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Lot 51

 

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a) George Keyt: A Centennial Anthology, Colombo: George Keyt Foundation, April 2001

pp. xiv + 184 pages including writings on and by Keyt, a portfolio of paintings [pp. 57-110], memorabilia, a bio-bibliography [1923-1988], murals, an essay by his daughter Diana Keyt, obituaries, etc.; bound in Bangladeshi jute with Keyt’s signatures blown up and printed on the cover in black and with a fine dust jacket.
12.25 x 11.5 in (31 x 29 cm)

Published by the George Keyt Foundation to mark the centenary of Sri Lanka’s most celebrated modernist painter, this handsome volume brings together critical essays, archival photographs, and a comprehensive visual survey of George Keyt’s oeuvre. The anthology spans Keyt’s stylistic evolution—from his early figurative explorations influenced by Indian and Buddhist iconography to his mature cubist-inflected idiom.

Featuring contributions from art historians, critics, and contemporaries, the volume provides deep insights into Keyt’s artistic, literary, and philosophical influences, including his engagement with Kandyan mural traditions, European modernism, and Indian spiritualism.

Lavishly illustrated with high-quality colour plates of paintings, drawings, murals, and rare archival material, the anthology is both a visual and scholarly tribute to Keyt’s legacy.

This definitive centennial publication is a valuable resource for collectors and institutions focused on South Asian modernism and transnational artistic movements in the 20th century.

b) George Keyt, 43 Paintings, London: Patrick Seale Gallery, 14 September - 5 October 1982, No. 16

unpaginated; softcover
8.25 x 6 in (21 x 15 cm)

Published to accompany George Keyt’s 1982 solo exhibition at the Patrick Seale Gallery, this catalogue documents 43 works by the iconic Sri Lankan modernist, whose lyrical figuration and cubist idiom earned him recognition both in South Asia and the West. The catalogue includes a brief introductory text, along with high-quality reproductions of exhibited paintings, many of which were drawn from private collections and were on view in London for the first time.

A scarce and important primary source on Keyt’s international exhibition history, reflecting the critical acclaim he received in Europe during the 1980s. Highly relevant for collectors and researchers of modern South Asian art.

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