Introduction

This Exhibition of recent acquisitions of Modern South Asian Masters is first a

celebration of our new gallery premises at 35 Bury Street, in the heart of St James’s.
It is also a celebration of fifteen years of dealing in Modern Artists from India and
35 Bury Street Pakistan. This catalogue is testament to our journey and we look forward to many
London SW1Y 6AY more surprises along the way.
The Grosvenor Gallery has a longer history as it was started in the 1960’s, then
+44 (0)20 7484 7979
art@grosvenorgallery.com
dealing in Italian Futurists and Russian Avant-Garde. In 1999 we dealt successfully
for a few years in the remainder of the old stock from this period however it became
increasingly apparent that the material was simply disappearing into museums. So we
decided to invest in Post War works and started acquiring largely Modern British works
and put together some very good collections. At the same time we also looked at Souza,
who had exhibited with Grosvenor Gallery in the 1960’s and I was very interested in this
artist then viewed as a bit of an outsider by the British. We collected and acquired works
and did a show in 2002 which did well and then another show in 2003 which did better.
That gave us the confidence to acquire in depth and also to look at other Indian artists
who had worked in Europe, Husain, Raza, and Padamsee. Luckily our timing was
good and our shows coincided with a new wave of Indian collectors chasing these then
largely under-appreciated artists. Today we stand as one of the most highly regarded
galleries in this field.
Dealing is a precarious career, with lows and highs; despite this we are very happy
doing it. None of this would have been possible without our friends, colleagues and
clients and a very large thank you to you all.
I hope that our next years will be as successful and we very much look forward to
welcoming all our families, friends and colleagues to the Grosvenor Gallery.
However, I would like to make a separate thanks to our team at the Gallery past
and present without whom none of this would have been possible. To Ray Perman, for
his generosity and unflinching support. To Charles Moore my fellow Director, who’s
dealing skills is as good as it gets. To Kajoli Khanna, Associate Director, who runs the
gallery brilliantly and who is a much loved figure in the Indian Art World. To past staff,
Gauri Agarwal, Emily Austin, Vinita Agarwal and Justin Fitzpatrick, and lastly to
Anne, whom I married and to our great children, Millie, Harvey and Samuel, Thanks.

Conor Macklin
May 2017
grosvenorgallery.com

2 3
 18 Albemarle Street 2002 Grosvenor Vadehra
London W1S 4HR Souza and Friends House of Mirrors
In association with Rob Dean 4 July 2007–14 July 2007
3–27 September 2002
Grosvenor Vadehra
37 Albemarle Street 2003 Bacon, Freud, Mehta, Souza
London W1S 4HR Modern Indian Paintings from European Collections 30 August 2007–19 September 2007
In association with Rob Dean
4–22 May 2003 Grosvenor Vadehra
Sumedh Rajendran: Chemical Smuggle
2005 13 October 2007–26 October 2007
Modern Indian Paintings
17–25 February 2005 Grosvenor Vadehra
Paramjit Singh: Nature’s Labyrinth
Shibu Natesan: Vision Unlimited 7 November 2007–30 November 2007
6–29 July 2005
Angeli Sowani: Inner Weaves
F N Souza 6 December 2007–20 December 2007
in association with Saffronart New York and London
14 October–19 November 2005 2008
Grosvenor Vadehra
Souza at Tate Britain Click! Contemporary Photography from India
14 November 2005–14 November 2006 27 February–27 March 2008

T .V. Santhosh - False Promises Spring Contemporary Exhibition 2008

30 November–15 December 2005 18–30 April 2008

21 Ryder Street 2006 Grosvenor Vadehra

London SW1Y 6PX Dilip Sur: Works 1992–2006 Bari Kumar: In Transit
24 May–23 June 2006 9–23 May 2008

Grosvenor Vadehra Grosvenor Vadehra

Indian Art Part I: The Moderns Revisited Chameli Ramachandran
11 October–3 November 2006 28 May–10 June 2008

Grosvenor Vadehra Grosvenor Vadehra

Indian Art Part II Inventing / Inverting Tradition A. Ramachandran
14 December 2006–14 January 2007 12–30 June 2008

2007 F N Souza
Dilip Sur: Broken Boundaries in association with Saffronart New York
11–24 January 2007 16 September–15 October 2008

Grosvenor Vadehra Grosvenor Vadehra

Indian Art Part III Here and Now Ravinder Reddy 2008
15 February–11 March 2007 20 September–10 October 2008

Modern and Contemporary Indian Art Contemporary Indian Art 2008

12 April 2007–11 May 2007 15–30 October 2008

Grosvenor Vadehra 2009

Hema Upadhyay: The Glass House Shibu Natesan External Affairs 2009
18 May 2007–2 June 2007 8–30 January 2009

Grosvenor Vadehra Grosvenor Vadehra

Ram Kumar: Recent Works T.V. Santhosh - Living With A Wound
15 June 2007–29 June 2007 6–27 February 2009

Shibu Natesan – rescheduled Progressive to Altermodern 2009

18 July 2007–11 August 2007 6–28 May 2009

6 7
 Grosvenor Vadehra Grosvenor Vadehra
Indian Modern Masters Ida Kar: Portraits of F.N. Souza 1957–1961
incl works by MF Husain 31 May–15 June 2011
8–17 June 2009
Step Across this Line
Grosvenor Vadehra Exhibition at Asia House
Sunoj D: Between Land and Sky 10–22 October 2011
13 July–13 August 2009
The path of the Lotus:
September Group Show: 2009 Indian Art - Ancient to Contemporary
9–30 September 2009 4–12 November 2011

F.N. SOUZA ‘Heads, Grosvenor Vadehra

Landscapes and Nudes’ Picasso and Souza in Delhi
8–27 October 2009 17 December 2011–25 January 2012

Grosvenor Vadehra 2012

Anglo-Indian Express F.N. Souza: Landscapes, Heads and Nudes
9–21 December 2009 11 May–1 June 2012

2010 Grosvenor Vadehra

Grosvenor Vadehra S. H. Raza: Bindu Vistaar
Sunil Gupta: The New Pre-Raphaelites 9–30 June 2012
12–30 January 2010
Grosvenor Vadehra
The Progressives & Associates 2012: A Further Global Encounter
26 May–11 June 2010 25 July–10 August 2012

Grosvenor Vadehra Olivia Fraser: Miniatures

Prajakta Palav Aher: Sprouting Beads 1–16 November 2012
15 June–15 July 2010
Angeli Sowani: Seraphim
Grosvenor Vadehra 22 November–4 December 2012
Etchings, Lithographs and Serigraphs
M.F Husain, S.H Raza, Ram Kumar, 2013
Arpita Singh, Paramjit Singh Warli Paintings
20–29 July 2010 In association with Herve Perdriolle
13 February–1 March 2013
Grosvenor Vadehra
Variant Space: Group Show Dilip Sur
4–20 August 2010 6–22 March 2013

