ArtsBespoke

Art worth handing down

A global family art house, home in Mumbai. Works are acquired and placed privately, held under one register, valued in writing, and answered for across generations rather than across a transaction.

Private sales · Valuations · Advisory · Consignment

  • A square Kalamkari style painting: a saffron yellow elephant face with a blue ornamental ear and white tusks, filled with small gold figures of Shri Ganesha Ji, a drummer and attendants, beside a green leaf band.
  • Unattributed, The golden face with lotus and leaves: a round canvas of a closed-eyed face in gold, covered in black-lined lotus flowers, leaves and scrolling foliage, set on a dark ground.
  • Kiran, A seated winged creature before a field of ink: a square abstract of white, black and saffron, with a pale seated winged creature and a red crest set against a deep brown-black mass.
  • A square Kalamkari style painting: a teal green face in profile with a white tilak; inside it Shri Krishna Ji plays the flute among cows, with devotees at upper left, a white paisley panel and a brown feather panel at the right.
  • Prakash Bal Joshi, Vermilion rising through ultramarine, 2024: a square abstract in ultramarine, violet and teal, with a vermilion form rising through the centre.
  • Chandra Morkonda, The golden tree and the white bull: a tall painting of a great tree with blue-and-gold leaves rising from a golden trunk and tangled roots, with a white lotus bank at the left, a white bull at the right and a crescent moon on a vermilion ground.
  • M. F. Husain, Women dancing before a yellow moon: a framed print of five women with raised arms dancing before a great yellow moon over water, with a boat, two small elephants and a tree hung with cloths.
  • A square Kalamkari style painting: an ivory white face with a vaishnava tilak and a flat orange disc at the mouth, with Shri Hanuman Ji figures with folded hands climbing the right edge beside a gold mandala.
  • Prasad KVS, The flute and the parrot: a landscape-format painting in red, blue and yellow of a blue flute-player in angular, cubist form, with a green parrot perched on a red shoulder.
  • Prakash Bal Joshi, A turquoise river and two gold forms, 2024: gold figures and a gold horizon cross a wide field of turquoise, teal and ultramarine, with plum-violet columns standing at the left and right edges.
  • A wide green canvas: a withered sunflower with a pixelated blue eye at its centre, held between two cupped hands, with tiny figures, grid lines and barcodes.
  • Unattributed, Cows and calf on lapis: a square painting of two white cows and a calf, ornamented in gold, against a flat field of lapis blue.
  • Prakash Bal Joshi, Crimson rain on a lit field, 2015: a tall abstract in crimson, rose and pale pink, with long vertical drips running down over a loose grid of lighter panels.
  • Swati, A rain-washed window onto green: a portrait-format painting of a rain-streaked window looking out onto green trees and a misty park, with water drops in white and black.
  • Unattributed, Maa Durga Ji and her children before the arch: durga with many arms stands in the centre of an arched shrine, flanked by attendants, with Shri Ganesha Ji in red at the left and the lion beneath her, on brown paper.
  • A square Kalamkari style painting: an olive gold elephant face in heavy black outline, filled with pale green figures of dancing and standing Shri Ganesha Ji, a drummer and a trident, beside a gold band and a turquoise leaf panel.
  • Kiran, The Buddha between flame and cloud: a square painting of a grey Buddha head and shoulders beside a red panel, with a glowing flame at the lower left and dark storm clouds above.
  • Unattributed, Shri Krishna Ji with the flute, in gold and vermilion: a square painting of a blue-green Shri Krishna Ji playing the flute, his body filled with small scenes of figures, a camel and trees, on a red and gold ground.
  • Prakash Bal Joshi, Cobalt currents, a gold seam, 2024: a landscape-format abstract in cobalt, ultramarine and pale blue, with diagonal sweeps of the brush and two seams of gold running from lower left to upper right.
  • Unattributed, a woman at the ghat, making her offering: a woman in a white sari stands knee-deep in a river at dawn, lowering an offering of flowers and lamps to the water with one hand and holding a brass vessel in the other, with temples, stepped ghats and umbrellas rising behind her in brown and gold haze.
  • A square Kalamkari style painting: a saffron yellow face in profile with a gold nose ring, a crimson lotus panel at the right, and Maa Lakshmi Ji seated on a lotus inside the contour within a patterned sari border.
  • Unattributed, Morning on the ghats: a landscape-format painting of a ghat on a river, with a sailing boat and ruined sail, stone steps, a fort wall and a palace, under a grey sky with clouds.
  • Thota Vaikuntam, Telangana lady, 2004: a seated woman with an olive-green face, red bindi, stacked gold bangles and a black sari dotted with white, on a cream ground.
  • Unattributed, A woman in a blue sari, worked in thread: a woman seen from behind in a purple blouse and a deep blue sari, a purple flower in her bun and one hand raised to her face, set against dark green walls with carved-stone patterns.
  • Sanjeev Sonpimpare, Embrace in two blues: a square abstract of two rounded blue figures in an embrace, one deep ultramarine and one pale cornflower, beside a large black-and-white printed disc and orange diagonal stripes.
  • Sanjeev Sonpimpare, Embrace beneath the banyan: a square painting of two blue figures in an embrace in front of a banyan with hanging roots, high-rise towers and low rooftops.
  • A square Kalamkari style painting: a turquoise face in profile with a white vaishnava tilak; inside the contour Shri Krishna Ji plays the flute, coiled by a patterned serpent, with devotees at the base and green and orange panels at the sides.
  • Unattributed, the conservatory with a flamingo and orchids: a tall panel of a glasshouse garden under palm fronds and hanging yellow blooms, with a pink flamingo on a pale path, pink and white orchids in the foreground, blue kingfishers and butterflies.
  • Chandra Morkonda, Four elephants and the green tree: a landscape-format painting of a great green tree with a gold trunk, four outlined elephants on a golden ground, a pink lotus and a second tree in pink and orange.
  • A square painting: a large vermilion half face in profile with a green eye, ringed by seated green and yellow deities, with a winged cow leaping over a brown and green chequerboard.
  • Unattributed, Horizon in three panels, orange and black: three canvases hung side by side form one wide landscape: a pale sky, a thin gold line, a textured black band and a field of deep orange over white.
  • Unattributed, Blue panels with a white ring: a landscape-format abstract of overlapping blue panels, from turquoise to navy, with patches of orange, ochre and white, and a small white ring near the top centre.
  • Kiran, A flame in the blue hour: a square abstract in deep ultramarine over a black ground, with a glowing white-and-gold flame form at the lower left and a small red-orange panel at the lower right.
  • Two stylised bulls face each other on a brown ground, their bodies filled with tiny scenes of Hindu deities, with gold and orange bands on horns, necks and legs.

