Modern & Contemporary African and Middle Eastern Art | Wednesday 25th October 2023

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MODERN & CONTEMPORARY AFRICAN AND MIDDLE EASTERN ART WEDNESDAY 25TH OCTOBER 2023

ENQUIRIES: Janet Rady, Head of Sale janet.rady@olympiaauctions.com Maryam Daoudi, Administrator and Junior Cataloguer maryam.daoudi@olympiaauctions.com +44 (0)20 7806 5545 pictures@olympiaauctions.com ONLINE CATALOGUE AND LIVE INTERNET BIDDING AVAILABLE THROUGH: www.olympiaauctions.com www.the-saleroom.com www.invaluable.com www.drouotonline.com This auction is conducted by Olympia Auctions in accordance with our Conditions of Business printed in the back of this catalogue.

MODERN & CONTEMPORARY AFRICAN AND MIDDLE EASTERN ART TO BE SOLD BY AUCTION: 25 Blythe Road, London W14 0PD AUCTION: Wednesday 25th October 2023, 12pm, precisely PUBLIC EXHIBITION: Sunday 22nd October, 12pm to 4pm Monday 23rd October, 10am to 8pm Tuesday 24th October, 10am to 5pm SALE NUMBER 33 Lot 23

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IMPORTANT INFORMATION FOR BUYERS

Definition “Auctioneers” (25 Blythe Road Ltd trading as Olympia Auctions).

PICTURE FRAMES

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CATALOGUING PRACTICE PLEASE NOTE THAT ALL MEASUREMENTS ARE APPROXIMATE A work catalogued with the name(s) or recognised designation of an artist, without any qualification, is, in our opinion, a work by the artist. In other cases, the following expressions with the following meanings are used: “Attributed to……” In our opinion probably a work by the artist in whole or in part.

“Studio of….” “Workshop of….” In our opinion a work executed in the studio or workshop of the artist, possibly under his supervision.

“Circle of….” In our opinion a work of the period of the artist and showing his influence.

“Follower of…” In our opinion a work executed in the artist’s style but not necessarily by a pupil.

“Manner of….” In our opinion a work executed in the artist’s style but of a later date.

“After….” In our opinion a copy (of any date) of a work of the artist.

“Signed….”, “Dated….”, “Inscribed….” In our opinion the work has been signed/ dated/inscribed by the artist. The addition of a question mark (?) adds an element of doubt.

“Bears signature…”, “Bears date….”, “Bears inscription….” In our opinion the signature/date/inscription/stamp is by a hand other than that of the artist.

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Condition is not normally recorded and all lots are sold as viewed. Condition reports can be requested prior to sale. Whilst the Auctioneers are pleased to provide a general report of condition, the Auctioneers are not professional conservators or restorers and any statements made are merely subjective, qualified opinion. Prospective Buyers should satisfy themselves in person wherever possible as to the condition of a lot, or ask an agent to inspect it for them.

SYMBOLS ‘  ’ For items with No Reserve.

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Artist Resale Right ‘•’ For lots marked with the symbol ‘•’ that are sold for a Hammer Price of €1,000 or greater (converted into GBP using the European Central Bank Reference rate prevailing on the Auction End date) an additional premium will be payable by the Buyer to cover the payment of royalties under the Artist Resale Right Regulations 2006. The additional premium will be a percentage of the amount of the Hammer Price calculated in accordance with the table below, and shall not exceed the equivalent of €12,500. The Artist Resale Right applies to paintings sold for €1,000 or greater if they are sold 3 years or more after their original sale by the artist.

Paintings sold for €10,000 or greater are liable for Artist Resale Right regardless of when the initial sale took place.

Hammer Price Percentage Amount From €0 to €50,000 4% From €50,000.01 to €200,000 3% From €200,000.01 to €350,000 1% From €350,000.01 to €500,000 0.5% Exceeding €500,000 0.25%

IMPORTANT INFORMATION FOR BUYERS

PAYMENT

Please note that this Guarantee does not apply if either:-

Payment is due in sterling at the conclusion of the sale and before purchases can be released. Please note that we require seven days to clear sterling cheques unless special arrangements have been made in advance of the sale. The Auctioneers are pleased to accept cash and card payments – Visa, MasterCard and American Express. Cash and card payments above £6,000 and “cardholder not present” payments above £2,000 will not be accepted without prior arrangement.

(i) the catalogue description was in accordance with the generally accepted opinions of scholars and experts at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; or

Electronic transfers may be sent directly to our Bank: Olympia Auctions Ltd HSBC Bank 38 High Street Dartford Kent DA1 1DG United Kingdom IBAN Number: GB39HBUK40190422033119 BIC: HBUKGB4B Sort Code: 40-19-04 Account Number: 22033119 Account Name: Olympia Auctions Ltd VAT Registration Number: 144181627

COLLECTION AND STORAGE On receipt of cleared funds, lots can be collected from the premises at 25 Blythe Road, London, W14 0PD. Please note that collection may be made during working hours only, usually Monday to Friday 9.30 to 17.00. All lots should be cleared within 10 working days of the auction date, after which they will be transferred to a third party for storage. A transfer fee of £25 per lot plus all incurred transfer and storage costs due to the third party will be payable prior to release.

(ii) the only method of establishing at the date of the sale that the item was a Counterfeit would have been by means of processes not then generally available or accepted, unreasonably expensive or impractical; or likely to have caused damage to or loss in value to the Property (in the Auctioneers reasonable opinion); or (iii) there has been no material loss in value of the Property from its value had it accorded with its catalogue description.

To claim under this Guarantee, the Buyer must:(i) notify the Auctioneers in writing within one (1) month of receiving any information that causes the Buyer to question the authenticity or attribution of the Property, specifying the lot number, date of the auction at which it was purchased and the reasons why it is believed to be Counterfeit; and (ii) return the Property to the Auctioneers in the same condition as at the date of sale and be able to transfer good title in the Property, free from any third party claims arising after the date of the sale.

