ARTICLE 772 - Black Magic

[February 19, 2007] Vandana Kalra for Expressindia.com

Tints of Paris and ancient India fuse in Sujata Bajaj’s dark canvases

Sujata Bajaj lost and found herself in the art alleys of Paris 19 years ago. Her second home is Norway, but her soul, the artist says, is Indian. “The Indian in me is too deep-rooted to be lost. I never really left India and the country remains close to me and my art,” says the Jaipur-born, Paris-based Bajaj.Bajaj, 47, who is showing her works in Delhi after six years, says that like her, her paintings don’t belong to one region. “The canvases attempt at blurring the borders and the imagery goes past geographical boundaries,” she says. The artist takes her fetish for the abstract to the extreme and refuses to give a title to her exhibition at the Palette Art Gallery. “A title can lead onlookers to view the collection in a particular manner, instead, I want them to use their own imagination,” she shrugs her shoulders. The 20 acrylics on display, however, have a colour code with black gaining prominence. “Black is often perceived as a negative shade, but for me it is positive — any colour painted over black simply stands out,” she says.

Scraps of manuscripts, carrying verses from the Mahabharata and the Ramayana, are pasted on some canvases. “They act as a link between the past and the present. I use them in a manner that may not allow people to read them, but they empower my creations with a positive energy.”Bajaj is also busy with her book that is scheduled to release in October. “This will be about my art works,” she says.Will her next exhibition in Delhi take another six years? “It’ll be soon,” says Bajaj. “But what distinguishes this trip from the last one is the noticeable interest shown in art by those who came to visit the show.”Well, the paintings are selling for sure — every canvas on display has a “sold” tag.

Article Courtesy; Expressindia.com

ARTICLE 771 - Art Auction for a Worthy Cause

[January 02, 2007] Staff Reporter for Cybernoon.com

As a part of the several initiatives taken to raise funds for its pet cause — conserving nature and wildlife — the Bombay Natural History Society (BNHS) is organizing a Charity Auction of Contemporary Indian Art — Mission Greenscape.The collection was open to the public from the February 15 at the Jehangir Nicholson Gallery of Modern Art, NCPA, Nariman Point. Patrons will put in their bids and the auction will be conducted by Mallika Advani tomorrow, Tuesday, 20th. The collection includes works by great artists such as Lalitha Lajmi, Manjit Bawa, Ajay De, Sunil Das, Vasudev Gaitonde, Akbar Padamsee, S H Raza, Paritosh Sen and many more."As we are nearing our 125th anniversary we thought it would be an ideal and a great start to organize such auctions," said Pheroza Godrej, Vice President, BNHS. "This will help us raise better funds as contemporary art is very popular and will interest a lot of people."The collection of over 70 pieces is an eclectic one, ranging from the "old school ones that many might find boring" to the "more modern artworks that might appeal to the young generation," said Farrokh Kanarara, Director, Tata Sons. "I think an auction like this is a great as a lot of causes will benefit from it. I hope now that all the connoisseurs come out and bid!"Besotted by Ajay De's 'Riksha Puller' was Suhel Sheth. Born and brought up in Kolkata, Sheth has a soft spot for anything to do with the city of joy, and "I just love the spot of colour on the black and white canvas," he said. "I will be bidding for it."An untitled work of Dharkar Imtiyaz, another of Charan Sharma, Atul Dodiya's 'Stretched Bodies', were some that caught the guests' eye. However, one is quick to note that in an auction taking place for the environment, there was hardly any work depicting it, save for one or two pieces.

"The auction of paintings is an expression of the artist's openness and the spirit of contribution," she added. "The theme is entirely the artist's choice and each one of them is a special manifestation of art and nature. Just like each individual owes a lot to Mother Nature and preserve her natural wealth."For BNHS environmental issues are special. To any activist, wild life is not just raw nature; it is a very important factor in the all round development of a nation as it maintains a balance in the environment, prevents environmental devastations and boosts tourism. More importantly, it is the gift of Mother Nature, a very vital and greatly endangered one."This organisation is doing a great deal for the environment," said well-known activist Bittu Sehgal. "The more its membership group grows, the better it will be for all of us. These events are much more interesting, more meaningful and carry much more impact than any of those page three parties that newspapers love to cover!"Many were seen to be not just browsing but genuinely interested in making serious bids for the artwork. The wine flowed freely and the snacks did the rounds; one hopes that the bids too were aplenty.

