Anjana Kuthiala | Two Women Two women, their faces close and almost mirrored, emerge from beneath a dark arch in warm ochre tones. Draped in contrasting textured shawls, one patterned and one in deep black, they hold a quiet, intimate gaze. The work reflects Kuthiala's sustained interest in feminine identity and companionship.

Sangeeta Gupta | Abstract A textured abstract in black, grey, and white, with broad horizontal brushwork layered over a rough, worked surface. The marks feel both spontaneous and deliberate, like sediment or worn stone. The silver frame amplifies the work's cool, meditative tone.

Late S.R. Bhushan | Four Women A large canvas in deep reds, blues, and orange, where loosely suggested forms float and overlap in a charged field of colour. Circular and rectangular shapes recur through the composition, hinting at figures without fully resolving them. The work carries the emotional weight and expressive freedom that defined Bhushan's mature style.

Late S.R. Bhushan | Mother and Child A muted, warm-toned canvas where interlocking forms suggest the closeness of two figures without representing them literally. The soft layering of ochre, teal, and dusty red gives the work an intimate, tender quality. It is among the more restrained and contemplative works in Bhushan's body of work.

N.S. Rana | Couple Two elongated figures stand close together on a black base, their forms simplified and heavily textured with linear engraving. One figure carries a staff; both face forward in quiet solidarity. The patinated bronze surface gives the sculpture a weathered, timeless presence.

Shahid Parvez | Green Angels A seated male figure in teal and green tones holds a small bird in one hand, with a winged angel figure hovering behind him to the right. Small narrative vignettes fill the grey background. The painting has a folk-art quality in its flat, symbolic figures, but the layered surface and colour give it considerable depth.

Shahid Parvez | 2 Men on Cycle (Etching)
A playful etching depicting two figures sharing a bicycle, their intertwined forms rendered with bold outlines and textured detailing. The composition conveys balance, companionship, and motion through exaggerated anatomy and simplified forms. The artwork is a limited edition print, signed by the artist.

Shahid Parvez | Woman with Watch (Etching)
An expressive etching featuring a female figure with elongated features and delicate patterning. The presence of a watch subtly introduces a theme of time, while the stylized form and fine linework create a contemplative, almost symbolic portrait. The artwork is a limited edition print, signed by the artist.

Vineet Kacker | Spirit Marker A tall, slender ceramic column, obelisk-like in form, with a relief figure of a seated meditating figure at its centre. The surface is decorated with Devanagari script running in horizontal bands and geometric patterning in terracotta and white. The work draws on both the votive and the architectural traditions of Indian art.

Asurvedh | Women with Nature (Bird Seller) A dark bronze sculpture set on a natural wood base depicting a scene of everyday life. A woman and child stand to one side watching a figure resting on a raised cot, with birds perched around the structure. The open framework of rods gives the piece a sense of lightness and space.

Mohan Singh | Girl Smelling Flower A stylised figure in blue-green tones holds a white lotus to her face against a luminous golden background. The face is serene, eyes nearly closed, rendered in a manner reminiscent of classical Indian sculptural forms. The textured background adds depth and visual rhythm to the composition.

Tauseef Khan | Mubarak Mahal Reflection A hyperrealist oil painting depicting the ornate Mubarak Mahal in Jaipur's City Palace, seen through and reflected in a cluster of empty wine glasses arranged in the foreground. The curved glass surfaces distort and multiply the architecture, creating a layered interplay between the historic and the contemporary.

Tauseef Khan | Gateway of India
A vibrant painting depicting the iconic Gateway of India rendered with a surreal overlay of reflective, fluid metallic forms. The architectural structure remains central, while distorted reflections and transparent shapes create a dynamic interplay between realism and abstraction. The work reinterprets a historic landmark through a contemporary visual language.