The Auctioneers have discretion to waive any of the above requirements. The Auctioneers may require the Buyer to obtain at the Buyer’s cost the reports of two independent and recognised experts in the relevant field and that are acceptable to the Auctioneers. The Auctioneers shall not be bound by any reports produced by the Buyer, and reserves the right to seek additional expert advice at its own expense. In the event the Auctioneers decides to rescind the sale under this Guarantee, it may refund to the Buyer the reasonable costs of up to two mutually approved independent expert reports, provided always that the costs of such reports have been approved in advance and in writing by the Auctioneers.

AUTHENTICITY GUARANTEE If the Auctioneers sell an item of Property which is later shown to be a “Counterfeit”, subject to the terms below the Auctioneers will rescind the sale and refund the Buyer the total amount paid by the Buyer to the Auctioneers for that Property, up to a maximum of the Purchase Price.

The Guarantee lasts for one (1) year after the date of the relevant auction, is for the benefit of the Buyer only and is non-transferable.

“Counterfeit” means an item of Property that in the Auctioneers reasonable opinion is an imitation created with the intent to deceive over the authorship, origin, date, age, period, culture or source, where the correct description of such matters is not included in the catalogue description for the Property.

Property shall not be considered Counterfeit solely because of any damage and/ or restoration and/or modification work (including, but not limited to, recolouring, tooling or repatinating).

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Lot 25 4

PROPERTY FROM THE COLLECTION OF DR MOHAMMED SAID FARSI (lots 1-33)

Dr Farsi

Dr Mohammed Said Farsi (1935 - 2019) has been one of the most influential figures in the development of Middle Eastern visual arts and its cultural centres in recent decades. During his life, Dr Farsi was devoted to the research, promotion and collection of visual arts across the Middle East. His greatest influence was in Jeddah, where he became Mayor, and in Egypt, following his studies in Architecture and Town Planning at the University of Alexandria.

Dr Farsi’s vision for Jeddah was to integrate important contemporary art into public spaces to benefit the lives of local residents and reflect the city’s cultural significance. He commissioned over 400 works by Arab and international artists, including examples by Henry Moore,Victor Vasarely and Joan Miró, and establishing one of the largest open-air galleries in the world. His achievement was celebrated by his son Hani with the publication of the book Jeddah City of Art in 1992.

Dr Farsi’s philanthropic instincts were also keenly felt within Egypt, where he offered guidance to young emerging artists and often promoted and collected their works himself. One of the only collectors of Modern Egyptian Art to document his acquisitions, he commissioned critic and scholar Dr. Sobhy Sharouny to catalogue his collection which was published in 1998 as A Museum in a Book: The Farsi Art Collection – the “Egyptian Works” owned by Dr. Mohammed Said Farsi. The book both underlined Dr. Farsi’s deep ties with Egypt and cemented the Farsi collection as a cultural focal point for artistic production in the region.

Eventually expanding to include a broader range of styles and periods, including classical Islamic artworks, elements of the Farsi collection have been centrepieces in major sales of the Middle Eastern and Islamic artwork markets. The Christie’s x Credit Suisse sale in Dubai of International Modern & Contemporary Art in 2010 was at the time the most extensive selection of museum-quality modern Middle Eastern art ever offered at auction.

The Farsi collection continues to garner interest from collectors and institutions alike as it comprises some of the finest examples of Middle Eastern contemporary cultural expression. Indeed, the impact of Dr. Mohammed Said Farsi and his collection has come to shape both the region’s contemporary art scene and the wider context of modern art patronage.

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1 † ABDEL HADI AL GAZZAR (EGYPTIAN 1925-1966) A CHILD’S FACE signed in Arabic lower left pencil on paper, laid on board 22.5 x 17cm; 8 3/4 x 6 3/4in 40 x 35cm; 15 3/4 x 13 3/4in (framed) Provenance Collection of Dr Mohammed Said Farsi Thence by descent Literature Dr Sobhy Al Sharouny, A Museum in a Book, Cairo, 1998, pp. 280 and 287, illustrated To be included in the Abdel Hadi El Gazzar: Catalogue Raisonné of the paintings by Valerie Didier and Hussam Rashwan Born in Alexandria, Al Gazzar was a leading figure in modern Egyptian art of the 20th century. He enrolled at the Faculty of Fine Arts in Cairo in 1944 and then joined the Contemporary Art Group founded by Hussein Youssef Amin, his master. Growing up in the Sayeda Zeinab district of Cairo, he depicts the people of Cairo in a folkloric way with a unique expressionistic, metaphysical style. His arrest in 1949 by King Farouk’s forces re-invigorated Al Gazzar’s wish to represent the realities of the poor and their life struggles and included magic symbols, folk beliefs and rituals in his works.

Widely recognised during his short lifetime, Al Gazzar’s exhibited in France in 1949, at the Venice Biennale in 1952 and in São Paulo in 1953. Today, his works are in private collections in Cairo, Alexandria, Rome, Paris and Brussels, but also in major institutions around the world, such as the Metropolitan Museum of Art in New York or the Mathaf: Arab Museum of Modern Art, Doha.

