SUMMER ONLINE AUCTION (13-14 JULY 2021)

101

75

NEERAJ GOSWAMI (b.1964)

Marathon

Signed and dated ‘NEERAJ 2005’ (lower right); inscribed and
dated ‘”MARATHON”/ 2005’ (on the reverse)
2005
Acrylic on canvas
23.5 x 35.5 in (59.5 x 90.3 cm)

$ 6,000 ‒ 8,000
Rs 4,26,000 ‒ 5,68,000

PROVENANCE
Saffronart, 10‒12 May 2005, lot 121
Private Collection, UK

102

76

ARPANA CAUR (b.1954)

Untitled
Signed and dated ‘arpana/ 2003’ (lower right)
2003
Oil on canvas
67.75 x 21 in (172.2 x 53.2 cm)
$ 5,635 ‒ 8,455
Rs 4,00,000 ‒ 6,00,000
PROVENANCE
Acquired directly from the artist

103

104

PROPERTY OF A PARSI GENTLEMAN, MUMBAI

77

F N SOUZA (1924‒2002)

Untitled

Signed and dated ‘Souza 1963’ (upper right)
1963
Mixed media on paper
10.5 x 8.5 in (26.8 x 21.8 cm)

$ 14,085 ‒ 21,130
Rs 10,00,000 ‒ 15,00,000

PROVENANCE
Acquired from F N Souza: Works on Paper, Saffronart, Mumbai, 2003

EXHIBITED
F N Souza: Works on Paper, Mumbai: Saffronart, 31 October ‒ 15 November 2003

105

106

78

KRISHEN KHANNA (b.1925)

Untitled

Signed ‘KKhanna’ (lower right); signed and inscribed
‘KKhanna/ KRISHEN KHANNA’ (on the reverse)
Oil on canvas
18 x 13.75 in (45.6 x 35.2 cm)

$ 11,270 ‒ 16,905
Rs 8,00,000 ‒ 12,00,000

PROVENANCE
Acquired directly from the artist
Private Collection, New Delhi

107

79

ANJOLIE ELA MENON (b.1940)

Untitled
Signed ‘Anjolie Ela Menon’ (upper left)
Oil on Masonite
15.5 x 11.5 in (39.2 x 29.5 cm)
$ 11,270 ‒ 16,905
Rs 8,00,000 ‒ 12,00,000
PROVENANCE
Acquired directly from the artist
Private Collection, New Delhi

108

109

80

K LAXMA GOUD (b.1940)

Untitled
Signed and dated in Telugu (upper right)
1999
Acrylic on mount board
11.25 x 10 in (28.4 x 25.5 cm)
$ 7,045 ‒ 8,455
Rs 5,00,000 ‒ 6,00,000
PROVENANCE
Sakshi Gallery, Mumbai

110

81

PARITOSH SEN (1918‒2008)

Self Portrait with a Book

Signed and dated ‘Paritosh 06’ (lower left)
2006
Acrylic on board
28.25 x 22.5 in (71.9 x 57 cm)

$ 5,635 ‒ 8,455
Rs 4,00,000 ‒ 6,00,000

PROVENANCE
Acquired directly from the artist

PUBLISHED
Paritosh Sen: Paintings & Drawings, Kolkata: Akar Prakar, 2010 (illustrated)

111

PROPERTY OF A PARSI LADY, MUMBAI
82

AKBAR PADAMSEE (1928‒2020)

Untitled
Signed and dated ‘PADAMSEE/ 96’ (upper right)
1996
Pencil on paper
14.25 x 10.75 in (36.5 x 27 cm)
$ 2,820 ‒ 4,230
Rs 2,00,000 ‒ 3,00,000

