FINAL magamejia

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MULIEBRITY
“...but most of all unwilling to forget her or to explain to anyone the greatness and the power
glistening through her”
Magamejia AuctionH

CONTENTS
6
AUCTION INFORMATION
8
PREFACE
12
JAPAN
24
CHINA
34
INDIA
49
CONDITIONS OF SALE
53
GUIDE FOR ABSENTEE BIDDERS
55
SPECIALISTS AND AUCTION ENQUIRIES
56
ABSENTEE BID FORM

AUCTION IN LONDON
8 MAY 2014
7:00PM
CHARITY SALE
EXHIBITION
FRIDAY 2 MAY 2014
10.00 AM – 5.00 PM
SATURDAY 3 MAY 2014
10.00 AM – 5.00 PM
SUNDAY 4 MAY 2014
10.00 AM – 5.00 PM
MONDAY 5 MAY2014
10.00 AM – 5.00 PM
TUESDAY 6 MAY 2014
10.00 AM – 5.00 PM
MULIEBRITY

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PREFACE
Since time immemorial women have been worshipped, adored, cherished and admired. However, they have
been simultaneously defamed, castigated and condemned as demonstrated by the history of art.
The woman can be symbol of fertility, ideal of beauty, vector of dream, Eve temptress, ideal of purity, Virgo
which intercedes, partner of the man, the civilizing, absolute maternity and the love, the whore, the courtesan,
the femme fatale, the woman warrior, fragile woman, woman object, woman victim, spread woman, asserted
woman...
More than a simple subject matter, the representation of the woman reflects in art the aesthetic, sociological,
moral conceptions and the time in which the work was created. How women are portrayed in art tells much
about the status and roles of women in society and the place where men wanted them.
Through this exceptional sale organized for the benefit of the association The Asia Foundation which
celebrates its 60th birthday, Magamejia proposes a journey through India, Japan and China and their
perceptions of the Woman since the 18th century.
This sale helps to understand the evolution of artist’s mentalities and freedom and how depictions of the
Woman in Asia are different from the Western depiction.
These depictions reflect changing attitudes and different artistic movements, influenced or not by the Western
art.
From a young and traditional Maliyali lady to a very provocative “Bisiyoujo” , those works
represent the quintessence of the Asian beauty with its sensuality, delicateness and subtility.
.

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ABOUT THE CAUSE
The Asia Foundation celebrates its 60th anniversary and remains committed to the mission
of improving lives, expanding opportunities, and helping societies flourish all across
the region. This milestone is an extraordinary accomplishment and reflects The Asian
Foundation founders’ values and commitment to Asia’s sustainable growth and development.
Formorethanhalfacentury,TheAsiaFoundationhasbeenaleaderinhelpingwomentorealizetheir
potential. This foundation believes that investing in women fundamentally strengthens families
andsocieties.TheWomen’sEmpowermentProgramdevelopswomen’sleadership,strengthens
women’s organizations, increases women’s rights and ensures their personal security, and
creates new political and economic opportunities for women across the Asia-Pacific region.
Women across the region are still denied their rights under the law and in practice.
Strengthening women’s legal rights has been a hallmark of the Foundation’s work for decades.
The Foundation supports projects to increase both the demand and supply side of women’s
rights and access to justice. The Foundation supports legal rights education for women, legal
aid to enable them to claim their rights, and supports local efforts to reform laws and policies
that discriminate against women and increase government accountability on enforcement.
Trafficking of persons is a high priority issue for the Foundation because it is a compelling
human rights problem and a multi-faceted governance issue that is both exacerbated by and
contributes toweaklegalstructuresandpubliccorruption.TheAsiaFoundationbringsdistinctive
strengths to combating trafficking by directly addressing the governance issues that surround
the incidence of trafficking and by promoting multi-faceted, integrated approaches to respond
to it. Foundation programs empower the vulnerable to better protect themselves, both with safe
migrationandlegalrightsinformationandwithinterventionstoimprovetheireconomicposition.
In no country in Asia are women entirely safe from the threat of domestic violence.
Domestic violence is a human rights issue, but it is also a problem with wide-ranging
socio-economic consequences. Even where laws exist, often inaccessible legal
comprehensive women’s bill in Laos that includes trafficking and violence against women.

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systems and societal attitudes add to the trauma experienced by victims of violence.
The Foundation’s pivotal support across the region has resulted in some major
achievements, including passage of a domestic violence law in Mongolia and passage of a
comprehensive women’s bill in Laos that includes trafficking and violence against women.
.

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JAPAN
During the nineteenth and twentieth centuries, Japan, as many other countries around the world experienced a
turbulent time-closing the country’s trade, called Sakoku. This was because of the fear of Christian missionaries
from the west plotting the invasion of Japan during the Edo period. This was followed by the Meiji restoration
in 1868, which saw dramatic efforts to modernize Japan politically, socially, economically and culturally. Japan
was then actively involved in two world wars, invaded militarily into neighboring countries before being defeated
by the U.S, ending the war with detonations of two atomic bombs.
The heart of depictions of women in Japan has been rooted in the traditional practice of Bijinga in Ukiyo-e. It
started in the seventeenth century. The term Bijinga literally means ‘picture of a beautiful woman’ in Japanese
woodblock print which was the most popular subject in Ukiyo-e print, targeting the audience of the merchant
class people. In this sense, Bijinga shared a similar notion with contemporary fashion magazines and posters
depicting women who would be considered as beautiful and fashionable and therefore reflecting the demand of
the audiences at that time.
After the Meiji restoration, known as the modern period Japan opened up its trade with the west and then
there were western influences on mediums, perspectives, relations between light and shadow, and so on-this
gave rise to western-style painting called Yoga. On contrary, Japanese-style painting called Nihonga, which
is essentially associated with a type of painting rendered with iwaenogu (mineral pigments) and gofun (shell
white), mixed in a nikawa (animal glue) medium, was continued to be produced in a traditional way as well as
adopting new techniques from the West keeping predominant elements of the Japanese art style of flatness.
Heavy influences of traditional Bijinga can be seen in the Nihonga depiction of women. Most of the artists
and art works from this period were and still are predominantly popular among Japanese collectors with only
a handful of exceptions like Leonard-Tsuguharu Foujita, who is considered as the most successful modern
Japanese artists, renowned internationally.
In the post-war period, various Japanese artists received international recognitions conducting art movements
such as Gutai in 1950s; responding to the reactionary artistic context of the time, Monoha in 1960s and 70s;
questioning not only the traditions of Western art that the East had so recently inherited but by extension to
challenge conventional notions of art. Women, as subject matter, were marginal during this period.
Even though Japanese contemporary art may not contribute in phenomenal international art movement groups
mentioned above, important artists of the twenty-first century, namely Murakami Takashi, Yayoi Kusama, and
Nara Yoshimoto, enjoy their international status and strong presence in major contemporary auctions. Many
aspects of females depicted in contemporary Japanese art are influenced by the popular culture of manga
(comics) where girls, rather than women, are formed based on males’ fantasies and depicted in a heavily
idealized and indiscreet forms. The Otaku aesthetics, that is to say people who obsess with manga, anime and
video games, has become known Japanese culture and it does not represent the whole nation’s fetish, but it
could be argued that such movement is the reaction against real-life women in the twenty-first century. Although
the glance of paintings by Murakami Takashi is new and contemporary, it is important that his paintings have a
strong awareness of the flatness of nihonga.