£1,500-3,500 6

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2 † ABDEL HADI AL GAZZAR (EGYPTIAN 1925-1966) SOAD’S PORTRAIT IN RAS EL BAR (PREPARATORY SKETCH FOR A FIGURE IN PEACE) signed, titled and dated in Arabic Abdel Hadi Al Gazzar / 29/5/1964 Head of / Soad lower left pen and indian ink on paper 27.5 x 21.5cm; 10 3/4 x 8 1/2in 58.5 x 50.5cm; 23 x 19 3/4in (framed) Provenance Collection of Dr Mohammed Said Farsi Thence by descent Literature Dr Sobhy Al Sharouny, A Museum in a Book, Cairo, 1998, pp. 281 and 288, illustrated To be included in the Abdel Hadi El Gazzar: Catalogue Raisonné of the paintings by Valerie Didier and Hussam Rashwan

£2,000-3,000 7

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† YOUSSEF KAMEL (EGYPTIAN 1890-1971) A SHEPHERD (PORTRAIT OF A MAN SITTING UNDER A TREE) oil on panel 121 x 97cm; 47 1/2 x 38in 134 x110cm; 52 3/4 x 43 1/4in (framed)

Provenance Collection of Dr Mohammed Said Farsi Thence by descent Literature Dr Sobhy Al Sharouny, A Museum in a Book, Cairo, 1998, pp. 62 and 67, illustrated Among the first students to join Cairo’s School of Fine Arts in 1908, Youssef Kamel was part of a generation of modernist artists in Egypt often referred to as the Al-Ruwwad Group (The Pioneers Group). He studied under the Italian painter Paolo Forcella and worked alongside influential Egyptian artists such as Ragheb Ayad (see lots 16-19) and Mahmoud Mokhtar. In 1925, Kamel received a scholarship to attend Rome’s Royal Academy of Fine Arts. He studied under Umberto Coromaldi who, like Forcella, followed the Italian 19th century Macchiaioli movement, which focused on oil painting techniques that emphasise patches of light in nature. Kamel loved the landscape of the Egyptian countryside, and through his use of soft brush strokes and touches of colour, he added a tender poeticism to scenes of everyday life.

He returned to Cairo in 1929 to work as a professor of painting at the School of Fine Arts, later serving as its director from 1950 to 1953. Kamel also worked as a curator and director of the Museum of Egyptian Modern Art from 1948 to 1949.

Throughout his life he produced over two thousand works, making him one of Egypt’s most prolific artists. His paintings can be found in private collections in Egypt including the Cairo Museum of Modern Egyptian Art, the Agricultural Museum in Dokki, the Alexandria Museum of Fine Arts, and abroad in the Museum of Modern Art in Rome and the Barjeel Foundation, Sharjah UAE.

£5,000-8,000 8

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4 † ABDEL HADI AL GAZZAR (EGYPTIAN 1925-1966) STANDING NUDE WITH CHAIR signed in English and Arabic El Gazzar lower right; dated in English 1948 lower left pen and indian ink on paper 29 x 21cm; 11 1/2 x 8 1/4in 58 x 50cm; 22 3/4 x 19 3/4in (framed) Provenance Collection of Dr Mohammed Said Farsi Thence by descent Literature Dr Sobhy Al Sharouny, A Museum in a Book, Cairo, 1998, pp. 282 and 294, illustrated To be included in the Abdel Hadi El Gazzar: Catalogue Raisonné of the paintings by Valerie Didier and Hussam Rashwan

£3,000-5,000 9

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† ADHAM WANLY (EGYPTIAN 1908-1959) BRINDISI HARBOUR signed in English E. Wanly lower right oil on panel 24.5 x 52cm; 9 3/4 x 20 1/2in 43 x 71cm; 17 x 28in (framed)

† ADHAM WANLY (EGYPTIAN 1908-1959) TEASING ON THE CORNICHE signed in English Wanly lower left pen and ink and watercolour on card 7.5 x 11.5cm; 3 x 4 1/2in 31 x 25cm; 12 1/4 x 9 3/4in (framed)

Provenance Collection of Dr Mohammed Said Farsi Thence by descent

together with another pen and ink and watercolour depicting Two Ladies and a Horserider by the same artist (2)

Literature Dr Sobhy Al Sharouny, A Museum in a Book, Cairo, 1998, pp. 187 and 203, illustrated

£4,000-6,000

Provenance Collection of Dr Mohammed Said Farsi Thence by descent Literature Dr Sobhy Al Sharouny, A Museum in a Book, Cairo, 1998, pp. 186 and 197, illustrated (Teasing On The Corniche)

£500-800 10

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† ADHAM WANLY (EGYPTIAN 1908-1959) (i) DANCER WITH CIGARETTE; (ii) DANCER WITH CIGARETTE AND HEAD STUDIES - A PAIR both: signed in English Wanly lower left felt tip on paper (i) 28 x 17.5cm; 11 x 7in 40.5 x 30cm; 16 x 11 3/4in (framed) (ii) 28.5 x 19cm; 11 1/4in 45 x 36.5cm; 17 3/4 x 14 1/4in (framed) (2)

† ABDEL HADI AL GAZZAR (EGYPTIAN 1925-1966) STUDY OF A HAND crayon on paper laid on board 30 x 22cm; 11 3/4 x 8 3/4in 43.5 x 36.5cm; 17 x 14 1/4in (framed) Provenance Collection of Dr Mohammed Said Farsi Thence by descent

£1,000-2,000

Provenance Collection of Dr Mohammed Said Farsi Thence by descent Literature Dr Sobhy Al Sharouny, A Museum in a Book, Cairo, 1998, pp. 185 and 194, illustrated (i and ii)

£1,500-2,500

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9 † AHMED SABRY (EGYPTIAN 1889-1995) PORTRAIT OF A MAN signed and dated in English A. Sabry / 1947 lower left oil on board 49 x 29.5cm; 19 1/4 x 11 1/2in 60 x 40.5cm; 23 1/2 x 16in (framed) Provenance Collection of Dr Mohammed Said Farsi Thence by descent Literature Dr Sobhy Al Sharouny, A Museum in a Book, Cairo, 1998, pp. 49 and 53, illustrated