PROVENANCE
Cymroza Art Gallery, Mumbai

112

PROPERTY FROM A DISTINGUISHED
PRIVATE COLLECTION, GERMANY

83

JOGEN CHOWDHURY (b.1939)

a) Roses Hilden I

Signed in Bengali (lower left),
inscribed ‘Hilden’ and dated in Bengali (lower right)
1986
Ink on paper
11.5 x 9 in (29.5 x 23 cm)

b) Flower Pot Hilden

Signed and dated in Bengali and inscribed
‘Hilden . W.G.’ (along the lower edge)
1986
a Ink on paper
12 x 9 in (30.7 x 23 cm)

c) Roses Hilden II

Signed and dated in Bengali and inscribed
‘Hilden.’ (along the lower edge)
1986
Ink on paper
12 x 9 in (30.7 x 23 cm)

d) Hilden Room

Signed and dated in Bengali (lower right)
and inscribed ‘Hilden.’ (lower centre)
1986
Ink on paper
9.25 x 12.5 in (23.8 x 31.5 cm)

$ 3,000 ‒ 5,000
Rs 2,13,000 ‒ 3,55,000
b (Set of four)

PROVENANCE
Acquired directly from the artist

cd

113

84

MANJIT BAWA (1941‒2008)

Untitled
Signed and dated ‘Manjit 92’ (lower right)
1992
Pen and ink on paper
14.5 x 10.5 in (36.8 x 26.7 cm)
$ 4,230 ‒ 7,045
Rs 3,00,000 ‒ 5,00,000
PROVENANCE
Acquired directly from the artist, circa 1990s
Private Collection, Mumbai
Private Collection, New Delhi

114

PROPERTY OF A PARSI LADY, MUMBAI

85

SATISH GUJRAL (1925‒2020)

Untitled

Signed in Devnagari and dated ‘07’ (lower left)
2007
Pencil on rice paper pasted on plywood
29.5 x 19.5 in (75 x 49.5 cm)

$ 5,635 ‒ 8,455
Rs 4,00,000 ‒ 6,00,000

PROVENANCE
Cymroza Art Gallery, Mumbai

115

116

Lots 86–100

Closing Time: Wednesday, 14 July 2021
9 pm (IST)

11.30 am (US Eastern Time)

117

118

PROPERTY FROM A
DISTINGUISHED PRIVATE
COLLECTION, GERMANY
86

NALINI MALANI (b.1946)

a) Untitled
Signed and dated
‘N. Malani ‘91’ (lower right)
1991
Acrylic on paper
21.25 x 28.5 in (53.8 x 72.2 cm)

b) Untitled
Signed and dated
‘N. Malani 91’ (lower right)
1991
Acrylic on paper
21.25 x 28.5 in (53.8 x 72.2 cm)

$ 10,000 ‒ 15,000
Rs 7,10,000 ‒ 10,65,000
(Set of two)
PROVENANCE
Acquired from
Gallery Chemould, Mumbai

Contemporary artist, Nalini Malani’s art is recognisable for its lush and politically charged nature that spans mixed‒
media paintings and drawings, videos, installations and theatre works. Malani belongs to a generation of women
artists in India who seamlessly weave personal narratives into history, producing works that are autobiographical
in varying degrees. This is largely because her extensive body of work continues to be shaped by her experiences
as a refugee during the Partition of India, and highlights the themes of memory, politics and identity. Other strong
influences on Malani’s oeuvre include Hindu and Greek mythology, 19th century English “nonsense” writing and
early 20th century experimental theatre – all of which help in her critical examination of gender roles, race, world
politics and the dangers of rampant globalisation and consumerism. 

119

PROPERTY FROM A
DISTINGUISHED PRIVATE
COLLECTION, GERMANY
87

NALINI MALANI (b.1946)

a) Untitled
Signed and dated
‘N. Malani ‘91’ (lower right)
1991
Acrylic on paper
21.25 x 28.5 in (53.8 x 72.2 cm)

b) Untitled
Signed and dated
‘N. Malani 91’ (lower right)
1991
Acrylic on paper
21.25 x 28.5 in (53.8 x 72.2 cm)

$ 10,000 ‒ 15,000
Rs 7,10,000 ‒ 10,65,000
(Set of two)