Grosvenor Vadehra Miniature Rewind

Indian (Sub)Way Art Dubai
22 September–7 October 2010 20–23 March 2013

Grosvenor Vadehra Bhupen Khakhar

Faiza Butt: Pehlwan 12 April–3 May 2013
13–29 October 2010
Modern Masters
Angeli Sowani: Vaahan 18 May–5 June 2013
3–17 November 2010
Grosvenor Vadehra
2011 Anjolie Ela Menon
Grosvenor Vadehra 7–27 June 2013
Narrations, Quotations and Commentaries
4–24 March 2011 F.N Souza: Black on Black
Frieze Masters London
Dhruva Mistry: Bronzes 1987 – 1990 8–28 October 2013
7 May–31 June 2011

8 9
 Visions of India: Photographs by Irfan Hasan: Courbet to GudRung
Derry Moore and Prarthana Modi 13–30 October 2015
4 –20 December 2013 S.H Raza: Paintings
Exhibition at Galerie Lara Vincy
2014 19 October–29 November 2015
Rasheed Araeen
Art Dubai Sadequain in Paris 1961–1967
19––22 March 2014 5–14 November 2015

T.V Santhosh Angeli Sowani, Olivia Fraser,

8–30 May 2014 Senaka Senanayake
Pop up Exhibition in Singapore
Senaka Senanayake 10–11 December 2015
19 June–11 July 2014
32 St James’s Street 2016
Grosvenor Vadehra London SW1A 1HD Picking up the pieces:
S.H Raza: Pyaas Collage in Post War Britain
2–14 June 2014 3 March–29 April 2016

Present Re-Inventions: Irfan Hasan, Grosvenor Vadehra

Muzzumil Ruheel and Muhammad Zeeshan Bhupen Khakhar’s Contemporaries,
10–27 October 2014 India 1960 – 2016
26 May–17 June 2016
Chughtai’s Etchings: Editions of a Master
29 October–8 November 2014 Muzzumil Ruheel: Lost in his own Garden
26th May – 17th June 2016
Lancelot Ribeiro - An Artist in India
and Europe-Delhi-Mumbai-Goa The Writer’s Eye: Photographs
10–24 November 2014 by William Dalrymple
in association with Sunaparata Goa
Christmas Exhibition featuring centre for the Arts
Modern and Contemporary works 24 June–22 July 2016
11 December 2014–20 January 2015
Priyantha Udagedara: The Garden of Earthly
Rasheed Araeen: Homecoming Delights
A Retrospective at VM Gallery, Karachi 16–30 September 2016
3 December 2014–7 January 2015
Hopes of Paradise, Contemporary Art of Pakistan
2015 17–31 October 2016
Krishen Khanna
India Art Fair Indian Modernist Landscapes, 1950–1970
29 January–1 February 2015 Bakre, Ribeiro, Souza
2–25 November 2016
Rasheed Araeen
Art Dubai Inner Weaves: Recent Paintings
17–21 March 2015 by Angeli Sowani
6–23 December 2016
Lancelot Ribeiro –
An Artist in India and Europe 2017
15 April–8 May 2015 Olivia Fraser: Anahat
Art Dubai
Grosvenor Vadehra 15–18 March 2017
M.F Husain: Paintings and Drawings
from a Private Collection 35 Bury Street South Asian Modern Masters
11 May–9 June 2015 London SW1Y 6AY 19 May–9 June 2017

Krishen Khanna: “when Senaka Senanayake

the band began to play...” 15 June–7 July 2017
11 June–10 July 2015
Rasheed Araeen and Anthony Caro
Thota Vaikuntam: The Telangana Icons 12 July–7 August 2017
25 September–10 October 2015

10 11
Francis Newton SOUZA Provenance
Maurice Jadot
1924–2002 Private UK collection (By descent)

Maurice Jadot (1893–1983) was a Belgian artist who had settled in

London in 1919, following service in the 1st World War. He began
exhibiting as an artist in 1952 and along with Roy Rasmussen and Lyall
Red Houses with Front Garden Watson founded The Free Artist’s Group, which was closely associated
1957 with the ICA (Institute of Contemporary Arts). His first exhibition was in
1959 at the Drian Gallery, he went on to show at the Molton Gallery.
Oil on board By 1954 Souza was fed up of London. He had experienced 5 years of
Signed and dated lower right hardship living hand to mouth and without a gallery and was about to give
‘Souza 57’, further signed, up and return to India. However he got a break after being introduced to
dated and titled on the reverse Peter Watson, who in turn invited Souza to show 3 works in an exhibition
at the ICA called ‘Items for Collectors’ in 1954. Fortunately all three sold.
91.5 x 61 cm Souza went on to meet Victor Musgrave of Gallery One who gave him
36 x 24 in his first show in 1955. It was about this time that Souza and Jadot must
have met around the halls of the ICA as fellow artists and he was invited
to join the Free Artist’s Group with whom he first showed in 1955. This
year proved to be a crucial one, as now with a gallery and with a new set of
friends and fellow artists to intermingle with, Souza had the beginnings of
a foundation to make London his home.
The Free Artist’s Group became an important part of Souza’s life and
he became a fellow and had several exhibitions with them. Just as with
Jadot, Souza was an outsider and through this group he found an accepting
and invaluable set of supporters.
It is a customary practice for artists to exchange works as a token of
friendship and out of mutual respect. We do not know the circumstances
of the exchange but normally the artist would be given free choice from the
studio. I wonder when the exchange between Jadot and Souza happened,
and whether it was in 1957, when this work was executed or later.
Regardless it was a good choice, a typically strong and expressive Souza
Landscape with its dark outlining and spikey gnarled trees, contrasting the
very English and suburban title ‘Red houses with Front Garden’.
Jadot and Souza were clearly close friends and artists evaluating and
supporting each other. They carried on corresponding after Souza left for
New York in 1968, but never exhibited together after that. This work is
testament to their friendship but also to the particular period of history.
“In its name, ‘Free’ stands for freedom of expression. We welcome
artists with a modern approach, be it abstract or figurative. The Fellows
are elected from the Group and are a cross section chosen for their artistic
value. They represent the various trends of the Group – neither the purely
academic, nor merely today’s fashion that is gone tomorrow.”
—Maurice Jadot, 1967

14
17
Francis Newton SOUZA Provenance
Gallery One, London
1924–2002 Private collection, London (acquired from the above)

Swaminathan wrote of Souza’s cityscapes, that they were “singularly

devoid of emotive inhibitions.” They are the “congealed visions of a
mysterious world.” —J. Swaminathan, Lalit Kala Contemporary 40,
Landscape with Black Planet New Delhi, March 1995, p. 31
1959
Souza’s landscapes are not figurative in the definition of being lifelike
Oil on canvas instead they are vehicles of expression. As in the British Romantic
Signed and dated centre left ‘Souza 59’, further tradition of painting the landscapes tell a story. In this very modernist
signed, dated and titled on the stretcher and on work, with the use of thick black outlines, thick oil impasto, Souza
the original Gallery One label depicts a Church steeple in the background and a cityscape or a side
of a Cathedral on the right side. He also paints a distinctive black sun,
41.2 x 27.5 cm with thick lines in the oil radiating away from it. The Black Sun being
16 1/4 x 10 7/8 in a feature shared with other Progressives; Raza, Husain, Ram Kumar
and Gaitonde. With characteristic flair he signs the work boldly
in Black just off the centre. Exhibited at Gallery One it was acquired
by a private collector and has remained with them till this day.