£1,000-2,000

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10 † ADHAM WANLY (EGYPTIAN 1908-1959) NUBIANS READING THE NEWSPAPER signed W. lower left charcoal and crayon on paper 14.5 x 21cm; 5 3/4 x 8 1/4in 27 x 34cm; 10 1/2 x 13 1/2in (framed) together with a pastel drawing of Felouk on the Nile by the same artist (2) Provenance Collection of Dr Mohammed Said Farsi Thence by descent

£600-900 10 12

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11 † GEORGES HANNA SABBAGH (EGYPTIAN 1887-1951) SAILING BOATS signed in English G.H. SABBAGH. lower right oil on canvas 26 x 45cm; 10 1/4 x 17 3/4in 46.5 x 65.5cm; 18 1/4 x 25 3/4in (framed) Provenance Collection of Dr Mohammed Said Farsi Thence by descent Born in Alexandria, Sabbagh grew up in a wealthy Coptic family of Lebanese origin. Part of the local elite, he received a quality French education at the Ecole des Jésuites. He then traveled to France, where he started studying law in Paris in 1905. However, Sabbagh preferred to frequent the intellectual, and artistic circles and eventually abandoned his law studies. He attended courses at the atelier of French artist Lucien Lévy-Dhurmer, before completing his training at the Académie Ranson in 1910. Sabbagh participated in several major art events such as the annual Salon d’Automne, the Salon des Indépendants, and the Salon des Tuileries.

After the outbreak of the First World War, Sabbagh traveled to England, where he was employed at the factory of Rolls Royce in the city of Derby, from 1914 to 1917. He returned to Egypt in 1920 following the death of his mother travelling extensively around the country, rediscovering the landscapes of his childhood with a particular fascination for the Nile.

In 1934, after divorcing his wife, he left France to relocate in Cairo. There, he established himself in the district of Zamalek and actively contributed to the Egyptian artistic scene. In 1939, he started giving painting courses at the École des Beaux-Arts in Cairo. After the Second World War, he moved back to France, and remained in Paris until his death. In France, Georges Sabbagh was considered to be “one of the heirs of the Nabis”, and like the Nabis, Sabbagh built a particular connection with Brittany, finding spirituality in the landscapes.

Regardless of his strict French education and time spent in France, having grown up in the cosmopolitan society of Alexandria, where Muslims, Christians, Europeans, Arabs, and locals coexisted, the painter stayed true to his Egyptian roots and values throughout his life.

Sabbagh said of himself: ‘I am neither of Brittany, Paris, Nabi, nor cubist. I am a painter of the Orient and the West; a man from Africa, the Levant and Europe, a Mediterranean in love with light and life’. It seems that he refused any categorisations, or strict cultural attachments. This hybrid personality led him to create with profound freedom, a painting, which combines tradition and modernity through a sensitive artistic approach.

£1,000-3,000 13

12 † MOHAMMAD NAGHI (EGYPTIAN 1888-1956) A GREEK PRIEST pastel on paper 23 x 15.5cm; 9 x 6in 39.5 x 29cm; 15 1/2 x 11 1/2in (framed) Provenance Collection of Dr Mohammed Said Farsi Thence by descent

£800-1,200 13 † MOHAMMAD NAGHI (EGYPTIAN 1888-1956) DUCKS ON THE SHORE signed in English Naghi lower right watercolour on paper 22 x 28.5cm; 8 3/4 x 11 1/4in 41 x 52cm; 16 x 20 1/2in (framed) Provenance Collection of Dr Mohammed Said Farsi Thence by descent Literature Dr Sobhy Al Sharouny, A Museum in a Book, Cairo, 1998, pp. 36 and 41, illustrated

£1,500-3,500

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14 † MOHAMMAD NAGHI (EGYPTIAN 1888-1956) THE FORGIVENESS signed in English Naghi lower right oil on board 44.5 x 29.5cm; 17 1/2 x 11 1/2in 61.5 x 46.5cm; 24 x 18 1/2 in (framed) Provenance Collection of Dr Mohammed Said Farsi Thence by descent Literature Dr Sobhy Al Sharouny, A Museum in a Book, Cairo, 1998, pp. 36 and 41, illustrated

£4,500-5,500

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15 † MOHAMMAD NAGHI (EGYPTIAN 1888-1956) THE CHESS PLAYER oil on board 46 x 30cm; 18 x 11 3/4in 50 x 34cm; 19 3/4 x 13 1/2in (framed) Provenance Collection of Dr Mohammed Said Farsi Thence by descent Literature Dr Sobhy Al Sharouny, A Museum in a Book, Cairo, 1998, pp. 37 and 45, illustrated

£3,500-5,500

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16 † RAGHEB AYAD (EGYPTIAN 1892-1982) A VIEW OF WADI EL NATROUN MONASTERIES signed and dated in English R. AYAD / c.1965 lower left pen and indian ink on paper 34 x 49cm; 13 1/4 x 19 1/4in 56 x 74cm; 22 x 29in (framed) Provenance Collection of Dr Mohammed Said Farsi Thence by descent Literature Dr Sobhy Al Sharouny, A Museum in a Book, Cairo, 1998, pp. 74 and 84, illustrated

£2,000-3,000 16 16

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17 † RAGHEB AYAD (EGYPTIAN 1892-1982) THE BUFFALO AND THE FLIES - VERSO; FLIES AND THE BUFFALO - RECTO signed and dated in English R. AYAD / c.1965 lower left - recto; signed and dated in English R. AYAD / c.1965 lower centre - verso ink and watercolour on paper 47 x 67cm; 18 1/2 x 26 1/4in 71 x 90cm; 28 x 35 1/2in (framed) Provenance Collection of Dr Mohammed Said Farsi Thence by descent Literature Dr Sobhy Al Sharouny, A Museum in a Book, Cairo, 1998, pp. 74, 80 and 81, illustrated Ragheb Ayad is celebrated as one of Egypt’s most independent and boldest of the First Generation of artists. He is particularly remembered for his spontaneous style of painting, which borders on caricature. A talented draughtsman, he chose to depict scenes of popular culture with raw emotion and honesty, including the fellaheen and their daily domestic village life, as well as desert monasteries and monks.

