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Lot 13
Badri Narayan (1929 - 2013) - Lot of 2 Artworks.
Estimate : 6,00,000 - 8,00,000

In 1957, Narayan had begun working for Vitrium Studio (later Hexamar Studios) at the behest of the studio’s director, Simon Lifshutz who was a Jewish immigrant. Here, along with his friends including Sharad Palande, Narayan discovered the medium of ceramics. This lot is typical of the work Narayan did in the late 1950s and 60s at this studio. 


According to Prema Viswanathan in her book titled Badri Narayan: Portrait of the Artist as Storyteller, “working with this challenging, yet tactile material which had fired the imagination of the world’s earliest artists, helped the young painter to hone his craftsmanship, excavate his memory for deeply buried shards of fantasy and forge the visual vocabulary that he would deploy in the years to come on canvas, tile and paper.” Quoting Foy Nissen, a Bombay-based photographer and historian who was Narayan’s friend, she delves into how the artist would carry his tiles from the studio and leave it at Nissen’s apartment on Cumbala Hill. She also reveals how Narayan himself said that he sold such ceramic tiles for Rs. 10 in the 1950s and that Mulk Raj Anand, who was an important figure in the arts and a well-known collector then, wanted to buy one of Narayan’s works for Rs. 45.


Reference: Prema Viswanathan, “Call it a Day,” Badri Narayan: Portrait of the Artist as Storyteller (The Marg Foundation, 2020), 41-42.


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Description

In 1957, Narayan had begun working for Vitrium Studio (later Hexamar Studios) at the behest of the studio’s director, Simon Lifshutz who was a Jewish immigrant. Here, along with his friends including Sharad Palande, Narayan discovered the medium of ceramics. This lot is typical of the work Narayan did in the late 1950s and 60s at this studio. 


According to Prema Viswanathan in her book titled Badri Narayan: Portrait of the Artist as Storyteller, “working with this challenging, yet tactile material which had fired the imagination of the world’s earliest artists, helped the young painter to hone his craftsmanship, excavate his memory for deeply buried shards of fantasy and forge the visual vocabulary that he would deploy in the years to come on canvas, tile and paper.” Quoting Foy Nissen, a Bombay-based photographer and historian who was Narayan’s friend, she delves into how the artist would carry his tiles from the studio and leave it at Nissen’s apartment on Cumbala Hill. She also reveals how Narayan himself said that he sold such ceramic tiles for Rs. 10 in the 1950s and that Mulk Raj Anand, who was an important figure in the arts and a well-known collector then, wanted to buy one of Narayan’s works for Rs. 45.


Reference: Prema Viswanathan, “Call it a Day,” Badri Narayan: Portrait of the Artist as Storyteller (The Marg Foundation, 2020), 41-42.


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