Article Courtesy: Cybernoon.com

ARTICLE 770 - Art does it’s bit for conservation

[February 19, 2007] Deepa Suryanarayan for DNA MUMBAI

Thanks to an art auction that will be held in the city on Tuesday, the vultures in a sanctuary in Haryana will receive a new lease of life. As will the corals of Lakshadweep. The habitat of the Jerdon’s courser, an almost extinct nocturnal bird in Arunachal Pradesh, might also be saved. And even the limited greenery at Borivili’s Sanjay Gandhi National Park will receive some much-needed protection from encroachers.Around 71 works of art by renowned artists will go under the hammer during Mission Greenscape, a charity auction organised by the Bombay Natural History Society (BNHS) at the Taj Mahal Palace & Tower on Tuesday. These include the works of artists like Manjit Bawa, Sunil Das, Akbar Padamsee, Ajay De, Suryakant Lokhande, SH Raza, Paritosh Sen, B Prabha, SG Vasudev, Brinda Miller, B Vithal and many more.

“The art community has always been the first to donate for charity. For us, as a NGO, raising funds is always a problem, which is why we thought of approaching artists,” said Pheroza Godrej, vice-president of BNHS. “The price range is from Rs90,000 to Rs20 lakh,” she added.Pointing out the relationship between art and nature, BG Deshmukh, president of BNHS said, “Art and nature share a complex relationship. Artists’ expressions speak a universal language, just like bountiful nature.” The BNHS, which will turn soon 125-years-old, is India’s largest non-governmental organisation dedicated to conservation, and has nature and wildlife conservation projects all over India.“Today India’s wildlife is passing through its greatest crisis. And the BNHS is probably the most important NGO standing between the survival and extinction of scores of endangered species,” said Bittu Sahgal, editor of Sanctuary Magazine, who is also supporting the auction. “The proceeds will go towards protecting creatures,” he added.

Article Courtesy: DNA MUMBAI

ARTICLE 769 - S.H. Raza

[February 19, 2007] Ravina Rawal for Outlookindia.com



The painter is home to celebrate his 85th birthday and release a book on his life and works

85 years young—how do you look back?

With amazement. And a sense of satisfaction. I’ve lived fully, and worked with passion and great intensity as a painter and thinker.

Tell us about this book on Raza?

It has been carefully prepared for two years and will be released on February 22. It’s important to me because it is a summary of a lifetime of work and preoccupation of Raza, the man and the painter.

What made you go to France?

I thought French art was the most interesting 20th century contemporary art. I loved it.

Any regrets?

Not at all. I come back to India every year. Paris was an eye-opener. It provided me with a congenial atmosphere to work and study paintings for 30 years.

What do you think is the main difference between Indian and European art?

Europeans see things from the retina. Indians view things from the inner eye, or third eye.

Tell us about your personal style?

I needed 30 years to master the art of painting before I came to a personal style, which includes Indian concepts and iconography like the bindu, purush-prakriti, nari and so on.

Indian art seems to have made its presence felt internationally now—would you agree?

It has had many difficult years in the past. Only the last 2-3 years has it come on the international plane in a big way. It’s everywhere—New York, Hong Kong, Tokyo, Canada, and Germany.

The flip side of globalisation of Indian art?

Art is being bought with a view to speculation and material value. This is becoming priority. Art is to be loved, not speculated.

What do you say is the role of the gallery?

To make a good selection of artists, and present their work in a way that does them justice.

Are you still painting?

Yes, like mad!