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PROPERTY FROM A PRIVATE COLLECTION
KITAGAWA UTAMARO
(1753-1806)
BEAUTY IN FRONT OF A MIRROR
Woodblock print on paper
Signed by artist
Edo Period
$ 100,000-145,000
01

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Kitagawa Utamaro was one of the most known Ukyio-e print makers in Edo period
(1603-1868). Ukyio-e, meaning “the picture of floating world” in Japanese, was made
for commercial mass reproduction, and served as a tool to record and introduce the
Japanese urban fashions to readers domestically and internationally. Subject matters
of kabuki, geisha, theaters, or even sexual scenes dominated at the realm of Ukyio-e.
In Beauty in fron of a Mirror, a Japanese Geisha is applying white base to her face, neck and
shoulder with her bare hand. She gazes at herself in the mirror as if she is appreciating her
own beauty. Her hair is neatly tied up to a shimada hair style, which Utamaro adds strong
lines to emphasize the texture of her well-maintained oriental hair. The mirror is an intricate
element in this print: the Geisha faces the audience with her back, and slightly slides her
kimono down off her shoulder. The nape of the neck, to men at that time, was seen as the
most arousing part of a woman’s body. The Geisha shows her nape from a back view, yet
manages to articulate her beautiful face via the mirror she is holding. The mirror does not
only enable the Utamaro to present the Geisha’s beauty from the front and the back, but also
creates a voyeuristic sense for the image: the Geisha is not aware that viewers are examining
her beauty from her back, while she is putting make-up prior to her dancing performance.

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02
YAMAKAMA SHUHO
(1898-1994)
SPRING FIELDS
Screen, Ink, Gold and Gold Leaf on Silk
82 9/3 by 68 45/64 in. (163.8 by 172.1 cm)
1920
$ 20,000-25,000

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Spring Fields is a classic example of the artist’s early work. A young woman with katsugi pulled
over her head walks among fern shoots and early spring flowers. The artist shows off his talent
for painstakingly precise and subtle detail in the sumptuous kimono patterns and the complex
designs on the obi. Shuho was master of nihonga (Japanese-style painting) and well known
for his paintings and illustrations of beautiful women, or bijinga. In 1919, he made his artistic
debut, entering nihonga paintings in the government-sponsored Teiten exhibition. He worked
with traditional media in traditional format, but is known for his commitment to modernism. He
liked to build his paintings in layers. Here, he laid down a gold-leaf ground, then covered the
gold leaf with loosely woven silk that serves as the base for the painting. The effect is luxurious.
Screen paintings by Shuho in American collections include Relaxing in the Shade (1933) in the
Art Institute of Chicago, published in Janice Katz, Beyond Golden Clouds (2009), pl. 28; and
Three Sisters (1936) in the Honolulu Museum of Art.

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03
TSUGUHARU FOUJITA
(1886-1986)
NU ALLONGE A LA TOLLE DE JOUY
Oil on Canvas
Signed, dated and inscribed ‘Foujita’
29 1/2 by 39 3/8 in. (75 by 100 cm)
1949
$ 500,000-700,000

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In Nu allonge a la toile de Jouy, Foujita boldly returns to the reclining nude motif which he
first explored, to immediate acclaim, in the early 1920s: “Foujita liked to depict nude women
just as they were, without making them the subject of allegory or history. For a long time
he remained particularly fond of painting nudes lying down, as can be seen, for example, in
Reclining Nude with a Cat or Reclining Nude with Toile de Jouy. It is their simplicity, serenity,
and purity of line that makes his nudes at once so lifelike and so chaste. The way the forms
are modeled, with scarcely any shading and very little color, recalls the stump technique the
artist used so often in his drawings. Thibault Sisson wrote of Foujita, “It is the relief without
shading of M. Ingres--with whom, indeed, Foujita seems to have as much in common as
with his Japanese ancestors--a relief which is suggested, at least in its essentials, merely
by the supple arabesques of the lines’” (J. Selz, Foujita, New York, 1981, pp. 32 and 61).
In 1947, not long after the conclusion of the Second World War, Foujita received an old friend from
Paris, the left-wing poet and journalist Harry Roskolenko, at his Tokyo home. In the course of the
visit, the embattled artist mused about his dearth of American support and the possibility of inroads
into the country’s comparatively prosperous post-war market: “I have sold only three paintings to
the Americans... They do not know of me. They do not come and so I am hungry. I want to leave.
Can you get me a visa to America? Can you get me a big exhibition?” (quoted in P. Birnbaum, Glory
in a Line, A Life of Foujita, The Artist Caught Between East and West, New York, 2006, p. 274).
Despite the poorly received exhibition which Roskolenko arranged for the artist at the Kennedy
& Company Galleries in New York in September 1947, Foujita would make it there himself two
short years later on the strength of teaching positions at the Brooklyn Art and New Schools.
Owing to simmering post-war tensions, the artist ended up working at neither. The present nude
was executed during this nonetheless fecund year, in which he enjoyed his own one-man show
at the Mathias Komor Gallery in November before returning to France on 27 January 1950.

