Golden Period 1950-60s with Trinity of Dilip- Raj-Dev triumphant at Osian’s Greatest Indian Show on Earth 2

Mughal-e-Azam remains favourite of serious Memorabilia collectors 
“The value of film memorabilia is there till the time technology replaced hand-painted posters and showcards with printed ones. If we had not placed credible financial value on these related objects of our film culture, the desire to preserve, love and respect our cinematic heritage would have been much more difficult to emerge,” said Neville Tuli, Chairman - The Osian's Group. His words rang through Osian's The Greatest Indian Show On Earth 2 - Vintage Film Memorabilia, Publicity Materials & Arts Auction where film lovers from the world over flocked to take home a piece of Indian cinematic history to be hopefully preserved forever.
Dilip Kumar's rare set of an original watercolour, mixed media and collage showcard artworks of Ram Aur Shyam that saw the actor in a first double role, sold for Rs.3,36,000. Kranti unique 12-sheeter teaser went for Rs.3,00,000. Sohrab Modi's Sikender sepia-toned photographic stills mounted on lobby cards sold for Rs.78,000. Mehboob Khan's Andaz hoarding with Raj-Dilip-Nargis portraits sold for Rs.1,20,000. A Kal Aaj Aur Kal six-sheeter poster of three generations of the Kapoor Family sold for Rs.54,400 while a Bobby Golden Jubilee trophy sold for Rs.74,400. Dilip Kumar's Mela's rare set of 6 original mixed-media collage artworks sold for Rs.48,000. Aan stills, a set of 4, sold for Rs.52,800, to name a few. 
Rare Artworks  from the  later 1990s onwards period such as Shah Rukh Khan's doodle, ink on paper, sold for Rs.1,20,000 while Aamir Khan's frontal portrait in poster paint on cardboard in Mangal Pandey by Balakrishna sold for 64,500 while MF Husain's Gaja Gajamini in Paris photographic collage and ink on paper sold for Rs.1,44,000. The price of all works can be seen at www.osianama.com. 
At the auction, original Artworks by Satyajit Ray, Mani Kaul, jostled for space with film legend, Dilip Kumar; the cinematic epic, Mughal-E-Azam, to the unique jubilee trophies of Bobby, Deewar, Heera and others; from original publicity-material art for Andaz (1949), Anari (1959), Guide (1965), Deewaar (1973) and others to rare vintage twelve and six-sheeter posters of Kranti (1981), Silsila (1981), Kal Aaj aur Kal (1971) and others; to rare posters, showcards, lobby cards, photographic stills from the golden 1950’s period to the era of Amitabh Bachchan to the current trinity of Salman-Shah Rukh and Aamir. 

Osian’s Chairman, Neville Tuli, highlights the role of auctions in this preservation process: “Today centers of research, museums, archives, collections, related to not just Indian film but all cinemas will emerge deeper and faster with India as a potential hub. It is not very far away when the finest scholars and researchers will flock to India to understand the profound role the cinematic and related arts have played in developing culture and a thousand influences thereon. The auctions have facilitated this journey just like Film Festivals facilitate a film appreciation culture. One has to only see the growth of the Hollywood memorabilia market to understand the vast energies that get energized when the film fraternity, media and the public work in unity to respect one’s history, and hence one’s current creativity.”

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