Vikram Bachhawat, Dadiba Pundole and Samindranath Majumdar in the dock in Fake Art case

Antiquated in august light

The Monsoon Edition of the Art + Antiques Show is back at the Whitefield venue of Bid & Hammer. As soon as one enters the expansive premises, you are enamoured by the sheer number of artworks and collectibles on display.

The very English sounding theme adds to the charm and you are transported into the weekend county markets of England, where you can buy from a selection of quality period furniture, curios, lamp shades, vintage photos, lithographs and ephemera from the days of yore.

What’s more, one can also pick up artworks of contemporary Indian artists and printmakers such as SG Vasudev, Yusuf Arakkal, Jyoti Bhatt, R Raja and Vijay Bagodi among others besides admiring works of the modern Indian masters that are to be featured in the upcoming auction — these include rare oils by Manjit Bawa, MF Husain, SH Raza, Bhupen Khakhar, GR Santosh and also the Bengal School stalwarts such as Rabindranath Tagore, Gaganendranath Tagore and Nandalal Bose to name a few. It is pertinent to revisit the last auction that created quite a stir and eventually proved that the country’s pioneer multi-category auctioneer has the most robust vetting and authentication process.

The moment you enter this silent yet artistic setup in Whitefield, you get a sense of royalty. Exotic lamps, antiques dating back to centuries and exquisite artworks showcase the elaborate and phenomenal collection that has been amassed over several years of mastery.

Speaking of their previous auctions and the passion to exhibit authentic art, they have a team of art scholars, backed by the Dadha family, who legally established that business rivals who hoarsely cried “fakes” about unquestionably genuine art works cannot take away the veracity through a media campaign alone.

Those brought in the dock include Dadiba Pundole, Vikram Bacchawat and Samindranath Majumdar against whom warrants have been issued. As the auctioneers pursue cases against the other perpetrators, with the aim of preventing cartels from manipulating the art market in the future, one will have to wait awhile for their next auction.

Until then, not to be weighed down by these tussles, amidst a frantic schedule of shortlisting consignments and negotiating private sales, Ankush Dadha, director of the auction house, also launched bnhshop.com, an online store for curated home decor and jewellery that will compliment the physical show at Whitefield.

Speaking about the same he said, “In between auctions, we wish to continue engaging our patrons and catering to a new collector base through these endeavours that do not involve the formalities of an auction. No bids, no registration, the works are available at a flat price and you don't lose the advantage of buying through us.”

The expansive art collectible space with a marvelous collection is sure to enthrall antiques lovers. Drop into the space to experience the aesthetics of antiques and limited edition art.

Every Weekend until July 17, at 11 Whitefield Main Road.

The writer is an art curator and art expert.

(Source: Harish Kumar Sejekan, Deccan Chronicle, 18th June 2016) 

HC to hear plea on irregularities in National Gallery of Modern Art

NEW DELHI: A plea was moved in Delhi High Court on Wednesday seeking direction to the Centre to investigate the irregularities allegedly caused by the officers of the National Gallery of Modern Art (NGMA) here.

The plea, filed by a social worker, came up for hearing before a vacation bench of justices V. Kameswar Rao and I.S. Mehta, who fixed the matter for hearing on July 13. Petitioner Sharad Tiwari, in his plea filed through advocate Sugriva Dubey, stated that the NGMA, a sprawling complex at the India Gate roundabout, is not being managed properly and there was a threat that the costly items preserved there could be stolen.

Mr. Tiwari claimed that even after the findings of an audit, the Ministry of Culture and the NGMA have not taken any action in respect of the irregularities pointed out by the Auditor General, whose report has been kept in abeyance allegedly at the instance of some persons, who are close to top bureaucrats of the ministry under which the art gallery is maintained.

“The details of the audit report for the year 2012-13, 2013-14 have not been given and the same have been concealed,” the plea said.

The NGMA is the premier art gallery under the Centre. The main museum at Jaipur House was established on March 29, 1954, with subsequent branches at Mumbai and Bangalore.

Its collection of more than 14,000 items includes works by renowned artists including Rabindranath Tagore. Some of the oldest works preserved here date back to 1857. The Delhi branch is one of the world’s largest modern art museums. — PTI

(Source: The Hindu, 30th June 2016)

Related Posts:

1. NGMA Delhi director Rajiv Lochan quits office: Economic Times, 30th June 2016 

The 5 biggest unresolved Indian art scams of the decade

Image Courtesy: Economic Times Newspaper

2006: Christies & their partner Vadehra Art Gallery offer fake works at auction

On 30th March 2006, Christies, in consultation with its Indian partner Vadehra Art Gallery of Delhi, withdrew as many as six lots from its SALE 1762 of Modern & Contemporary Indian Art in New York. No explanation whatsoever is available in the public domain explaining why those lots had been published in the catalogue in the first place, thus establishing that an auction house just by virtue of being one of the oldest or largest ones is not necessarily the most reliable ones when it comes to distinguishing between counterfeits and original works. 

