The Financial Express : ‘I want to put Indian art on the world map’

For the daughter of Lord Swraj Paul, there is more to the new India than better roads and airports

Anjli Paul moved to the United Kingdom when she was eight years old. Homecomings were restricted to annual vacations or attending a wedding in the family. Things have changed since then between her and her homeland though the fun trips and family get-togethers continue till date.

She is happy acknowledging every little change. The airports and roads, which put many foreign travellers in the country into discomfort, impress her. “India’s new avatar goes beyond infrastructure. Most of us settled in the West are in awe of India’s progress. There is so much happening in the country that no one can miss it. Today the NRIs are even looking at remigration. They are investing enormously in the country. Others not into business look at it for inspiration. The country never disappoints,” she says.

Daughter of UK-based business magnate and philanthropist Lord Swraj Paul, Anjli was in the Capital recently to attend a seminar on the issues of livelihood promotion amid growing urban development. A key patron of CAP Foundation, a non-governmental organisation, she announced the launch of its UK chapter.

Next on her agenda is the creation of a platform for Indian artists abroad. Describing the initiative as a business straight from her heart, she says, “The market in the West is ripe for Indian artworks. After UK, we wish to take the works of Indian artists to other locations such as Dubai and New York. I want to see these works sport the sterling tag, announcing their presence in the global art mart. We want Picassos and Da Vincis of India to come out and create a place of their own,” says Paul, whose soon-to-be-launched website on the initiative would detail about the plans, which include backing young talent financially.

But why venture into the Indian art world? “Most of the developments seen in India have been achieved in the last 10 years. It is the time to explore more and add to it, whether we talk about business or a creative field like art. Also, with India’s art and culture being its strongest assets, it is worth going for,” she explains. “If the economy continues to grow at the same pace for some more time and issues like red-tape and poverty are tackled, there is no stopping India,” she declares.

Is India’s poverty a concern for Indians settled abroad? “Yes, because it is much more visible when the country is advancing at all the other levels. It’s good that the upper and middle classes here have evolved. They are spending a lot and have a broader outlook towards life. The issue of concern is the bottom of the pyramid. All of us must do something at our levels to take care of that,” she says.

Speaking about the country’s struggle with poverty, Paul asserts that her feelings towards fellow humans are no different from other Indians. “The values Indians have within themselves make them relate to others and their problems. I have seen the same Indianness in my father. There is nothing foreign about it,” she concludes.

—Jyoti Verma

Artist Bio : Ramlal Dhar

Sunday, March 12, 2000

AMONG contemporary artists, few have created landscapes with greater love and originality than French-educated, Calcutta-based painter Ramlal Dhar and his latest pictorial compositions may be seen as a comment on the inseparability of man and nature, each attributing a meaning to the other. What stands out in these compositions is the painter's remarkable ability to weave expressive human figures and varying manifestations of vegetal forms into an aesthetically meaningful relationship.

This world of pastoral beauty speaks of a spiritual bond between man and nature - of a dialogue between man's essential innocence and nature's mysticism. There is a becalmed silence in his art bathed in blues, yellows, greens, mauves and browns that leads to a distant place far removed from fear and friction where men and women simply love plants, leaves, flowers and the language of nature. With colour and brush strokes, he evokes an imaginary vision of earthly paradise.

Ramlal Dhar's works are reminiscent of his memories of Karimganj, his hometown in Assam, where he grew up as a child with an aesthetic sensibility. Each new season gave him a separate personality and mantle. In his approach to painting, he tried to forget the subject, and focus instead on colour, contrast and shape, and nomadically sought out intriguing rural sites to paint. His talent won him a scholarship from the Assam Government to study in the Government College of Arts and Crafts, Calcutta, where his paintings were inspired by a number of sources.

On receiving a national scholarship for mural painting, he moved close to the reputed artist Ganesh Haloi and spent some months working with him. He wanted to paint masterpieces that would mean something to people one day, and he took innovative lessons in portraiture, life study and landscape painting from another master - Atul Bose. "My figurative works have been influenced by Atul Bose's teachings. He always laid emphasis on maintaining the rhythm in the posture. The figure must always breathe, he used to say," Ramlal recalls. As a result most of the figures in this series are not static. Also the extensive use of dots in some of the works have rendered a dynamic character in them.

Though his early works were largely figurative, his years in France as a student of Ecole Nationale des Arts Decoratifs de Nice (1978-80) and as a learner of mural art (1978-84) shaped his theoretical ideas about the content of landscape. He was fascinated by the mercurial climate of France and though his artistic vision was still raw, he did not paint from nature so to speak, but created his own context with colours that he needed for his work. "Later, specialising in largescale murals both in India and France gave me the opportunity to depict nature in all its immensity and expressiveness as also directly interact with life-size human and animal forms in the flat surface of walls. And all through, my depictions featured the quiet co-existence of man and nature."

Technically, the paintings are well-structured and the artist's dexterity and hard work are apparent in every work. His lines evoke a Van Gogh-like flavour and sometimes one is reminded of Alfred Sisley where the normal eye sees only the external outline of objects. But Ramlal's impressionist eyes see the living lines, not put together geometrically but in a thousand irregular strokes which, when seen at a distance, establish life. Ramlal's forte is also his use of colour which brightens in electric blues and parrot greens rendering the fleeting impact that the surroundings make on us. He says: "The direct vision of nature often gets transformed into large colour areas of sombre hues with minute textures on the surface to create a palpability. While depicting portraitures too, which is another aspect I find interesting, the inherent innocence of man stands out against the backdrop of nature."

Ramlal Dhar's works are on display at Artworld Gallery, Chennai, and alongside his paintings are the landscapes of another rising artist from Bengal, his wife Sohini Dhar whose oils on canvas and dry pastels on black pastel paper are differently oriented as is evident from her innovative explorations of both the countryside as well as the urban scene.

She studied in Santiniketan "surrounded by the sights and sounds of nature" and after receiving her doctorate on "Landscapes in Indian Miniatures" at Viswabharati University, began painting with nature as the most stimulating factor in her work. The inherent sense of unity and harmony in nature spurred the creative impulse in her but when she took up a teaching job in Calcutta and began painting in the city, she wondered if a radical change in outlook would be needed along with the change of locale.