18
Anwar Jalal SHEMZA Provenance
New Vision Centre Gallery, London
1928–1985 Private UK collection

Exhibited
Commonwealth Exhibition, Nottingham, 1966

Untitled (Composition in B and D) In the late 1950s and throughout the 1960s Shemza manipulated the
c.1959 B and D alphabets of the Roman script into a complex geometric
vocabulary of circles and semi-circles but also confessed, “one circle,
Oil on board one square, one problem, one life is not enough to solve it.”
Inscribed on the reverse ‘SHEMZA’, and on the This work is a striking example of Shemza’s style in the early 1960s.
stretcher, and with Commonwealth Exhibition The work has a monolithic, almost sculptural quality to it, and is built
label, listing the provenance as the New Vision up of layers and layers of paint, giving a rough texture to the surface of
Centre Gallery as well as the artist’s name the paint.
New Vision Centre was an artist led gallery that championed young
92.5 x 20.4cm and exciting artists in London the 1960s, and along with Gallery One
36 3/8 x 8 ¼ in gave Shemza his rare opportunities to exhibit.

20
Maqbool Fida HUSAIN Provenance
Acquired from a gallery in London circa 1960s
1915–2011 Private UK collection

In 1948 Husain and Souza visited the India Independence Exhibition, this
inspired the shift away from depicting the Street life of Bombay as radical
Progressives to looking to Indian civilisation as inspiration. Classical Indian
Untitled (Benares) Art was looked down upon by society as the time. They challenged that and
1960 asserted that this tradition was as good if not better than the Western One.
Souza wrote in the Illustrated weekly of India in July 1960 “Those mighty
Oil on canvas temples and pillars and many a carved figure of girls wearing nothing but
Signed and dated lower right ‘Husain 60’ smiles more enigmatic than even Mona Lisa could manage.”
Husain’s reaction to the 1948 exhibition was a pivotal moment as
86.2 x 51 cm he said in an interview in the Illustrated Weekly of India in 1983 “….It
34 x 20 in was humbling. I came back to Bombay and in 1948 I came out with five
paintings which was the turning point of my life….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.”
In 1960 Husain and Ram Kumar visited the holy city of Banares
(Varanasi). They were both immediately captivated by the place, which
significantly affected the work of both artists. Ram Kumar went on to paint
the city throughout his career as did Husain.
“Twenty years since Ram Kumar and myself sailed silently close to the
ghats of Varanasi, my fascination for that eternal city is ever growing... Every
morning, the proverbial Morn of Benares (Subah-e-Benares) would glow
in gold and we pass by many ghats without a word. Only later we break our
silence at a roadside Bengali coffee house…!” —D. Nadkarni, Husain: Riding
the Lightning, Popular Prakashan Pvt. Ltd., Bombay, 1996, p. 110
In this work Husain depicts the ghats of Varanasi by dividing the
composition in three. The lower portion the boats, the middle the bathers
and in the top the city. The use of sandstone colour calls to mind traditional
sculpture of the region. As does the frieze like treatment of the compositions.

Head of Shiva
Central India
9th/10th century

22
Sayed Haider RAZA Provenance
Galerie Lara Vincy, Paris
1922–2016
This work will be published in the forthcoming catalogue raisonne of
the artist’s work

Raza arrived in Paris in 1950 with a scholarship and stayed until 2007
Untitled when he returned to India. For the first 5 or 6 years as he was finding
1960 his feet he participated in some group shows along with Padamsee and
Souza, but by 1955 he had found the support of Galerie Lara Vincy,
Oil on board and by 1956 he had won the Prix de Critique. This firmly establishes
his reputation as a rising star of the then named Ecole De Paris. Raza,
Signed and dated lower left ‘Raza 60’, reverse in 1957 marries another local artist Janine Mongillat. By this stage he
signed and inscribed with the size and ‘P_303’60’, has been adopted by Paris and becomes a fully-fledged local artist.
also with Galerie Lara Vincy stamp At the time, the dominant manner of painting was with the palette
knife and this he adopted. If we compare his works to other artists such
24 x 19.5 cm as Nicholas de Stael, himself a Russian by origin, we can see the Ecole
9 ½ x 7 ¾ in de Paris style. This Untitled work, is a landscape with a house, the
shape in white, with a red chimney, offset against a dark cloudy sky.

Nicolas de Stael
Untitled
1950

24
Sayed Haider RAZA Provenance
Galerie Lara Vincy, Paris
1922–2016
This work will be published in the forthcoming catalogue
raisonne of the artist’s work.

Raza writes to Krishen Khanna in 18th May 1961:

L’automne “The show in Paris was booked and announced and could not
1961 be cancelled. After a month we realised it was an excellent thing
to have done – my paintings have been sold and I have two
Oil on board important propositions. An exhibition in July in Copenhagen
has already been fixed. ….So all has gone well and Lara Vincy is
Signed and dated upper left ‘Raza 61’, reverse happy. The press is not that bad at all, a few new friends amongst
signed, titled and inscribed ‘P379’61/5F’ and the critics have come forward, and a few old friends … have left.
with Galerie Lara Vincy stamp It’s inevitable. There is always change in work. How do I describe
it?.... Apparently it’s more abstract, in reality it’s not. Every
27 x 36 cm painting has a starting point in observed reality. The point is not
10 5/8 x 14 1/8 in material, it concerns the senses.”1
As Raza above points out: Every painting has a starting point
in observed reality. In this work titled Automne or Autumn,
it takes a while for the viewer’s eye to settle and decipher the
composition,,, that of some trees silhouetted against a setting sun.

Note
1. Editor Ashok Vajpeyi, My Dear, Letters Between Sayed Haider Raza and Krishen
Khanna, Vadehra Art Gallery 2013

26
Francis Newton SOUZA Provenance
Gallery One, London
1924–2002 Private UK collection

“In the case of Souza and presumably his colleagues, the shadow
of a much older but contemporary giant fell across their first
endeavours: Pablo Picasso. It should not, however, be forgotten
Still Life with Vase of Flowers that the giant started as a very talented pasticheur… There was
1961 indeed no shame in listening, then, or indeed … looking to your
elders. The test was your ability to digest their influence, to find
Oil on board your own voice and this Souza accomplished triumphantly.”
Signed lower left ‘Souza 61’ also —George Melly, FN Souza Religion and Erotica, 2005
signed and titled on the reverse

61 x 72 cm
24 1/8 x 28 3/8 in

28
Ahmed PARVEZ Provenance
New Vision Centre Gallery, London, c.1961
1926–1979 Private UK collection

Exhibited
London, Commonwealth Arts Festival, Treasures from
the Commonwealth, Royal Academy, 17 September–
Untitled 13 November 1965, no. 119 (label verso)
1961
Born and trained in Pakistan, Parvez painted this unusually
Oil on canvas large canvas during his nine-year stay in London. It is
illustrative of the competing ‘East meets West’ energies
Signed and dated lower centre ‘Parvez 61’ at play in his work. Using Abstract Expressionism as his
Royal Academy label on the reverse with title springboard, Parvez fuses the physicality of Action Painting
with calligraphic elements and deliberate composition, thus
152.4 x 101.6 cm avoiding his jewel-like colours becoming simply decorative.
60 x 40 in This work, is one the few large works to have survived
from this period.