PROVENANCE
Acquired from
Gallery Chemould, Mumbai

Malani’s works are underscored by what she calls an “unwaveringly urban and internationalist” point of view and
by her early training as a painter. According to art historian Chaitanya Sambrani, “There is something incredibly
visceral about Malani’s figures in the way that their contours come into definition as though imprinted on the
surface by an effluence of the fluid matter that their own persons are made of. She frequently puts down a figure
or a gestural nuance with a single sweep of a full, loaded brush. The figures emerge from the surface in a manner
that suggests their retaining identity as part of the surface, while simultaneously gaining a defined individuality as
figures. There is this remarkable parallel to the relationship between the individual and the urban, metropolitan
environment.” (Chaitanya Sambrani, “Missionaries of Mammon: Global Parasites,” Nalini Malani: The Medea Project
and Beyond, nalinimalani.com, online)

120

“I bring the myth into contemporary times and I make it into
a contemporary issue by using the myth as a metaphor.”

 NALINI MALANI

121

Highly versatile and conceptual in nature, Atul Dodiya’s art is a constant experimentation of genre and
style. Dodiya’s carefully built images and installations are layered with symbol and metaphor, defying
regular nomenclature. Their narratives are complex, simultaneously offering sweeping views of history,
politics and art, as well as intimate autobiographical glimpses into his personal life and creative process.
The artist’s constant drive to dislocate and reinvent his idiom, his command over various mediums, his
deep collection of source material and his visionary body of work have rendered him a pioneer amongst
the contemporary generation of postmodern, global artists from India.

In the present lot, the artist draws from his archive of images to create a series of portraits of “fallen”
historical figures, such as like Lenin on dried ficus or peepal tree leaves. Interspersing each set of portraits
with similarly rendered images of flora and fauna, and concluding it with an abstract geometric panel
and a red‒tipped walking stick, Dodiya offers his viewers an enigmatic work that resists straightforward
narratives. Like most of his other works, the present lot involves and prompts the viewer to their own
unique, personal interpretations. As the title suggests, the installation recalls a walk, perhaps down
memory lane, where discrete episodes like fallen leaves are chanced upon at random, one after the other.

88 PROVENANCE
Arario Gallery, Beijing
ATUL DODIYA (b.1959) Saffronart, 25‒26 March 2013, lot 20

Fallen Leaves ‒ A Stroll #2 EXHIBITED
Hungry God: Indian Contemporary Art, Beijing: Arario
2006 Gallery, 3 September ‒ 15 October 2006; Busan: Busan
Oil on dried leaf, powder coated mild steel and auto Museum of Modern Art, 12 January ‒ 22 February, 2007;
body solder, and red oxide Ontario: Art Gallery of Ontario, 23 June ‒ 7 October 2007
Variable dimensions
PUBLISHED
$ 25,000 ‒ 35,000 June Y Gwak, Chaitanya Sambrini et al., eds., Hungry God:
Rs 17,75,000 ‒ 24,85,000 Indian Contemporary Art, Beijing: Arario Gallery, 2006, p.
72 (illustrated)
This work comprises of six parts with five measuring
10 x 8 in (25.4 x 20.3 cm) approximately and the work 123
including the cane measures 48 x 16.25 in
(122.5 x 41.7 cm) approximately

(Set of six)

“The concept of home – whether personal, geographical, national,
spiritual or familial – has resonated throughout my work.”

 ZARINA HASHMI
Born in Aligarh in pre‒Independence India, Zarina Hashmi (popularly known as Zarina) explored and evoked
the ideas of home, separation, distance, displacement, and longing in her work – a direct influence of her
extensive travels and transient “homes.”
It is, perhaps, a result of these themes that her work continues to remain relevant to the political upheavals
of the world we live in, not only because it is a topographical record of her own life and the places she has
lived in, but also a record of a much larger landscape of conflict and violence. “Zarina’s work has moved
across regions and established communication by using the common right to the face of the earth as her
platform.” (Homi K Bhabha quoted in Devika Singh,  Zarina: Folding House, New Delhi: Gallery Espace,
2014, criticalcollective.in, online)
An early exposure to Islamic design and architecture, thanks to her father, and an educational background
in mathematics, formed the foundation of her geometric style and her emphasis on structural purity, as
seen in the present lot. Though her work leans towards minimalism, its starkness is balanced by texture and
materiality. However, the last impression of her art lies in its emotional core – shaped by her memories of
home and family.