Residing in a metropolis with its population and concrete structures, the connotation of nature opened a new perspective for her. The infinite grandeur of nature appeared dwarfed in potted plants set on grilled balconies of houses, or within pruned gardens and fenced parks.

The destruction of nature by man and the worldwide ecological degradation also suffocated her artistic feelings and the desolation of the vegetal world was reflected in her works in which trees assumed burnt charcoal forms in black masses or a denuded tree stood atop a bright red hillock.

She says: "I do believe in the infinity of nature, but living in an urban set-up revealed its limitations within the city environment. Nature is being eroded every day by those who live in cities, and I express through my work, the helplessness of man in such a situation, envisaging the phenomenon of the coming days when there will be no green left on this earth."

She handles both the oil and pastel mediums with great finesse, and colours play a most vital role in her paintings. Juxtaposition of contrasting as well as similar tonal colour areas help her create and re-create her feelings and sensibilities. She studied extensively the miniatures of India and what struck her most about these paintings was the artists' fondness for colour, and this revelation led her to new spheres of realisation and altered her way of seeing.

"Often, therefore, my urban settings appear with vibrant spectrums of cadmium, carmine, ochre or brown, in sharp space divisions, while I seem to be subconsciously banishing green from city dwellings, whereas in the vast yet intimate landscapes with piled-up rocks and clusters of trees, the sombre hues of grey, pale green and rust try to capture the feeling of ethereal tranquillity."

Ramlal Dhar, born 1953, has travelled and shown nationally and internationally and his works are in various important collections in India and abroad.

Sohini, ten years younger, has been awarded several scholarships and grants, and taken part in major exhibitions, seminars and workshops in the country. Both of them are art teachers of repute, and Sohini, in addition, is involved in research and writing.

ANJALI SIRCAR

Central Chronicle : Remembering prince among painters - Raja Ravi Varma

Saturday April 28, 2007

No Other Indian artist blazed as many trails as Raja Ravi Varma. He was the first Indian to master perspective, the first to use human models to depict Hindu gods and goddesses, the first to make his work available not just to the rich but to ordinary people too. The immense popularity of his work also made this deeply pious aristocrat. The first Indian artist to become well known before him painters were largely anonymous.

Raja Ravi Varma, one of the pillars of modern Indian art, was born on 29 April 1848 into the royal house of Kilimanoor, 36 kilometers from Thiruvanthapuram, the capital of Kerala state. The Kilimanoor princes were renowned for their cultural accomplishments. His education commenced in his fifth year with study of Malayalam and Sanskrit.

Ravi Varma's artistic talents blossomed early. By the time he was 14, he had secured the patronage of the maharaja of Travancore. The maharaja, an avid art lover, got Ravi Varma to move to Trivandrum, set up a studio for him, and supplied him with books on European art. Here, in the capital, he could also mingle with court painters, including at least one artist who visited from Europe.

Western painting fascinated Ravi Varma. He instinctively sympathized with its vigorous realism, so different from the stylized, contemplative Indian tradition. He also preferred oil paints, then new in India, to tempera, the traditional Indian medium. Though Ravi Varma had to teach himself the techniques of oil painting, by the early 1870s he was mixing oils perfectly, and his portraits show a remarkable ability to depict a variety of skin tones and fabrics.

Moreover, says one biographer, while European artists could only transcribe the likeness of Indians, Ravi Varma could portray character as well. Delighted by the young man's skill, the maharaja awarded him the Vira Sringhala (Bangle of Valour), Travancore's highest decoration, the first time a painter had been so honoured. Ravi Varma's career gradually took off.

For the next three decades he was in great demand, with everyone from businessmen to maharajas vying to commission him. Ravi Varma exhibited his canvases abroad too, but didn't accompany them - like many devout Hindus of his day, he considered it a sacrilege to cross the ocean.

Even so, he won several medals at international exhibitions, including one at Vienna and two at Chicago. And he was awarded so many prizes in India that at one stage he announced that he'd no longer take part in competitions so that other artists would have a chance!

A meticulous artist who researched his subjects thoroughly, Ravi Varma travelled widely in India, usually accompanied by his younger brother Raja Raja Varma, himself a fine landscape painter. The subjects for which Ravi Varma is best known - Hindu gods and goddesses and scenes from India's great epics were natural themes for a profoundly religious man who was also a master of portraiture.

In a radical break with Indian tradition, Ravi Varma used human models to give shape to his vision of the gods. And by portraying deities such as Krishna, Lakshmi and Saraswati as sublimely beautiful human beings in everyday attire, he made the gods seem divine yet approachable.

Ravi Varma's paintings of the epics, too, became part of the Indian imagination. Ravi Varma asked his teenaged niece, Kunjootty, to model as Sita. As a number of other children watched, giggling, Kunjootty felt embarrassed and covered her face, Ravi Varma chose the moment to sketch away furiously. That's why, it seems, Sita has her face covered in the painting. In his paintings, Ravi Varma idealized women, often making his subjects more stately and graceful than they actually were. Indeed, at one time, telling an Indian woman that she looked like a Ravi Varma painting was the ultimate compliment.

Though he painted women of many communities and classes, Ravi Varma had a special fondness for depicting the sari-clad women of Bombay where he lived for many years. He found the sari - then not worn in Kerala and and some other parts of India - with its striking colours and graceful folds especially appealing. A workaholic, Ravi Varma rose at 4 every morning. After bathing and performing his elaborate religious rituals, he would begin painting at first light. He laboured long hours and often got up at night to sketch his dreams.

Ravi Varma's professionalism, in fact, was only one aspect of a thoroughly modern outlook. For instance, when he became head of the Kilimanoor clan, he encouraged his kinsmen to work for a living - something the nobility didn't have to do - and to disregard conventions that prohibited them from mingling freely with people of lower castes.

However, like all aristocrats, Ravi Varma, a dark medium-built man with a regal air, lived well. He entertained lavishly and spent large sums renovating Kilimanoor Palace or buying land. In 1894, keen to make his work more widely available, Ravi Varma imported and established a colour press in Bombay (it was later moved to the nearby Lonavla hill resort) and began publishing prints. The masses loved them, especially his gods and goddesses. They were - and still are - widely copied and re-copied by commercial artists and even today millions of Indians, some who may never think of attributing them to Ravi Varma, hang these imitations in their homes, temples and shops.

