Lot 53
  • 53

Laxman Shreshtha (b. 1939)

Estimate
15,000 - 20,000 USD
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Description

  • Laxman Shreshtha
  • Untitled (Bombay Night)
  • Signed and dated 'LAXMAN 64' upper right and further inscribed 'LAXMAN 63/ LAXMAN SHRESTH [sic]' on reverse
  • Oil on canvas
  • 30 by 24 in. (76.3 by 60.8 cm)

Provenance

Acquired directly from the artist in Kathmandu, 1963/64

Condition

Good overall condition. Minor areas of paint shrinkage and small chip to black pigment in upper register. Faint, visible cracks to white pigments at lower left and lower right quadrants. Some light superficial staining to white pigment in lower right quadrant. Faint visible cracking to cobalt pigment at center. Stable overall.
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

Born in Nepal and raised in Bihar, Laxman Shreshtha has lived and worked in Bombay for the majority of his life, with frequent return trips to Nepal. ‘”My paintings always begin with scratches or layers of paint that gradually grow into planes," the artist explains. “Tensions are created on the surface, and then questions break cover. As the paint is banked down or piled up, or stripped away to reveal the layer beneath, a game, a mystery develops.”

‘The central contradiction in Shreshtha's work is the one that besets the work of any painter possessed of a spiritual project. How does one reconcile the quest for the intangible and formless, with the sensuous, tactile materiality of the painted image? At every level, Shreshtha draws upon energies released by these conflicts of imperative, evident in the engagement evident in the engagement between structural austerity and unabashed coloristic opulence,’ (Hoskote, “Laxman Shreshtha”, The Sunday Times of India, December 11, 1994).