After training, both in Cairo and abroad in Rome, where from 1922 he studied with fellow Egyptian artist, Youssef Kamel, mutually supporting each other financially and in friendship, he returned to Cairo in 1930 to commence an illustrious career as a teacher and curator at many renowned institutions in addition to serving on many government committees. Appointed Department Head at the Higher School of Fine Arts in 1942, he was chosen to organise the Coptic Museum in Old Cairo and subsequently became the Curator of the Cairo Modern Museum from 1950 to 1955.

During his liftetime, Ragheb Ayad held over 40 exhibitions in Egypt and abroad and his works are held in private Egyptian and international collections, as well as institutions such as the Modern Egyptian Museum, Cairo; the Agricultural Museum in Dokki and the Museum of Fine Arts, Alexandria.

Additionally, his murals adorn the walls of churches, hotels and former palaces in Egypt.

£7,000-10,000 17

18 † RAGHEB AYAD (EGYPTIAN 1892-1982) THE SUFI PROCESSION signed and dated in English R. Ayad / 1950 lower left pen and ink and wash on paper 52.5 x 36cm; 20 3/4 x 14in 74.5 x 54cm; 29 1/4 x 21 1/4in (framed) Provenance Collection of Dr Mohammed Said Farsi Thence by descent Literature Dr Sobhy Al Sharouny, A Museum in a Book, Cairo, 1998, pp. 74 and 83, illustrated

£3,000-5,000

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19 † RAGHEB AYAD (EGYPTIAN 1892-1982) MEN PLAYING MUSIC, A LADY DANCING pen and ink and watercolour on paper signed and dated in English R. AYAD / c.1957 lower centre 54 x 78cm; 21 1/4 x 30 3/4in 58 x 83cm; 22 3/4 x 32 3/4in (framed) Provenance Collection of Dr Mohammed Said Farsi Thence by descent

£3,000-5,000

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† SABRY HELMY RAGHEB (EGYPTIAN 1920-2000) FLOWERS IN A BLUE VASE signed and dated in English and Arabic Sabry 1994 centre right oil on canvas 48.5 x 38cm; 19 x 15in 64.5 x 53.5cm; 25 1/4 x 21in (framed)

† SABRY HELMY RAGHEB (EGYPTIAN 1920-2000) PORTRAIT OF A LADY IN RED signed and dated in English Sabry 1994 lower right oil on canvas 47.5 x 37cm; 18 3/4 x 14 1/2in 65.5 x 54cm; 25 3/4 x 21 1/4in (framed)

Provenance Collection of Dr Mohammed Said Farsi Thence by descent

Provenance Collection of Dr Mohammed Said Farsi Thence by descent

Literature Dr Sobhy Al Sharouny, A Museum in a Book, Cairo, 1998, pp. 252 and 258, illustrated

£2,000-3,000

£1,500-3,500

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22 † SABRY HELMY RAGHEB (EGYPTIAN 1920-2000) PORTRAIT OF A GIRL READING signed and dated in English and Arabic Sabry 1999 lower right oil on canvas 45 x 35cm; 17 3/4 x 13 3/4in 63 x 53.5cm; 24 3/4 x 21in (framed) Provenance Collection of Dr Mohammed Said Farsi Thence by descent

£2,000-3,000 20

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† SEIF WANLY (EGYPTIAN 1906-1979) PORTRAIT OF SOAD WAHBY signed in Arabic upper left gouache on paper 33 x 23.5cm; 13 x 9 1/4in 55.5 x 48cm; 22 x 19in (framed)

† SEIF WANLY (EGYPTIAN 1906-1979) MAHMOUD DARWISH signed in Arabic Seif Wanly upper right 31.5 x 22.5cm; 12 1/2 x 9in 54.5 x 45.5cm; 21 1/2 x 18in (framed)

Provenance Collection of Dr Mohammed Said Farsi Thence by descent Literature Dr Sobhy Al Sharouny, A Museum in a Book, Cairo, 1998, pp. 155 and 163, illustrated Naguib Mahfouz, Mirrors (translated by Roger Allen), Cairo, First Edition,1999, illustrated on the cover and p. 78 The subject was a character from Naguib Mahfouz’s celebrated novel El Maraya, first published as illustrations in the magazine Al Izaa 1970, illustrated El Maraya includes 55 characters, whom the reader is led to believe are all fictional; however, a closer reading reveals them to be all real characters stripped of their names and appearances. Most of these characters were contemporaries of Mahfouz.

Provenance Collection of Dr Mohammed Said Farsi Thence by descent Literature Dr Sobhy Al Sharouny, A Museum in a Book, Cairo, 1998, pp. 155 and 163, illustrated Naguib Mahfouz, Mirrors (translated by Roger Allen), Cairo,1991, illustrated on p.168 The subject was a character from Naguib Mahfouz’s celebrated novel El Maraya, first published as illustrations in the magazine Al Izaa in 1970 (see lot 23).