Although at first Ravi Varma's press made a tidy profit, after a few years it ran into many problems. Ravi Varma - who would never touch money with his hands - was no businessman. In 1901 he had to sell the press. He lost a lot of money in the venture, but never really regrettted it - he had succeeded inpromoting among ordinary people a love for his art. "Ravi Varma was a master of colour," says Baburao Sadwelkar, a veteran Bombay artist and former Director of Art for the state of Maharashtra. "Even today, the colours in most of his paintings have not faded or changed. Moreover, his ability to portray costumes, jewellery and Indian skin tones remains unsurpassed." Indeed, his vision of our classical past has influenced not only artists but writers and film-makers too. "Adds noted contemporary painter.

Ramachandran, who was chairman of the Kerala Fine Arts Academy, "Ravi Varma was the first Indian artist to look at painting in a grand, universal sense - an Asian Rembrandt." Draupadi in the Court of Virata 'A Mahabharata scene': Every detail and emotion was important for Varma, who painted Indian mythology and history by combining his imagination with the academic realism and power of European art. Udaipur Palace was one of Ravi Varma's few landscapes. He experimented with Impressionism in later works and by doing so was staying abreast with European artists of the time. The portrait of a Rajput soldier, presumably from the Udaipur Palace, was done in 1901, the same year as the painting of the palace itself.

In 1904, his brother Raja Raja Varma fell ill and died. So shattered was Ravi Varma that he stopped accepting commissions and only completed his pending work. Soon he too was ailing and in February 1906, Diabetes had begun to victimize the artist in spite of medical aid. In September 1906, he took to bed. On 2 October 1906, at age 58, Ravi Varma, the Prince among Painters and Painter among Princes, passed away, full of honours and deeply mourned by art lovers all over the world.

At the time of his death, Ravi Varma was indisputably India's best known and most honoured artist. But within a few years, critical opinion turned against him. Critics and artists, some even jealous of his great success, accused him of being a sentimentalist, a mere illustrator, an unimaginative copier of European techniques and thus not Indian enough. Some even criticized him for using oils, then seen as a "colonial" medium! However, the Indian public never once rejected him.

In recent years, critics too have begun to reassess him as an old master who pioneered in India the best form of fine art and based his ideas and themes on the deepest of Indian traditions. Today Ravi Varma paintings are in great demand at auctions, and fetch higher prices than for any Indian painter. He left a precious art heritage to inspire, delight and educate generations of humanity. Subramania Bharathi, a great patriotic poet of India, paid a TOUCHING TRIBUTE to the genius of Ravi Varma.

PS Prakasa Rao

India E-News: Gaitonde, Souza to dominate Christie's May auction

Works of eminent Indian masters F.N. Souza, V.S. Gaitonde and S.H. Raza will dominate Christie's May 21 auction here of modern and contemporary Indian art, which will also include works from Pakistan and Sri Lanka.

From correspondents in London, England, 27 Apr 2007 - (www.indiaenews.com)

Works of eminent Indian masters F.N. Souza, V.S. Gaitonde and S.H. Raza will dominate Christie's May 21 auction here of modern and contemporary Indian art, which will also include works from Pakistan and Sri Lanka.

The auction will take place at Christie's King Street.

'The incredible growth of Indian art over the past five years has seen Christie's annual sale increase from $600,000 in 2000 to $42 million worldwide in 2006. After an eight-year hiatus, during which the modern Indian sales were expanded to New York, Hong Kong and the emerging market of Dubai, Christie's has now added London, a city that is home to many Indians and lovers of Indian art,' said Christie's.

A superb selection of works from Souza will be on show, offering an opportunity to collectors looking to enhance their collections or those just starting out.

Souza's 'Landscape with Planet' (1962) (estimated pounds 200,000-300,000) has been in a private collection and unseen by the public since it was acquired from Victor Musgrave's Gallery One in 1962. Souza constructs his cityscape from a series of overlapping and highly faceted geometric forms in a Cubistic manner but still reminiscent of stained glass windows.

Also from this collection is the sublime 'Landscape with Buildings' (1959) (estimate: pounds 80,000-120,000), which was acquired from Gallery One. The work showed the influence of Catholic architecture which formed so much of Souza's oeuvre. Souza's exploration of the human form displays a wide range of characteristics from sublime female nudes to more abstracted and distorted subject matter.

Painted in 1960, a year when Souza received grants to visit Rome, Untitled (Man with Collar), (estimate: pounds 100,000-150,000) mocks the religious figure depicted in an overstated and incongruous manner, bearing stylistic influences from Titian and Francisco de Goya.

Appearing at an auction for the first time, 'Still Life in Red' (1963) (estimate: pounds 80,000-120,000) was acquired from Souza's studio and has been in the same private collection ever since. The sale also includes delicate works on paper from the collection of Julian Hartnoll, Souza's dealer and friend; estimates range - pounds 2,000 to 35,000.

Among the sale highlights is a masterpiece by one of India's premier abstractionists, Gaitonde, which is untitled and painted in 1968 in striking hues of emerald and pale blues (estimate: pounds 450,000-550,000). Gaitonde began his career by meticulously creating works in the vein of Indian miniature paintings. Later in his oeuvre, he was influenced by Paul Klee, Zen Buddhism and Chinese calligraphy

Leading the selection of works is a seminal painting by Raza, 'La Terre' (1985) (estimate: pounds 400,000-600,000) which is from a European collection and has been published in Geeti Sen's book 'Bindu'. A masterpiece of colour and composition, Raza seamlessly merges his horizontal bands with elegant obliques in what is considered one of the finest examples of painting in his oeuvre.

Drawing inspiration from a wide range of sources, whether it is Justin Ponmany employing the means of holograms as foil for the alleys of Mumbai or Subodh Gupta capturing everyday India from the vantage of mass market goods, the contemporary section features works of some of the most sought-after upcoming artists.

Also on offer are works of acclaimed Pakistani artists Talha Rathore and Nusra Latif Qureshi, who form the vanguard of the contemporary miniaturists from Pakistan and have been widely exhibited internationally.

