of recent paintings and drawings by New York-based artist Adam Pendleton, at its 540 West 25th Street gallery in New York from May 3 to June 20.

Pendleton’s first solo show at Pace’s New York gallery in ten years, An Abstraction follows a series of significant solo exhibitions by the artist at museums around the world, including the Museum of Modern Art in New York in 2021; the Montreal Museum of Fine Arts in 2022; and mumok, Vienna in 2023. The return to his home city marks a continuation of his career-long project of creating spaces of engagement and “fighting for the right to exist in and through abstraction.”

Pendleton’s work indexes and documents the physical process of painting to create layered pictorial fields that—in their painterly, psychic, and verbal expressions—announce a new mode of visual composition for the 21st century. He is guided by a visual and structural philosophy he has termed “Black Dada,” an ongoing inquiry into Blackness and its relationship to abstraction and conceptions of the avant-garde. Investigating Blackness as a color and theoretical proposition, the artist’s work reflects a contrapuntal understanding of the world in both sensorial and conceptual terms.

Above: Adam Pendleton, Black Dada (A), 2023 © Adam Pendleton

In An Abstraction, the artist’s 12 paintings and 13 drawings will hang within a monumental, site-specific architecture consisting of five black triangular forms. These sculptural walls will reorder the gallery into new, unexpected spaces and extend the visual language of the exhibited works.

Bringing together the artist’s Black Dada and Untitled (Days) bodies of work, the new paintings and drawings in the exhibition feature a variety of marks—spray painting, stenciled geometric forms, and expressionistic brushstrokes—to blur distinctions between painting, drawing, and photography and propose painting as a documentary and performative act.

Pendleton’s new Black Dada works imbue his iconic black and white compositions with focused and saturated colors. Each of the paintings and drawings in this body of work bears one or more typographic letters from the phrase “BLACK DADA,” rendered in a sans serif font amid the artist’s gestural marks. Continually transposing and overwriting these two modes of inscription, Pendleton cultivates a living library of his own ever-evolving gestures and processes.

Adam Pendleton, Untitled (WE ARE NOT), 2019, silkscreen ink on canvas, 96″ × 69″ (243.8 cm × 175.3 cm) © Adam Pendleton

Paintings and drawings from Pendleton’s Untitled (Days) body of work will also be featured in An Abstraction. Using collagist strategies of indexing, daily mark-making, fragmentation, and recombination, these works create a cumulative portrait of the artist’s experimentations in the studio.

In spring 2025, the Hirshhorn Museum and Sculpture Garden in Washington, D.C. will present Love, Queen, a landmark exhibition of Pendleton’s work that will anchor the institution’s 50th anniversary year.

About the Artist

Born in Richmond, Virginia in 1984, Adam Pendleton completed the Artspace Independent Study Program in Pietrasanta, Italy, in 2002. His work has been featured at major museums around the world, including solo exhibitions at the Baltimore Museum of Art; Le Consortium, Dijon, France; Isabella Stewart Gardner Museum, Boston; KW Institute for Contemporary Art, Berlin; Museum of Contemporary Art Cleveland; and Museum of Contemporary Art Denver, among others.

Adam Pendleton’s work is a reflection of how we increasingly move through and experience the world on a sensorial level—a form of abstraction that, in its painterly, psychic, and verbal expression, announces a new mode of visual composition for the twenty-first century.

It investigates Blackness as a color, an identity, a method, and a political subject—in short, as a multitude. His work also poses questions about the legacy of modernism in the present day, reactivating ideas from historic avant-gardes across mediums and moments in time. Since 2008 he has articulated much of his work through the frame of Black Dada, an evolving inquiry into the relationships between Blackness, abstraction, and the avant-garde. It’s a visual philosophy that confounds the distinctions between legibility and abstraction, past and present, familiar and strange, reminding us that meaning always develops through difference.

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Anatomize by Nibha Sikander Booth 3D33 | Art Basel Hong Kong 2023

 

March 5, 2024

About Anatomize Nibha Sikander’s artworks showcasing detailed representations of moths and birds are the artist’s attempt at a pointed confrontation of the violence we have exerted upon other species of our planet.

 In Anatomize, Sikander draws from a desire to elevate the level of deconstruction and abstraction that she had showcased in her last series, Wandering Violin Mantis. Moving away from anatomically accurate replicas of moths, the artist has made one major change in her work, by enlarging their forms. This allows her to study and analyse them in greater detail. Her arrangement of these details is influenced by the specimen-like presentation of taxidermy in museums. However, in this series Sikander’s methodical layout of the fragments of the species depicted appears closer to an imaginary script solidifying her position at the intersection of science, craft, and art.