£2,000-3,000 ARR may apply

£1,500-2,500 ARR may apply 21

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25 † SEIF WANLY (EGYPTIAN 1906-1979) BEACH VIEW signed in English Seif lower right oil on canvas 27.5 x 37.5cm; 10 3/4 x 14 3/4in 45.5 x 56.5cm; 18 x 22 1/4in (framed) Provenance Collection of Dr Mohammed Said Farsi Thence by descent

£7,000-9,000 ARR may apply

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26 † SEIF WANLY (EGYPTIAN 1906-1979) BAIGNEUSES (LADIES BATHING) signed and dated in English Seif 49 lower left oil on board 66 x 93.5cm; 26 x 36 3/4in 71 x 98cm; 28 x 38 1/2 in (framed) Provenance Collection of Dr Mohammed Said Farsi Thence by descent Literature Dr Sobhy Al Sharouny, A Museum in a Book, Cairo, 1998, pp. 157 and 175, illustrated

£15,000-20,000 ARR may apply

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27 † SEIF WANLY (EGYPTIAN 1906-1979) BALLROOM DANCERS signed in English Seif lower left and upper right oil on board 33.5 x 48.5cm; 13 1/4 x 19in 48.5 x 62.5cm; 19 x 24 1/2in (framed) Provenance Collection of Dr Mohammed Said Farsi Thence by descent

£5,000-8,000 ARR may apply

24

28

29

28

29

† ISMAIL TAHA NEGM (EGYPTIAN B.1937) ABSTRACT WOMAN watercolour signed and dated in Arabic and Berber Ismail 1993 lower centre 60 x 47.5cm; 23 1/4 x 18 3/4in (unframed)

† ISMAIL TAHA (EGYPTIAN B.1937) LIAISON signed and dated in English, Arabic and Tamazight ISMAIL TAHA 1974 lower centre right wax crayon on paper 66 x 47.5cm; 26 x 18 3/4in (unframed)

Provenance Collection of Dr Mohammed Said Farsi Thence by descent

£200-300

Provenance Collection of Dr Mohammed Said Farsi Thence by descent Literature Dr Sobhy Al Sharouny, A Museum in a Book, Cairo, 1998, p. 331, illustrated

£300-500

25

30

26

31

Property of a Gentleman, London

Property of a Gentleman

30

31

† TAHA AL SABBAN (SAUDI ARABIAN B.1948) TAKWEEN signed and dated al Sabban 93 lower left; inscribed in Arabic on the reverse oil on canvas 122 x 90.5cm; 48 x 35 3/4in 130.5 x 99cm; 51 3/4 x 39in (framed)

† AYMAN YOSSRI DAYDBAN (PALESTINIAN-JORDANIAN B.1966) MAHAREM silkscreen prints on eighty joined wooden tissue boxes 107 x 283 x 8.5cm; 42 x 111 1/2 x 3 1/3in each tissue box 25 x 13.5 x 8cm; 9 3/4 x 5 1/3 x 3in executed circa 2015

Provenance Acquired from the artist by a private collector, Saudi Arabia Sale, Sotheby’s Doha, Contemporary Art Doha,13 October 2014, lot 35 Purchased at the above auction by the present owner

£10,000-15,000

£8,000-12,000

27

32

Property of a Gentleman, London 32 † AHMED MATER AL ZIAD ASEERI (SAUDI ARABIAN B.1979) EVOLUTION OF MAN signed, numbered and dated Ahmed Mater 2010 25/100’ on a separate sheet in original portfolio, published by Prognosis Art silkscreen print on archival paper, in five parts; together with original X-Ray signed and dated Ahmed Mater 2010 each 80 x 60cm; 31 1/2 x 23 2/3 in overall 80 x 300cm; 31 1/2 x 117 1/8in £7,000-10,000

28

29

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Property of a Gentleman, London 33 † AHMED MATER AL ZIAD ASEERI (SAUDI B.1979) ABSTRACT (MAGNETISM II) signed, titled, dated and numbered Ahmed Mater 2012 / Magnetism II / 31/45 lower margin photogravure etching 41 x 62cm; 16 x 24 1/2in 80 x 100cm; 31 1/2 x 39 1/4in (framed) £2,500-3,500

30

Lot 43 31

34

35

Property of a Gentleman

Property of a Gentleman

34

35

KAMEL MOUSTAFA (EGYPTIAN 1917-1982) THE HARVEST SEASON oil on board 14 x 25cm; 5 1/2 x 10in 23 x 34cm; 9 x 13in (framed)

KAMEL MOUSTAFA (EGYPTIAN 1917-1982) FISHERMEN IN THE GREAT BITTER LAKE, FAYED signed in English K. Moustafa lower right oil on board 19 x 32cm; 7 1/2 x 12 1/2in 30.2 x 43.7cm; 12 x 12 1/4in (framed)

Inscribed in Arabic Dr Mohamed Said Farsi on a plaque to left side of frame.

Provenance Dr Mohammed Said Farsi Sale, Charterhouse Auctions, Sherborne, Books, Pictures & Sporting Items, 21 April 2017, lot 215 Acquired by the present owner at the above auction Literature Dr Sobhy Al Sharouny, A Museum in a Book, Cairo, 1998, pp. 224 and 228, illustrated

£500-800 32

Inscribed in Arabic Dr Mohamed Said Farsi on a plaque to left side of frame.

Provenance Dr Mohammed Said Farsi Sale, Charterhouse Auctions, Sherborne, Books, Pictures & Sporting Items, 21 April 2017, lot 216 Acquired by the present owner at the above auction

£500-800

Property of a Gentleman 36 KAMEL MOUSTAFA (EGYPTIAN 1917-1982) LOADING PASSENGERS signed in Arabic Kamel Moustafa lower left; signed in English K. Moustafa lower left oil on board 28 x 38cm; 11 x 15in 40 x 50cm; 15 3/4 x 19 1/2in (framed) Provenance Dr Mohammed Said Farsi Sale, Charterhouse Auctions, Sherborne, Books, Pictures & Sporting Items, 21 April 2017 Acquired by the present owner at the above auction

£700-900 36

Property from a Private Collection, London 37 HUSSEIN MOHAMED YOUSSEF (EGYPTIAN 1910-1975) PORTRAIT OF A MAN signed in Arabic and initialed H.M.Y; inscribed and dated in English Rome 1931 lower right oil on board 42 x 61cm; 16 1/2 x 24in 63 x 82cm; 24 3/4 x 32 1/4in (framed) Provenance Dr Mohammed Said Farsi