S Paul | Jaggery Man
A high-contrast black-and-white image showing a worker silhouetted against clouds of steam as he handles molten jaggery with a large ladle. The interplay of light and vapor creates a dramatic, almost ethereal atmosphere, transforming an everyday labor scene into a powerful visual study of form and texture. The image is a limited edition archival print, numbered and signed by the artist. Medium: Archival paper | Size: 23.5 x 15.5 in

S Paul | Labourer goes to work
A compelling portrait of a rural woman carrying a child seated in a basket balanced on her head. The child peers outward while the mother looks directly at the viewer, her expression steady and composed. The photograph highlights themes of care, endurance, and maternal strength, framed against a soft, unobtrusive background. The image is a limited edition archival print, numbered and signed by the artist.

S Paul | 3 Legs
A striking black-and-white image capturing a rural figure mid-stride, carrying a small animal slung across his shoulders while leading another alongside. The alignment of limbs between man and animal creates the illusion of “three legs,” lending the composition a surreal, almost humorous visual rhythm. The stark background isolates the subject, emphasizing movement and resilience. The image is a limited edition archival print, numbered and signed by the artist.

Shalini Saran | Tyre A close-up photograph of a concrete wall surface with a circular drainage pipe set into it, framed by vertical score lines in the stone. The image finds quiet geometry in an industrial, overlooked corner. The grey palette and tight framing give it an almost sculptural quality.

Shalini Saran | Workshop Clutter A colour photograph of a workshop wall densely hung with vehicle horns, metal springs, coils, and rings in varying sizes. The red of a branded horn disc provides the only strong colour in an otherwise muted arrangement of metal and rust. The image celebrates the visual complexity of the everyday.

Riddhibrata Burman | Metal Woman A black-and-white photograph of a woman wearing a dramatic chainmail top, her hands raised at shoulder height in a composed, almost ceremonial stance. The stark white background throws all focus onto the sculptural quality of the garment against her form. The image sits at the intersection of fashion and fine art photography.

Ramona Singh | Udaipur Palace A wide-format photograph of the Udaipur City Palace where the left portion is rendered in black and white while the right shifts into colour, revealing a turbaned guard seated in a doorway framed by Mughal arches. The technique draws attention to how the same space can feel both historical and lived-in at once.

Raghu Rai | Dust Storm at Red Fort, 1986 A panoramic photograph of a dust storm engulfing the Red Fort in Delhi. Silhouetted figures move through a haze of orange-brown dust, the fort's ramparts barely visible in the background. The image transforms a familiar landmark into something elemental and unsettling.

Raghu Rai | Woman Pushing Cart A woman in a sari leans hard into a towering cart overloaded with wooden crates, pushing it down a wide, near-empty road. The sheer scale of the load against the single figure makes the image both absurd and sobering. It is one of Rai's most direct statements on labour and endurance.

Raghu Rai | Reflection in a UP Village
A layered black-and-white composition where reflections on glass merge multiple visual planes. Parked vintage cars, a rural courtyard with a woven charpai, and modest village architecture overlap, creating a fragmented yet cohesive narrative. The photograph plays with perception, memory, and spatial ambiguity, blending urban and rural visual cues into a single frame. The image is a limited edition archival print, numbered and signed by the artist.

Raghu Rai | Cow Enjoying Abundance of Wheat, Kandla Port, 2001 A cow stands with its head raised in the foreground as workers and machinery process mountains of wheat grain behind it in a golden haze of dust and backlight. The scene is both surreal and deeply Indian, the sacred and the industrial sharing the same frame without tension.

Raghu Rai | Filmmaker Satyajit Ray, 1985 Satyajit Ray reclines on a four-poster bed, propped on pillows, holding what appears to be a magnifying glass to his eye and looking directly at the camera with characteristic intensity. Film equipment is visible in the background. The photograph has the ease of access that only a trusted photographer could achieve.

Raghu Rai | Vidyasagar Setu A group of labourers row and push a heavily loaded flat-bottomed boat on the Hooghly River, with the elegant cable-stayed span of the Vidyasagar Setu arching overhead. The contrast between human labour and engineered scale gives the image both grit and grandeur.

Raghu Rai | Churchgate Railway Station, Mumbai, 1996 Taken at Churchgate Station during peak morning rush, this long-exposure photograph turns the commuting crowd into a blur of white motion, while two men reading newspapers remain sharp at the centre. The contrast between stillness and relentless movement captures the daily rhythm of Mumbai with quiet precision.