Treasures from the Commonwealth

Royal Academy
1965

30
Sayed Haider RAZA Provenance
Galerie Lara Vincy, Paris
1922–2016
This work will be published in the forthcoming catalogue raisonne
of the artist’s work

Raza was foremost a landscape artist. From his early shows at the
La Plage Bombay Art Society to his Parisian phase he focussed on this subject
1961 matter. Although in the 1980’s his work did depart to a geometrical
phase dominated by the Bindu. Even when his fellow radical
Oil on canvas progressives were deliberately painting the life on the streets of Bombay;
the beggars, the prostitutes, the markets, its people, Raza focussed on
Signed and dated lower right ‘Raza his landscapes, painting them in brighter, looser colours. His scenes
61’, reverse signed, titled and inscribed of Bombay capture the energy of the city but not its people. What
‘P352’61/6F’ and with Galerie Lara was it about him as an individual that drew him to landscapes?
Vincy Stamp Whereas his colleagues expressed themselves through their choice
of figures Raza choose landscapes to express himself. At which he is
33 x 41cm undoubtedly a master. In this work for example of a Beach painted at
13 x 16 1/8 in moonlight he captures the melancholy of the scene, he conveys a sense
of isolation, loneliness perhaps, and also the beauty of the blue moon.

32
Krishen KHANNA Provenance
Glenbarra Art Museum, Japan
b.1925
This work comes from an experimental period of the artist’s career and
was produced following Khanna’s 1962 tour of the Far East, funded by a
travelling fellowship from the John D. Rockefeller III Council of Economics
and Cultural Affairs. Japan proved to be a great inspiration to the artist, who
Untitled (Sumi-e) was particularly drawn to the art of Sumi-e, an ancient form of Chinese
1963 monochromatic painting, which Zen Buddhists took to Japan in the 14th
century. Khanna’s interest in this work coincided with his stylistic tilt
Ink wash on paper towards abstract expressionism, the dominant style in New York in the 1950s
Signed and dated lower and early 60s. Instead of the direct application of ink on paper, Khanna
right ‘K Khanna 1963’ directed ink and water through channels in the rice paper, which was laid
down in a trough, a process described by the artist as “courting accidents and
74.4 x 148.5 cm inviting the unpredictable.”
29 ¼ x 58 5/8 in In 1965 Khanna had a show of these works at the Egan Gallery in New
York, which was extremely well received. The American critic Stuart Preston
wrote of his Sumi’e works; “The medium appears to leave the artist’s control
and perform formal dances on its own.”
One of these works was acquired by the Museum of Modern Art
(MoMA), New York, and another by the Menil Foundation in Houston,
Texas.

Information taken from Sinha, Gayatri, Krishen Khanna, New Delhi, 2001

Invitation for the exhibition

Sumi-e Drawings at Egan Gallery,
New York, May 18–June 12 1965

Khanna’s exhibition of Sumi-e works

at Egan Gallery, New York, 1965

34
36 37
Akbar PADAMSEE Provenance
Private French collection
b.1928
“The later landscapes, beginning around 1963, became different. Akbar was
slowly finding an equilibrium in his relation to nature, somewhere between
an idealised image, a realistic image, and the designed image of a romantic.
If we think of these categories of images making up a triangle, then Akbar
Untitled (Landscape) now plots himself somewhere in the centre, and though from one painting
1963 to another he might move closer to one or the other points, he generally
maintains enough tension in his central position so that the triangle is
Oil on canvas not pulled out of shape.” —Kapur, Geeta, Contemporary Indian Artists,
Signed and dated lower New Delhi, 1978
left ‘Padamsee 63’
“Padamsee returned to Paris in 1961. At this time, he began an earnest
90 x 120.5 cm investigation of light, colour and form through village landscape studies,
35 3/8 x 47 ½ in following a classically French tradition that included artists from Lorrain
and Corot to Cézanne. Works of 1961–62 … depict flattened rows of houses
tucked quietly into town settings….. In these works, realistic representations
of specific places and individual architectural elements give way to layered,
expressive renderings of the countryside. Through these studies, Padamsee
began to develop his own distinct idiom for the popular language of
German-inspired expressionism, with individual houses and churches
reduced to opaque squares and triangles, even as the composite image
would remain referential and legible as a landscape.” —Citron, Beth, Akbar
Padamsee’s Artistic Landscape of the 60s, Akbar Padamsee: Work in Language,
Mumbai, 2010, pp. 196-97

“ That which attracts us existed already, was a part

of our memory and like a phantom springs
into the field of the eye – a sphynx of pleasure.”
Akbar Padamsee, from Padamsee, Sadanga Series,
Vakils & Sons Pvt. Ltd, Mumbai, 1964

38
Francis Newton SOUZA Provenance
Acquired directly from the artist
1924–2002 Private US collection

“To paint abstract pictures is quite impossible’, Souza has written, ‘It’s like
trying to paint thin air and those who think they do are fooling themselves.
They claim to be going “beyond”. Beyond What? Beyond Zero is minus.
Untitled (Head with Green Shirt) They say the spectator must bring his own imagination to the work upon
1964 the painted surfaces, which means that the spectator should do all the
work. It’s another instance of the Emperor’s clothes. And if this is “art”,
Oil on board
Signed and dated then I’m the little boy who shouts “it’s naked!” —FN Souza as quoted by
upper right ‘Souza 64’ Edwin Mullins in A Blond, F. N Souza, 1962 London

76.2 x 61 cm
30 x 24 in

40
Jamil NAQSH Provenance
The Artist
b. 1939 The Arts Council of Pakistan, Karachi
Private collection, New York

Exhibited
The Pakistani Pavilion, New York World’s Fair, 1964/65
Sitting No.15 It is the first time this work has been exhibited since the
1964 1964 New York World’s Fair, where it hung in the Pakistani
pavilion, as part of the section ‘Progressive Present’.
Oil on canvas The nude would continue to be a key subject matter of the
Signed and dated lower right, artist’s, and this early representation is striking in terms of the
verso singed, titled and inscribed skilful and swift application of paint, as well as the vivid blue
‘JAMIL NAQSH. KARACHI (PAK)/ colouring of the figure.
Sitting No 15 (Oil)/ Purse Rs500/-’
and with label for the 1964/65
New York World’s Fair

91 x 106 cm
35 7/8 x 41 3/4 in

Photograph of Pakistani Pavilion

Worlds Fair
1964/65

Label on reverse

42
Abdur Rahman CHUGHTAI Provenance
Acquired directly from the artist by ex-US Ambassador to Pakistan,
1897–1975 Benjamin H. Oehlert Jr (1909–1985) in the late 1960s.
Thence by descent