The sale of 105 lots is estimated to fetch 4 million pounds, with estimates ranging from pounds 1,000 to over 450,000.

(Staff Writer, © IANS)

Read more at: http://www.indiaenews.com/europe/20070427/49146.htm

Art Collecting Tips: Carol Chua

A 6 part series on the How and Why of Art buying... Interesting read...

Art Collecting Tips for Profit and Pleasure : Part 1 - Why Buy Art?

WHY BUY ART? To answer this question, ask yourself what your reasons are for thinking of acquiring a piece of art. An artwork can cost a considerable sum, but if it meets your needs, it’s worth every penny.

Anyone can buy art, and for almost any reason. Many people buy an artwork simply because they like it, even if the artwork may be by an unknown artist. Art, as long as you enjoy it, is never a waste of money. As John Keats puts it in Book 1 of Endymion :

“A thing of beauty if a joy for ever:

Its loveliness increases”

Art Is For Enjoyment

Art is meant to be displayed, unlike shares or bonds. Don’t ever feel pressured to buy something you won’t appreciate looking at day after day, no matter what other people may say. Don’t buy something that doesn’t appeal to you just because it is trendy, because the artist is famous, or because you have been advised that the artwork will make a good investment. If you don’t like the artwork at all, don’t buy it!

An artwork should touch your soul, stimulate your thoughts and bring a smile to your lips. It should bring you pleasure, and even joy.

There are only 365 days to a year (366 on leap years). Be selective about how you live those days. Avoid wasting them on something you dislike.

Art Enhances Your Environment

Have you ever noticed that all beautiful homes have art as an integral part of the decor? Art lends life and color to otherwise plain and ordinary walls, nooks and crannies, and mantelpieces. A well thought-out art collection will help create a unique ambience in your home and make it more attractive. For similar reasons, art often graces commercial premises, such as office lobbies and the offices of top executives.

Art Makes a Statement

The kind of art you surround yourself with says much about your personality, tastes and values. Edna Hibel art, for instance, is associated with strong family values and humanitarianism.

Art truly is a mirror of the soul. It’s an expression of who you are. Be true to yourself, and choose art which is meaningful to you.

Art Can Be An Investment

Art can pay handsome returns, but this very rarely happens overnight. If you’re hoping to make a fast buck, art may not be the right avenue for you. There are investors, of course, who like to put their money in art. They do this for two main reasons: emotional as well as financial benefits.

Art is one of those peculiar investments which you can actually admire and enjoy. And researching and hunting down a desired piece of art can be as much fun as owning it! Many art collectors enjoy combing galleries, websites, auctions and even flea markets in pursuit of their passion. Profiting eventually from the sale of a find becomes a bonus.

The promise of both pleasure and profit from art certainly adds to the appeal of art collecting.

Art Enriches Your Life

At a conference on health and ageing, held in Brisbane, Australia, the founding professor of complementary medicine at Melbourne’s RMIT University shared his findings that love – even the love of an activity or an inanimate object, such as a work of art – contributes to healthier living and a longer lifespan. Art should enrich your life. Otherwise, why spend precious time and resources on it?

Art Makes An Impression

When you need to give a gift which will make a lasting impression, a delectable piece of artwork is hard to beat. Any beneficiary will appreciate receiving such an exclusive gift, and be honored that you valued her enough to give her something so unique and precious.

Just remember to select something which will appeal to your recipient’s tastes, and keep to a sensible budget. Good art needn’t cost an arm and a leg.

Happy art collecting!

Art Collecting Tips for Profit and Pleasure : Part 2 - Six Golden Rules of Art Collecting

Successful art collectors observe several golden rules of art collecting:

1) BUY WHAT YOU LIKE

This should be obvious, but this golden rule is actually often given a low priority by novice art collectors, much to their regret later on. Remember, art is meant to be displayed and enjoyed. Don’t buy anything which doesn’t appeal to you.

Explore!

You can never go wrong with buying any kind of art, as long as it gives you pleasure and it is within your budget. Buy what appeals to you. Art is individualistic, so go ahead and explore. You don’t have to follow well-trodden paths and buy familiar art. Let art be an expression of your personality.

Do Your Research And Planning

For serious collectors who are interested in building a collection with some value, it’s good advice to do some homework before you put your money down. Collecting is really about focus, or building a meaningful grouping of pieces, rather than just randomly acquiring and displaying pieces. Careful planning and research is what sets smart collectors apart from others.

2) EDUCATE YOURSELF

The more you know about the subject, the better. This is especially important if you’re considering parting with a hefty sum of money for a piece of ‘art’. You don’t need to be professionally trained to make smart decisions about art. Anyone can become a wise collector with patience and discipline.

Know Your Subject

Ask yourself why a particular piece of art is worth acquiring. Keep this mantra going in your head:

1. Who is the artist?
2. How important is the artwork?
3. What is the artwork’s history and documentation?
4. Is the asking price fair?

We’ll examine these questions in detail in Part 3 of this series, titled “THE ART OF ASSESSING TRUE VALUE”.

3) DEVELOP A MASTER PLAN FOR COLLECTING

If you’re planning to collect art seriously, you should think beyond picking up just anything that catches your fancy. There are millions of collectors out there and plenty of piecemeal collections. What makes a collection superior to others and, therefore, more valuable?

Purpose And Planning

The smartest collectors plan every acquisition. They never collect in a haphazard way. Once they’ve decided what they like, they start planning some sort of order or characteristic for their collection. Smart collecting is organized. It is well thought-out so that all the pieces in the collection relate well to each other. Everything in the collection should work together to strengthen the collection, and not be out of place.

This is purposeful and planned collecting. A good collection should illustrate a point, or address a question, such as “How has the use of colors in stone lithography progressed?” A good collection enhances understanding of a certain area of art, or even a certain period of an artist’s life. It should have fine and, ideally, rare specimens of the subject. Brought together in a meaningful collection, each piece has more value.

Meaningful Organizing

You can organize your collection in various ways. Like an essay, it should have a beginning, a middle and an end. Using, as an example, the topic of colors in stone lithography, you can organize your collection under artists, regions, dates, styles, subject matter, and so forth. For instance:

- Artists renowned for stone lithography, which would obviously include master stone lithographer Edna Hibel.

