Jehangir Sabavala (b. 1922)

Purchased by the current owners from Jehangir Art Gallery, Bombay 1980

Jehangir Sabavala, Jehangir Art Gallery, Bombay, January 8 - January 14, 1980

Canvas appears to be in very good overall condition. Colors of original lighter and brighter than catalogue illustration with great range of color contrasts in blue of sky and sea.
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.

The artist states "I consider the 1970's as a strong period, that's when I moved from my cubist phase. There is a diaphanous, atmospheric quality to the works done then. You will see shafts of light in my paintings" (Swagat, February 2006).

'Sabavala has accomplished something extremely difficult in his diverse landscapes: he has achieved the unity of the external with his internal world... Subtleties of tonal transitions and colour relationships are his forte; and scale, not size, is his preoccupation.' (Dilip Chitre, The Reasoning Vision: Jehangir Sabavala's Painterly Universe, New Delhi, 1980).

'Jehangir does not sacrifice the sensation of colour in painting... tone is an ingredient in his work, and the quiet of the greys... are his preference. The landscape is Jehangir's theme, yet there is a reference to the inscape... forms echo one another; the figure in the scene, the faceted tree, the embodied mountains, the suggested shadows, the ambient clouds, precipices over which the water cascades, like dissolving muslin... This is the repertoire of the romantic painter who is also committed. There is the relevance of distance, time, perspective, mood. And notwithstanding the element of the dream there is an earnestness (and an accepetance of limits) in Jehangir's work which is four square and vital.' (Richard Bartholomew, Times of India, New Delhi, 1976).