As described by curator Roobina Karode, Sikander’s works “are manifestations of the artist’s entomological interest that seeks not to dissect, but to deconstruct the received notions of natural history.” Working exclusively with paper Sikander succeeds in creating a world that invites the viewer in closer, almost as if through a magnifying glass. According to her, paper mimics nature in its versatility – soft, stiff, malleable and flexible, almost like wings, feathers and antennae – allowing her to mould it to her will.

About the Artist

Nibha Sikander earned her Bachelors (2006) and Masters (2008) in Visual Arts from the Maharaja Sayajirao University, Vadodara.

In 2019, Nibha had her first solo exhibition, Wandering Violin Mantis at TARQ. Since her graduation, she has been part of several group exhibitions, some of which include The Inner Life of Things: Around Anatomies and Armatures at the Kiran Nadar Museum of Art, Noida (2022); ALCHEMY: Explorations in Indigo, Kasturbhai Lalbhai

Museum, Ahmedabad (2019); Beyond Borders, curated by the CONA Foundation at the Whitworth Gallery/Museum, Manchester, England (2017-18); A New Space, Nazar Art Gallery, Vadodara (2016); Back to College, VADFEST, Faculty of Fine Arts, Vadodara (2015); A Construal of Mourning and Rage, Emami Chisel Art, Kolkata (2014); Group show at Studio X, as part of the Paradise Lodge International Artist Residency, Mumbai (2013); Beauty and the Beast, Matthieu Foss Gallery, curated by Anne Maniglier, Mumbai, (2011); Show Girls!, Strand Art Room Gallery, curated by Anne Maniglier, Mumbai (2009); From our Cabinets to the Museum, Open Eyed Dreams Gallery, curated by Aparna Roy, Kochi (2009); and Class of 2008, Art Konsult Gallery, curated by Bhavna Khakkar, New Delhi (2008-09).

Museum, Ahmedabad (2019); Beyond Borders, curated by the CONA Foundation at the Whitworth Gallery/Museum, Manchester, England (2017-18); A New Space, Nazar Art Gallery, Vadodara (2016); Back to College, VADFEST, Faculty of Fine Arts, Vadodara (2015); A Construal of Mourning and Rage, Emami Chisel Art, Kolkata (2014); Group show at Studio X, as part of the Paradise Lodge International Artist Residency, Mumbai (2013); Beauty and the Beast, Matthieu Foss Gallery, curated by Anne Maniglier, Mumbai, (2011); Show Girls!, Strand Art Room Gallery, curated by Anne Maniglier, Mumbai (2009); From our Cabinets to the Museum, Open Eyed Dreams Gallery, curated by Aparna Roy, Kochi (2009); and Class of 2008, Art Konsult Gallery, curated by Bhavna Khakkar, New Delhi (2008-09).

She has taken part in residencies like Paradise Lodge International Artist Residency, Lonavala, Mumbai (November 2013); Sandarbh International Artists Residency Programme, Jaipur (November 2012); and Residency at the American School of Bombay, Mumbai (March – May 2010).

She is the recipient of the Nasreen Mohamedi Scholarship, Maharaja Sayajirao University, Vadodara, 2004-2005. She recently participated in India Art Fair 2020 in Delhi. Nibha currently works and lives in Murud-Janjira and Mumbai

About TARQ

TARQ was founded in 2014 by Hena Kapadia on the values of creating a meaningful conversation around art and its myriad connotations and contexts. It was envisioned as somet    hing of a laboratory – an incubator for young contemporary artists which would work towards pushing the boundaries of how contemporary art in India is exhibited and perceived. TARQ’s youthful and experimental ethos encourages collectors, novice and seasoned alike, to approach art collecting through a perspective that marries thoughtfulness with an inquisitive eye for aesthetics and artistic processes.

Since its conception, TARQ has endeavoured to create a robust outreach program that ties in with the gallery’s exhibitions and overall raison d’être. The program is an amalgam of educational initiatives in the form of workshops, gallery walk-throughs and talks. Our intention is to engage with a diverse audience to develop an informed viewership for contemporary art in the future

TARQ

KK (Navsari) Chambers, Ground Floor, 39B AK Nayak Marg, Fort, Mumbai 400001, 022-66150424

Tuesday – Saturday: 11:00am – 6:30pm

Motivations for crafting refreshing wooden products and the inspirations behind them at the newly opened ZiWoo Galleria.

The expansive new ZiWoo Galleria caters to clients and architects, offering a diverse range of interior solutions. From European Engineered flooring by Castrowood Floors to reclaimed wood and resin tables, as well as art sculptures and paintings from local artisans, this store is a one-stop destination for discerning design enthusiasts.