Image courtesy of Gallery Espace

124

89 The present lot on display at the Armory Show in New York, 2015
Image courtesy of Gallery Espace
ZARINA HASHMI (1937‒2020)

Untitled

Signed and dated ‘Zarina 2015’ (lower right)
2015
Collage with BFK light paper printed with black ink
and 22 karat gold leaf on Arches cover buff paper
11.75 x 11.75 in (30 x 30 cm)

$ 14,085 ‒ 21,130
Rs 10,00,000 ‒ 15,00,000

This is a unique work

PROVENANCE
Gallery Espace, New Delhi

EXHIBITED
The Armory Show, presented by Gallery Espace at New
York, 5 ‒ 8 March 2015

125

In the present lot, titled A Heartbeat Away, the artist traces two electrocardiogram lines across a black background
on a rectangular composition. The jagged, uneven lines of the two ‘heartbeats’, placed diametrically opposite,
appear almost like the outlines of two cities. Created in 2001, it is likely that the present lot continues to explore
the themes of dislocation, exile and memory — the central focus of much of Zarina’s works, stemming from her
own personal experiences situated within a global political context. Years later, Zarina would revisit this motif
in the series Sinking Boat With a Heartbeat, 2015, which addresses the Syrian refugee crisis — the composition
suggesting that an “individual’s heartbeat does not differentiate between place of origin, race or religion. It is
universal.” (Mimi Wong, “Dark Roads: Zarina Hashmi,” Art Asia Pacific, 2018, online)

126

90

ZARINA HASHMI (1937-2020)

A Heartbeat Away
Signed and dated ‘Zarina. 2001’ (lower right) and inscribed
‘3/20’ (lower left) and ‘A heartbeat away’ (lower centre)
2001
Etching on paper
11.5 x 39.5 in (29.2 x 100.3 cm)
$ 6,000 ‒ $ 8,000
Rs 4,26,000 ‒ Rs 5,68,000
Third from a limited edition of twenty

127

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION, LONDON
91

JITISH KALLAT (b.1974)

Ancestral Tape Twine
Signed, dated and inscribed ‘C 1999 JITISH KALLAT ‒ A.T.T. ‒’ (upper left), signed, dated and
inscribed ‘‒ C 1999 JITISH K/ ANCESTRAL TAPE TWINE’ (lower right) and further inscribed
‘JIKT/ oct 99/ 04/ TTXVA’ (on the reverse)
1999
Mixed media on canvas
59.25 x 25 in (150.5 x 63.6 cm)
$ 15,000 ‒ 20,000
Rs 10,65,000 ‒ 14,20,000
PROVENANCE
Acquired from Apparao Galleries, Chennai

128

129

92

JAYASHREE CHAKRAVARTY (b.1956)

Untitled

Signed and dated ‘Jayashree 2006/’07’
(on the reverse)
2006 ‒ 2007
Acrylic and oil on canvas
70.75 x 54 in (180 x 137 cm)

$ 11,270 ‒ 14,085
Rs 8,00,000 ‒ 10,00,000

PROVENANCE
Bodhi Art Gallery, Mumbai
Private Collection, Kolkata

EXHIBITED
Where the Sand Meets the Sky: Jayashree Chakravarty,
New York: Bodhi Art, 28 June ‒ 31 July 2007

PUBLISHED
Where the Sand Meets the Sky: Jayashree Chakravarty,
New York: Bodhi Art, 2007, p. 10 (illustrated)
Of Personal Narratives and Journeys, New Delhi: Bodhi Art,
2008 (illustrated)