Exhibited and Published

Art in the Embassy, United States Embassy, Islamabad, 1967-1970
Romance
c.1967 Published
Sirhandi, Marcella, Abdur Rahman Chughtai: A Modern South Asian
Watercolour and ink on paper Artist, PhD thesis, Ohio State University, 1984, p.410, fig. 95
Signed lower left
In her 1984 thesis Marcella Sirhandi comments; “Romance depicts a very
67.4 x 55.2 cm tall, thin Mughal woman dressed in shades of green, posed against a dark
26 ½ x 21 ¾ in background of browns and ochres. The figure is especially long from feet to
waist… The woman’s eyes are more frontal than profile and are exceedingly
elongated. This particular manner of drawing eyes is reminiscent of the
exaggerated style of eyes in eighteenth century Kishnagarh miniatures and
could be an indirect influence.”
Romance is a wonderful example of Chughtai’s mature style, inspired
by Indian and Persian miniature painting traditions and art nouveau.
Romance is rich in Autumnal colours, with rust coloured leaves trailing
behind the maiden, whose slender form dominates the composition.
She supports her head with jewelled fingers and holds an open book
in her left hand whilst regarding the viewer with heavily lidded eye. In
the background can be seen two birds perching on the branches of the
tree. Chughtai’s works are rich in allegory, and this example from the
ex-Ambassador’s collection is typically atmospheric and highly detailed
depiction of the terrace scene.
Grosvenor Gallery exhibited the majority of the Oehlert collection
in Dubai in 2016. Further discussion of the works and the history of the
Ambassador can be read in the exhibition catalogue.

A maiden holding her veil

Kishnagarh
c.1760

Courtesy of Sothebys

44
Syed SADEQUAIN Provenance
The Dutilleul Family, Paris
1930–1987
In 1960 Sadequain won a scholarship to go and live and work in Paris.
By the mid 1960’s, he was enjoying critical and artistic success in the city,
with several exhibitions under his belt. In 1966 he went on to win the
commission to illustrate a new edition of the iconic novel by Albert Camus;
Four Figures Sitting in Paris L’Etranger. The launch of this publication was on the 27th October 1966,
1967 coinciding with the beginning of this series of paintings, which were
created over a six month period. We understand that this body of work
Oil on canvas was created for a very large and significant exhibition, reportedly in the
Signed and dated lower centre South of France. However tragedy struck, Sadequain’s father came to visit
‘Sadequain 16/1/67, reverse in 1967 and fell critically ill, the exhibition was cancelled and Sadequain
signed, titled and inscribed accompanied his father back to Karachi, never to return to Paris.
‘Painted at Paris’ Sadequain, like his forebears and his peers came to Paris to become part
of the avant-garde. This body of work, painted in Paris in late 1966 early
211 x 150 cm 1967, depicts characteristic Parisian scenes; Dancers, Acrobats, Figures in
83 1/4 x 59 1/4 in the Street, and the artist at work recalling Leger’s, Cirque series, or Picasso
and Matisse’s Dancer series. The palette of greys and blues, as well as the
application of paint combined with the scratching away of the surface
are a continuation of Sadequain’s technique from the late 50’s and early
60’s. However these works mark a departure to a more fluid, and abstract
style, nevertheless determined by human scale and figurative elements.
This looseness is the result of Sadequain living and working in Paris and
the rubbing of shoulders with artists of the Ecole de Paris, such as Atlan,
Soulages, Poliakoff, Michaux etc.
Atlan for example, had died young in 1960, which led to a retrospective
Musée National d’Art Moderne. It is highly likely that Sadequain
would have seen the exhibition, Altan being considered one of the most
important exponents of the ‘Nouvelle École de Paris’. During the ten years
prior to his death, Atlan’s works were characterised by the use of strong,
black, winding lines, enclosing coloured areas, evoking strong organic and
vegetal associations.
Sadequain was part of the zeitgeist of Paris, where exploration of form
and texture was the trend. In these works Sadequain is engaging with
Modernism, The question is what would have happened had he stayed in
Paris?

46
Ismail GULGEE Provenance
Corporate collection of the Centris Federal Credit Union
1926–2007 (formerly the Bell Federal Credit Union), Omaha, Nebraska
Private collection, Nebraska, acquired from the above c.1990

Untitled (Abstract Forms) is a very early example of Gulgee’s calligraphic

inspired gestural paintings, for which he would become internationally
Untitled (Abstract Forms) famous for. It is more typical for works from the early/mid 1960s to be
1966 representational, the scenes picked out in an almost pointillist style. This
type of work is a gestural interpretation of Arabic and Urdu letters, his
Oil on canvas sweeping layers of paint exploring the formal qualities of oil paint, whilst
Signed and dated lower right making references to Islamic design elements.
‘Gulgee 66’, verso signed Partha Mitter has suggested that Gulgee’s move into gestural
and inscribed ‘C-67. K.D.A. painting was partially inspired by a meeting with the American artist
Scheme No1. Habib Ibrahim Elaine Hamilton: “Impressed by the visiting American painter Elaine
Rahmitulla Road. Karachi. Hamilton, Gulgee enthusiastically plunged into action painting...” Jane
Pakistan. Phone H72525’ Turner also wrote of Hamilton’s influence on Gulgee in The Dictionary
of Art. “In 1960, Ismail Gulgee, known for his portraiture, began
152.5 x 96.5 cm experimenting with non-objective painting (in the manner of Jackson
60 x 38 in Pollock) after working with visiting American artist, Elaine Hamilton.”
The present work was part of a private collection in Nebraska, and
has not been seen publically for nearly thirty years. Prior to this it was
part of a corporate art collection, presumably acquired in the late 1960s.

48
Maqbool Fida HUSAIN Provenance
Central Cottage Industries Emporium, Indian Cooperative
1915–2011 Union Ltd., New Delhi.
Mr. and Mrs. Paul Grimes, New York, New York
(purchased directly from the above in 1962)
The Estate of Paul and Miriam Grimes, New York and Elkins
Park, Pennsylvania.
Untitled (Peacock)
c.1967 Paul Grimes was the South Asian correspondent for the New
York Times from 1959–1962 and was based out of New Delhi.
Oil on canvas During this time he covered India, Pakistan and Afghanistan,
Signed upper right ‘Husain’ as well as the remote Himalayan regions of Bhutan and Sikkim.
He would later go on to help establish Conde Nast Traveler.
91.4 x 44.5 cm In 1967 Husain engaged with the subject of everyday life of
35 x 17 ½ in a village in Rajasthan. This was in paint and in film and led to
the release of ‘Through the Eyes of a Painter’, which won the
Berlin Golden Bear. In this work the stylised heads of Rajasthani
women dominate the lower portion as a Peacock seems to fly up
into the composition as one would imagine in the village scene.
“He captures in their postures and lineaments their distinctive
ethos and culture - the Maharashtrian woman as distinguished
from her sister in Kerala, the Rajasthani herdsmen from the
Andhra peasant. Not by physiognomy or costume alone are
they differentiated, but in their total bearing and presence.”
—E. Alkazi, M.F. Husain: The Modern Artist and Tradition,
New Delhi, 1978, p. 22