View the work

Walk the gallery full screen

Now showing · Virtual Exhibition

Walk the house in 3D

59 works in five rooms, the Ravi Varma Press stones, a tool that hangs any work on a photograph of your own wall, a spoken audio guide, and a Hindi edition. Open at any hour, on any phone.

Walk the hall in 3DEnter the exhibitionRaja Ravi Varma & the stonesहिन्दी में

  • Thota Vaikuntam, Telangana lady
  • Ramesh Gorjala, Vermilion face with Kamadhenu
  • Prakash Bal Joshi, Vermilion rising through ultramarine
  • M. F. Husain, Women dancing before a yellow moon
  • Ravi Varma Press stone, Shiva’s family on the mountain
  • Chandra Morkonda, Four elephants and the green tree

What the house does

AB / SERVICES

Private Sales

A work changes hands without a room watching

A negotiated sale between two named parties. No public catalogue, no reserve announced to a room, and no permanent record of a lot that failed to sell. Discretion is the instrument, not the marketing.

How it works

Valuations & Estates

A figure you can show your insurer, or a court

Written valuations for insurance, succession, and division between heirs. The comparable results the figure rests on are issued alongside it, so the basis can be examined rather than trusted.

How it works

Collection Advisory

What to buy, what to decline, and why

Which period of an artist carries the weight, what condition a work is really in under raking light, and when the right answer is to wait. The advice includes the works we tell you not to buy.

How it works

Consignment

Selling a work you already own

A written estimate before any commitment, the reasoning behind it, and a straight recommendation between private sale and public auction — including when the auction room is the better answer.

20% commission on sale. Placed at the Art House for 30 days.