Article Courtesy: Outlookindia.com

ARTICLE 768 - Art for Concern rings in charity

[February 19, 2007] Shabana Ansari for DNA MUMBAI

It is an auction for a noble cause. ‘Art for Concern’, an annual charity auction of Indian contemporary art, will be held on Thursday at the Taj Mahal Palace and Tower. The event being organised by Concern India Foundation, an NGO for the seventh year in a row, will witness art works by several leading artists including Akbar Padamsee, SH Raza, Baiju Parthan, Arzan Khambatta, Laxman Shreshtha, Paresh Maity and Paritosh Sen go under the scanner. “The proceeds will go towards funding development programmes in the areas of education, health, community development and environment,” said Kavita Shah, CEO, Concern India Foundation. The auction would be supported by leading auction house Christie’s and BNP Paribas Private Banking.The auction will be conducted by Dr Hugo Weihe, head of the Indian and Southeast Asian Art Department at Christie’s. “We are trying to create a positive impact on society by supporting worthy causes such as this,” says Sharad Sharma, Country Head, BNP Paribas Private Banking.

Shah said that it is because of the generosity of corporate houses, like-minded people and contributing artists that the organisation is able to carry on with its work. “I thank them all for supporting our efforts to raise the much-needed funds which help us in reaching out and helping more and more people.”Concern India Foundation was started in 1991 with the objective of “helping people help themselves”. “We provide financial and non-financial support to development oriented organisations working with the under privileged sections of society,” Shah adds. Concern India Foundation supports over 120 grassroots organisations across the country through its offices all across India.

Article Courtesy: DNA MUMBAI

WORK 107 - Critics' Corner.

Name: Kruti Thaker
Title: Everyday - Cooking-1
Medium: Embroidery & Acrylic on canvas
Size: 72 x 24 in.
ID: KRT003

Anant Art.

SAFFRONART CONTEMPORARY SPRING ONLINE AUCTION • MARCH 7-8, 2007

Saffronart.

ARTICLE 767 - Size matters

[February 15, 2007] Georgina Maddox for Mumbai Newsline

Vintage artists prove that old trees have strong roots

While their art works are almost always present at every auction, it is rare to see Tyeb Mehta, S H Raza and Laxman Shreshtha in the news in the span of a week. One can’t help but marvel at the fortitude of these veterans who can easily afford to rest on their laurels given that they have already achieved so much in life. We saw the reclusive Mehta step up to the dais on February 5 to receive the Roopdhar Lifetime Achievement Award bestowed by The Bombay Art Society at Jehangir Art Gallery. The 81-year-old Mehta is not a frequenter of art openings and parties since his ill health and reclusive nature tend to keep him at his Andheri studio-flat. However the veteran spends most of his time being read to by loving wife Sakina, and despite his failing sight, he continues to paint slow and steady on a few select canvases of Kali and Falling Figures. Shireen Gandhy, who has had a long association with Mehta first as a youngster when her father Kekoo befriended the artist and later as an adult, is a great admirer of the maestro. “Tyeb, with all his encumbrances, has actually changed his style to accommodate his weakening eyesight. He has scaled up his work and it takes tremendous courage to continue like that,” she says. For his part, the artist offers a modest, “I am very happy to receive this award,” refraining from grand speeches.

