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拍品 116 'I had been in many locations around my country, because of my job and my art tourism, and because we were landowners in my family, I supervised and visited these lands from time to time. At the beginning of my career, when I worked in Mansoura, I painted this oeuvre with the Impressionist style; the style that I had adopted back then... our beloved Egyptian countryside has been the source of prosperity for us and the artistic inspiration to many of our oeuvres.'
(The artist quoted in "Memoirs from my Paintings", in E. Dawastashy, One Hundred Years of Creativity, Cairo 1997; translated from Arabic by Suzanne Beltagy).
Christie's is proud to offer the two following lots by the Egyptian master Mahmoud Saïd; the two works, illustrating different types of Egyptian landscapes, were recently re-discovered and provide further insight into the Alexandrian painter's oeuvre.
The first one, depicting a village scene on the front and a seascape on the reverse, is a rare example from Mahmoud Saïd's early years. Originally in the collection of Baghat El-Batanouny, Mahmoud Saïd's cousin who had married Fardous Hamada, daughter of Zeinab Hanem Mazloum, this delightful bright landscape most probably depicts a village near Mansourah, where Saïd began his career as a lawyer. Painted in 1923, shortly after returning from his trips to Europe, this village scene reveals Saïd's familiarity with the work of the French Impressionists such as Pierre-Auguste Renoir, Alfred Sisley and Camille Pissarro, which he would have seen when he studied in Paris a few years earlier. Although executed in an Impressionist style, Saïd's focus is on the effect of light created by the juxtaposition of carefully selected colours. His palette is dominated by a warm terracotta hues, a luminous white and grey and an olive green all set against a vibrant light turquoise sky. The latter takes over most of the surface on the reverse for Saïd's seascape, with a wide range of nuances of this turquoise pigment. An early example of Saïd's oeuvre, it already announces the artist mastery of colour and of light. The second work, Assouan-Les Rochers is a delightful typical Nile landscape of Aswan from which emanates a warm Egyptian sunlight. The simple composition and pure colours capture the lyrical atmosphere of the scene. Saïd visited Aswan in 1949 yet he seems to have painted a similar view of the same place in Granites et dunes Assouan dated 1953, which was previously in Dr. Mohammed Said Farsi's collection and sold by Christie's Dubai in April 2010 (price realised: $482,500).
Assouan-Les Rochers was purchased by Sir Gilbert Inglefield directly from the artist. Sir Inglefield worked at the British Council in Cairo in the late 1940s-early 1950s and contacted Mahmoud Saïd to ask him to lend a few of his works for an exhibition organised by the British Council in Cairo in April-May 1949, titled An Exhibition of Paintings by Six Egyptian Artists: Mahmoud Saïd, Mohammed Naghi, Mohammed Hassan, Youssef Kamel, Sanad Basta, Dora Khayatt.
PROPERTY FROM A PRIVATE COLLECTION, USA
(The artist quoted in "Memoirs from my Paintings", in E. Dawastashy, One Hundred Years of Creativity, Cairo 1997; translated from Arabic by Suzanne Beltagy).
Christie's is proud to offer the two following lots by the Egyptian master Mahmoud Saïd; the two works, illustrating different types of Egyptian landscapes, were recently re-discovered and provide further insight into the Alexandrian painter's oeuvre.
The first one, depicting a village scene on the front and a seascape on the reverse, is a rare example from Mahmoud Saïd's early years. Originally in the collection of Baghat El-Batanouny, Mahmoud Saïd's cousin who had married Fardous Hamada, daughter of Zeinab Hanem Mazloum, this delightful bright landscape most probably depicts a village near Mansourah, where Saïd began his career as a lawyer. Painted in 1923, shortly after returning from his trips to Europe, this village scene reveals Saïd's familiarity with the work of the French Impressionists such as Pierre-Auguste Renoir, Alfred Sisley and Camille Pissarro, which he would have seen when he studied in Paris a few years earlier. Although executed in an Impressionist style, Saïd's focus is on the effect of light created by the juxtaposition of carefully selected colours. His palette is dominated by a warm terracotta hues, a luminous white and grey and an olive green all set against a vibrant light turquoise sky. The latter takes over most of the surface on the reverse for Saïd's seascape, with a wide range of nuances of this turquoise pigment. An early example of Saïd's oeuvre, it already announces the artist mastery of colour and of light. The second work, Assouan-Les Rochers is a delightful typical Nile landscape of Aswan from which emanates a warm Egyptian sunlight. The simple composition and pure colours capture the lyrical atmosphere of the scene. Saïd visited Aswan in 1949 yet he seems to have painted a similar view of the same place in Granites et dunes Assouan dated 1953, which was previously in Dr. Mohammed Said Farsi's collection and sold by Christie's Dubai in April 2010 (price realised: $482,500).