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04
MURAKAMI TAKASHI
(1962-present)
MISS KO2
Acrlic on Canvas-mounted on board
1996
$ 841,550-1,178,170

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This painting of Miss KO2, which is based on his life-size figure named the same, depicts a
young woman with long blonde hair that cascades down her back, huge, innocent eyes, fair skin
as smooth as marble, a tiny waist and mile long legs. She wears the transparent nature of the
made uniform, which hints at the shape of her nipples, as the outfit clings tightly to her breasts.
The skirt itself pays tribute to the description mini-skirt; it hardly covers her sexuality. She is
based on a character that Murakami selected from “the fighting ‘bisyoujo’ (Japanese slang for
beautiful young girl) game Viable Geo, who wore a waitress uniform from the chain restaurant
Anna Millers”. In this video game, Miss ko2 is based on a female character that is a secret
agent for the Japanese government. The figure displays every straight male’s fantasy in body
and mind, mixing the innocence of youth with the sophistication of sexual prowess. Miss KO2
gives the impression of being a virgin with a courtesan’s knowledge of the world of pleasure.
Much of Murakami’s work derives from Japanese ‘otaku’ or ‘geek’ culture, typified by males
obsessed with the world of comic books, video games and animation, a Japanese pop culture
phenomena. Murakami combined his conventional practice of nihonga that he learned in the
art school and his obsession to develop a new vocabulary in contemporary art. Beginning
in the mid 1990’s Murakami incorporated the culture’s aesthetic of his childhood, that is to
say the mass production of popular culture and the presence of America’s Walt Disney,
into meticulously created paintings, at once, a reinterpretation both of American Abstract
Expressionism and Pop Art. Just as Andy Warhol and Roy Lichtenstein established a relation
between the ‘high and low’ art by referring to Pop culture in their paintings, so too did Murakami,
who developed characters that are a cross between Mickey Mouse and Hello Kitty. Through
these developments, Murakami realized that it is through the environment that surrounds
us that one can gain a deeper understanding of society. By incorporating the flatness of
traditional, uni-dimensional Japanese painting, and contemporary American and Japanese
popular culture, the artist created a Disney-like, Japanese animation style uniquely his own.

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Takashi Murakami received his BFA, MFA and PhD from the Tokyo University of the Arts. In 1996 he
founded Kaikai Kiki, an art production and art management corporation. In addition to the production
and marketing of Murakami’s art and related work, Kaikai Kiki functions as a supportive environment
for the fostering of emerging artists. Murakami’s major solo exhibitions include Fondation Cartier pour
l’art contemporain, Paris; Serpentine Gallery, London (2002); Chateau de Versailles, France (2010).
Murakamiisalsoacurator,aculturalentrepreneur,andacriticalobserverofcontemporaryJapanesesociety.In2000,
he organized a paradigmatic exhibition of Japanese art titled “Superflat,” which traced the origins of contemporary
JapanesevisualpopcultureinhistoricalJapaneseart.Hehascontinuedthisworkinsubsequentimpactfulexhibitions
suchas“Coloriage”(FondationCartierpourl’artcontemporain,Paris,2002)and“LittleBoy:TheArtofJapan’sExploding
Subcultures” (Japan Society, New York, 2005). In 2011, he organized the “New Day: Artists for Japan” international
charityauctioninresponsetothe2011Tōhokuearthquakeandtsunami.MurakamicurrentlylivesandworksinTokyo.
Self portrait of artist Takashi Murakami

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During the Qing dynasty, China closed off the entire country and cut off its connection with the outside world.
Qing Emperors were drenched in their own fantasies and felt no need to participate in global cultural exchanges.
The isolationist policies strangled the trades between China and Europe, and offered little spaces from artists to
learn from the Western painters with advanced techniques. Yet, few European artists at court managed to stay
in China thanks to their extraordinary skills in recreating life-like figures through accurate perspectives.
The Qing Emperor’s fantasies were destined to be unreal. Europeans formed a strong union to smash the gate
of China at the beginning of the 20th-century and officially tore down the Imperial government. In 1911, Sun
Yat-sen led the Xinhai revolution, which resulted in establishing the Republic of China. With the Sun Yat-sen’s
encouragement to learn and appropriate from the Western cultures, artists are empowered to absorb the foriegn
concept and skills in their art works. An amount of female artists started to emerge in Chinese art history; in
addition, female nude was no longer in Chinese art.
Chairman Mao Zedong founded the People’s Republic of China in 1949. Art became a means of political
propaganda from 1949 onward until the late 1970s. The old and tradition Chinese art was heavily criticized
by the Mao government due to the Destruction of Four Olds. However, the government encouraged artists to
employ socialist realism and to learn from Soviet Union’s political art. A proliferation of “low art” that depicts
the secular life of the rural class emerged; these sort of posters, paintings documented a complex decade in
Chinese history. Woman, as a subject matter, were marginal throughout the cruel Cultural Revolution.
ContemporaryChineseartisenjoyinganincreasinglypopularreputationontheinternationalstage.Contemporary
Chinese artists are bold and experimental. They vastly imported western ideas, and add the Chinese cultural
motifs onto them. Artists concern about politics, economy and culture; they contribute to promote the idea of
“China” to global audience. The role of female is perplexing in Chinese artists’ artworks. Depictions of beautiful
women indeed go beyond physical attractive appearance, and have emphasis in liberty and freedom among the
realm of Contemporary Chinese art. We can see the change in how a female is presented from late Qing period
to Contemporary China. The important social changes as wars, cultural movement have altered the artists’
perception and presentation in female beauty.
CHINA

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COLLECTION OF WILLIAM HAYNSWORTH
GIUSEPPE CASTIGLIONE
(1688-1766)
FRAGRANT CONCUBINE
Oil on Paper, framed
27 by 9 1/2 in. (68.6 by 49.5 cm)
Mid 18th Century
$ 100,000-150,000 05