Raghu Rai | Dockyard Kolkata, 1990
A dramatic black-and-white photograph capturing the industrial expanse of Kolkata’s dockyard. In the foreground, a lone worker strains against a long pole aboard a barge, his body angled in effort, while the background is densely populated with cranes and docked ships under a heavy, brooding sky. The composition emphasizes scale and labor, contrasting human exertion with monumental industrial infrastructure. The image is a limited edition archival print, numbered and signed by the artist.

Prashant Panjiar | Cycle Two figures, wrapped in shawls against the cold, pause on a bicycle along a rural road at dawn. Palm trees rise in the soft mist behind them. The child on the back turns to look directly at the camera, his gaze calm and steady. The image is one of the most quietly iconic in Indian documentary photography.

Prashant Panjiar | Laughing Cow A black-and-white photograph in which a cow dominates the foreground, horns prominent, while a group of women and children smile from behind a gated doorway in the background. The juxtaposition is easy and unforced, a glimpse of ordinary coexistence in rural India.

Lalit Kumar | Abstract (photograph) A high-contrast abstract work in black and yellow, with irregular organic forms that suggest cracked earth, cellular structures, or aerial mapping. The network of bold black lines against pale yellow fields creates an image that is simultaneously primal and precise.

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Karthik Venkatraman | Waiting for Lover, Fort Palace, Neemrana: Two women in a Rajasthani palace are bathed in a wash of deep violet light that filters through a scalloped arch. One stands, the other kneels before a luminous window, their red garments the only warmth in an otherwise otherworldly frame. The print is titled and numbered 1/6.

Karthik Venkatraman | Ecstasized A lone silhouette stands arms raised against a deep blue-violet twilight sky, surrounded by birds in flight. The figure is absorbed in an unguarded moment of pure release. Shot in pure silhouette, the photograph strips away identity and leaves only the emotion.

Joginder Singh | Jantar Mantar IV A square-format photograph that splits the frame into two contrasting panels of light and shadow. Diagonal bands of sunlight cut across warm stone surfaces, with a vivid red wall glowing at the centre. Like his other Jantar Mantar works, the image reduces the 18th-century observatory to pure form and colour.

Amit Pasricha | Holi at Vrindavan A panoramic photograph capturing the frenzy of Holi at Vrindavan. Sadhus in saffron robes shower colour powder from an elevated platform as a sea of devotees below raises their hands in joy. The image is a limited edition archival print, numbered and signed by the artist.

Joginder Singh | Jantar Mantar III A close-up of the curved stone arms of a Jantar Mantar instrument, photographed in warm terracotta tones. The composition is tightly cropped, transforming the 18th-century astronomical structure into an abstract arrangement of arcs, edges, and shadow. Scale and context dissolve; only form remains.

Dinesh Khanna | Ganesh Stone, Pune A small child stands transfixed before a red sindoor-daubed Ganesh stone mounted on a bright turquoise wall. The boldness of the colours, electric blue door, terracotta idol, and seafoam wall, creates a striking graphic composition. At its centre is a simple, unmediated moment of a child encountering the sacred.

Dinesh Khanna | Kanchi Boy (please verify subject) A young figure in white reclines against the pale blue geometry of a Kanchipuram wall, head resting on one hand, eyes downcast. The cool tones of the architecture contrast with the warmth of the subject's skin, and the stillness of the frame gives the image a painterly quality.

Dinesh Khanna | Old Man, Stairs, Benaras An old man labours up narrow stone stairs in Banaras, a long staff in hand and a bag at his side. Above him, a carved Mughal-style window filters warm amber light through its latticed grid, set against peeling, weathered walls. The photograph captures the weight of age against the enduring architecture of the city.

Joginder Singh | Jantar Mantar I A near-abstract study of light and shadow inside Jantar Mantar. Stone stairs and angular walls divide the frame into sharp bands of dark and light, with a narrow sliver of red visible at the top. The photograph reduces one of India's great astronomical instruments to pure geometry.