As per a report in the Hindustan Times the works, that included two watercolours by MF Husain, three works by FN Souza and a tempera by Ganesh Pyne, also had dubious provenance.

Read More: http://www.hindustantimes.com/nm8/christie-s-drops-fake-indian-art/article1-81785.aspx

In the past also Christies have been caught in similar controversies –

1998 - two of Ajoy Ghose's award winning Chaitanya paintings were listed in Christies catalogue as Nandalal Bose's. Ghose's signature had been replaced with a scrawl that read Nando. Their sale, at Rs 3.64 lakh each, was revoked later.
Source: Hall of fakes – India Today, 21 Feb 2000 

2001 - a Manjit Bawa was withdrawn from the Christies auction after the artist informed the auction house that he had nothing to do with the painting and that his signature appearing at the right-hand bottom corner was forged.
Source:
1. Mystery of the fake Bawa – Tribune, 14 Jan 2001 
2. Two Coats of Paint: Welcome to the dark world of art fakes – Indian Express, 6 July 2014 

2009: Saffronart and Osians under Income Tax Dept scanner

Rigging Auctions?

An investigation into the business practices of Osians and Saffronart had revealed several irregularities in their account books, including a possible attempt to rig the price of artworks and dupe investors, according to an income-tax (I-T) department official involved in the probe.
Saffronart was also charged for carrying out numerous cash transactions.
While Neville Tuli and the already beleaguered auction house Osians have been declared defaulters as recently as 11th March 2015 by IDBI bank, it would be in the interest of the art collectors if Saffronart can throw light on what was the final outcome of these investigations.

Inspite these investigations Saffronart continues to offer works at such low prices as evident from its upcoming auction of Modern & Contemporary Art on 12-13 May 2015  wherein a work by S H Raza (lot 21, titled ATMARAS) estimated at Rs 80 Lakhs - Rs 1 crore is available for an unseemly low starting bid of Rs 1,550 – Are there actually such gullible sellers who would be willing to even consider giving away such works at such prices or is it not a a way of misleading prospective bidders? Therefore, it is not a surprise that the IT department accused Saffronart of rigging the price of artworks during its raid in 2009.

Read more: http://www.livemint.com/Home-Page/sz8y3xIQRg5D4VMmLPAl6H/Premier-art-houses-under-IT-scanner.html

Related Links:

TheWorst Kept Secret: Open Magazine, 5 Dec 2009 

NevilleTuli, Osian's Connoisseurs declared as defaulters by IDBI Bank: 11 March 2015 

2009: Fake Raza's at Dhoomimal Art Gallery

The discovery of Raza fakes in January 2009 at Dhoomimal Art Gallery in Delhi, at a show the artist himself visited, sent the art fraternity in a shock as the event was hosted by his nephew and at a gallery with whom he has had a relationship for several years.

The following quote from Dr. Alka Raghuvanshi in an article in The Asian Age on 9th April 2015 sums up the fact that this controversy has still not died down "A case in point being S.H. Raza’s show at Dhoomimal’s where he had declared that each one of those works hanging there were fake. Why would an old gallery with a reputation to protect hold a show of fakes and invite the artist himself to inaugurate the show is an unresolved point. Incidentally his market crashed soon after when galleries were approached to buy back stuff painted by him".

An important point to reiterate here is that family members cannot and should not be thought of as qualified authenticators of their kin's art. The more worrying aspect is that the gallery owners authenticated the work solely basis the provenance and not on the merits of the work when many experts claimed that the works were not even well rendered fakes. However, it would be even more disturbing if the following information published in the Economic Times on 30 Nov 2014 is to be believed “Art industry insiders suggest that Raza, who will turn 93 in February, is in indifferent health and a lot of assistants who are artists are working in his studio to produce paintings that should not be signed by Raza as his own”.

Related Links:

Painter finds fakes at art show 

Artworld rocked by fake Raza show in Delhi gallery 

2011: Tagore - Fake or Not?