- American stone lithography masters

- 20th century stone lithography

- Stone lithographs with people as the subject

- Renaissance-style stone lithography

Be Your Own Curator

Have a ‘script’ in mind. Just like for museums, you should aim to present your collection in a logical, meaningful way, so that it educates and enhances appreciation. Because of your diligent ‘curatorial’ efforts, viewers should bring away a better understanding of the subject.

4) KNOW THE ART MARKET

Great collectors know the marketplace, and the marketplace knows them. Be informed and get plugged into the grapevine! Cultivate a good standing with art retailers and let them know that you wish to be informed when choice art pieces become available. You have to be tuned in to get the best finds!

Do your homework and get out there! I’ll tell you how to have an edge in Part 4 of this series, titled “KNOW THE ART MARKET”.

5) CARE FOR YOUR ART COLLECTION

I’ve seen valuable creations ruined because of careless handling and storage. Don’t let this happen to your art pieces. Develop a system to protect your collection from hazards such as pollution, humidity, heat and light. More about this subject in Part 5 of this series, titled “ART CONSERVATION 101”.

6) PLAN FOR POSTERITY

Your art collection is a valuable legacy. Don’t allow it to be decimated when you are no longer around to take care of it. Make detailed plans for its future ownership. Details in Part 6 of this series, titled “LEAVING A LEGACY OF ART”.

Have Fun Planning Your Collection!

Building a good collection takes time, but you will derive much satisfaction with each acquisition, knowing that the effort will be worth it. In fact, the process of developing a good collection is often as fun as it is rewarding, as you hunt down choice pieces through gallery visits, research, social events, leads, auctions and various avenues. A whole new world will open up to you!

Art Collecting Tips for Profit and Pleasure : Part 3 - The Art of Assessing True Value

To buy art intelligently, the more you know, the better. You can become a wise collector with patience and discipline.

Know Your Subject

To determine if a particular piece of art is worth acquiring, ask:

1) Who is the artist?

2) How important is the artwork?

3) What is the artwork’s history and documentation?

4) Is the asking price fair?

Learn as much as you can about the artist and the distinctive aspects of his or her work. Ask why some pieces are more highly-valued than other pieces. Don’t just grab at ‘bargains’. Generally, the more renowned the artist is, the pricier the work.

1) WHO IS THE ARTIST?

Look at :

1.1 The artist’s date of birth and demise (if applicable)

1.2 The artist’s training credentials

1.3 The artist’s place of work and residence

1.4 Positions, roles or titles held by the artist

1.5 Places and countries where the artist’s work has been exhibited

1.6 Organizations which the artist is associated with

1.7 Collections which have the artist’s work

1.8 Honors bestowed upon the artist

1.9 Publications and other media which refer to the artist

1.10 Factors which distinguish the artist from other artists (for example, being a master in a certain technique)

How long has the artist been exhibiting and selling art? Any accomplishments? Who owns the artist’s work? The artist has more stature if his or her work is in the permanent collections of major institutions like museums.

2) HOW IMPORTANT IS THE ARTWORK?

Next, evaluate the artwork’s importance.

Get Familiar

Study the artist’s work. Look at the different periods in the artist’s career. Each piece of art should be assessed in its context. View as many samples of the artist’s work as possible. Talk to people who are knowledgeable about the artist’s work. Ask the dealer to educate you about the distinctive features of the artist’s work.

Reproductions And Originals

Reproductions come in many forms today, and some are excellent copies of the originals.

Modern digital printing technology makes it possible to produce canvas prints which are almost indistinguishable from the original.

Buying reproductions is fine as long as you know what you are getting. Originals, of course, always have better value.

Major And Minor Works

Not all originals are worth collecting. Learn to identify whether a work is major or minor, as major art pieces are worth more. Find out how significant that piece is compared to other specimens of the artist’s art. Is it a good example of the type of work that the artist is renowned for? Most novice art collectors prefer to focus on typical pieces. Collecting atypical pieces requires a strong sense of adventure.

Early And Late Works

Most people tend to go for early works. However, late works can also be highly-collectible. It all depends on who the artist is. Some artists actually become more accomplished and creative as they advance in age, experimenting with different techniques and styles and producing art which is more complex than anything done earlier.

Best Phases

Good periods are when the artist is considered to have produced superior work. Collectors generally home in on the best examples of the artist’s art from the ‘best’ phases.

Unique Or Cookie-Cutter Art?

Shrewd art connoisseurs favor artists who have demonstrated genuine creativity and originality, and who are always experimenting and evolving. Collections featuring such pieces are certainly more desirable than collections of cookie-cutter art.

Condition Of The Artwork

It’s natural for old art pieces to have some flaws, such as slight soiling. Major flaws – like fading, discoloration, large tears, unusual trimming - are the ones to watch out for. Such flaws can significantly diminish the dollar value of an artwork.

Buy From Reliable Sources

If you’re making your purchase through an online dealer, make sure that the dealer has a secure online payment system, offers proper packing, courier and insurance services, and has a fair return policy. If you buy from unauthorized dealers, auctions (including those on the internet), private individuals and flea markets, you’re on your own...

3) WHAT IS THE ARTWORK’S HISTORY AND DOCUMENTATION?

Provenance

This refers to the background and pedigreed of an artwork. Art with an illustrious provenance is more desirable than art with a non-descript background.

Ask questions like:

- What kind of caliber does the artwork have?

- Is it associated with any significant event or party?

- Was it commissioned to mark an important occasion?

- What is the caliber of the commissioning party?

- Where has the art been exhibited?

- What kind of media exposure has it received?

- Has it received any honors or awards?

- Who has possessed it before?

- Are there any interesting stories behind it?

- Has anything been published about it?

- Has it been reproduced (with permission) in anything noteworthy or prestigious?

Documentation

Gather any documentation about the piece, such as certificates of authenticity, receipts, copies of publications where the art was mentioned, or signed photographs of the artist. Separate fact from fiction. If you hear any anecdotes about the work, write them down and try to get them verified.

