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George Keyt (1901-1993)
Estimate
20,000 - 30,000 USD
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Description
- George Keyt
- Untitled
- Signed and dated 'G Keyt/ 46' lower right
- Oil on canvas
- 45 by 33 1/2 in. (114.3 by 85 cm.)
Condition
Stretcher warped, would benefit from restretching. Colours brighter than the catalogue illustrations. Overall good condition.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
In 1946, the year the current painting was produced, Keyt moved to Bombay and a year later he held his first solo exhibition. W. G. Archer considers pictures from this early Bombay period to be some of his most important. 'The experience of once again living in India, the India to which in spirit he has always belonged, induced him to re-explore his favourite subject...he employed all his resources, springing line, rhythmical form and glowing color, to imbue his subjects with innocent sensuality and poetic charm. ' (W. G. Archer, India and Modern Art, London, 1959, p. 135).