An entire exhibition of Tagore paintings by the Government College of Art was alleged to be fake. The principal of the college Dipali Bhattacharya was suspended a month before her retirement in the wake of the controversy and the matter landed up with the State Crime Investigation Department and the courts. The Archaeological Survey of India (ASI) was asked to comment on the authenticity of the paintings and they filed a report stating that these were not original Tagores.  (Source: 30 Nov 2014, Economic Times)

However, the Government Art College, stood its ground. In a statement, Dipali Bhattacharya wrote: “On behalf of the organising committee of the Tagore Show, I can only express my shock, disappointment and disgust at such an irresponsible statement made by someone [referring to Pranabranjan Roy] who has neither cared to personally inspect the exhibits nor cared to put them through any established method to verify their authenticity. The Government College of Art and Craft is proud to host the Tagore Show and dismisses such comments with the contempt that they deserve.” (Source: The Telegraph, 2 March 2011)

As per an article published in Economic Times on 30 Nov 2014, the matter is still in the courts. It remains to be seen whether R. Siva Kumar and Susobhan Adhikary, teachers at Kala Bhavan Viswa-Bharati University and also the whistleblowers of this matter, are found guilty of conspiracy or is it Dipali Bhattacharya who is to be held accountable.

Read More: http://www.telegraphindia.com/1110302/jsp/calcutta/story_13655903.jsp

2014: Sex, Lies and Art Theft: How Sheetal faked a Rs 100 crore heist

This is easily as big a counterfeit controversy as others and came to light after approximately 2.5 years of botched up conspiracy theories and half-baked investigations. The works forged were by Manjit Bawa, V S Gaitonde and others and had been restored for Sheetal Mafatlal by Pundoles Art Gallery & Auction House. Like a bollywood potboiler this tale of deceit involved many bizarre twists and unbelievable turns. 

Read More: http://mumbaiwalla.com/sheetal-mafatlal-art-faking-inside-story/

Related Links:
Mafatlal firm owns 5 paintings that Sheetal replaced with fakes: 9 March 2015, Times of India

"Not a single work was a fake"

Maher Dadha, CMD of Bid & Hammer, clears the air on the controversial allegations of counterfeits by business rivals that hit the firm’s last auction in Delhi (excerpt from interview to PTI):

In retrospect was it imprudent to have gone ahead with the auction of 'Significant Indian Art' in Delhi last year, despite allegations of counterfeits in the collection?

Not at all. On the contrary it showed the true mettle and credibility of our team who had the confidence to stand by their assessment of the authenticity of the artworks. Also, the participation of the known and serious art collectors at the auction reaffirmed our decision was right.

The truth was that the majority of those who claimed the art works were fake were no experts. Those who apparently had made unverified guesses at the behest of some rivals wanted to stop the auction at any cost and tarnish our goodwill. A case in point is ‘Delhi Art Gallery’ posting 'defamatory material' on its Facebook page and 'orchestrating rumours'. At our last paintings auction in Delhi, their insecurity came through by the following statement to a newspaper “Bangalore-based Bid & Hammer's attempt to grab a bite of the lucrative Delhi market has been viewed with something akin to suspicion”.

The auction was widely publicised and the catalogue was out months in advance but none of the critics had attended the preview, inspected the documents or clarified their apprehensions with Bid & Hammer’s experts thus raising questions about the legitimacy of their concerns. The fact that most of the allegations were made via the media and on the day of the auction is further evidence of propaganda. Genuine works cannot and should not be simply brandished as fakes by malafide and untenable allegations.

Many auction houses risk discovering fake works - whether it is a Bowring's, a Christies or a Sothebys, your take on this with respect to your auction?

Is there any proof that even a single work was a fake? All the works were authentic. If there had been compelling evidence we would have had no hesitation in accepting our mistake and removing them from auction instead of going in for a public undressing that too in my family's 100th year of enterprise.

What is your opinion on calls for a regulatory body to check fake art?

Very few people in the art market in India today can claim to have a spotless image or the capacity to walk the talk as authenticators. Most have an agenda to earn fame and money even if it entails manipulating the market directly or indirectly.

As such, tainted members already associated with art cartels are the ones who will most likely find their way on such regulatory bodies. Thus we are not in favour of it unless a broad consensus acceptable to each and every fraternity member is arrived at.

What are the best ways of authenticating an art work – authenticating organisations or artist foundations?

There are certain principles and basic procedures that need to be followed to determine whether a work is genuine or questionable.

In the west, authenticating organisations or regulatory bodies or artist foundations have been established and disbanded time and again as they have been found floundering and self-serving more than anything else. Even in India, the talk of regulatory bodies has never taken off because of the vested interest of the people who espouse it.

Artist foundations, run primarily by family members of late artists, are also viewed with suspicion because it is common knowledge that just by virtue of being a family member a person cannot claim art expertise.

Can you comment on the criticism of Susobhan Adhikary, museum curator of Viswa Bharati, questioning a Rabindranath Tagore's artwork at the auction last year?