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BornandraisedinMilan,Italy,GiuseppeCastiglionewasaJesuitandpainterwhoremainedactiveat
theQingcourtinChinaforover50years.HefedQingemperors’aestheticdesirewithhisknowledge
in fine arts and skills in painting life-like figures. Aiming to fit well in the cannon of art in China,
Castiglione experimented combining his western techniques, especially in linear perspective, with
the Chinese imperial taste for art. Yongzheng emperor expelled all the foreigners out of China;
yet, the European courtly artists were permitted to stay at court, and were even appointed for more
important tasks. Qianlong Emperor’s fascination in Western art and technology further promote
Castiglione’suniqueblendofEuropeansensibilitywithChineseappreciation.Castiglioneproduced
the utmost amount of paintings of various themes and figures thanks to Qianlong’s generous
patronage. Castiglione has also gained support from Qianlong to publish a book that introduced
WesterntechniquesofpaintingtoChineseaudience.HiseffortinpromotingtheEuropeanideologies
has delicately prepared the Chinese artists to turn a new page of painting in the modern history.
Few female subjects can be found in the Chinese painting repertoire. Elegantly attired, the lady
gazes directly at the viewer, and present the up-scale life quality that she is having. The lavish jade
jewellery and the well embroidered Manchu robe that she wears indicate her wealth and social
status. Though the identity cannot be precisely identified, the most convincing theory sees her as
the ‘Fragrant Concubine’. Although her beauty is stunning, her natural body scent captivated the
Qianlong emperor. The present painting is related with another painting that belongs to Madame
Chiang Kai-shek’s collection. Madame Chiang’s painting is attributed to Giuseppe Castiglione
and was known to be commissioned by the Qianlong Emperor as a tribute to his favourite consort.
Similar work by Artist

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06
GUAN ZILAN
(1903-1986)
NUDE WOMAN WITH A FAN
Oil on Canvas
14 9/16 by 10 7/16 in. (37 by 26.5 cm)
1940
$ 100,000-145,000

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Guan Zilan was one of the female Chinese pioneer painters to learn and appropriate from Western
art and style in the early 20th century. After completing her undergraduate degree in Western
painting at Shanghai Zhonghua Art University, Guan was keen to study the advanced Western
painting techniques in France. Yet, the obstacles to France that Guan encountered seemed to
be difficult to conquer. Guan then was encouraged by her mentor Chen Baoyi to pursue further
studies in oil painting in Cultural Institute of Tokyo, Japan. Guan has already fostered high-level
of painting techniques before her departure to Japan; she later greatly absorbed the aesthetic
taste of the fauvist painters in Japan. Her works were frequently exhibited in famous museums
and galleries, such as Nika Exhibition, Ueno Art Exhibition and Hyogo Art Exhibition in Japan.
In Nude, Guan portrayed an oriental female nude in a Fauvist manner. Guan chose rather not
to idealize her physical body, but to include the faithful details. She sits on the chair with her
leg crossed, but not necessarily attempts to cover her genitalia from the viewers. She relaxes
her back while placing her right hands calmly by her thigh. She holds a fan, possibly Japanese,
in the other hand. Viewers are difficult to not to examine her large breast and her loose belly
underneath it. However, the nude is not shameful of revealing her imperfect body to the viewers,
on the contrary, she seems to communicate with the viewers by gazing back at them. The bright
and contrasting colour indeed strongly indicate the influences from the fauvist. The bold line
and the vivid colour enhance the emotional effect of the picture. Female nude can be barely
seen as a subject matter in art during the 40s in China. Guan’s exposure to Western art and
culture in Japan has empowered her to paint nudity in her works. Guan, as a modern literal
woman, had a smooth and successful career in both Japan and China. However, she refused to
paint after the Cultural Revolution in 1966 in order to preserve her unalterable artistic ambition.

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07
HUADONG RENMING MEISHU CHUBANSHE
NING HAO
(1910-1992)
WE ARE PROUD OF PARTICIPATING IN THE FOUNDING OF OUR
COUNTRY’S INDUSTIALISATION
Print
19 by 21 17/64 in. (78 by 54 cm)
Shanghai
$ 3,000-5,000

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The old-school representation of women is proved to be tenacious. Women in Chinese visual art
traditions are dedicated for male viewers’ gaze and consumption. By the early 20th century, the
advertising posters always feautured young and beautiful ladies with silky skin in qipao (Shanghai
dress), and they would promote the products along with their beauty. With the founding the People’s
RepublicofChina,bothofthetheoryandthepracticeofposterexperiencedenormouschanges.The
new government valued the designers and producers’ ability in visualizing commercially attractive
products. The rulers utilized and incorporated the reproductive functions of the poster as political
propaganda. The Chinese cultural authorities spared no efforts in passing the correct image of
women to the proletarian masses. They tried to reverse the image of female representatives, who
are only to be entertaining and domestically. The women in the new China era are encouraged
to participate in male-dominant industries. Women are encouraged to be a soldier, an industrial
worker and a farmer. It was the authorities’ needs to fill the lack of viable working population.
The title ‘We are Proud to Participate in the Industrialization of the Nation’ reveals the ambition of
cultural authorities. The “we” may refers to women that are willing to contribute to and accelerate
the country’s industrialization. The woman in the poster is masculinized: She wears a heavy jacket
and a pair of long trousers, and ties a white towel to protect her neck from the sparkles from the
roer. The helmet and the gloves prevent the potential injuries, yet also covers her female gender.

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08
GALERIE VOLKER DIEHL
LING JIAN
(1963-present)
RED BIBLE HOUR
Oil and Acrylic on Canvas
47 3/4 by 29 1/2 in. (180 by 150 cm)
2006
$ 103,040-154,560

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ThisartworkisasignificantpieceintheChinesecynicalrealistmovement.LingJianalludeshisview
on the cultural regime in China through the intricate artistic technique. Ling uses a Chinese woman
who is refined looking as the subject matter to question the reality underneath the appearance, as
her beauty holds against the red book bound across her back. Ling includes Mao’s red bible in the
painting to highlight the political significance of the subject matter, and hints how the Communist
Party manipulated the secular life, and how deceptive the external appearance of Chinese life
can be. Ling Jian, like many of his contemporaries, intends to investigate the complex relationship
between the China of the past, and the China of the present, and to examine how the life of Chinese
women has been affected by the reconciliation between the past and the present. The painting
is visually attractive and impressive, yet Ling attaches a dark subtext to the image that makes
the artwork truly stunning. Despite the extraordinary beauty of the face, the woman’s neck and
body is distorted, and convey a sense of unease and tension, which symbolizes the torture, both
physical and psychological, under Communism, and the effect of ‘red book’ on women in China.
Ling Jian was born in Shandong Province, China in 1963. He studied in Qinghua University Art
College in Beijing. Soon after completing his degree in Beijing, Ling moved to Vienna, Austria to
further develop his artist career. During three decades of living in Vienna, Hamburg and Berlin,
Ling Jian became known for his stylized portraits – often produced on oversized circular canvases
– of beautiful and highly expressive women. Through these women, the artist was able to explore
themes ranging from materialism, wealth and political ideology to modern notions of female identity
and body image. Since returning to Beijing in 2003, Ling Jian has increasingly turned his attention
to conceptualizing contemporary Chinese identity. (Source: Ullens Center for Contemporary Art)