Begin

The market you are buying into

AB / MARKET

Highest price, Indian art

$17.9 M

Raja Ravi Varma, Yashoda and Krishna — the highest auction price recorded for any Indian painting.

Saffronart · 1 Apr 2026

One month's turnover

₹866 cr

Indian art auction turnover in September 2025 alone — a figure that exceeded some earlier full years.

Reported market total · Sep 2025

Founded

1947

The Progressive Artists' Group forms in Bombay — Souza, Raza, Husain, Ara, Gade and Bakre. Still the centre of the market.

Bombay · first exhibited 1948

Antiquity threshold

100 yrs

Above this age an object is an antiquity under the 1972 Act: registrable, and not exportable without a permit.

Antiquities & Art Treasures Act, 1972

These are public auction results and published market figures, not sales by this house. We show them because a collector deserves the evidence the market is actually priced against.

Every work carries its papers

AB / METHOD

Most disputes in the art trade are not disputes about taste. They are disputes about paper: who owned the work before, what was repaired and when, and whether the figure someone was quoted had anything behind it.

So the house works the other way round. A work is catalogued the day it arrives and given an inventory number that stays with it for life — on the condition report, on the valuation, on the invoice, and on every notice sent while it is in transit. Ownership history is written down and shown to the buyer before money is discussed, not after.

Where evidence is thin, it is described as thin. A gap in a provenance chain is stated plainly rather than smoothed over, because a buyer who discovers the gap later has been sold something other than the work.

Where we are strongest

AB / EXPERTISE

1947 onward

The Progressive Artists' Group

Founded in Bombay in 1947 by F. N. Souza, S. H. Raza, M. F. Husain, K. H. Ara, H. A. Gade and the sculptor S. K. Bakre; first exhibited 1948. The centre of gravity of the modern Indian market.

Post-war abstraction

Line, field and the Bindu

The abstract line running from V. S. Gaitonde's meditative fields to Raza's geometry, and the Neo-Tantra painters who drew on sacred diagram and cosmology as an abstract language.

The schools

Bengal, Baroda, Madras, Santiniketan

The Bengal School under Abanindranath Tagore, Kala Bhavana from 1919, the Madras Movement and Cholamandal from 1966, and the narrative figuration of Baroda.

We deal in what we can document. Where a work sits outside these areas, we say so and, where we can, name the specialist who should see it instead.

The viewing room

AB / ROOM

Scale is the thing photographs never tell you. Set the dimensions of a work below and it is hung on a wall of known width, lit as it would be lit here. Move your pointer to look around the room.

Move to look around

cm cm

The panel on the wall is the house's own ground, drawn in your browser. It is our identity, not a work for sale, and it is there so the room can be shown honestly without borrowing someone else's painting. To see a work on your own wall, use On Your Wall.

Enquiries

Tell us what you have, or what you are looking for

Every enquiry is read by the Client Advisory desk and answered the same day. A photograph and whatever history you hold is enough to begin.

Write to Client Advisory Get in touch

Or read how a consignment works before you write.

The house, in figures

AB / FIGURES

Indian masters

23

Each with its published auction record and how the house values against it.

Selling a master

Cities served

12

One house in Mumbai, serving collectors in India and abroad.

Collectors by city

Guides

12

Plain answers on buying, selling, valuing and moving Indian art.

Read the guides

Buyer's premium

0 %

The printed price is the whole price. No deposit to enquire.

How to buy

Find your way in

AB / GUIDE

Buying

For your home, a gift, or an office

What is available today, what it costs in full, and how buying works.

Works available How to buy

Learning

Before you decide

Plain guides on value, authenticity, homes, gifts, offices and taking art abroad.

Read the guides

People

Who answers for it

The Founder, the Chairman and the heads of the house, each with a direct line.

The heads of the house

Places

Wherever you collect

How a Mumbai house serves collectors in twelve cities in India and abroad.

Collectors by city

Institutions

Families, trusts and companies

A catalogue and register of what is held, written valuations, and works for a space.

Send the brief

Standards

What the house holds itself to

A named person, one reference for life, and evidence stated only as far as it goes.

Our standards

Glossary

The words, explained

Thirty six terms a collector meets when buying, selling or valuing art.

Read the glossary