Similarly, Raza was lost for words when confronted with a retrospective of 30 years of his work at the Institute of Contemporary Indian Art. The 85-year-old painter looked around in awe and then speared his hands with a beatific smile. “It is not me who has painted these canvases but the one above, the great master who works through me. I am just his tool,” says the Paris-based painter who flew in for his own opening as well as the openings of younger painters. Surrounded by a bevy of women of different age groups, one of his lady companions turned out to an important and influential person, Sabrina Guiglionda, the president of the Autour du Chateau de Gorbio, Raza’s village in southern France. Plans are afoot to lay the foundation for an Indo-French cultural centre in memory of Raza’s late wife Mongillat and Guiglionda is Raza’s right arm in this venture. Even at 85, Raza is a busy man. Besides his solo and works that feature in the upcoming Christie’s auction, Raza has plans for a three-month-long exhibition this July in France. Laxman Shreshtha belongs to a younger generation but turning 70 did have his doctor saying, “You need to slow down”. Nevertheless he made his come back with an 8x17 feet commissioned triptych canvas unveiled by Ratan Tata at The Grand Hyatt. This was followed by a tie-up with jewellery maker Poonam Soni. Now look out for his solo show slotted to open at Pundole Art Gallery this March. “I have been working on the Black & White series for almost two years now. The idea was to do works on paper watercolours, charcoal and mixed media. Then I went to Bali about seven weeks ago and was inspired to measure out 8x11 canvas at Pundole. I worked secretly for five days,” says Shreshtha. “On the sixth day I dragged Sunita to my studio to show her my work. She was speechless. I was inspired to do two more canvases.”

Article Courtesy: Mumbai Newsline.

ARTICLE 766 - From international strokes to desi shows

[February 15, 2007] Sahar Zaman for CNN-IBN

ARTISTIC MOVES: Anil Revri's running rate is between $ 15,000 - $ 55,000.

New Delhi: A noticeable trend in the growing art scene in India, is how Indian artists settled abroad are coming back to do shows in their homeland.The latest to join that bandwagon is Anil Revri, bringing geometrical abstractions home.“The idea is to work on psychiatric aspects of human nature. People are different but have same emotions and reactions,” he observes. It is about a visual hier and one-point-perspect, eye drawn - the supreme being. His works are deep but they can quite suck you in. It's when you follow the dots that you feel pulled to the centre.The works create a visual hierarchy that draws you to the one point perspective. And for all that introspective work, his running rate is between $ 15,000 - $ 55,000.With abstraction being a universal language, you may find your peace of mind through these paperworks.

Article Courtesy: CNN-IBN
WATCH THE VIDEO.

ARTICLE 765 - Canvas and the city

[February 15, 2007] Gargi Gupta for The Business Standard


Bikash Bhattacharjee's strength lies in his ability to invoke a dream-world.

Realism in Indian modern art did not have a more worthy exponent than Bikash Bhattacharjee.The extraordinary technical finesse of this eminent artist who died in December last year, his facility with almost every medium (oil, watercolour, crayon, charcoal), and his mastery over drawing and colour, are all over the 30 canvases that form part of a retrospective of his works at the CIMA Gallery in Kolkata. The exhibits, culled from the gallery’s own store as well as from private collectors, pan 40 years, from 1959 to 2000, the year Bhattacharjee had his first stroke and also his last solo exhibition.

The retrospective is also representative of the artist’s development over the decades — there are four paintings from the well-known doll series of the ’70s, one from the Durga series, a couple from the Naxalite phase, a number of portraits (including one of Indira Gandhi) and even a rare abstract. There are also the illustrations from Dekhi Nai Phire, the fictional biography of Ramkinkar Baij for which he collaborated with writer Samaresh Basu.But if realism was Bikash Bhattacharjee’s forte, his strength lay in his ability to invoke a kind of dream-world; and his power lay in the way he could subsume all of this into a vision that was political, social, moral and humane.“Stenographer”,a small crayon-on-paper work (1984), is a good example of a straight-forward representation of an urban working woman, dressed fashionably in a sleeveless blouse and sari. But the eyes are eerie with their tawny light and a thick frame of black-mascara-lined lashes. And her hands, with a darker tone, look bestial.

What stands out is how much Kolkata shaped Bhattacharjee’s art and the city’s psyche that was captured in his paintings. He painted the squalor and the general malaise of the city, its once-grand buildings, now a heap of grey crumbling walls, and its people, especially the middle-class, with understanding, passion and anger.Take his Durga paintings in which he painted women, even prostitutes, with a third eye on the forehead — a pointer to their inner divinity.It is evidence of how Bhattacharjee forged an urban mythology, a fusion of idioms from contemporary life, Hindu and Christian mythology. It’s the same with the doll series where the innocent-looking toys become an alter-ego for lost innocence.