No expert of standing makes an affirmative comment without inspecting a work and accompanying provenance documents, more so, when another expert of equal, if not greater repute, has vetted the work. Prof Ratan Parimoo who is an authority authenticated our work.

What are the future plans of Bid & Hammer?

We will continue to offer a wide range of rare, exquisite and quality art, antiques, jewellery and collectibles through our auctions. The auction schedule will be announced shortly.

Do you have plans to make Delhi the main base for Bid & Hammer?

We would soon have a representative office in Delhi and by the time of our next auction to be held there we will be on course to making the capital the hub of our paintings and decorative art auctions.

Related Posts:

1. Not a single work was a fake: Bid & Hammer | Economic Times | 1st April 2015 
2. Not a single work was a fake: Bid & Hammer | The Echo of India | 1st April 2015

3. Due diligence for all works put on sale: Bid & Hammer | Business Standard | 22nd March 2015
4. Regulatory body to tackle fake art untenable: Bid & Hammer | Business Standard | 24th Jan 2015

Criminal case against Delhi Art Gallery & others for 'fake allegations'

Dispelling the rumours that some of the works in its Significant Indian Art auction on 27th June 2014 were fakes, Bid & Hammer (B&H) has filed a suit under section 200 of the Code of Criminal Procedure, 1973 read with sections 499 and 500 of the Indian Penal Code, 1860, read with section 66a of the Information Technology Act, 2000, before Justice M C Nada Gowda, IInd Additional Chief Metropolitan Magistrate Bangalore, against Ashish Anand of the Delhi Art Gallery (DAG) and others for “defaming” them by making “allegations and insinuations that are clearly and palpably false and render a highly negative image of the works brought to auction by the complainant, despite the highly credible process of authentication. These allegations not only undermine the reputation of the complainant and its directors, experts and employees but also of its consignors such as grand-daughter of the Maharaja of Burdwan, freedom fighter Radha Devi Goenka, actress Namrata Shirodkar and others”.

Buoyed by its recent landmark victory in an art authenticity case, in this suit B&H has dwelt at length about its “formidable reputation as the open market auctioneer of genuine art, artifacts and original paintings of well reputed artists”. It also speaks about the rich legacy of the 1000 year old Dadha family – promoters of the auction house who have been in business for 100 years. “The accused (DAG) have made imputations intentionally and deliberately without clarifications from the complainant to undermine and tarnish the reputation of the complainant in the society,” the defamation suit said. The other accused are Abhilasha Ojha, Kishore Singh and the Times of India newspaper group.

B&H has submitted evidence to establish that in a bid to sabotage its auction and mislead the art collecting fraternity the accused (DAG) continuously posted “offensive material” on social networking sites and made other such undue attempts to tarnish its goodwill and create mistrust among prospective bidders by orchestrating a smear campaign to thwart the auction. Ashish Anand had claimed that 90% of the works were fakes and quoted “The recent development with regard to the authenticity of works by masters at a forthcoming auction has sent alarm bells ringing once again. How do we regulate this? Especially when experts have given their opinion, which is negative, in regard to a very large body of works. We hope people will support our cause and the framing of an art council will attend to all such matters with due urgency”. However, B&H pointed out that as per a news article on 27th June 2014 it was Delhi Art Gallery that had been guilty of selling a fake Rabindranath Tagore work to art collector Vatsal Poddar. Also, Ashish Anand was one of the first few to order a copy of the catalogue when it came out weeks in advance, then why did he wait till the auction day to go to the media asks Ankush Dadha, Director of B&H, as he goes on to state, “A call for a regulatory body spearheaded by a coterie of competitors just on the eve of our auction was in absolute bad taste with the only intent to directly and indirectly scuttle the success of our auction”. He further added, “in any which way such a body will not be tenable as tainted members & art cartels may sit on it to manipulate the market”.

The cause of friction stems from B&H deciding not to accept consignments from DAG after its inaugural auction in January 2008. Even at B&H’s last paintings auction in Delhi DAG and its associates continued their onslaught by making the following statement to a newspaper “Bangalore based Bid & Hammer’s attempt to grab a bite of the lucrative Delhi market has been viewed with something akin to suspicion”, thus demonstrating their insecurity at B&H’s forays in the Delhi art scene. On that occasion DAG had unscrupulously spoken on the provenance of the Ravi Varma works in B&H’s catalogue, a jibe that was silenced by B&H’s rejoinder to the newspaper and followed up by the comprehensive victory in the suit against Kiran Nadar. More recently DAG has also been trying to enter the auction space on its own which has created confusion among buyers due to the conflicts of interest such a model presents – a gallery is meant to be the primary market and an auction house the secondary market and a clear distinction between the two is in the best interest of the buyer. DAG should realize this without trying to compete in an undignified manner to polarize experts and monopolize the market.

