Osian's Auction Catalogue Indian Antiquities Modern Contemporary Fine Arts and Books | April 2017

73 Nasreen Mohamedi 1937-1990 Untitled Ink & graphite on paper, c.1986-87 18.9 x 27.1 in (48.0 x 68.8 cm) (The frame and black mount is not part of the drawing, it is added to highlight the drawing.) Provenance Private Mumbai-based Collector; formerly acquired from Sarjan Art Gallery in 2001; previously purchased by Hitesh Rana from the late Pankaj Masher, a student of both Nasreen Mohamedi and Jeram Patel in Baroda. INR 2,400,000 – 3,600,000 USD 35,820 – 53,730 Full double-spread image on pp. 132-133 “Nasreen’s drawings raise the question of perspective in several different ways. Perspective as a ubiquitous premise of thought; and the vanishing point as the flip face of imagist art that is mostly representational and anthropomorphic and full of object presence, blocking the horizon by foregrounded bodies.” – Geeta Kapur in ‘Elegy for an unclaimed beloved’, rpt. in Nasreen in Retrospect .1995; p17. “She made me look at the ordinary and the mundane with fresh and curious eyes. The world always seemed to be alive, pulsating and changing when viewed through her eyes. It was full of wonders and these could be found just about anywhere, in the patterns on the beach, the wind in the trees or the play of light and shadows…” – Nina Sabnani rpt. in Nasreen in Retrospect Ashraf Mohammedi Trust 1995; p101. “Having done with the grid, Nasreen no longer invested in the entire space available on paper. One sees more empty areas than occupied spaces, and all that has to be said is now condensed in the form of a yantra. Applying her desired aim/adage–“maximum out of the minimum”–she sought to reweave the weft of her universe slowly but surely, with a few almost imperceptible lines thin as threads in the air. The ink is watered down, lines are sometimes left indented and empty, the pressure of the hand is lighter, the authorial mark barely traceable.” – Roobina Karode rpt. in ‘Nasreen Mohamedi: Waiting Is A Part of Intense Living’ Museo Nacional Centro De Arte Reina Sofia. 2015-16; p.41-43. 156 | Osian’s–Connoisseurs of Art