Documentation can influence marketability and value. People are more attracted to art that they can understand.

Documents Can Also Have Value

Good documentation helps to increase the value of the art, but well-kept documents can also have value in due time. Signed photographs of the artist or gallery brochures, receipts of the sale, reviews, certificates of authenticity – all these can have some historical and commercial value some day. Think of the Titanic.

4) IS THE ASKING PRICE FAIR?

Compared to a lesser piece of art, the artwork may seem expensive, so make sure that you compare prices only with similar pieces, whether by the same artist or by artists of similar caliber who create similar work. Prices may fluctuate over time, so satisfy yourself that the price is fair at that particular point in time.

Smart art collecting requires quite a bit of sleuthing. If you have a genuine interest in art, you will find this stimulating and fascinating, adding to the pleasure of art collecting.

Art Collecting Tips for Profit and Pleasure : Part 4 - Know The Art Market

Great collectors know the marketplace, and the marketplace knows them. They are plugged into the grapevine and are among the first to find out when a choice work becomes available. They are active in the hunt for quality pieces to add to their collection, so they make it known that they want to be kept informed.

Cultivate Relationships With Good Dealers

Did you know that not all newly-available art is displayed by galleries, whether brick-and-mortar or online? Quite often, the best items are offered and sold to favored customers without any publicity or exposure. The most sought-after pieces often exchange hands privately.

Find out who the good dealers are and cultivate a relationship with them. Let them know what you like, what your preferences are and what kind of budget you have. Naturally, dealers like to cultivate loyalty so they tend to reserve preferential treatment for their best clients.

Let the dealer know that you are a good candidate for this special treatment. Be responsive when the dealer contacts you. If you trust the dealer and he or she offers you an artwork which meets your specifications and your budget, accept it with minimal negotiation. Avoid haggling just for the sake of getting a lower price. Dealers find this annoying. Of course, if you have a valid reason for asking for a lower price, then let the dealer know.

Do your part to be a good customer and favor will come your way.

Auctions

Now, what about buying at auctions? Auctions can be a lot of fun and you can pay less than retail prices but, in order to make really worthwhile buys, you must do your homework. Be particular about the auctions you patronize. Many auctions offer inferior or, worse, problematic pieces which are not worth bidding on.

You should be especially careful with charity auctions; people who donate to such events often do so for social or tax reasons. In other words, charity auctions can be a dumping ground for inferior art. If you were a dealer, would you donate highly-marketable art that can easily fetch a good price to a charity auction? You’d probably be more willing to part with art which is unpopular, flawed, minor and so on.

One red flag is the price. If something seems like an unbelievable bargain, too good to be true, it probably is. Good-quality, collectible art will have many suitors, so that will tend to chase the price up.

The auctions most likely to yield valuable finds are those which offer art owned by highly-regarded entities such as museums and other institutions, respected artists, collectors and galleries. These bodies sometimes do a ‘spring-cleaning’ of sorts, to focus on their core interests or collections. In the process, they may actually let go of some great art, simply because it does not fit in with their long-term plans.

Once you’ve spotted something of interest to you, the same rules of art acquisition apply. Find out as much as you can about the piece and check its condition before the auction starts. If it meets your criteria, you can proceed to make a bid.

Buying On The Internet

With the advent of the internet, anyone can be an armchair collector today. For convenience and choice, the internet is hard to beat. Just by tapping a few keys, you can view art in the comfort of your home and find out everything you need about a known artist and his or her artwork. Try this, for instance:

Of course, the internet has its hazards, just like the ‘real’ world. If you’re thinking of purchasing art via the internet, check whether the online dealer:

- is accredited by the artist(s)

- specializes in a certain genre or artist (this reflects expertise)

- runs a proper, professional website, with all necessary information

- provides contact details (do a test by calling or e-mailing)

- is transparent about costs

- ensures all pieces are covered by insurance

- has a return / refund policy

- has a secure online transaction system

Just like for conventional dealers, it’s possible to establish a ‘favored client’ relationship with an internet dealer. Send out your feelers and let the dealer know what you like.

Art Collecting Tips for Profit and Pleasure : Part 5 - Art Conservation 101

After you've spent precious time and resources building up an art collection, it would be a shame to have its value depreciate because of a lack if knowledge of proper care and conservation for works of art. Some ageing is natural and acceptable to a certain degree, but deterioration or damage due to negligence is not, especially when it can be avoided.

You've probably seen what humidity, light and mold can do to photo prints and film. The same environmental conditions which inflict this kind of damage threatens your art pieces. In fact, with the worsening environment, art works are more in danger than ever before. Even modern lifestyles pose a threat. Have you noticed how art galleries and museums discourage the use of flash cameras and other artificial light sources in the presence of their exhibits?

As the curator of your own collection, you would be well-advised to protect your art pieces from the following hazards:

Pollution

Dust, dirt, human bodily fluids and oils (such as perspiration) and acids are corrosive and discoloring to art. The first three elements are obvious, but where do acids come from? These can be found in household cleaners, air fresheners, chemicals found in furniture, carpets, curtains, appliances, packaging and even the air. Direct skin contact is also damaging to art, which is why handling art works with bare hands should be avoided.

Humidity

This may be good for the skin but the same cannot be said to be true for art. Humidity, moisture or dampness cultivates mold and causes foxing, or brown spotting on the art. Storerooms are typically humid and poorly-ventilated, the perfect breeding ground for these evils, as well as vermin like silverfish and cockroaches. Even paintings and prints displayed on walls can be destroyed by the wormholes or worm tracks of silverfish. Check any art on display regularly for any potential problems.

Heat

A very dry environment can also be damaging to art. Constant humidity of less than 40% can make art works, especially paper or textile-based ones, brittle and very fragile. Humidity should range from 40% to 60%. Modern living environments in cooler climates widely use central heating or radiators which may make conditions far too dry for delicate art. To minimize the problem, try placing bowls of water on radiators.

Radical fluctuations in temperature can cause items to expand and contract. Art should preferably be kept at a constant temperature, just like in special exhibition rooms in museums.

Light

Art cannot be appreciated without light but too much light is detrimental to art, as the UV found in both natural and artificial light fades colors and details.

Protective Options

So what can you do to protect your art collection?

