- 145
Maya Gold B. 1978
Estimate
9,000 - 12,000 USD
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Description
- Maya Gold
- 19:22
signed Maya Gold and dated 2008 (on the canvas overlap); signed Maya Gold, 2008 and titled "19:22" (on the stretcher)
- oil on canvas
- 49 3/4 by 59 in.
- 126.5 by 150 cm.
- Executed in 2008.
Condition
This work is in very 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
Maya Gold studied both at the Slade School of Fine Art, London and the Bezalel Academy of Art and Design. Shortly after graduating she was the recipient of the 2007, Young Israeli Art, Legacy Heritage Fund Prize. Maya's work is concerned with painterly conundrums – she explores the line between abstraction and painterly narrative and investigates ways in which the paint surface can capture voids. Her paintings offer the viewer a bird's eye view of the reduced exacting figures that inhabit the landscape below. Limitless grey voids serve both as sky, air and ground which engulf the minute detailed figures.