Ashish Anand’s tactic of attacking others and claiming that they proliferate fakes is only a defense mechanism to safe-guard his unverified stock hoarding of over 30,000 works, which he has been desperately trying to offload. The numbers are too astounding and to add to the mystery is whether all the works are authentic and carry provenance documents and purchase receipts – thing’s that are easily fabricated by forgers these days. By being seen at auction rooms and picking up a work or two doesn’t imply that the rest of one’s inventory pile can be passed off as genuine. Only a thorough investigation of his transactions can throw light on this.

Nonetheless, this suit might give the much needed peek into the conspiracy theories that plague the art market and consequently coerce art dealers into becoming more transparent.

Rajani Prasanna, daughter of artist K K Hebbar who had also joined hands with Ashish Anand in this smear campaign by questioning the works by her father, very peculiarly did not check the certificate issued by her own sister Rekha Rao. The auction house plans to implead the sisters as well in the suit.

B&H’s competitive pricing has regularly created unease among the dominating local gallery owners who potentially risk losing out on clients that have paid inflated prices for works purchased through them in the past. As a result these gallery owners are ganging-up and indulging in mud slinging. In the higher interest of Indian art, with the objective of quelling such unhealthy attitudes and DAG’s persistent attempts to malign its prowess, B&H, through this suit, has sought for “appropriate action against the accused persons in accordance with law for the offences committed, by punishing them and grant such other further reliefs as are just”.

(Source: http://www.indianshowbiz.com/?p=83498) 

Related Posts:

1. Bengaluru court orders police probe into 'fake art' case | Deccan Herald | 20 March 2015

2. Ravi Varma painting not fake: K'taka HC appointed arbitrator | Defamation Suit filed against Delhi Art Gallery | The First Mail | 15 February 2015  
3. Due Diligence for all art works put on sale | Business-Standard | 22 March 2015      

    

Christie’s to hold auction in Mumbai next month

Christie’s -- one of the world's largest art auction house -- will hold an auction in Mumbai on December 11, exhibiting the works of some of India's leading names in the modern art movement. Works by Vasudeo S Gaitonde, the Tagores, Jamini Roy, Tyeb Mehta and Francis Newton Souza will be offered alongside 10 contemporary pieces donated by artists. A special preview of the artworks to be auctioned was held in Delhi on Friday.

Christie's Mumbai head of department Sonal Singh said: “Christie's second sale in India underlines the every growing demand for the best Indian modern and contemporary art by national and international collectors. Our first sale in India welcomed 35% of new buyers to our sale room in Mumbai. Furthermore, the 80 artworks on sale, as well as our support to different cultural initiatives throughout India and abroad, demonstrate our long term engagement with India, its art and its art community." 

Tyeb Mehta’s mastery of composition and economy of line is evident in the painting Untitled (Falling Bull) which leads the sale. Showing the central figure of a bull on a rickshaw set against blocks of vivid colour, it showcases Mehta’s recurring motif. “For me, the trussed bull is a compulsive image,” he said.

One of the last works by the internationally recognized artist Vasudeo S Gaitonde (1924-2001), for sale just six weeks after the opening of a retrospective of his work at the Guggenheim Museum in New York, will be another highlight in the auction. Offered by a private collector in India, it was painted in 1998, the last year he is known to have worked, and only a few years before his death. Painted in vibrant hues of green, this painting is expected to fetch for Rs. 5.5 to 7 crore, and has never been offered for sale at an auction before. 

A remarkable pocket book belonging to artist, Nobel laureate, poet and philosopher Rabindranath Tagore is the most unique addition to the sale. The journal, written in Bengali by Tagore himself, is a rare mixture of poetry, art and introspection.

(Source: Hindustan Times, 29 November 2014)

ABOUT CHRISTIES: Christie’s opened its first representative office in Mumbai in 1994. The following year, Christie’s held its first stand-alone Contemporary Indian art sale in London. Christie’s conducts regular sales of Indian art in New York and London, and is the market leader in Classical, Modern, and Contemporary Indian art. In India, Christie’s has lent its support and international reach to the India Art Fair, to exhibitions like Homelands, organised by the British Council in New Delhi, Mumbai, Kolkata and Bengaluru, and to several not-for-profit initiatives. Over the last two years, Christie’s has also partnered with the Asia Society India Centre to convene visits to artists’ studios and present a series of talks on art, architecture and other subjects.