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In India a woman with a fiery temperament is often nicknamed Durga in recognition of the divine spark within
her. She is the fervent autonomous goddess who knows how to stand for herself.
The living traditions of India have always identified the female of the species with all that is sacred in nature. But
it is not always the warrior woman who is identified with the goddess, but also woman as playful, lovable, and of
course as the Mother. In a delightful vein it is conjectured that the kick of a woman is sufficient and necessary for
blossoms to spring from the sacred Ashoka tree. An entire ceremony has developed around this theme. Women
dance around this tree and gently kick it to bring it to bloom. Ancient Sanskrit poetry describes this happening
through the eyes of a jealous lover, who wishes that it were him, rather than the tree which benefited from the
touch of her foot:
‘She plucked its buds for her ear,
then repaid it with a gentle kick
I might have been the one she struck,
She might have taken the bud from me,
but I’m cheated by a tree!’
The idea being that by their mere touch, the fertilizing power of a woman was transferred to the tree, which then
burst into flowers. All things that arise from the earth in the form of vegetative life mirror the great generative
function of the Goddess. The process of transformation that is possible in a mortal woman mirrors the miracle
of growth that occurs in nature. Such figures emphasize the importance of fertility and its associated elements
of bearing and nourishing children. The female figure is an obvious emblem of fertility because of its association
with growth, abundance, and prosperity.
It comes as no surprise that prosperity and abundance too is visualized in the form of a female, namely the
Great Goddess Lakshmi. She is often shown holding a pitcher. This pitcher or pot in addition to being likened
to a womb, is said to be the pot of bounty, or the harbinger of prosperity. Indian aesthetic principles cutting
across all schools, sects, and traditions, state in a universal voice that all female forms should be endowed with
abundantly full breasts, a narrow waist and ample hips, symbolizing their child bearing capacities and also the
power to nourish and sustain their creations, the Mother Nature.
Ancient art texts known as the ‘Shilpa Shastras’ confirm that the potency of women’s fertility and its equation
with growth, abundance and prosperity led to women becoming a sign of the auspicious.
We can see all these qualities and forms of woman through from the British Raj (Raja Ravi Varma), to Modern
(George Keyt) and finally Contemporary art (M.F. Husain).
INDIA

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09
PROPERTY OF PRIVATE FRENCH COLLECTER
RAJA RAVI VARMA
(1848-1906)
MALIYALI BEAUTY
Oil on Canvas
23 11/16 by 17 5/16 in. (60 by 44 cm)
$ 70,000-90,000

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RajaRaviVarmaisoneoftheearliestIndianartiststohavesuccessfullyadaptedWesternAcademic
painting styles to suit local Indian sensibilities. Having had no formal training in European art, Ravi
Varma observed and learned from European artists at the Travancore court during the British Raj.
He familiarized himself with the concepts of Realism and Naturalism and mastered the use of oil
painttocreatethree-dimensionalfiguresonflatsurfaces.AlthoughRaviVarmarelieduponWestern
techniques, his subject matter remained inherently Indian.  The Indian female in particular, was a
favorite subject for him. He often used Maliyali or Maharashtrian women as the prototype for his
works, endowing them with a sense of the sensual without overstepping the lines of propriety. In this
particular work, the artist presents the viewer with a young Maliyali lady, dressed in the traditional
sari worn by the women of Kerala, adorned with typical South Indian jewelry and flaunting an
elaborate hair arrangement. The exposed smoothness of the woman’s upper arms and shoulders
invests the work with a sensual energy that is heightened by her semi-transparent garment.

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10
IMPORTANT PRIVATE INDIAN COLLECTION
GEORGE KEYT
(1901-1993)
UNTITLED
Oil on Canvas
Signed& dated in English, lower left
35 by 25 in. (88.9 by 63.5 cm)
1973
$ 24,595-32,790

38
George Keyt was one of Sri Lanka’s most celebrated artists of the 20th century. Keyt was born
in a family of Sinhalese-Dutch origin and was raised in a liberal, cultural environment. This
perhaps helped him assimilate aspects of Buddhist literature and temple architecture, as well
as Puranic narratives and Indian erotic iconography—an influence that would continue to reveal
itself in his works. Over a span of six decades, his oeuvre underwent a dramatic change in
form and style, following his encounter with the works of Picasso and Matisse in the 1930s.
The present lot from 1973 shows the extent and impact that the principles of Cubism had on
Keyt’s artistic vocabulary. Keyt’s bold, curvilinear strokes give a fullness and symmetry to a
scene that may otherwise appear disjointed owing to multiple perspectives. He uses colour as
a narrative device for societal hegemony, adding a sense of drama to the work. The woman
washing her hair appears to be of aristocratic lineage; her form and graceful poise a hint at
this. The woman attending to her with a basin in hand is relegated to a portion of the canvas,
huddled, waiting patiently. Keyt would base his subjects on the traditions of Sri Lanka, and
his astute use of colour and line to unravel a story adds a unique dimension to his works.
“The lyric painting of George Keyt is sensuous Indian poetry brought to canvas. [...] Keyt takes
as his primary theme woman as the focus of man’s concern. He paints her in flat planes, with
bounding lines and rich warmth of color. His idiom occasionally carries in it a hint of Picasso
but is, once again, in direct line with the traditional styles of Central India, Mewar, and
Bahsoli. But the originality of Keyt’s work is undoubted, and his work remains uniquely his
own.” (R. Bartholomew and S.S. Kapur, Husain, New York: Harry N.Abrams, Inc., 1972, p27)

39
PROPERTY FROM A PRIVATE MASSACHUSETTS COLLECTION
NARAYAN SHRIDHAR BENDRE
(1910-1992)
ON RIVER GHAT
Oil on Board
Signed in Devanagri, lower left
47 3/4 by 29 1/2 in. (121.2 by 75 cm)
1957
$ 100,000-145,000
11

40
“[Bendre] shuns obsession, any scientific or psychological dogma. He has no message. It is not
his business to preach. He only wishes to share with you the joys the world has in store.”
(R. Chatterji, Bendre: The Painter and the Person, 1990, p. 61)
Naray Shridhar Bendre was interested in the depiction of joy and the charms of rural India. With
great sensitivity, he painted women in comfortable rural settings engaged in social activities and
domestic tasks.    The current lot seems to retrace his memories, shows two women seated by the
river—one whose features are hidden by her red veil, and the other whose features are rendered
in minimalist dabs, staring at the water. The two pots stacked by their side seem to have been
forgotten about; the two women are preoccupied with other thoughts. Bendre’s placement of colour
divides the canvas in a manner that demands that one’s eyes travel across the canvas to take in
the entirety of the scene. Bendre underwent formal art training at the State School of Art, Indore.
Here he learnt the importance of direct observation, rather than miming through books. Bendre
learned to observe the effect of light at different times of the day—this play of light is rendered very
skilfully in most of his works where shapes are formed through an effective employment of colours.

