In 1998, the artist achieved a new high in the auction market with the sale of Untitled (1947), offered in the Indian and Southeast Asian Art: Including Modern and Contemporary Indian Paintings by Sotheby's, which concluded on 17 September 1998 at New York, achieving a sale price of ₹7,32,951 ($17,250). This record marked a defining moment in the artist's market history, reflecting both the significance of the artwork and its reception within the broader art world.

He is a romantic painter for whom there is more behind the every-day face of nature than what meets the eye. With an almost poetic penetration he can transform the grey vistas of Bori Bunder or Flora Fountain on a monsoon day into little rhapsodies and yet retain the intrinsic realities of his subjects…His vehicle of expression is colour. His forms, his compositon take their cue from colour. His whole understanding of nature and his emotional reaction are colour. This has led to the unlimited variety of colour association on which his fantasy can play. From the pastel shades through the dark Prussian blues and sepias of Omkareshwar, the salmon pink and blue composition of the Nasik River, practically each of his pictures brings new pleasures of colour…His compostion has improved over the years and most of his paintings have now a solid structure, although in some of them the foreground has not been solved and runs out into emptiness.

Raza, whose delicate and fluid water-colour landscapes were the delight of many exhibiton-goers, has crystallized his paintings in near-Cubist compostions. His inborn sense for melodious and exciting colour and his newly acquired discipline in formal structure, make the new paintings sincere and accomplished works. This sacrifice of spontaneity to deliberate construction may be a phase which will allow even greater freedom of expression in the future.

In 2005, the artist achieved a new high in the auction market with the sale of The Village (1958), offered in the Winter Online Auction: Modern and Contemporary Indian Art by Saffronart, which concluded on 08 December 2005 at Online, achieving a sale price of ₹1,36,00,400 ($293,555). This record marked a defining moment in the artist's market history, reflecting both the significance of the artwork and its reception within the broader art world.

In 2024, the artist achieved a new high in the auction market with the sale of Kalliste (1959), offered in the Modern & Contemporary South Asian Art by Sotheby's, which concluded on 18 March 2024 at New York, achieving a sale price of ₹46,59,33,545.2 ($5,619,900). This record marked a defining moment in the artist's market history, reflecting both the significance of the artwork and its reception within the broader art world.

…from 1954 to 1965… the French landscape became a dominant theme of Raza’s work. However, his landscapes became also studies of light and darkness; though the human figures were absent in each one of them there was an intensity which directly did not evoke or embody any emotion or the presence of the self, but it is obvious that these are concealed, existing on the canvas subterraneously. Raza’s art never states, it enacts: it was always evocation and escalation. Rumi had famously said ‘You are not your eyes’ and Raza has always believed in the third eye, beyond the physical retina. Raza seemed to have taken home Cezanne’s idea that the painter was parallel to nature implying that art was parallel to nature and by the same token different from nature.

In the ‘sixties and ‘seventies visits to India re-sensitised his perceptiveness for a final supreme and universal viewing of nature, not as appearance, not as spectacle but as an integrated force of life and cosmic growth reflected in every elementary particle and in every fibre of a human being. The five elements which in Hindu thought build this and other worlds – earth, jala – water, pawak – fire, gagan – sky and samara – ether and their correspondence, on the one hand, to areas of consciousness in the human mind and, on the other, to the colours yellow – padma, white – sulka, red – tejas, blue – nila and black – Krishna captured Raza’s imagination to the point of complete identification of himself with his painted work. Nature became to Raza something not to be observed or to be imagined but something to be experienced in the very act of putting paint on canvas. Painting acts itself out as a natural force, struggling in darkness, breaking into light, shivering in cold, burning in heat, trying to find form and yet dissolving into chaos.

In 1992, the artist achieved a new high in the auction market with the sale of Landscape (1964), offered in the Indian European and Oriental Paintings and Works of Art by Sotheby's, which concluded on 09 October 1992 at New Delhi, achieving a sale price of ₹55,000 ($1,830). This record marked a defining moment in the artist's market history, reflecting both the significance of the artwork and its reception within the broader art world.

In 1995, the artist achieved a new high in the auction market with the sale of L'orange (1964), offered in the Contemporary Indian Paintings: From The Chester and Davida Herwitz Charitable Trust by Sotheby's, which concluded on 12 June 1995 at New York, achieving a sale price of ₹1,44,463 ($4,600). This record marked a defining moment in the artist's market history, reflecting both the significance of the artwork and its reception within the broader art world.

My work is my own inner experience and involvement with the mysteries of nature and form which is expressed in colour, line, space and ligHe.

In 2006, the artist achieved a new high in the auction market with the sale of Tapovan (1972), offered in the Indian and Southeast Asian Art: Including Modern Indian Paintings by Sotheby's, which concluded on 29 March 2006 at New York, achieving a sale price of ₹6,57,83,680 ($1,472,000). This record marked a defining moment in the artist's market history, reflecting both the significance of the artwork and its reception within the broader art world.

Raza’s art never states, it enacts: it was always evocation and escalation. Rumi had famously said ‘You are not your eyes’ and Raza has always believed in the third eye, beyond the physical retina. Raza seemed to have taken home Cezanne’s idea that the painter was parallel to nature implying that art was parallel to nature and by the same token different from nature.