130

131

PROPERTY OF A LADY Jagannath Panda’s recent works are constructed as dramatic
textured collages, as seen in the present lot, where the
93 fragmentation of stories and identities is reminiscent of
the dislocation experienced in urban life. “When I use this
JAGANNATH PANDA (b.1970) diverse imagery in one place, it’s creating a question, a
dialogue between something we’ve forgotten or something
Amalgamation we are about to make... and [it] create[s] another reality.”
(Artist quoted on bringhomestories.com, 2017)
Signed indistinctly, dated and inscribed ‘2017/
JAGANNATH/ PANDA’ (on the reverse) Panda attempts to emphasise the material transformation
2017 and temporal nature of urban spaces through the use
Mixed media on canvas of fabrics. “You will always see fabric as a soft and pliable
60 x 40 in (152.4 x 101.6 cm) material, but in my works, you will see how it has been
transformed. Just like a city that can be developed into
$ 16,905 ‒ 21,130 anything we want it to be, fabric too is malleable in nature
Rs 12,00,000 ‒ 15,00,000 and can be moulded into anything. This characteristic was
vital to represent it as a fossilized element.”
PROVENANCE
Acquired from Aicon Gallery, New York

132

133

Panda uses birds and animals in his work to explore the collision of the natural world with the manmade, and
human encroachment on their territory. Often, these protagonists are also metaphorical extensions of human
psychology and behaviour. Larger‒than‒life, at times of a predatory disposition, as seen in the present lot, they
symbolise the power structures and injustices prevalent within society and our rapidly changing cities. “By using
animals as his protagonists, Panda alludes to a desired circularity where the reciprocal influence between the
cultures of the powerful and the subordinate can be at balance.” (Peter Nagy, Jagannath Panda: Nothing is Solid,
Mumbai: Chemould Prescott Road, 2007)

134

94

JAGANNATH PANDA (b.1970)

Untitled

Inscribed, signed indistinctly and dated twice ‘JAGANNATH PANDA/ 2020’ (on the reverse)
2020
Acrylic and fabric on canvas
Diameter: 40 in (101.5 cm)

$ 16,905 ‒ 21,130
Rs 12,00,000 ‒ 15,00,000

PROVENANCE
Acquired directly from the artist
An Important Private Collection, New Delhi

135

95

A BALASUBRAMANIAM (b.1971)

Untitled
Signed and dated ‘A Balasubramaniam 2002’ (upper right) and inscribed ‘A.P. II/II’ (upper left)
2002
Silk screen and silicon on paper
43.75 x 29.25 in (111 x 74.1 cm)
$ 5,635 ‒ 8,455
Rs 4,00,000 ‒ 6,00,000
Second artist’s proof from a limited edition of ten prints and two artist’s proofs

PROVENANCE
Sakshi Gallery, Mumbai

136

96

ANANDAJIT RAY (b.1965)

Simulated Decoding: Trojan Horse
Signed twice indistinctly with artist stamps and inscribed
and dated ‘‘’SIMULATED DECODING: TROJAN HORSE”/
2020‒21’ (on the reverse)
2020 ‒ 2021
Mixed media on paper
34.75 x 43 in (88.5 x 109.3 cm)
$ 8,455 ‒ 11,270
Rs 6,00,000 ‒ 8,00,000
PROVENANCE
Acquired directly from the artist
An Important Private Collection, New Delhi

137

97

BAIJU PARTHAN (b.1956)

Mill Junction ‒ 1 (Soft Graffiti)

Signed and dated ‘Baiju Parthan/ 2009’ (lower left),
inscribed twice, signed and dated ‘MILL JUNCTION ‒ 1
(SOFT GRAFFITI)/ Baiju Parthan/ 2009’ (on the reverse)
2009
Oil, acrylic and gel on canvas
48 x 96 in (121.9 x 243.8 cm)

$ 14,085 ‒ 21,130
Rs 10,00,000 ‒ 15,00,000

(Diptych)

138

PROVENANCE
Acquired directly from the artist
An Important Private Collection, New Delhi

EXHIBITED
Milljunction: Paintings and Photo‒works by Baiju Parthan,
New York: Aicon Gallery, 23 March ‒ 24 April 2010
Dislocation: Milljunction Part 2, London: Aicon Gallery,
15 July ‒ 13 August 2011

139

140

141

PROPERTY FROM AN EMINENT
PRIVATE COLLECTION, PORTUGAL
98

SUBODH GUPTA (b.1964)

