Lot 325
  • 325

Louai Kayyali

Estimate
30,000 - 40,000 GBP
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Description

  • Louai Kayyali
  • Untitled
  • signed and dated 1974
  • oil on masonite
  • 95 by 95cm.; 37 3/8 by 37 3/8 in.

Provenance

Acquired directly from the artist by the previous owner
Private Collection, Syria (acquired directly from the above circa 2007)

Condition

Condition: This work is in a very good condition. Some very minor scratches to the surface inherent of the masonite. Colour: The catalogue illustration is very accurate but the overall tonality has less redness in the actual work.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

Louai Kayyali is among the highest regarded artists of the modernist movement in the Arab world. Perhaps as one of the most palpably socialist artists of the region, his sympathy with the plight of his country’s peasant under-class is apparent in his choice of subject matter. More often than not Kayyali’s paintings feature characters and personalities who would have been ostracised, or at best ignored, by the higher echelons of Syrian society. The unique depictions of the shoe-shine boy, the fisherman, the sweets seller and many others from the working classes form the bulk of Kayyali’s compositions. Depicted with great tenderness and compassion, they transcend their social bind in the artist’s personal homage to their lot. Misunderstood, and indeed criticised, by the literati during his lifetime for his ‘pessimism’ in insisting on painting the predicament of the masses, it was only after his death that he came to be truly appreciated.