Tell us a bit about your brand and why did you start this new store?

ZiWoo is the result of a unique collaboration between two industry leaders – Zion Impex, boasting 17 years of expertise in the wood floor industry, and Woodology, renowned for crafting exquisite resin wood table tops. Having solidified our position in the wood floor industry through a successful partnership with CastroWood Floors Portugal, we sought to introduce a new vertical that complements our existing product line, offering customers a refreshing addition to enhance their homes.

What is the specialization of this store and the products you retail?

ZiWoo specializes in crafting resin and wood tables from reclaimed wood, giving discarded pieces a new lease on life. No trees are cut for our tables, as the wood used is, on average, 25-40 years old, ensuring sustainability and unique character in every piece.

How do you collaborate with architects to create customer panels?

Our tables are easily customizable to suit the specific needs and preferences of architects and designers. For those seeking inspiration, our pre-made and displayed tables are sure to captivate, often becoming the focal point around which entire room designs evolve.

Do you sell only panels or furniture too?

Currently, we exclusively retail wood and resin table tops, with no plans to expand our product range beyond this unique offering.

What is your process of working and delivery periods?

With a range of ready-to-use table tops available for immediate delivery, customized orders have a production time of approximately one month, ensuring a balance between efficiency and bespoke craftsmanship.

Do you mass produce or custom make?

We do not engage in mass production due to the challenge of finding reclaimed wood that meets our standards. Instead, each piece is meticulously crafted, resulting in a custom and unique work of art.

Have you worked on any projects so far?

While we’ve successfully executed numerous projects across India, our Mumbai showroom marks our inaugural exclusive space, showcasing our commitment to delivering exceptional design.

Are there are brands in this segment? If yes, how do you differentiate yourself?

While many are familiar with resin table manufacturing, our differentiator lies in our ready-to-use collection. Our deep involvement in selecting wood blocks, resin colors, patterns, and finishes ensures a curated range designed by us, making our products stand out in the home and office furniture market.

What kind of spaces are your products ideal for?

Our tables are ideal for both dining spaces in homes and creating an exceptional work experience in office settings.

Any suggestions on why should people visit your store?

Our table tops offer a unique and enjoyable dining and work experience. In addition, our curated selection includes European wood flooring and art for walls, making our store a comprehensive destination for contemporary home decor needs.

Can you share your background and experience in this field?

Zion Impex in the span of 17 years, we have established collaborations with multiple European companies and recently partnered with Castrowood Floors, a leading European Wood Floor manufacturer. Woodology, with over 5 years of experience, has been at the forefront of designing and crafting resin wood tables and artistic wood-based panels.

Address:
ZiWoo Galleria. B7, Wadala Udyog Bhavan, Naigaon cross road, NMGS marg, Dadar / Wadala, Mumbai 400031.

Source: www.architectandinteriorsindia.com

AstaGuru’s Upcoming ‘Dimensions Defined’ Auction Offers A Treasure Trove of Unique Works by Indian Modernists February 16, 2024

AstaGuru’s upcoming ‘Dimensions Defined’ Auction will feature a meticulously curated catalogue of Modern Indian Art, presenting significant works by iconic Indian modernists. Each piece in the auction reflects the diverse and ever-changing artistic landscape in India over the past decades. The curation offers an eclectic selection of works by eminent artists, including Jamini Roy, Amrita Sher-Gil, Rabindranath Tagore, M. F. Husain, S. H. Raza, K. H. Ara, F. N. Souza, Krishen Khanna, Ram Kumar, Jogen Chowdhury, G.R. Santosh, J. Swaminathan, K. Laxma Goud, Thota Vaikuntam, K. K. Hebbar, Bikash Bhattacharjee, Sakti Burman, Akbar Padamsee, B. Vithal, H. A. Gade, Satish Gujral and Manu Parekh amongst others. The selection also includes sculptural masterpieces by eminent artists such as Himmat Shah, Amarnath Sehgal, Dhanraj Bhagat and Prodosh Dasgupta. The auction is scheduled for February 22-23, 2024.

Sunny Chandiramani

Talking about the upcoming auction, Sunny Chandiramani, Senior Vice President, Client Relations, AstaGuru Auction House says:

“We take great care to curate a collection that traverses decades, presenting the unfolding tapestry of Indian art through the masterpieces of renowned modernists. This auction offers a distinctive opportunity for art enthusiasts and collectors to procure extraordinary pieces, each narrating a captivating story of creativity and inspiration. The thoughtfully chosen artworks, including those by luminaries of the PAG generation, mirror the diverse and dynamic artistic panorama that has significantly influenced our cultural narrative.”

