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The Indian modern and contemporary art market is flourishing even during the pandemic – The Hindu

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While the economy has tanked during the pandemic, Indian art has not only flourished, it has set record prices

On September 3, 2020, a new record was set in the Indian art world. A 1974 untitled V.S. Gaitonde oil was auctioned by Pundole’s in Mumbai for ₹32 crore. The unnamed international buyer bought the 60×40 inch work remotely, over the phone, in what is fast becoming the norm in these times of pandemic.

The art belonged to the Glenbarra Art Museum in Japan, owned by businessman and collector Masanori Fukuoka who has one of the largest collections of modern Indian art. It broke the record variously held by another Gaitonde that fetched ₹29.3 crore at a Christie’s auction in Mumbai in 2015; Raza’s Tapovan, which fetched ₹29.03 crore at another Christie’s auction held in New York in 2018; and by Amrita Sher-Gil’s The Little Girl in Blue that fetched ₹18.6 crore at a New York auction in 2015.

The Pundole’s sale is only one of several successful online auctions of 2020. In an economy that has largely suffered during the pandemic, the Indian modern and contemporary art market has not only flourished, it has set record prices compared to previous years.

200 online auctions

According to Ishrat Kanga, Deputy Director and Specialist, Head of Sale at Sotheby’s London, the first half of 2020 has seen $575 million in private art sales worldwide, up by 10% from last year.

Sotheby’s latest auction of Indian artwork, Modern and Contemporary South Asian

Vasudeo S. Gaitonde’s untitled painting that fetched ₹29.3 crore

Vasudeo S. Gaitonde’s untitled painting that fetched ₹29.3 crore  
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Art, was in London on September 29, and featured 16 unpublished works, including pieces by Gaitonde and Ram Kumar as well as Bhupen Khakhar’s 1971 Portrait of Shri Shankerbhai V. Patel Near Red Fort. The last was estimated at ₹4.3 crore and sold for ₹19.17 crore. Khakhar, of course, had a huge exhibition at Tate Modern in 2016, lending more visibility to not just the artist but to Indian art in general in the U.K.

An important aspect at this juncture, as much as the quantum of sales, is the audience adapting to the changing ways in which art is now viewed. “We have held almost 200 online auctions so far in 2020, four times the number last year. And 88% of all bidders at Sotheby’s in the first half of 2020 were online, over a third of the online buyers were new patrons, and over 25% of our buyers worldwide were under 40,” says Kanga.

Art as comfort

Last month, artist Waswo X. Waswo had an online party and artist walkthrough, followed by a Q&A, for the opening of his new show at Gallery Latitude 28 in New Delhi. The audience, he says, was global. “A lot of sales happen during the opening, when people meet each other and in the general euphoria, ask gallery owners to save artworks for them. That’s not happening now. So, we held an online opening, and more than a hundred people joined in, from Pakistan, Switzerland, Delhi and Goa.”

S.H. Raza’s ‘Tapovan’, which fetched ₹29.03 crore

S.H. Raza’s ‘Tapovan’, which fetched ₹29.03 crore
 
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Special arrangement

In August, Kolkata’s Victoria Memorial Hall and New Delhi’s DAG Museums jointly organised ‘An Inheritance of Imaginations’, one of the largest online exhibitions where, probably for the first time, a vast selection of paintings by Rabindranath Tagore and Gaganendranath, Abanindranath and Sunayani Devi Tagore was displayed and discussed.

The positive response to online viewings and auctions has taken artists and gallerists alike by surprise. Says Roshni Vadehra, director of Vadehra Art Gallery in New Dehi, “We thought it would be extremely challenging to convince people to buy art during such uncertain times, but the response has been quite amazing. One reason could be that people are at home. They’re not spending on vacations, so they spend on art or they look at art as a source of comfort.”

No government support

Galleries are also going out of their way to connect with collectors. ‘In Touch’ is an online collaboration between 10 galleries in India and Dubai, where they pool exhibitions, knowledge, audiences and share prices. Another collective of 15 galleries has come together on a platform called TAP India, started by Sharan Apparao of Chennai’s Apparao Galleries, to hold exhibitions, talks and online events once a month. Vadehra Art Gallery and Nature Morte in Delhi have refurbished their online shops and Sotheby’s has added a ‘Buy Now’ section on its website.

The buoyancy in sales, however, doesn’t benefit all artists equally. As Apparao points out, “For every hundred artists, only three succeed. Some have been forced to sell their works cheap because they are not like galleries or collectors who have a cushion.” Waswo, who works with miniature artists in Udaipur, concurs. “I have told the artists who work with me that I can pay them for 12-18 months but other miniature artists, who supply to tourist shops, are selling tea to feed their families.”

There is also the matter of non-existent government support. Unlike many other countries, in India, there are no tax breaks or subsidies for artists and craftsmen. Art attracts some of the highest taxes at 12% GST and an import duty of nearly 15%. Apparao says there are many ways in which both the government and collectors can help build up the art market. “It’s not only about sales,” she says. “You’re also talking of collectors building up a base of educational information and about government infrastructure. About more courses, common platforms for performing arts, and government help to struggling artists.”

The ways in which the art fraternity has banded together to create new ways to sell art during the pandemic, as well as the unexpected jump in art sales, are great gains. Ideally, this learning should be used as a springboard by the fraternity to adapt and innovate in other ways as well.

The writer is the author of a fantasy series, and specialises in art and culture of South East Asia.

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Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

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In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

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Ukrainian sells art in Essex while stuck in a warzone – BBC.com

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Ukrainian sells art in Essex while stuck in a warzone  BBC.com

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Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

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The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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