50
Maqbool Fida HUSAIN Provenance
Sara Abraham, acquired during her Kala Yatra London exhibition in
1915–2011 the early 1980s

Private Collection, London

M.F. Husain’s c.1977 ‘Madonna’ was acquired in the early 1980s from
Untitled (Madonna) Sara Abraham’s Kala Yatra exhibition during the Festival of India in
c.1977 London. Acclaim from leading art critics of the time made the show a
sell-out. Many of the works from this exhibition are today part of the
Oil and acrylic on board collection of Indian art at the Victoria & Albert Museum.
Signed upper left ‘Husain’ Considered to be the “Godmother of Indian Modern art”, Sara
Abraham is known as one of India’s first and foremost supporters
74.6 x 39.4 cm of Indian Modern art after Independence. An artist, collector,
29 3/8 x 15 ½ in and maverick dealer that had an intuitive knack for cultivating an
artist’s best work, Sara was infamous for her expert connoisseurship
and discerning eye. Sara and M.F. Husain had a particularly close
relationship, he saw her as a sister, and it was never anything less than
his top works that were placed under her guidance.
One of Sara’s rare documented commentaries is a piece she wrote
in the Journal of Lalit Kala Akademi No. 37 (March 1991) on the
importance of art in our everyday lives:
“If beauty is to re-enter our lives, we must think seriously about art.
We must ask ourselves: What is good art? How does one acquire it?
…. In selling works of art, one should not lose sight of the basic need
for activating the public awareness of aesthetics. This has been my
philosophy and I have never compromised on it. A piece of art must
stand the test of years of viewing. The buyer must not get tired of it.
If the person who owns a work of art does not get pleasure out of it
every time he looks at it, then it is not art. Art is a discipline like any
other creative activity and a genuine work of art will have enough inner
strength and power to sustain the buyer’s interest in it, no matter how
many years go by”

52
54 55
Sudhir PATWARDHAN Provenance
Collection of Maqbool Fida Husain, Bombay
b. 1949 Vadehra Art Gallery, New Delhi
Twentieth Century Indian Art, Christie’s, 5 October 1999, lot 143
The Johnstone Collection, UK

Exhibited
Running Woman India: Myth and Reality. Aspects of Modern Indian Art,
1977 Museum of Modern Art, Oxford, 27 June–8 August 1982.

Oil on canvas Published

Signed, dated, titled and India: Myth and Reality. Aspects of Modern Indian Art,
inscribed 53 x 33”/RUNNING Museum of Modern Art, Oxford, 1982, p.57
WOMAN/ Sudhir Patward- Sudhir Patwardhan, Centre Pompidou, Paris,
han/1977 5 March–11 May 1986, p.19
Hoskote, Ranjit, Sudhir Patwardhan, The Complicit Observer,
140 x 85 cm. Mumbai, 2005, p.49
55 1/8 x 33 7/16 in
‘His figures exemplify the kind of energy needed to survive an
increasingly atomised and fragmented existence. They are the ‘insulted
and injured’, an uprooted urban factory proletariat that can be seen all
around us: on construction sites, suburban trains, railway platforms, in
slums and tenements. Patwardhan’s attitude towards them is neither
weakly emotional nor in any way idealised and this is evident in the
shear massiveness of the figures, in the substantialness, which is the very
measure of their will to endure; a will which would eventually manifest
itself in political struggle. In other words they suggest the potential that
exists to change the ‘unchanging human condition’.’ —India: Myth and
Reality: aspects of modern Indian art, Oxford, 1982, p.57.)

Installation shot showing Running Woman.

E. Alkazi in the background.

India: Myth and Reality

catalogue cover, 1982

56
Sayed Haider RAZA Provenance
Private Collection, Paris
1922–2016
This work will be published in the forthcoming
catalogue raisonne of the artist’s work

Bindu/Germination
1986

Diptych, acrylic on canvas

Each panel signed and dated on
the front, signed, dated, titled
and inscribed with the size on
the reverse’

Each 30 x 30cm
11 ¾ x 11 ¾ in,

Total 60 x 30 cm
23 ½ x 11 ¾ in

58
Krishen KHANNA Provenance
Acquired directly from the artist
b.1925
Exhibitied
When the band began to play…, Grosvenor Gallery, London,
11 June–10 July 2015, No.10

Bandwallas It was in the 1970s that Khanna first explored the subject of
c.2000 Bandwallas, or members of local brass bands engaged to play
at weddings and other public ceremonies. While driving out
Oil on canvas of his Delhi studio, the path was blocked by the marching
band of a wedding procession-this is how he came to paint
Signed, dated and inscribed
the first Bandwalla portraits. The image of these musicians
on the reverse
dressed all in red with their big brass instruments wrapped
around them still remains as powerful for the artist today
121.9 x 91.4 cm
as it was that day in Delhi.
48 x 36 in The Bandwalla has become a recurrent theme in
Khanna’s oeuvre. His choice of subject has mostly been
inspired by the experiences of the daily life and the pathos
of the common man. The Bandwallas are an everyday
sight all across the country, they are comic and bold
and his portrayal of them is keenly observed, from their
bright colourful uniforms and brass buttons, to their tired
expressions as they belt out the same tunes repeatedly
for one wedding procession after another.

Krishen and Karan Khanna

London
2015

60
Sayed Haider RAZA Provenance
Private French collection
1922–2016

Untitled (Bindu Radiation)

2007

Acrylic on canvas
Signed and dated lower right
‘Raza 07’, signed dated and
titled on reverse