S H Raza:

Adorning the cover of the catalogue is a beautiful work by S H Raza, estimated to be acquired for INR 1,50,00,000 – 2,00,00,000. Executed by S H Raza in 1977, this landscape is a fine example of the artist’s preoccupation with utilising colours as symbols. While his early landscapes, executed during the 1950s, depicted several figurative elements, as time progressed, they appeared less and were substituted by expressionism. These vibrant bursts of colour were further enhanced by the palette and brushstrokes.

Rabindranath Tagore:

The auction will also offer a rare gem for collectors, a handwritten notebook by legendary artist and Nobel laureate Rabindranath Tagore. The presented lot is a historically significant manuscript that details writings on Poush Sankranti, penned by Rabindranath Tagore in February 1930 at Shantiniketan. It is estimated to be acquired at INR 60,00,000 – 80,00,000.

M.F. Husain:

Another unique inclusion is lot no 115, a large-scale copper plate triptych by M F Husain, estimated to sell at INR 2,00,00,000 – 3,00,00,0000. Since not many such sculptures are known to have been created by Husain, this unique work engraved with intricate design offers a great insight into Husain’s multifaceted artistic approach. Four wood cut works painted by the artist are also a part of the upcoming auction.

Akbar Padamsee:

Lot number 28 is a magnificent work by Akbar Padamsee, which he executed during an extremely vital transitional phase of his career. Executed in 1963, the presented work is among the abstracted landscapes which became a formative ground of Padamsee’s famous metascapes work. This lot will be offered with an estimate of INR  3,00,00,000 – 4,00,00,000.

Jagdish Swaminathan:

Lot no. 70 is an important creation by artist Jagdish Swaminathan. Through this work, he incorporates a dimension of reality within the realm of his invented abstract world. This lot will be offered with an estimate of INR 2,00,00,000 – 3,00,00,000.

Thota Vaikuntam:

Lot no. 178 is a majestic creation by artist Thota Vaikuntam and captures the scene of a little Krishen gorging on butter in the artist’s signature style motifs and colours. A large-scale creation spanning ten feet, it is estimated to be acquired at INR 80,00,000 – 1,20,00,000.

V S Gaitonde:

A work by one of India’s most revered modernists V S Gaintonde will also feature in the upcoming auction. VS Gaitonde’s eventual arrival upon the visual portrayal of the conscience was an elaborate evolutionary journey substantiated by his internal findings. This work, lot no. 83, is estimated to sell at INR 60,00,000 – 80,00,000.

The auction will also showcase several creations in both mediums of paintings and sculptures by artists Krishen Khanna, Himmat Shah, and Manu Parekh.

Krishen Khanna:

Lot no 109, a large-scale acrylic on charcoal painting by Krishen Khanna is estimated to sell at INR 25,00,000 – 30,00,000. A sculptural rendition of his preoccupation with the motif of tiger and elephant is showcased in a magnificent piece of lot no 133. This work is estimated to sell at INR 15,00,000 – 20,00,000.

Himmat Shah:

Lot no. 54 is a sculpture by artist Himmat Shah, offered with an estimate of INR 20,00,000 – 25,00,000.

Manu Parekh:

Among several creations by Manu Parekh offered in the upcoming auction, lot no. 131 is a beautiful composition titled ‘Temple Festival at Moonlight.’ A rich and exquisite example of his consistent exploration of the holy city of Benares, this work is offered with an estimate of INR 20,00,000 – 30,00,000.

K H Ara:

Lot no. 104, a work by K H Ara is a rare work, an oil on canvas creation from the circa 1940s,  and showcases a distinct departure from Ara’s preferred styles of nudes and still life. This lot is estimated to sell at INR 30,00,000 – 40,00,000.

About AstaGuru

AstaGuru Auction House was conceptualised in the year 2008 with the sole purpose of creating a safe and secure platform to conduct online auctions for Contemporary & Modern Indian Art. Over the years, AstaGuru has curated auctions encompassing diverse categories, our portfolio includes art, jewellery, fine silver, timepieces, textiles, celebrity memorabilia, rare books, numismatic, philately and vintage cars. In 2018, AstaGuru became the first Indian auction house to present an exclusive edition for vintage and classic cars. “AstaGuru has strived to successfully bridge the gap between prospective buyers and consignors by transcending the limitations of live auctions. AstaGuru imparts effortless transparency to the process of acquiring and selling art and rare collectibles. The online module offers bidders the opportunity to bid from the comfort of their houses or while they are on the go.

For more information, please log on to https://www.astaguru.com/

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