£2,000-4,000 37

33

38

Property from a Private Collection, London

Property from a Private Collection, London

Property of a Private Collector, New York

38

39

40

HALIM HABASHY (EGYPTIAN 1931-2012)

BY THE WINDOW signed in Arabic lower left; signed and dated HALIM E HABASHY / 08 lower left oil on board 120.5 x 80cm; 47 1/4 x 31 1/2in 124 x 82.5cm; 48 3/4 x 32 1/32in (framed)

SAID ABD AL HALEEM (EGYPTIAN 20TH CENTURY) FIGURES IN THE HAMMAM signed and inscribed in English S.A. Halim / c. de. J.L. Gerome lower right oil on canvas 99.5 x 74.5cm; 37 1/2 x 29 1/4in 120 x 95cm; 47 1/4 x 37in (framed)

REFAAT AHMED (EGYPTIAN 1931-2012) UNTITLED (HORSE) signed and dated in Arabic REFAAT AHMED 74 lower right oil on board 69 x 48cm; 27 x 19in 82 x 61.5cm; 32 1/4 x 24in (framed)

Provenance Dr Mohammed Said Farsi

£1,000-1,500

Provenance Dr Mohammed Said Farsi

£600-800

£600-800

34

39

40 35

41

36

42

Property from a Private Collection, London

Property from a Private Collection, London

41

42

SAID HEDDAYA (EGYPTIAN 1937-2017) BIRD WEDDING signed, inscribed and dated in Arabic and English Said Heddaya 1983 P.D.A lower margin intaglio print on paper 37 x 33cm; 14 1/2 x 13in 71 x 52cm; 28 x 20 1/2in (framed)

SAID HEDDAYA (EGYPTIAN 1937-2017) STORY TELLING signed, inscribed and dated in Arabic and English Said Heddaya 2002 P.D.A lower margin intaglio on paper 49 x 33cm; 19 1/4 x 13in 73 x 54cm; 28 3/4 x 21 1/4in (framed)

Provenance Dr Mohammed Said Farsi

Provenance Dr Mohammed Said Farsi

£350-450

£350-450

Property from a Private Collection, London 43 HAMED ABDALLA (EGYPTIAN 1917-1985) NUHUD signed in Arabic lower right acrylic and mixed media on paper, laid on board 94.5 x 64cm; 37 1/4 x 25in 105.5 x 75cm; 41 1/2 x 29 1/2in (framed) Provenance Dr Mohammed Said Farsi Literature Dr Sobhy Al Sharouny, A Museum in a Book, Cairo,1998, pp. 238 and 240, illustrated Hamed Abdalla was a pioneer of Egyptian and Arab modernism. A self taught artist from a modest peasant family in upper Egypt, he rose to prominence early in his career. Abdalla started painting at the age of 10 inspired by his fellahs’ environment. Later his work centred on his development of what he called ‘the Creative word’, Arabic words expressed in paint, blending abstraction and human forms to create visual forms that expressed the meaning of those words.

He held his first solo exhibition in 1941, before going on to show widely throughout Egypt in the 1940s including a solo show at the Museum of Modern Art Cairo (1949), when art critics, such as Badr Eddine Abu Ghazi, considered his work as a new school for Egyptian Art. At the same time Abdalla opened his Atelier in Cairo to teach new generation of artists such as Tahia Halim, Gazbia Serri, Enjy Efflatoun, Georges El Bahgory. His first trip to Paris saw him exhibit at the Gallery Bernheim-Jeune (1950), followed by a group show at the Palais du Louvre, and a show at the Egyptian Institute, London (1951). From the mid-1950s he was exhibiting throughout Europe, the US and Asia, including a group show at the Metropolitan Museum, New York (1956). He left Egypt for Denmark (1956) and France (1966), but was commited to the pan Arab movement, and exhibited widely in the Middle East and North Africa. In 1976, an exhibition of his work brought Abdalla back to Cairo for the first time since his emigration and in 1983 he returned for a show commemorating a half century of his art. At the time of his death in Paris, Abdalla had held over 100 solo exhibitions. His works are in various international collections and museums, such as the Egyptian Modern Art Museum Cairo, the Metropolitan Museum of Art New York, Tate Modern London, the Barjeel Art Foundation, the Museum of Modern Art Tunis, the Mathaf Doha, the Institut du Monde Arabe Paris and the Dalloul Art Foundation Beirut.

43

£8,000-10,000

37

44

Property of a Private Collector, London 44 HOSNI EL BANANI (EGYPTIAN 1912-1989) NILE BEYOND THE TREES signed in English H. BANANI lower left oil on canvas 60 x 54cm; 23 1/2 x 21 1/4in 90 x 85cm; 35 1/2 x 33 1/2in (framed) £3,500-5,500 38

45

Property of a Private Collector, London 45 HOSNI EL BANANI (EGYPTIAN 1912-1989) CITYSCAPE, CAIRO signed in English H. BANANI lower left oil on canvas 71 x 57cm; 28 x 22 1/2in 78 x 60cm; 30 3/4 x 23 1/2in (framed) £4,000-6,000 39

Property of a Private Collector, London 46 NAGUIB MAHMOUD (EGYPTIAN B.1961) (i) FIVE WOMEN; (ii) TWO FIGURES ON HORSEBACK - A PAIR both: signed in English and Arabic NAGUIB MAHMOUD lower right oil on board (i) & (ii) 62 x 41cm; 24 1/2 x 16in 78 x 57cm; 30 3/4 x 22 1/2in (framed) (2) Provenance Acquired by the current owner in Cairo in 2004/5

£300-500

46

47 40

48

Property from a Lebanese Collection

Property of a Lady, London

47

48

GEORGES HANNA SABBAGH (EGYPTIAN 1887-1951) PAYSAGE signed and dated in English G.H. SABBAGH.49 lower right oil on canvas 22.5 x 32cm; 8 /3 x 12 1/2in 35.5 x 44.4; 14 x 17 1/2in (framed)