42
Other work by N.S. Bendre
Woman with Ganesha
Narayan Shridhar Bendre was born in 1910 in Indore. He got his early art education in the State Art School, Indore.
Later he obtained his Government Diploma in Art from Bombay in 1933. Being an enthusiastic traveler he visited
many places and captured them on his canvas throughout his career, often with different stylistic means. His initial
interests were conditioned by the quasi-mode-mist landscape painting of Indore School. Later his favorite subjects
were portraits of women in oils and gouache. He experimented with cubist, expressionist and abstract tendencies.
He combined European modernism with Indian formal thematic reflection in his work with a touch of elegance.

43
12
PRIVATE COLLECTION IN MUMBAI
FRANCIS NEWTON SOUZA
(1924-2002)
NUDE IN CITY BACKGROUND
Oil on Board
Signed & dated in English, upper left
47 by 23 in. (119.4 by 58.4 cm)
1955
$ 163,000-245,000

44
Francis Newton Souza’s works have reflected the influence of various schools of art: the folk
art of his native Goa, the full-blooded paintings of the Renaissance, the religious fervour of the
Catholic Church, the landscapes of the 18th and 19th century Europe and the path-breaking
paintings of the moderns. This nude figure’s downcast pose, colouring and her pregnancy
relate more specifically to a figure from Western Art History, Bathsheba. A figure from the Old
Testament, Bathsheba’s most famous portrayal is by Rembrandt, Bathsheba Bathing 1654,
which hangs in the Paris Louvre. In this work Rembrandt shows the moment in which King
David sees Bathsheba bathing and entranced, seduces her, after which she falls pregnant.
In order to marry Bathsheba and conceal his sin, David sends her husband into battle and
orders his generals to abandon him, leaving him to certain death. What drew Picasso,
Degas, Manet, Bazille and now Souza to do their own versions of Bathsheba was the moral
dilemma faced by the protagonist, her downcast eyes hint at the inner turmoil she is facing.

45
13
ACQUIRED FROM VADEHRA ART GALLERY, NEW DELHI,1998
MAQBOOL FIDA HUSSAIN
(1924-2002)
UNTITLED
Acrylic on Canvas
Signed ‘Husain’, upper left
36 by 36 in. (90 by 90 cm)
1997-98
$ 80,000-90,000

46
In Untitled, the background is illuminated in varying shades of reds and peaches while the
woman and horse are executed in a less dynamic palette. This makes the background dramatize
the painting, making the woman the focal point of this work. Her nude body is painted with a
sensitivity and reverence archetypal of Husain’s treatment of the female form. The intermingling of
predation and seduction, violence and desire, power and vulnerability, reality and mystery forges
a heavy dialogue that aptly expresses the climactic emotions that Husain wished to portray here.
S. Kapur states, ‘The prime symbol of Husain’s total view of life is the woman, again perhaps the
Indianwoman.Forpaincomestowomanashernaturalstate,thegivingofbirthand,becauseofbirth,
an awareness of dissolution. Woman is the sentient point of man’s natural being. She has curiosity,
she suffers, she gives birth willingly. There is pity in her eyes, as there is love in her breast. Man is,
according to Husain, virile only in heroism, is broken by pain. Husain paints women because these
are not heroic times and, tenderly joyous or suffering, women remain vital. With a comprehensive
view of life investing them, Husain has progressively laid bare his figures. They are given no
landscape of time and place, no background except carefully worked tonal tensions. These figures
have no drapery. They come clothed only in colour. […] They come from a territory of the mind,
at once idea and living reality.’ (S. Kapur, Husain, Lalit Kala Akademi, New Delhi, 1961, pp. v-vi)

1
Magamejia AuctionH
IMPRESSIONIST & MODERN ART
EVENING SALE
AUCTION IN LONDON 22 JUNE 2014
PABLO
PICASSO

Femme
au

costume
turc
dans
un
fauteuil

Estimate
£15,000,000
-‐
£20,000,000

Enquiries
+1
245
909
2725

Enquiries +1 212 606 7360 | magamejia.com

1
Magamejia AuctionH
ART OF IMPERIAL INDIA
AUCTION 10 OCTOBER 2014
An exceptional diamond-set and broach
North India, 18th Century
Estimate $350,000-450,000
Enquiries +44 (0)2 0729 5331 | magamejia.com

49
CONDITIONS
OF
SALE

The
following
Conditions
of
Sale
and
Terms
of

Guarantee
are
Magamejia
Inc.
and
the

Consignor’s
entire
agreement
with
the

purchaser
and
any
bidders
relative
to
the

property
listed
in
this
catalogue.

The
Conditions
of
Sale,
Terms
of
Guarantee,

the
glossary,
if
any,
and
all
other
contents
of

this
catalogue
are
subject
to
amendment
by

us
by
the
posting
of
notices
or
by
oral

announcements
made
during
the
sale.

The
property
will
be
offered
by
us
as
agent
for

the
Consignor,
unless
the
catalogue
indicates

otherwise.

By
participating
in
any
sale,
you
acknowledge

that
you
are
bound
by
these
terms
and

conditions.

1.

As
Is
Goods
auctioned
are
often
of
some

age.
The
authenticity
of
the
Authorship
(as

defined
below)
of
property
listed
in
the

catalogue
is
guaranteed
as
stated
in
the
Terms

of
Guarantee
and
except
for
the
Limited

Warranty
contained
therein,
al
property
is

sold
“AS
IS”
without
any
representations
or

warranties
by
us
or
the
Consignor
as
to

merchantability,
fitness
for
a
particular

purpose,
the
correctness
of
the
catalogue
or

other
description
of
the
physical
condition,

size,
quality,
rarity,
importance,
medium,

provenance,
exhibitions,
literature
or
historic

relevance
of
any
property
and
no
statement

anywhere,
whether
oral
or
written,
whether

made
in
the
catalogue,
an
advertisement,
a

bill
of
sale,
a
saleroom
posting
or

announcement,
or
elsewhere,
shall
be

deemed
such
a
warranty,
representation
or

assumption
of
liability.