Round the Corner
Signed in Devnagari, dated and inscribed ‘04
SUBODH GUPTA / ROUND THE CORNER’ (on
the reverse)
2004
Oil on canvas
66 x 90 in (167.6 x 228.6 cm)
$ 60,000 ‒ 80,000
Rs 42,60,000 ‒ 56,80,000
PROVENANCE
Saffronart, 10‒12 May 2005, lot 125
EXHIBITED
Red, New Delhi: Palette Art Gallery, 2004
PUBLISHED:
Red, New Delhi: Palette Art Gallery, 2004 (illustrated)
Yashodhara Dalmia ed., Journeys: Four Generations of
Indian Artists in Their Own Words, Volume II, New Delhi:
Oxford University Press, 2011, p. 171 (illustrated)

142

143

PROPERTY OF A LADY, NEW DELHI
99

G R IRANNA (b.1970)

Untitled
Signed and dated ‘Iranna/ 2001’ (on the reverse)
2001
Oil on canvas
61.75 x 69.75 in (157 x 177 cm)
$ 16,905 ‒ 21,130
Rs 12,00,000 ‒ 15,00,000

144

145

100

RANA BEGUM (b.1977)

No. 387 ‒ Fold 71
Inscribed, dated and initialled ‘No. 387/ 2013/ ‘RB’/
FOLD 71’ (on the reverse)
2013
Paint on mild steel
Height: 24 in (60.96 cm)
Width: 50 in (127 cm)
Depth: 33 in (83.82 cm)
$ 25,355 ‒ 33,805
Rs 18,00,000 ‒ 24,00,000
This is a wall‒mounted work
PROVENANCE
Galerie Christian Lethert, Cologne, Germany
An Important Private Collection, New Delhi

146

Rana Begum’s work distils spatial and visual experience into ordered form. Her abstract sculptures, paintings,
and site‒specific installations are highly influenced by minimalism, geometric patterns found in Islamic art
and architecture as well as the urban landscape. A key component of her art is its interaction with light,
particularly noted in the manner her works absorb and reflect varied densities of light to manipulate the
sensorial experience of the viewer.

The present lot, titled No. 387 L Fold, is a large‒scale wall‒mounted relief sculpture from the artist’ Fold series,
where she uses industrial materials like powder‒coated aluminium and steel to create spatial installations
that appear like origami in their construction. The various sections of the sculpture are painted in varying
hues – some on the front, others on the back – casting colourful reflections onto the walls on which they
are hung. A closer look at the present lot highlights its pristine surface; there are no brushstrokes, abrasions,
or chipping to be found. Each fold is meticulous, casting a shadow over itself or the surface the work is
displayed on, depending on how it interacts with the light, giving the viewer a different perspective from
varying angles.

The present lot ultimately serves to heighten the viewer’s awareness of their own physical movement. With
this work, as with the rest, Begum hopes to create “an experience of calm and exhilaration simultaneously”
that reflects “universal feelings of presence and contemplation” by using elements that “transcend nationality,
class and gender – such as colour, form and pattern.” (“Interview with Rana Begum by Patrick Morrissey,”
Saturation Point, August 2015, online)

147

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of the auction in the bid history for that particular
Any new bid must be greater than the current highest bid lot. The next valid bid in this case will be greater than
by a minimum increment. The next valid bid amount is the current highest bid by a minimum increment,
the current highest bid plus the minimum increment which applies to that bid value.
value. Please refer to the bid increments on the Absentee/
Proxy Bid Form available on the website. iii. Multiple absentee/proxy bids received on a
particular lot before the start of the auction will
Can a bid be cancelled? be recorded and displayed in the bid history of the
lot according to the values with the highest bid
Once the auction has started, bids may not be cancelled being the current valid bid at the time of the start
by a bidder. Absentee/Proxy bids may be altered prior to of the auction. Absentee/proxy bids received at the
the start of the auction. Absentee/Proxy bids placed online same value will be prioritised based on the time
may be lowered if the bidder has not reached their proxy of receiving the bids and will be shown in the bid
(maximum) value. Saffronart reserves the right to cancel history of the lot.
a bid at its discretion if it considers it necessary to do so.
How do I track my bids?
What is the currency of bidding?
Under ‘My Bids’ on the page “My Auction Gallery”,
Bids may be placed in US Dollars (USD) or Indian Rupees bidders can keep track of their bids. For ease of tracking
(INR). However, only buyers in India may pay for their
149

