Sailoz Mookherjea was born in 1907 in Calcutta, West Bengal, India.

In 2004, the artist achieved a new high in the auction market with the sale of Kiss & Lovers Series (1945), offered in the Masterpieces & Museum Quality III: Indian Contemporary Paintings with Rare Books and Vintage Film Memorabilia by Osian's, which concluded on 26 March 2004 at Mumbai, achieving a sale price of ₹5,75,000 ($12,855). 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.

There is a lyricism of line and colour in his work which has no poetic genius of Sailoz… He was not interested in formalising what he saw was the grace and the movement, the colour and the virginity of life, and he painted without a thought in his mind – a mind as restful and clear as the transparent skies of his landscape.

In 2007, the artist achieved a new high in the auction market with the sale of Untitled (1948), offered in the Masterpieces and Museum Quality Series VIII by Osian's, which concluded on 31 January 2007 at Mumbai, achieving a sale price of ₹19,20,000 ($43,468). 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 1999, the artist achieved a new high in the auction market with the sale of Portrait Of A Sadhu (1951), offered in the Intuitive-Logic - The Next Step: Auctions of Indian Art - Classical, Folk, Tribal, Modern & Contemporary Traditions by HEART, which concluded on 28 November 1999 at New Delhi, achieving a sale price of ₹2,10,000 ($4,839). 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 2018, the artist achieved a new high in the auction market with the sale of Untitled (Peace) (1955), offered in the Modern & Contemporary South Asian Art by Sotheby's, which concluded on 19 March 2018 at New York, achieving a sale price of ₹26,01,500 ($40,000). 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.

His paintings though not many in number are important as harbingers of the new attitude towards painting and the “art about art” of the mid-twentieth century…Sailoz has to be considered one of the major figures in modern Indian art. In the 1940’s he did indeed enjoy a reputation and popularity few Indian artists have since been able to rival... Sailoz was proud to be an artist. There is a cold impersonality and ambiguity in modern art from which his work was free. His painting was vibrant and positive, clearly a result of his convictions and temperament; he rejected disappointment and difficulties. He was a man with the soul of a pilgrim, the hand of the artist, the eye of a poet.

In 2005, the artist achieved a new high in the auction market with the sale of Nizam-ud-din (1957), offered in the Masterpieces and Museum Quality Series: Indian Contemporary Art by Osian's, which concluded on 02 December 2005 at Mumbai, achieving a sale price of ₹9,20,000 ($19,947.96). 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 2007, the artist achieved a new high in the auction market with the sale of Nizam-Ud-Din: Purana Qila (1957), offered in the The Masterpieces & ABC Series: Includes Indian Modern & Contemporary Art Books, Popular Culture & Pakistani Film Posters by Osian's, which concluded on 27 July 2007 at New Delhi, achieving a sale price of ₹19,80,000 ($48,913). 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.

His contemporaneity is seen especially in a free and spontaneous handling of his media. He questions older conventions and his painterly, pseudo-careless treatment is typical. Here figures are not figures but patches of pigment; garments, hair, trees, are liberated colour. His thin brush sweeps across spaces and whips up shapes with an art nouveau exuberance. He prefers suggestion to statement and his details are only the right amount of decoration. This attitude towards paint and brush is very modern. It is uninhibited and enthusiastic, restless and momentary… His art took the form of small lyrical gems that had been created spontaneously rather than laboriously contrived.

In 1999, the artist achieved a new high in the auction market with the sale of Night At Jhelum (1959), offered in the Intuitive-Logic - The Next Step: Auctions of Indian Art - Classical, Folk, Tribal, Modern & Contemporary Traditions by HEART, which concluded on 28 November 1999 at New Delhi, achieving a sale price of ₹5,04,000 ($11,613). 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.

The brilliance of the interplay between colors so as to create his structures clearly reveal the genius of Sailoz, far ahead of his times. He eventually received respect after his death, and the status of India’s last nominated National Art Treasure. However, the present generation of collectors seem to be far removed from grasping his significance. Lot 28 represents one of his best works, painted close to his death, so leaving behind a deep sadness of what remained uncreated.

“His style is original and does not resemble that of earlier painters but is connected to theirs by his aim which was to create a poetic beauty. The same intention is seen for instance in the work of Abanindranath Tagore or so late a painter as Amrita Sher Gil…His contemporaneity is seen especially in a free and spontaneous handling of his media. He questions older conventions and his painterly, pseudo-careless treatment is typical. Here figures are not figures but patches of pigment; garments, hair, trees, are liberated colour. His thin brush sweeps across spaces and whips up shapes with an art nouveau exuberance. He prefers suggestion to statement and his details are only the right amount of decoration.”