140 x 140 cm
55 1/8 x 55 1/8 in

62
 10 3
1 11 12 13 14

7 17
15

16

2
4

18

20

5 8

6 9

21

19

23

22

66 67
 24

35

26

25

33

38

29
37

28
36 40

30

27
39

31

42

41

34
45

32
68 69
 43 44 46 47

56 57 58

60
49
59

50

61

48

62
63
65

51
53

64
52
54

55 66 67

68

70 71
 69 70 71

82A 84 85

83

87 88

72

74 86

73

76 77

91
90

89
93

79
75

78
94

80
81 96
92

97
82

80A

95

72 73
 117
115
98 99
114 119
120 116
101
100 118

121

103 104

102

106

123

122

108 109 105

124
107

126

110 113

112 127
125
116A

129

130

74 75
 142

144

128

131 143

146 147
133 139
132

134

135

145

150

149

148

138

140

153
152

141
154

137

151
136
154

76 77
 160
176

178
174 177

159
156 157 158 182

161
162

163

180
164 179

181

184 185 186

183

166
165
169
167

187 191
189
188

170 171

190
168
192
195
194

172
173 175

78 79
 212
195 213
210

211
196
198

197 214
216

199

200
202 215
201
203

219 223
222

205
204

206

217

208
207
218

209

221 220

80 81
 43. 2006 Modern Indian Painting pt1 Husain, Arun Vadehra and Conor Macklin
44. 2006 Parul and Aseem Vadehra
45. 2006 Ray Perman 21 Ryder Street
46. 2006 Rustom Jehangir
47. 2007 Bacon Freud Souza Mehta, Harsh Kapoor
48. 2007 Bacon Freud Souza Mehta, press
49. 2007 Art Dubai Rameshwar Broota, James, Kito, Claire and Jane de Boer
50. 2007 Deepak Shahdadpuri, Amwar Siddiqui, Ivan and Carol Ferguson
51. 2007 Hema Upadhyay at her Opening
52. 2007 House of Mirrors Deeksha Natha andTimothy Hyman
53. 2007 House of Mirrors Nikhil Chopra performance
54. 2007 House of Mirrors Sunoj D
55. 2007 House of Mirrors, Julien Sweeting, Anna and Anne Macklin
56. 2007 Husain in studio Mayfair
57. 2007 Indian Art III Contemporary Emily Austin
58. 2007 Indian Art III Contemporary Christopher Davidge, Bharti Kher and Subodh Gupta
59. 2007 Indian Art III Contemporary Mithu Sen
60. 2007 Indian Art III Contemporary Radhika Chopra and Devika Syed Kapoor
61. 2007 Indian Art III Contemporary Ray Perman, Anne Macklin and Emily Austin
62. 2007 Indian Art III Contemporary Roshini Vadehra
1. 1999 Conor at the Gallery on Albemarle Street 63. 2007 Indian Art III Contemporary Shibu Natesan
2. 2000 Conor Macklin in Dublin with Master Sculpture of Picasso 64. 2007 Paramjit Singh, MF Husain, Arun Vadehra
3. 2004 Akbar Padamsee 65. 2007 Ram Kumar MF Husain and Ram Kumar
4. 2004 NY Anu Nanavati 66. 2007 Ram Kumar and Grandson
5. 2004 Berlin Michael Macklin and Anne Macklin 67. 2007 Ram Kumar, Arpita Singh, Sonia Ballaney and Meera Mukherjee
6. 2004 NY Dadiba Pundole 68. 2007 Ram Kumar
7. 2004 Dinesh Vazirani 69. 2007 Rameshwar Broota Art Dubai
8. 2004 Berlin Mark Shields 70. 2007 Sumedh Rajedran and Conor Macklin
9. 2004 Michael and Kaya Blackszyck and Anne Macklin 71. 2007 Sumedh Rajendran
10. 2004 Shalini Sawhney 72. 2007 Year 07 installation
11. 2004 TV Santhosh 73. 2008 Arpita Singh
12. 2005 37 Albemarle Street Mark Shields Show 74. 2008 Art Dubai Harsh Kapoor, Roshini Vadehra, Dadiba Pundole and Conor Macklin
13. 2005 Deepak Shahdadpuri, Annu Nanavati, Suneel Chadda and Tejas Shah 75. 2008 Bari Kumar Maithili Parekh, Atul Dodiya, Nicola Durvasula and Bari Kumar
14. 2005 Dinesh Vazarani, Khorshed and Dadiba Pundole 76. 2008 Click installation
15. 2005 Khorshed Pundole and Nasko Fukuoka 77. 2008 Ramachandran Arpita Sigh and Ramachandran
16. 2005 Masanori Fukuoka 78. 2008 Ramachandran Batuk Ghatani and Sonia Ballaney
17. 2005 Souza, Devika Banerjee 79. 2008 Ramachandran Nilima Sheikh
18. 2005 Souza at Tate Julian Hartnoll, Fiona, Peter Cannon Brookes 80. 2008 Ramachandran Ray and Charlotte Perman
19. 2005 Souza George Melly 80A. 2008 Ravinder Reddy show
20. 2005 Souza Jane de Boer 81. 2008 Ravinder Reddy
21. 2005 Souza John Austin and Conor Macklin 82. 2009 Husain pt11
22. 2005 Souza John Austin and Michael Pereira 82A. 2009 M.F Husain
23. 2005 Souza NY Shelley Souza, Conor Macklin, Anu Nanavati and Minal Vazarani 83. 2009 London Art Fair
24. 2005 Souza NY Shelley Souza 84. 2009 M.F Husain Rob and Sonali Dean
25. 2005 Souza Oliver and Elvan Sheehan and Andrew Barklem 85. 2009 Ramachandran
26. 2005 Souza Pravin Khatau and Deepak Shahdadpuri 86. 2009 Shibu Natesan
27. 2005 Souza Sean Tiwari and Conor Macklin 87. 2010 Suruchi Chand, M F Husain, Abha Dalmia and Gauri Agarwal
28. 2005 Souza Sonali Dean 88. 2010 AAL
29. 2005 Souza Souza closing John Austin 89. 2010 Albert Bitran and Francesca Souza
30. 2005 Souza Tate Conor and Anne Macklin 90. 2010 Albert Bitran
31. 2005 Sudhir Mittal and Conor Macklin 91. 2010 Amol Vadehra and MF Husain
32. 2005 Tate Kapil Jariwala and Gautam Patel 92. 2010 Angeli Sowani
33. 2005 Tate Souza exhibition Conor Macklin and Dinesh Vazirani 93. 2010 Asia House, Conor Macklin Fayeeza Naqvi
34. 2005 Tate Souza Hamish Dewar, Patrick Bowring, Julian Hartnoll and Fiona 94. 2010 Asia House, Emily Austin, Justin Fitzpatrick and Vinita Agarwal
35. 2006 Paramjit and Arpita Singh 95. 2010 Chhavi Seth and Gauri Agarwal
36. 2006 21 Ryder street opening night 96. 2010 Husain Geeta Alvarez Meneses and Prahlad Bubbar
37. 2006 21 Ryder Street gallery 97. 2010 Indian Subway Abha Houseago
38. 2006 Art Basel Amrita Jhaveri 98. 2010 Millie Macklin
39. 2006 Art Basel Dinner 99. 2010 Puneet Shah Tushar Jiwarajka
40. 2006 Art Basel Payal and Rajiv Chaudhri 100. 2010 Sunil Gupta
41. 2006 Arun, Ritu and Roshini Vadehra 101. 2010 The progressives MF Husain and Arun Vadehra
42. 2006 Dilip Sur 102. 2010 Indian Subway Yashodhara Dalmia