We
and
the
Consignor
make
no

representation
and
warranties,
,
express
or

implied,
as
to
whether
the
purchaser
acquires

any
copyrights
including
but
not
limited
to,

any
reproduction
rights
in
any
property

We
and
the
Consignor
are
not
responsible
for

errors
and
omissions
in
the
catalogue,

glossary,
or
any
supplemental
material.

2.

Inspection

Prospective
bidders
should

inspect
the
property
before
bidding
to

determine
its
condition,
size,
and
whether
or

not
it
has
been
repaired
or
restored.

3.

Buyer’s
Premium
A
buyer’s
premium
will

be
added
to
the
hammer
price
and
is
payable

by
the
purchaser
as
part
of
the
total
purchase

price.

The
buyer’s
premium
is
25%
of
the
hammer

price
up
to
and
including
$100,000,
20%
of

any
amount
in
excess
of
$100,000
up
to
and

including
$2,000,000,
and
12%
of
any
amount

in
excess
of
$2,000,000.

4.

Withdrawal
We
reserve
the
right
to

withdrawal
any
property
before
the
sale
and

shall
have
no
liability
whatsoever
for
such

withdrawal.

5.

Per
Lot
Unless
otherwise
announced
by
the

auctioneer,
all
bids
are
per
lot
as
numbered
in

the
catalogue.

6.

Bidding
We
reserve
the
right
to
reject
any

bid.
The
highest
bidder
acknowledged
by
the

auctioneer
will
be
the
purchaser.
The

auctioneer

has
absolute
and
sole
discretion
in

the
case
of
error
or
dispute
with
respect
to

bidding,
and
whether
during
or
after
the
sale,

to
determine
the
successful
bidder,
to
re-‐open

the
bidding,
to
cancel
the
sale
or
to
re-‐offer

and
re-‐sell
the
item
in
dispute.
If
any
dispute

arises
after
the
sale,
our
sale
record
is

conclusive.
By
participating
in
the
sale,
you

represent
and
warrant
that
any
bids
placed
by

you,
or
on
your
behalf,
are
not
to
the
product

of
any
collusive
or
other
anti
competitive

agreement
and
are
otherwise
consistent
with

federal
and
state
antitrust
law.
In
order
to
bid

50
premium
lots
you
must
complete
the
required

Premium
Lot
pre-‐registration
application.

Magamejia’s
decision
whether
to
accept
any

pre-‐registration
application
shall
be
final.
You

must
arrange
for
Magamejia
to
receive
your

pre-‐registration
application
at
least
three

working
days
before
the
sale.
Please
bear
in

mind
that
we
are
unable
to
obtain
financial

references
over
weekends
or
public
holidays.

Magamejia
may
require
such
necessary

financial
references,
guarantees,
deposits

and/or
such
other
security,
in
its
absolute

discretion,
as
security
for
your
bid(s).

7.

Online
Bid
via
BIDnow
Magamejia
may

offer
clients
the
opportunity
to
bid
online
via

BIDnow
for
selected
sales.
By
participating
in

sale
via
BIDnow,
you
acknowledge
that
you

are
bound
by
these
Conditions
of
Sale
as
well

as
the
Additional
Terms
and
Conditions
for

Live
Bidding
via
BIDnow
(online
terms).
The

Online
Terms
can
be
viewed
at

www.magamejia.com
and
bidders
utilizing

BIDnow
will
be
required
to
accept
the
Online

Terms,
as
well
as
the
relevant
Conditions
of

Sale,
prior
to
participating
in
the
sale.
The
Bid

now
online
bidding
service
is
not
available
for

Premium
Lots.

8.

Bids
below
reserve
If
the
auctioneer

determines
that
any
opening
bid
is
below
the

reserve
of
the
article
offered,
he
may
reject

the
same
and
withdraw
the
article
from
sale,

and,
having
acknowledged
an
opening
bid,
he

determines
that
any
advance
thereafter
is

insufficient,
he
may
reject
the
advance.

9.

Purchaser’s
responsibility

Subject
to
the

fulfillment
of
all
the
conditions
set
forth

herein,
on
the
fall
of
the
auctioneer’s

hammer,
the
contract
between
the
consignor

and
the
purchaser
is
concluded,
and
the

winning
bidder
thereupon
will
immediately

pay
the
full
purchase
price
or
such
part
as
we

may
require.
Title
in
a
purchased
lot
will
not

pass
until
Magamejia
has
received
the
full

purchase
price
in
cleared
funds.
Magamejia
is

not
obligated
to
release
a
lot
to
the
purchaser

until
title
to
the
lot
has
passed
and
any
earlier

release
does
not
affect
the
passing
of
title
or

the
purchaser’s
unconditional
obligation
to

pay
the
full
purchase
price.
In
addition
to

other
remedies
available
to
us
by
law,
we

reserve
the
right
to
impose
from
the
date
of

sale
a
late
charge
of
the
annual
percentage

rate
of
Prime
+6%
of
the
total
purchase
price
if

payment
is
not
made
in
accordance
with
the

conditions
set
forth
herein.
Please
note

Magamejia
reserves
the
right
to
refuse
to

accept
payment
from
a
source
other
than
the

buyer
of
record.