Article Courtesy: The Business Standard

EXHIBIT 49 - EXPLORATIONS - F TARANNUM

Name: F Tarannum
Title: Untitled 64
Medium: Oil on Canvas
Size: 32 x 42

Name: F Tarannum
Title: Untitled 65
Medium: Oil on Canvas
Size: 32 x 42

Explorations: Paintings
an exhibition of the works of F Tarannum
Art Heritage I Triveni Kala Sangam, 205 Tansen Marg, New Delhi
Friday, 16th February 2007, 5pm

ARTICLE 764 - I’ve had my share of struggle

[February 07, 2007] K NISHA for DNA MUMBAI

Syed Haider Raza

Dismissing his critics, the Paris-based artist says he wants to be true to his beliefs.France may have been home to Syed Haider Raza since the 1950s, but the student of Ecole Nationale des Beaux-Arts in Paris hasn’t lost his Indian spirit.“I learnt the technique of painting in Paris, but I could never let go of the love I have for the tradition of my country,” says Raza, whose paintings now sell for millions at auctions.

Like most geniuses though, this artist too hasn’t been spared of criticism — his focus on pure geometrical forms being the prime target.“People can say all sorts of things, but I want to be true to my belief. In my work I show variations and to do a variety of variations, one needs to concentrate to come up with renovation,” he reasons.The reclusive artist quotes Mahatma Gandhi and Rabindranath Tagore to explain more about the way he works. “I seek the inner light. Painting isn’t just a call of the instincts. As Gandhi once said, ‘You must go further than wisdom and seek the inner light and see things from the third eye’.”

The artist is impressed with the talent in the country. “Indian contemporary art has already becoming popular. Nobody can stop artists like Tyeb Mehta, Amrita Shergill, Ram Kumar, Seema Gurrayya and Manish Pushkale from touching the sky,” he believes. As for himself, his growing popularity hasn’t changed his perspective towards life. “I can’t be pretentious and feel that I’ve arrived. I’ve had my share of struggle and pain. I feel I’ve done my best and will continue to bring out the best from within,” he concludes.

Article Courtesy: DNA MUMBAI

ARTICLE 763 - 'It hurts when art is sold to ignorant buyers'

[February 07, 2007] THE HINDU

New Delhi, Feb 6. (PTI): With M F Husain's untitled work on horses and women being picked up for a whopping $4,41,600 at a Christie's art auction in Dubai last week, the debate over whether art should be sold to ignorant buyers has come to centrestage again.While several top artists admitted that all was not well with the "state of art" and that it hurt when people "who don't give a damn to works of art" become custodians of their creations, others couldn't care less as long as the art industry is booming.Mumbai-based senior artist Akbar Padamsee said, "The boom may be good, but more and more buyers are seeing works of art as an investment. Theydo not understand the language of painting, but have learnt to make money out of our works.

"This hurts. It hurts when someone who does not understand and appreciate a piece of art but buys it because he has the money."Those from diplomatic circles are not the only ones going round the mushrooming art galleries. Artists say more and more bankers, doctors and lawyers, whose spending powers have hit new ceilings, have started appreciating art and are competing with established collectors.Referring to the changing profile of buyers, Delhi- based curator Ina Puri said, "Art has become a great investment. Works are being bought like shares and stocks. The boom is good, but I am against the commercialisation of art." "To promote Indian art we need archives, museums, instead of umpteen galleries, some of which operate from garages and claim to promote art! Art is not about a plot of land. We should consult our conscience rather than our shopping list before we buy it," said Puri.

"We need art centres, where people can come and learn about art, instead of glaring at price tags. We should catalogue works by artists, and buyers should understand the artist, his works, his background. We need a think tank that can help us sustain in the international market. We need a new idiom, new style," she said.

Making a distinction between a "buyer" and a "collector", Delhi-based curator Himanshu Verma said, "Collectors have always been passionate about some artists' works. On the other hand, buyers are usually clueless about works of art."