82 83
 103. 2011 Delhi Arun Vadehra and family 165. 2015 Irfan Hasan Charles Moore, Amin Jaffer
104. 2011 Conor and Anne at Vinita’s wedding 166. 2015 Irfan Hasan Conor Macklin Sameera Raja, Kajoli Khanna and Charles Moore
105. 2011 Delhi Art Fair Harvey’s 1st Birthday 167. 2015 Irfan Hasan, Amin Jaffer, Sameera Raja, Kamran Anwar
106. 2011 Dhruva Mistry 168. 2015 Krishen and Karan Khanna
107. 2011 Husain Tate 169. 2015 Krishen Khanna Hugo Weihe, Sonia Ballaney
108. 2011 Ida Karr, Sandy Nairne and Claire Freestone 170. 2015 Krishen Khanna Sonali Dean Zehra Jumabhoy
109. 2011 Justin Fitzpartrick at Vinita Agarwal’s wedding 171. 2015 Krishen Khanna
110. 2011 Masanori Fukuoka 172. 2015 Krishen Kajoli and Karan Khanna
112. 2011 Picasso Souza Delhi TV 173. 2015 Mali, Shanti Panchal and Conor Macklin
113. 2011 Picasso Souza Delhi 174. 2015 Marsha Ribeiro
114. 2011 Rajiv Savara 175. 2015 Raza at Lara Vincy Anne Macklin, Dara Mehta, Abha Houseago and Charles Moore
115. 2011 Vadehra Art Gallery 176. 2015 Sadequain at Asian Art in London
116. 2011 Vinita Agarwal 177. 2015 Sanjay and Ketki Puri
116A 2011 Mrs Nigam Vadhera Art Gallery 178. 2015 Shili Sawhney, Amit Vadehra and Gaurav Karan
117. 2012 Angeli Sowani and Conor Macklin 179. 2015 Sumit Mediratta
118. 2012 Dara Mehta 180. 2015 Tahmina Ghaffar
119. 2012 Dianne Bilimoria 181. 2015 Timothy Hyman and Kajoli Khanna
120. 2012 Olivia Fraser 182. 2015 Venice Bhavna Khakhar and Kiran Nadar
121. 2012 Sunoj D 183. 2015 Venice Hema Upadyay
122. 2012 Gallery view 184. 2015 Venice Rashid Rana Project
123. 2013 Abha Houseago and Anu Nanavati 185. 2015 Venice Shilpa Gupta and Roshini Vadehra
124. 2013 Anjolie Ela Menon Zehra Jumabhoy and Conor Macklin 186. 2016 Clemy Sheffield, Tony Nauman and Priyesh Mistry
125. 2013 Anjolie Ela Menon and Guest 187. 2016 Anne Macklin and Dinesh Vazarani
126. 2013 Bhupen Khakhar Sona Datta and Abha Houseago 188. 2016 Art Dubai Jane and Kito de Boer and Ashvin Rajagopalan
127. 2013 Brian Weinstein Kasmin Bhupen Khakhar show 189. 2016 Art Dubai Nitin Bhatnagar
128. 2013 Akhter Aman 190. 2016 Arun Vadhera, Conor Macklin and Timothy Hyman
129. 2013 Charles and Laura Moore 191. 2016 Ashish Jain
130. 2013 Charles Moore Laura Hintz Anne and Conor Macklin 192. 2016 Chandigarh BN Goswamy Olivia Fraser
131. 2013 Kajoli and Daniels wedding 193. 2016 Chughtai Sadequain Art Dubai Modern
132. 2013 Deborah Swallow and Anjolie Ela Menon 194. 2016 Clarkes summer dinner
133. 2013 Frieze Black on Black Souza 195. 2016 Conor Macklin Olivia Fraser Sundaram Tagore
134. 2013 Olivia Fraser at Sunaparanta Conor Macklin, William Dalrymple, Olivia Fraser, Dipti and Raj Salgaocar 196. 2016 Conor with Anthony Lovett and Nauman Khalid
135. 2013 Shanti Panchal and Balraj Khanna 197. 2016 Delhi Art Fair Jenny and Senaka Senanayake
136. 2013 Zara Porter Hill 198. 2016 Delhi Art Fair Kiran Nadar Senaka Senanayake
137. 2014 Art Dubai empty booth 199. 2016 Delhi Art Fari Krishen Khanna Mrs Jain
138. 2014 Art Dubai 200. 2016 Dubai Art Fair Uday Jain, Pankay Sahni, Conor Macklin, Soufiane Bensabra, Charles Moore
139. 2014 Chantal Pinto 201. 2016 Faiza Butt and Sameera Raja
140. 2014 Conor Macklin, Charles Moore, Senaka and Jennifer Senanayake, Premal Sanghvi, Kajoli Khanna and Emily Cushing 202. 2016 Gaurav Karan and Minal Vazarani
141. 2014 David Buckman 203. 2016 Haus der Kunst Taimur Hasan
142. 2014 Delhi Art Fair 204. 2016 Kiran Nadar
143. 2014 Dhruva Mistry 205. 2016 Nour Aslam, Laura and Charles Moore and Taimur Hasan
144. 2014 Dinesh Vazirani London 206. 2016 Olivia Fraser dinner
145. 2014 Ishrat Kanga 207. 2016 Paramjit Singh Kajoli Khanna
146. 2014 Karachi Rasheed Araeen and Conor Macklin 208. 2016 Roshini Vadehra Minal Vazarani Sonia Ballaney
147. 2014 Marsha Ribeiro David Buckman 209. 2016 Siddharth Gupta ... Jain.
148. 2014 Rasheed Araeen booth Art Dubai modern 210. 2016 Singapore Vish and Angeli Sowani
149. 2014 Rasheed Araeen 211. 2016 Siphiwo Ralo
150. 2014 Senaka dinner 212. 2016 Tara Lall and Conor Macklin
151. 2014 Shravan Gupta 213. 2016 Vijay Agarwal and Brian Weinstein
152. 2014 Vikram and Tiana Chellaram 214. 2016 William Dalrymple and Salman Rushdie
153. 2014 Yashodhara Dalmia, Zara Porter Hill and Gauri Agarwal 215. 2016 William Dalrymple
154. 2014 Zeeshan Muhammad 216. 2016 Yamini Mehta, Kito de Boer, Conor Macklin and Vish Sowani
155. 2015 Dr. Aurogeeta Das 217. 2017 Art Dubai Opening Dinner
156. 2015 Conor Macklin and Angeli Sowani 218. 2017 Ferzaan Engineer
157. 2015 Conor Macklin and Sanjay Yadav 219. 2017 Indian Art Fair Olivia Fraser and DR Virginia Whiles
158. 2015 Conor Macklin Shanti Panchal and 220. 2017 Karen Souza with family
159. 2015 Conor Macklin, Kajoli Khanna, Senaka Senanayake, Premal Sanghvi and Charles Moore 221. 2017 Olivia Fraser and Conor Macklin
160. 2015 Delhi Art Fair SH Raza Conor Macklin 222. 2017 Serendipity Goa Prateek and Priyanka Raj and Samuel Macklin
161. 2015 Delhi Safronart auction Alka Samant and Conor Macklin 223. 2017 Ali Jameel
162. 2015 Dinesh Vazirani Manoj Israni and Ashish Anand
163. 2015 Faiza Butt in Nottingham
164. 2015 Francesca Souza Andy Barklem and Raja Menon

84 85
 Design
CHK Design

Print 35 Bury Street

Solar Print Process Ltd, India London SW1Y 6AY
Photography +44 (0)20 7484 7979
Matt Pia art@grosvenorgallery.com
Justin Piperger

Text and Research

Conor Macklin
Charles Moore
Kajoli Khanna

grosvenorgallery.com

86 87