Unless
otherwise
agreed
by
Magamejia,
all

property
must
be
removed
from
our
premises

by
the
purchaser
at
his
expense
not
later
than

30
calendar
days
following
its
sale.
Buyers
are

reminded
that
Magamejia
liability
for
loss
or

damage
to
sold
property
shall
cease
no
later

than
30
calendar
days
after
the
date
of
the

auction.
If
any
applicable
conditions
herein
are

not
complied
with
by
the
purchaser,
the

purchaser
will
be
in
default
and
in
addition
to

any
and
all
other
remedies
available
to
us
and

the
Consignor
by
law,
including,
without

limitation,
the
right
to
hold
the
purchaser

liable
for
the
total
purchase
price,
including
all

fees,
charges
and
expenses
more
fully
set

forth
herein,
we,
at
our
option,
may

(x)
cancel

the
sale
of
that,
or
any
other
lot
or
lots
to
the

defaulting
purchaser
at
the
same
or
any
other

auction,
relating
as
liquidated
damages
all

payments
made
by
the
purchaser,
or
(y)
resell

the
purchased
property,
whether
at
public

auction
or
by
private
sale,
or
(z)
effect
any

combination
thereof.
In
any
case,
the

purchaser
will
be
liable
for
any
deficiency,
any

and
all
costs,
handling
charges,
late
charges,

expenses
of
both
sales,
our
commission
on

both
sales
at
our
regular
rates,
legal
fees
and

expenses,
collection
fees
and
incidental

damages.
We
may,
in
our
sole
discretion,

apply
any
proceeds
of
sale
then
due
to
the

51
purchaser
from
us
or
any
affiliated
company,

whether
or
not
intended
to
reduce
the

purchaser’s
obligations
with
respect
to
the

unpaid
lot
or
lots,
to
the
deficiency
and
any

other
amounts
due
to
us
or
any
affiliated

companies.
In
addition,
a
defaulting
purchaser

will
be
deemed
to
have
granted
and
assigned

to
us
and
our
affiliated
companies,
a

continuing
security
interest
of
first
priority
in

any
property
or
money
of
or
owing
to
such

purchaser
in
our
possession,
custody
or

control
of
any
of
our
affiliated
companies,
in

each
case
whether
at
the
time
of
the
auction,

the
default
or
if
acquired
at
any
time

thereafter,
and
we
may
retain
and
apply
such

property
or
money
as
collateral
security
for

the
obligations
due
to
us
or
to
any
affiliated

companies
of
ours.

We
shall
have
all
of
the
rights
accorded
a

secured
party
under
the
New
York
Uniform

Commercial
Code
without
your
signature.

Payment
will
not
be
deemed
to
have
been

made
in
full
until
we
have
collected
good

funds.
Any
claims
relating
to
any
purchase,

including
any
claims
under
the
Conditions
of

Sale
or
Terms
of
Guarantee,
must
be

presented
directly
to
Magamejia.
In
the
event

the
purchaser
fails
to
pay
any
or
all
of
the
total

purchase
price
for
any
lot
and
Magamejia

nonetheless
elects
to
pay
the
Consignor
any

portion
of
the
sale
proceeds,
the
purchaser

acknowledges
that
Magamejia
shall
have
all
of

the
rights
of
the
Consignor
to
pursue
the

purchaser
for
any
amount
paid
to
the

Consignor,
whether
at
law,
in
equity,
or
under

these
Conditions
of
Sale.

10.

Governing
Law
and
Jurisdiction

These

Conditions
of
Sale
and
Terms
of
Guarantee,
as

well
as
bidder’s,
the
purchaser’s
and
our

respective
tights
and
obligations
hereunder,

shall
be
governed
by
and
construed
and

enforced
in
accordance
with
the
laws
of
the

State
of
New
York.
By
bidding
at
an
auction,

whether
present
in
person
or
agent,
order
bid,

telephone
bid,
online
bid
or
other
means,
all

bidders
including
the
purchaser,
shall
be

deemed
to
have
consented
to
the
exclusive

jurisdiction
of
the
state
courts
of,
and
the

federal
courts
sitting
in,
the
State
of
New
York.

All
parties
agree,
however
that
Magamejia

shall
retain
the
right
to
bring
proceedings
in
a

court
other
than
the
state
and
federal
courts

sitting
in
the
State
of
New
York.

11.

Packing
and
Shipping
We
are
not

responsible
for
the
acts
or
omissions
in
our

packing
or
shipping
of
purchased
lots
or
of

other
carriers
or
packers
of
purchased
lots,

whether
or
not
recommended
by
us.
Packing

and
handling
of
purchased
lots
is
at
the
entire

risk
of
the
purchaser.

12.

Limitation
of
Liability
In
no
event
will
our

liability
to
a
purchaser
exceed
the
purchase

price
actually
paid

13.

Data
protection
Magamejia
will
use

information
provided
by
its
clients
for
the

provision
of
auction
and
other
art
related

services,
loan
services,
client
administration,

marketing
and
otherwise
to
manage
and

operate
its
business,
or
as
required
by
law.

This
will
include
information
such
as
the

client’s
name
and
contact
details,
proof
of

identity,
financial
information,
records
of
the

client’s
transactions,
and
preferences.
Some

gathering
of
information
about
Magamejia’s

clients
will
take
place
using
technical
means
to

identify
their
preferences
in
order
to
provide
a

higher
quality
of
service
to
them.
Magamejia

may
also
disclose
the
client
information
to

other
Magamejia’s
companies.
Sometimes,

Magamejia
may
also
disclose
this
information

to
carefully
selected
third
parties
for
their
own

marketing
purposes.

If
you
do
not
wish
your
details
to
be
used
for

this
purpose,
please
contact
our
clients

service.

If
the
client
provides
Magamejia
with

information
that
is
defined
by
European
data

52
protection
laws
as
“sensitive”,
the
client

agrees
that
it
may
be
used
for
the
purposes

set
out
above.

In
the
course
of
these
disclosures,
personal

data
collected
in
the
European
Economic
Area

may
be
disclosed
to
countries
outside
the

European
Economic
Area.
Although
such

countries
may
not
have
legislation
that

protects
a
client’s
personal
information,

Magamejia
shall
take
great
care
to
keep
such

information
secure
and
in
accordance
with
the

European
Data
protection
principles.
By

agreeing
to
these
Conditions
of
Business,
the

client
is
agreeing
to
such
disclosure.

Please
be
aware
that
Magamejia
may
film

auctions
or
other
activities
on
Magamejia

premises
and
that
such
recordings
may
be

transmitted
over
the
internet
via
Magamejia’s

website.

Telephone
bids
may
be
recorded.

Under
European
Data
protection
laws,
a
client

may
object,
by
request
and
free
of
charge,
to

the
processing
of
their
information
for
certain

purposes,
including
direct
marketing
and
may

access
and
rectify
personal
data
relating
to

them
and
may
obtain
more
information
about

Magamejia
data
protection
policy
by
writing

to
Magamejia.

55
SPECIALIST & AUCTION ENQUIRIES
Rufus Chen
China Art Specialist
rufus.chen@magamejia.ac.uk
Yoshi Marutani
Japan Art Specialist
yoshi.marutani@magamejia.ac.uk
Diya Mehta
India Art Specialist
diya.mehta@magamejia.ac.uk
Camille Gardella
Head of Marketing & Client Relations
camille.gardella@magamejia.ac.uk

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