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সম্প্রতি বিক্রি হয়ে গেলো চির প্রণম্য কবি বিনয় মজুমদারের পোর্ট্রেটটি। ক্রেতা অধ্যাপক শ্রী Akash Biswas... এপার-ওপার দুই বাংলা মিলিয়ে সম্ভবত তিনিই সর্বপ্রথম কবিকে নিয়ে পূর্ণাঙ্গ গবেষণা করেছেন।সুযোগ্য মানুষের হাতে এ ছবি তুলে দিতে পেরে আনন্দিত।

Amrita Sher-Gil work fetches Rs 37.8 cr, second-highest after Gaitonde’s
V S Gaitonde's Untitled (1961), sold for Rs 39.98 crore in March this year at Saffronart, remains the most expensive by an Indian artist.
Written by Benita Fernando | Mumbai |
Updated: July 14, 2021 7:22:18 am

A painting by Amrita Sher-Gil, In the Ladies’ Enclosure (1938), fetched Rs 37.8 crore (USD 5.14 million) at auction house Saffronart’s sale in Mumbai on Tuesday. This is the highest achieved by the artist in an auction, and the second-most expensive artwork by an Indian.
V S Gaitonde’s Untitled (1961), sold for Rs 39.98 crore in March this year at Saffronart, remains the most expensive by an Indian artist. The previous record for Sher-Gil was Rs 18.7 crore for The Little Girl in Blue (1934) at Sotheby’s auction in Mumbai in 2018, according to art market intelligence firm Artery India.
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Sher-Gil is India’s most famous woman artist and recognised by the Indian government as a “National Treasure”, an honour which makes it illegal to take her art out of the country. The Indo-Hungarian artist died in 1941 at the age of 28.
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Saffronart CEO and co-founder Dinesh Vazirani said Tuesday’s record-breaking sale was “a clear indication of Sher-Gil’s artistic merit”.
Groups of women, such as this, are found in other paintings by Sher-Gil, where they form a community yet seem preoccupied in their own thoughts.
Artist Vivan Sundaram, Sher-Gil’s nephew, notes in an essay on the painting, that the figures are “portraits” of people known to Sher-Gil, all living in the family estate at Saraya, Gorakhpur, over long periods of time. “There is a personal informality to their representation,” he writes.
“This painting is among the artist’s most dense compositions to be featured for sale, at auction or privately, and painted during a crucial phase within the artist’s short-lived practice. Given its rarity and importance, it should have achieved a higher price, and will serve its collector richly as a capital asset, in addition to its unparalleled historicity and cultural bearings,” said Arvind Vijaymohan, CEO of Artery India.
Similar complex compositions are seen in other Sher-Gil paintings, such as Bride’s Toilet (1937) and Village Scene (1938).
Naturally drawn to art as a child, Sher-Gil was encouraged to study art in Paris where she learned the academic style of painting. She returned to India in 1934, marking the beginning of an evolution in her style and a deeper connection with her Indian roots. She travelled much of the country, imbibing its colours, sounds and people, and set up a base in Saraya.
Remarkably, her colour palette shifted, from blues and greens to earthy reds and browns, and she became more influenced by the cave paintings of Ajanta and Ellora and Rajput and Pahari miniature paintings. It is in this change that viewers can locate In the Ladies’ Enclosure.

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While Sher-Gil’s works on paper come up routinely in auctions, it is not often that her canvases get a chance to go under the hammer. Artery India’s data shows that over the past 34 years, only 68 works by Sher-Gil have been auctioned, achieving sales of Rs 193.1 crore. Of these, only 16 works were paintings on canvas.

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$12.7 billion in profits for exhibiting galleries. But why do collectors attend fairs in droves? And what’s behind their rapid international proliferation? The fourth installment of “The Art Market (in Four Parts)” tracks how the art fair has transformed from a trade show into a platform where all aspects of the art market—galleries, collectors, curators, and artists—converge, and why they keep coming back. Fair directors and art-world influencers like Noah Horowitz, Matthew Slotover, Elmgreen & Dragset, Michele Maccarone, Josh Baer, and Sarah Thornton provide their insights.

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