You can try to keep your art pieces in a relatively pollutant-free, temperature, light and humidity-controlled environment. This may involve:

1. purchasing and installing special boxes, chests, cabinets or folders

2. designating a special purpose-built room or area for your collection

3. renting specialized storage space designed for housing delicate art

Some protective options, such a metal cabinets, are rather ugly, but they will protect your valuable items more effectively than, say, wood. Not all materials are equal; acrylic plastic is preferred to glass, and acid-free paper is better than normal paper.

The variables can be confusing, so seek the advice of an art specialist or archiving expert to get started on the right foot.

If you keep your lovely art works safely tucked away under lock and key, you will not have the pleasure of displaying and admiring them. That would be like having the cake and not being able to eat it. Find a balance that suits your requirements.

Art Collecting Tips for Profit and Pleasure : Part 6 - Leaving a Legacy of Art

What a waste when wonderful collections of art are decimated upon the collector’s demise! This happens all too often because of the lack of records and instructions left behind concerning the art pieces.

Ignorance results in the art being relegated to a dusty and moldy storeroom or, worse, being consigned to the trash. More conscientious ‘beneficiaries’ may give away the pieces to thrift stores and charities. Commonly, haulers are summoned to dispose of the pieces. Some shrewd haulers have learned to consult art dealers on their ‘finds’, as they have discovered that there can be gold in dirt.

Imagine paying someone to take away priceless art! Sadly, this scenario is played out year after year around the world, because too many art collectors fail to plan for future owners of their art. Have you planned for posterity?

Who would you like your art collection to go to some day? A loved one? A charity? A foundation? Or perhaps a museum? Who will be the beneficiary of your much-loved and treasured art? If you don’t want your art pieces to fall into undesirable hands or be destroyed, you’ll need to start keeping detailed records and make clear provisions NOW.

The Importance Of Documentation

Some years ago, while clearing out my parents’ rambling old house which had just been sold, I came across 10 glass beer mugs, stored away in a small musty storeroom under the staircase. The mugs were plain and ordinary-looking, except for a circular, thumbnail-sized design an inch below the rim. No documents accompanied them.

For a moment, I contemplated keeping the mugs, as I thought they could serve some practical use around my own home, although they were rather unattractive. That moment passed very quickly, as I still had much clearing and packing to do. After all, the mugs appeared very pedestrian. I knew that I could always get more appealing-looking mugs whenever I wanted. So I left the mugs behind in the old house. I don’t know if anyone ever took them before the demolition crew started their work.

Less than a month later, there was a newspaper advertisement looking for beer mugs just like the ones I had seen in my parents’ old house. The company which had placed the ad was willing to pay $500 for each mug in good condition turned in. Those 10 mugs I had left behind were practically in mint condition. I could have cried.

From Treasure To Junk

Have you ever seen the sign “We buy junk and sell antiques”? While this may sound humorous, there’s also a lot of poignancy and irony intermingled. Don’t let your art treasures become junk. Do your utmost to ensure that they are treated with respect and go where you wish them to go.

List Options And Directions

Whatever the size of your art collection, do provide a list of options and directions to go with it. Besides the usual documentation which should accompany every item, this should include the contact particulars of parties who can assist in the valuation, sale or dispensation of the art pieces.

Choose Beneficiaries

Do also mention any parties you may like to give your art to. Remember, you may know the subject and its market like the back of your hand, but others probably won’t. Don’t leave your beneficiaries at the mercy of opportunists or others who may not be able to appreciate the value of your art collection.

Provide Values

It’s a very good idea to include the insurance or replacement values of your art pieces. You might even wish to provide suggested wholesale values, so your beneficiaries will be more prepared should they decide to sell your art pieces.

Ideally, if you haven’t already begun, let the people closest to you understand the importance of your art collection now. Once they develop a healthy respect for it, the chances improve that your art collection will be in good hands and go where you want it to go.

Be an artful collector – plan like a pro all the way.

DNA : Art takes a deep breath

Nisha Kundnani

Friday, February 16, 2007 22:20 IST

Galleries have been proliferating in Mumbai for some time bow. Amazingly, despite soaring real estate prices, galleries continue to open in south Bombay with large spaces. This year the city has witnessed a brave attempt by Shireen Gandhy to reopen Gallery Chemould as Chemould Prescott Road, with an astounding 6,000sq ft. Sakshi Art Gallery, too, will open on Monday in the art district with a 4,000 sq ft gallery on Nathalal Parekh Road near Regal.

“Having a 4,000 sq ft gallery at Colaba is equivalent to a 10,000 sq ft one in Lower Parel,” says Geetha Mehra of Sakshi Art Gallery. “Also, being in the art district will benefit our gallery. One always tends to benefit from patrons of the trade in a hub like this. Like a jeweller will benefit from being in, say, in Zaveri Bazaar. We expect artists to do interesting shows. We will continue to promote their art as we have earlier. But I would also like to combine sculptures, video work and all other kinds of art activities at the new space.”

“The art world has seen several changes in recent times and I realised that my responsibility towards my artists has increased,” says Shireen Gandhy. Artists today are motivated to do the impossible. They are willing to take up ambitious projects and are looking at galleries that can support them. “Doing a mixed-media show with installations, sculptures and paintings is the order of the day. I do not want to lose out on my artists who wish to do something like that,” says Gandhy.

While this can be a decisive factor, projects that require magnificent space aren’t the only reason galleries are expanding. Sree Goswami of Project 88 says, “A large space does give the gallery owner the liberty to do interesting shows, but it is primarily about the art and not just the space. At times we have just one large painting on a wall, and if it’s an interesting show, one need not worry about filling up the space.” When you walk into a gallery the size of a museum, it’s possible to feel intimidated and overwhelmed. The larger galleries tackle this well.

“When one constructs a vast space, one has to keep in mind that one big room will overwhelm. So, it’s better to have a system where one can compartmentalise for solo or small-scale shows,” says Gandhy. Geetha Mehra, who moved from Sri Ram Mills in Parel, says, “Our new space is consciously divided. You don’t see the whole picture in an instant. We have one room leading into another, to create a sense of surprise, and so that the viewer doesn’t feel bewildered.”