bids, bidders are advised to assign bidding nicknames to charge a Buyer’s Premium calculated at 20% of the winning
themselves when prompted. bid value of up to and including USD 2,777,777/ INR
200,000,000; and 15% of the winning bid value in excess
The most updated bid values shall be shown only when of USD 2,777,777/ INR 200,000,000. For lots being shipped
the page on the website containing the information on bid from India, a GST (Goods and Services Tax) on the Buyer’s
values is refreshed, which shall happen either automatically Premium shall be to the account of the buyer. This is
at regular intervals (indicated at the top of the page), or applicable for deliveries within India as well as overseas.
when a bidder clicks on the “click to refresh immediately”
link on the page, or on the “refresh” or “reload” button How will I be invoiced?
on his/her internet browser. After the values on the page
have been refreshed, any changes in bid values shall not If you win a bid, you will be sent an email after the close
be visible to the bidder until the values are refreshed again of the auction, containing an invoice for the winning bid
whether automatically or by the bidder. plus additional charges (shipping, handling, duties and
taxes as applicable) and the Buyer’s Premium plus GST
We encourage bidders to set absentee/proxy bids for lots at applicable rates. The invoicing details provided at the
they are interested in well in advance of the closing time time of registration will be used to raise the invoice and no
for a lot. changes will be accepted after the sale.

When does a lot sell? What are closing and winning bids? You may review acceptable modes of payment described
in the section below. If you are the winning bidder, you are
The closing bid for a lot is the highest bid at the time a legally bound to purchase the item from Saffronart. Please
particular lot’s bidding has ended. No further bids can be note that purchases will not be shipped out until payment
made at that point. The closing bid is considered a winning has been received and cleared.
bid, only if the bid equals or exceeds the reserve price. If
the closing bid on a particular lot is below the reserve What are additional charges?
price, it will not be considered a winning bid and the lot
will be deemed unsold. However, if the closing bid belongs All post‒sales expenses, including packing, insurance,
to a proxy bidder and is below the reserve price, but the shipping or handling charges, are borne by the buyer.
proxy bidder’s maximum bid price exceeds or equals the Shipping will be charged on courier rates and are
reserve price, then the lot will be sold to the proxy bidder determined by the value, origin and destination of the
at the reserve price. The winning bids for all sold lots will package. Local deliveries will be charged at actuals.
be posted on the website after the close of the auction.
You may choose to make your own arrangements for
Groups of lots are scheduled to close at different times shipping and handling. However, all documentation
on the last day of the auction. The bid closing schedule requirements must be complied with. Please contact us
for each auction is listed online, and at the back of the for further details.
printed catalogue. Pre‒determined groups of lots will
close according to the bid‒closing schedule unless a bid What are the Duties and Taxes applicable on my purchase?
is recorded within a span of 2 minutes prior to the lot’s
scheduled closing time. In this case, the lot closing time All duties and taxes applicable shall be borne by the buyer
will be extended to 2 minutes after the time of the last and will depend on the value, origin and destination of the
bid. If this time extension takes place, bidding on any lot package.
will only end if there is no bid recorded for a continuous
period of 2 minutes. Bidders are advised to click on the i. Deliveries in India for lots originating in India:
“click to refresh immediately” link on the website page
being viewed by them, or on the “Refresh” link if bidding Any sale of lots originating from India to an address
on a mobile, at regular intervals for updates on latest bids in India is subject to GST at applicable rates on the
and time extensions if any. winning bid value and an 18% GST on the Buyer’s
Premium. The final charges will be determined at the
What is Buyer’s Premium? close of the auction and will be sent by email to the
winning bidder.
In respect of each sale at the auction, Saffronart shall
ii. International Shipments for Lots not marked as
150 Special Lots: