Krishen Khanna (b. 1925)

The painting has recently been restretched and the canvas relined and cleared and consolidated. Craquelure throughout the painting especially in deep browns of background areas around figures. The illustration in the catalogue is overcropped and only shows a detail of the work (the left two thirds of the canvas) and omits a seated figure to the right holding a cigar in his hand. Several areas of paint infilling along edges visible to naked eye with further areas of retouching visible under UV light. Exposed areas of canvas along lower and right edge. Canvas apears to be stable and in fair 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 the present work Khanna uses these men in suits as the archetypal representation of the establishment. They are 'metaphors of authority.'

This work relates closely to a series of paintings entitled The Game that were painted in 1971 following the outbreak of war with Pakistan and the subsequent liberation of Bangladesh. The subject is war and the mediations between politicians and generals, 'The compositions portray how it is 'played' around the table... the war mongers and ammunition magnates talking 'shop' over brandy and cigars.' (Gayatri Sinha, Krishen Khanna: A Critical Biography, New Delhi, 2001, p.108).

'Bangladesh and the catastrophe which characterized that period of violent change and fight for liberty, both national and individual, are the implied themes of Krishen's series called The Game.
The sienna umber and reds build up the mood, but it is the stances of the figures, their starkness and rigidity, their explicit characterization which puts across the theme forcefully.' (Richard Bartholomew, Lalit Kala Contemporary, 24-5).