From an artist’s perspective, a vast space can both benefit and be disadvantageous. “Large galleries are always welcome. While it’s easy to find smaller galleries, there are few large galleries. It is definitely motivating to know that there are galleries that can support a show with large canvases,” says artist Rajesh Pullarwar. Pullarwar, who enjoys making installations, says, “A large gallery can always be compartmentalised, but a smaller one can never be expanded.”

Artist Riyas Komu says, “Large galleries help. But it’s the language that the artists wish to convey that is more important. Established artists are looking for spaces that complement their work. For example, they may want high ceilings, or that museum-like ambience. Having said that, a large space wouldn’t stop me from creating small works. Sometimes the work that I do complements the stuffy feel of a smaller space.”

Financially, galleries are taking bigger risks by investing in properties that might not give them the kind of returns they look for. “I am not a business-minded person. Things just come my way and the money gets recovered,” says Gandhy. “I know how to balance the economics by doing a money-spinner show and alternate it by doing a show with an emerging artist. But I wouldn’t avoid a show just because the artist wouldn’t sell.” Goswami echoes her views: “I have a gallery in Kolkata and by and large I do A-list artists and make profits there. But in Mumbai, I give priority to creative contentment.”

Komu has the last word: “Large galleries benefit artists by promoting cultural activity in a non-commercial space. They act as a transition space — art actually moves from an artist’s mind to a gallery and from there to people’s minds,” he says.

Various : I-T swoops on art galleries in city, Delhi

Rennie Abraham

Tuesday, April 17, 2007 13:46 IST

MUMBAI: The income-tax department on Tuesday raided more than 35 official and residential premises of three art gallery owners in Mumbai to investigate price manipulation and tax evasion on expensive art purchases.

The premises of five art gallery owners in Delhi were also raided. The galleries also double up as auction houses.

Sakshi Arts, Osian’s and Saffron Art Gallery were the Mumbai-based firms covered in Tuesday’s operation. Sakshi Arts, which was scheduled to open a two-day preview of the works of artist Nalini Malini on Tuesday, cancelled the programme.

Its director, Geetha Mehra, said: “I-T officers are still conducting their investigation and I cannot comment at the moment. Could we speak about this on Wednesday?” Maniksha, a spokesperson for the gallery, confirmed that four I-T officers had reached the gallery since Tuesday morning but said she had been told not to receive any calls.

Neville Tuli of Osian’s said: “I am in New Delhi, down with chicken pox. You may reach my Mumbai offices for details.” But Preeti, a spokesman for Osian’s Mumbai office, said she was unable to provide any details of the raids.

Meenal Vazirani, director of Saffron Art Gallery, said: “I am just putting my daughter to bed. This is not a good time to talk. We’ll talk later.” Confirming the raids, a senior I-T officer told DNA: “We have been exploring the sudden and inexplicable price escalations of art works in recent times, especially in the wake of art funds with five-year tenure nearing maturity.”

He added: “We are also looking into possible price manipulations of art works and trying to find out whether art fund investors and those buying expensive paintings are paying taxes on their purchases.”

Press Trust of India
Tuesday, April 17, 2007 (New Delhi):

Income Tax department conducted raids at over 30 premises of eight art gallery owners in Delhi and Mumbai to unearth black money involved in transactions related to art pieces.

"On the basis of specific intelligence information, the department has conducted search operations at about 30 premises of eight art gallery owners and art fund organizers in Delhi and Mumbai," a senior income tax official said.

He said department had received information that substantial 'black money' was being invested by certain persons in expensive art pieces like paintings of eminent artists, resulting in huge tax evasion to the state exchequer.

In Delhi, he said,11 premises of four owners have been searched, while around 20 premises of other four persons were searched in Mumbai.

Although a number of fund organisers were attracting huge investments in art pieces, claiming to offer high returns, but these were not shown in tax returns.

"The pattern was similar to black money investment in real estate," the official said. "We have noticed some people are now buying art pieces at very high prices, but were showing lower value in account books to save tax and to convert black money into white," he added.

Declining to give names of art galleries and fund organisers that were raided, the official said the details about tax evasion would be declared once the investigations were complete.

Taxmen raid 25 art galleries in Delhi, Mumbai
[18 Apr, 2007 l 0246 hrs ISTlTIMES NEWS NETWORK]

NEW DELHI: Tax department officials have taken a fancy for art work. Income-Tax sleuths on Tuesday conducted searches on 25 premises belonging to eight entities that run art galleries and are in the business of financing art work.

Based on the information gathered over the past few months, the department on Tuesday conducted search and survey operations in Delhi and Mumbai.

The raids were carried out at 14 premises in Mumbai and 11 places in Delhi. While the details of recoveries were unavailable, sources said officials were also carrying out surveys on some additional premises to get details of inventories lying in godowns.


At the time of filing this report, the raids were still being conducted and nothing concrete had emerged as a large part of the deals were found to have been made in cash, sources said.

An official associated with the operation said it was difficult to evaluate actual deals since no registration process was followed by the galleries under scrutiny.

Officials found that many art galleries had not even registered themselves while they were engaged in striking deals.

"The raids were also aimed at understanding the trends and keeping an eye on some of the players in the sector,"a source said.

The I-T department believes that the galleries were resorting to large-scale under-invoicing, reporting lower value than what they earned through sale of art work, and did not show a large number of works in their inventories raising apprehensions that many transactions were not being reported to the taxmen.

Some of the art galleries and art fund organisers whose names were given by the tax officials, however, denied that raids had been conducted on their premises.

"Art is big business now though unorganised and many people who are the link between the artist and buyers are making a lot of money, a large part of which is not reported and is out of the tax net. We have information of some of these deals. We have come across cases where income generated through sale and exhibition of art work is not accounted for,"said an official.

Following a survey conducted on some of the leading art galleries across the country in 2005, an I-T investigation revealed that a leading south Delhi gallery owner had imported prints worth Rs 10 lakh from UK but had not disclosed it in the list of goods brought into the country.

While this was a case where the gallery owner was caught, officials said this was a common modus operandi in the art business.

Over the past few years, the government has been keeping track of art purchases also with a view to track down individuals who had large disposable income but were not paying taxes.