Verma claimed buyers, through trial and error, have become more discerning about works of art and do not run after "brands". Hence, good works of art by relatively unknown artists are also selling. Manil Gupta, a young artist, said, "Selling is inevitable, but telling is a necessity. The urge to create has to be there." Gupta echoed Puri's fears, saying, "Spiralling prices are good for art. But on the downslide, it should not become a commercial venture." So how does Gupta feel when a work of his is bought by an ignorant buyer? "It is disappointing. I would love it if my work is appreciated by 10 people, than be bought up by someone just because he has the money." With new price records being hammered in with each online and offline auction, the many solo exhibitions abroad by young and relatively unknown artists are also getting rave reviews.Abeer Karmakar, an artist from Guwahati who has trained at the Baroda School of Art and is known for his self-portraits, said, "The boom in the art industry is good news. I have managed to do a solo show in Berlin and have a show lined up in London this year."

However, Karmakar insists he is not riding on the boom. "It is the work that really counts. I began only four years ago, but my work has brought me instant recognition." Jehangir A Sabavala, 84, who works mostly in oils, described the art scene as "vibrant". "There is a sudden interest both nationally and internationally in Indian art. Prices are going up, this is good for the artist." But Sabavala cautioned, "We should not get carried away by the hysterical price rise. We need to study the market carefully and the important thing is to sustain these changes."

Article Courtesy: THE HINDU

ARTICLE 762 - Kolkata pays tribute to contemporary artist

[February 07, 2007] NDTV.COM

Usually, the petals that are ceremonially showered to open art exhibitions at the CIMA art gallery in Kolkata are red, the petals of red roses.But for artist Bikash Bhattacharya retrospective, the petals were white, a reminder of the loss that the contemporary Indian art fraternity has just suffered. Bikash Babu's daughter Balaka put it best.

"I'm looking at his work and it is like I'm getting a new perspective which I never had before. When I first look at them, a lot of memories are coming back. And also this is like a rediscovery and learning experience for me," said Balaka Bhattacharya, Daughter.

Seeking evaluation

Chief Minister Buddhadeb Bhattacharjee, who spent time looking at the retrospective spanning 1959 to year 2000, was moved enough to say a few words, among them that artists never really die, they live on in their works.CIMA curator Rakhee Sarkar feels Bikash Babu's works are not his only legacy."He created a totally new modern vision of India. His contribution to Indian contemporary art has been absolutely fantastic. It has not been analysed or evaluated," said Rakhee Sarkar, CIMA."For that matter, very few artists have been properly evaluated in India. But I think if it is done, he will emerge as one of the masters, definitely," he added.

Bikash Bhattacharya, born 1940, passed away on December 18. He had suffered a paralytic stroke and Bikash Babu's only regret in those last years was that he could not paint. It is a regret that the whole world shares.

Article Courtesy: NTDV.COM

ARTICLE 761 - EYE ON ART

[February 04 2007] MALLIKA ADVANI for Mumbai Newsline

Over the last five years, New York has been the nerve centre of the Indian Art market outside of the sub-continent. Now, auction houses and galleries are looking to expand into new cities with potential. There has been a smattering of activity in cities such as Singapore, Hong Kong and London, but until last year, Dubai remained a relatively untapped market for both Indian art as well as the indigenous artists from the region. The first to get their feet wet were Christie’s, who held their inaugural sale of International Modern and Contemporary Art in Dubai last May and were rewarded with a sale total that exceeded their expectations more than twice over. Bolstered by this initial success, they returned to Dubai last week with an expanded sales calendar, for both paintings and jewellery. While the first auction resulted in giving a tremendous boost to local galleries and trade, members of the Indian trade have also begun to make their presence felt. Bodhi Art has set up an office to develop and service clients from the region and Osian’s are also in the process of establishing a local branch. From the international art circuit, there are rumblings of the Serpentine Gallery opening locally.