Assouan-Les Rochers was purchased by Sir Gilbert Inglefield directly from the artist. Sir Inglefield worked at the British Council in Cairo in the late 1940s-early 1950s and contacted Mahmoud Saïd to ask him to lend a few of his works for an exhibition organised by the British Council in Cairo in April-May 1949, titled An Exhibition of Paintings by Six Egyptian Artists: Mahmoud Saïd, Mohammed Naghi, Mohammed Hassan, Youssef Kamel, Sanad Basta, Dora Khayatt.
PROPERTY FROM A PRIVATE COLLECTION, USA
Mahmoud Saïd (Egyptian,1897-1964)
Village (recto); Paysage Marin (verso)
已结束2013年10月30日
成交价
USD 68,750
更多信息
专家说明
The two following lots illustrate two very different types of Egyptian landscapes that Egpytian master Mahmoud Saïd painted. Both works were recently re-discovered and provide further insight into the Alexandrian painter's oeuvre.
The first one, depicting a village scene on the front an a seascape on the reverse, is a rare example from Mahmoud Sad's early years. Originally in the collection of Baghat El-Batanouny, Mahmoud Saïd's cousin who had married Fardous Hamada, daughter of Zeinab Hanem Mazloum, this delightful bright landscape represents most probably a village near Mansourah, where Saïd began his career as a lawyer. Painted in 1923, shortly after he came back from his trips to Europe, this village scene reveals Saïd's familiarity with the work of the French Impressionists such as Pierre-Auguste Renoir, Alfred Sisley and Camille Pissarro, which he would have seen when he studied in Paris a few years earlier. Although executed with Impressionistic brushtrokes, Saïd's focus is on the effect of light created by the juxtaposition of carefully selected colours. His palette is dominated by a warm terracotta colour, a luminous white and grey, an olive green, all set against a vibrant light turquoise sky. The latter takes over most of the surface on the reverse for Saïd's seascape, with a wide range of nuances of this turquoise pigment. An early example of Saïd's oeuvre, it already announces the artist mastery of colour and of light.
'I had been in many locations around my country, because of my job and my art tourism, and because we were landowners in my family, I supervised and visited these lands from time to time. At the beginning of my career, when I worked in Mansoura, I painted this oeuvre with the Impressionist style; the style that I had adopted back then (...) our beloved Egyptian countryside has been the source of prosperity for us and the artistic inspiration to many of our oeuvres.' (M.Saïd, 'Memoirs from my Paintings', in E.Dawastashy, One Hundred Years of Creativity, Cairo, 1997; translated from Arabic by Suzanne Beltagy).
The first one, depicting a village scene on the front an a seascape on the reverse, is a rare example from Mahmoud Sad's early years. Originally in the collection of Baghat El-Batanouny, Mahmoud Saïd's cousin who had married Fardous Hamada, daughter of Zeinab Hanem Mazloum, this delightful bright landscape represents most probably a village near Mansourah, where Saïd began his career as a lawyer. Painted in 1923, shortly after he came back from his trips to Europe, this village scene reveals Saïd's familiarity with the work of the French Impressionists such as Pierre-Auguste Renoir, Alfred Sisley and Camille Pissarro, which he would have seen when he studied in Paris a few years earlier. Although executed with Impressionistic brushtrokes, Saïd's focus is on the effect of light created by the juxtaposition of carefully selected colours. His palette is dominated by a warm terracotta colour, a luminous white and grey, an olive green, all set against a vibrant light turquoise sky. The latter takes over most of the surface on the reverse for Saïd's seascape, with a wide range of nuances of this turquoise pigment. An early example of Saïd's oeuvre, it already announces the artist mastery of colour and of light.
'I had been in many locations around my country, because of my job and my art tourism, and because we were landowners in my family, I supervised and visited these lands from time to time. At the beginning of my career, when I worked in Mansoura, I painted this oeuvre with the Impressionist style; the style that I had adopted back then (...) our beloved Egyptian countryside has been the source of prosperity for us and the artistic inspiration to many of our oeuvres.' (M.Saïd, 'Memoirs from my Paintings', in E.Dawastashy, One Hundred Years of Creativity, Cairo, 1997; translated from Arabic by Suzanne Beltagy).