These individual efforts have been strengthened by the Dubai Government who will host the Gulf Art Fair in March. Taking the economic wealth of the region into consideration, they aim to promote Dubai as an important art centre and the focus for 2007 is Middle Eastern and Indian artists. Art fairs are still relatively new to the Indian market and the inclusion of six Indian art galleries will prove interesting. The perceived importance of the fair is clear as demonstrated by the participation of some major galleries from the UK and Europe, including Lisson Gallery that represents Anish Kapoor and White Cube in London that shows many leading Contemporary artists from around the world. In addition, Sotheby’s, that have still to take the plunge with local auctions, is keeping the spot warm with an educational program of lectures, tours and panel discussions in conjunction with the Fair. The neighboring Emirate of Sharjah can also play an important role in the development of the region. In addition to having a number of museums and cultural institutions unlike Dubai, they have also been hosting a Biennale for seven years, with participating artists from the Middle East as well as the UK and Europe. There are no Indian artists represented as of yet, but they do have a very senior Indian art critic on their panel. With the exception of a few, the collectors in the region are relatively new. To that end, both art fairs and auctions are good places to educate oneself, as there is a wide variety of work to view under one roof, and one can interact with several people including dealers, collectors and curators. It is also important to analyse the type of collectors in the region and assess the genres of work that will appeal specifically to them.

While the Hong Kong market has taken to Contemporary Indian Art (largely due to support from Chinese dealers), in Dubai it may be the more traditional Moderns that are preferred. Conversely, if the buyers are outside of the Indian diaspora, it may well be that they react favorably to the younger artists, both from a price and aesthetic perspective. Either way, all these will be important steps towards determining the depth and sustainability of the Dubai market.

(our new columnist is an independent art consultant and was formerly the Indian rep for Christie’s)

Article Courtesy:Mumbai Newsline

ARTICLE 760 - MF Husain tops Dubai Christie's sale

[February 02, 2007] Uma Nair for Hindustan Times


India's high-profile MF Husain's Untitled Woman and Horses sold for a record $441,600 as buyers blazed a bidding trail at Christie's second sale of International Modern & Contemporary Art. The 2002 work sold to an international private collector at the auction Thursday at almost double the estimate of $200,000-250,000, a record for the auction.

Christie's sale, which fetched a total of $9.4 million, was ideally timed given the increase in global demand for works by Indian artists. Among the 190 lots that were offered, 175 were sold registering a record break of 92 percent. Following Husain was Ram Kumar, whose large landscape, an Untitled oil on canvas belonging to 1968, went for a handsome $329,600 from an estimate of $300,000-500,000,to a private Indian collector, a first for the artist. Then there was abstract master Syed Haider Raza, whose Rajput House of 1965-66 went for $307,200 from an estimate of $120,000-180,000, again to an Indian private collector. A world record was also set for J. Swaminthan's Untitled work at $240,000 from an estimate of $200,000-250,000 to an Indian tradesman. Syed Haider Raza's moody "Lumière d'Eté" of 1958 sold for $204,000.

Christies were delighted also with the presence of Husain, who was in the room. Strong interest was expected for works by prominent Gulf artists as well as pieces sourced from Morocco, Algeria, Tunisia, Libya, Egypt, Sudan, Lebanon, Syria, Iraq, Saudi Arabia, Bahrain and the United Arab Emirates. Given the record-breaking prices fetched for Indian art at Christie's inaugural sale in May 2006, works such as "Horses" by Husain, who has become a part-time Dubai resident, were closely watched and heralded for their magnificence. Accompanied by a select group of western works, Thursday's auction was set to build on the success of the inaugural sale and, with Christie's at the helm, further confirm the Middle East as a major player in the international art market. In less than a generation, this formerly flyblown desert way station has transformed into a glittering, free-spending juggernaut, home to ever-more-gigantic shopping malls (the soon-to-open five million sq ft Dubai Mall is billed as the largest on the planet). In 2006, visitors to Dubai totalled seven million, while the resident population is just 1.2 million.

Article Courtesy:The Hindustan Times