OMAR EL NAGDI (EGYPTIAN 1931-2019) CAMEL signed, titled, inscribed and dated in English and Arabic Print in VENEZIA - to Mrs MARIAN SANDER Camel Omar El Naghdi 1961 lower margin monotype 33 x 48.5cm; 13 x 19in (plate) 39.5 x 56cm; 15 1/2 x 22in (mount)

Provenance Sale, Ader Nordman, Paris, 18 May 2016, lot 150 Acquired by the present owner at the above auction

£1,200-1,600

Provenance Mrs Marian Sander (acquired from the artist in 1961)

£200-300

41

Property of a Lady, London 49 SEIF WANLY (EGYPTIAN 1906-1979) FISHING IN THE SNOW felt tip pen and watercolour on paper 9.5 x 14cm; 3 3/4 x 5 1/2in 23.5 x 27.5cm; 9 1/4 x 10 3/4in (framed) Sold with a handwritten letter in English from the artist to the previous owner. £300-500 ARR may apply

49

50

Property of a Lady, London 50 SEIF WANLY (EGYPTIAN 1906-1979) ALEXANDRIA FISHERMAN signed, titled, dedicated and dated in English To my dear Isa / with much love / Seif Wanly / Alexandria Fisherman / 1973 on the reverse oil on canvas 18 x 35.5cm; 7 x 14in (unframed) £400-600 ARR may apply 42

Property of a Private Collector, London 51 SALAH TAHER (EGYPTIAN 1911-2006) ABSTRACT COMPOSITION signed and dated in English S. Taher / 65; signed in Arabic lower right; inscribed in Arabic on reverse watercolour on paper 30 x 48cm; 11 3/4 x 18 3/4in 52 x 67cm; 20 1/2 x 26 1/3in (framed) £400-600

51

Property of a Private Collector, London 52 SALAH TAHER (EGYPTIAN 1911-2006) ABSTRACT COMPOSITION signed and dated in English S. Taher / 65 lower left; signed in Arabic lower right watercolour on paper 30 x 45cm; 11 3/4 x 17 3/4in 52 x 67cm; 20 1/2 x 26 14in (framed) £350-550

52

43

53

Property from a Private Collection, New York 53 EMNA ZGHAL (TUNISIAN B.1970) STONE HEADS signed, titled, inscribed and dated “Stone Heads”, mixed media 2000 / Emna Zghal on the reverse mixed media on canvas 61 x 91.5cm; 24 x 36in (unframed) Provenance Acquired from the artist by the present owner

£900-1,200

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Property of a Private Collector, New York 54 CARLA SALEM (LEBANESE B.1978) LOVE (HOBB) signed, titled, inscribed and dated in English and Arabic a.p. hobb 20100606 lower margin screenprint on paper 33.5 x 51.5cm; 13 1/4 x 20 1/4in (image) 45 x 63.5cm; 17 3/4 x 25in (framed) £700-900

54

Property of a Private Collector, London 55 YOLANDE LABAKI (LEBANESE B.1927) UNTITLED signed and dated Y. LABAKI / 1979 lower right 58.5 x 45cm; 23 x 17 3/4in 61 x 47.5cm; 24 x 18 3/4in (framed) £800-1,200

55 45

Property of a Private Collector, New York 56 HASAN HOURANI (PALESTINIAN 1974-2003) UNTITLED (FACE) signed and dated in English Hasan 2001 lower left oil on canvas 40.5 x 39.5; 16 x 15 1/2in 51.5 x 50cm; 20 1/4 x 19 1/4in (framed) £1,500-3,500

56

Property of a Private Collector, New York 57 HASAN HOURANI (PALESTINIAN 1974-2003) UNTITLED (FEMALE FIGURE) acrylic on canvas 81 x 52.5cm; 32 x 20 1/2in Hourani was a born in Hebron, Palestine and attended the College of Fine Art in Baghdad from 1993-97. In 2001 he arrived in New York and presented his exhibition One Day, One Night at the UN. He then studied at the Art Students League of New York and continued to live in the city for several years.

In 2003, he returned home for a visit. Like nearly all West Bank Palestinians, he had been barred from traveling across the Green Line to see the sea for many years; but during this trip home, he was able to visit the Mediterranean shore. On August 6, 2003 he went swimming with his young nephew Samer Abu Ajamieh and their girlfriends from Ramallah, and both men drowned near the Port of Jaffa.

His work has been exhibited in Palestine, Iraq, Egypt, Jordan, South Korea, New York and Houston.

£800-1,200

57 46

58

Property of a Private Collector, New York 58 DIANA AL HADID (SYRIAN B.1981) UNTITLED signed and dated in graphite in English 2013 on the reverse conté crayon, charcoal, pastel and acrylic on mylar laid on board 44 x 59cm; 17 1/4 x 23 1/4in 54 x 69cm; 21 1/4 x 27in (framed) Provenance Marianne Boesky Gallery, New York Alwan Charity Auction Purchased by the current owner at the above sale

£4,000-6,000

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Property of a Private Collector, London 59 KHALED AL-JADIR (IRAQI 1924-1988) FIGURES IN A TOWN SQUARE signed in Arabic lower right pen and ink on card 21 x 28.5cm; 8 1/4 x 11 1/4in 47.5 x 55.5cm; 18 3/4 x 21 3/4in (framed) £1,500-2,500

59

Property of a Private Collector, London 60 RAFA AL NASIRI (IRAQI 1940-2013) COMPOSITION signed and dated in English nasiri 07 lower right; inscribed A/P lower left lithograph printed in colours with painted editions on handmade paper 56.5 x 76.5cm; 22 1/4 x 30 1/4in (unframed) £700-900

60

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Property of Private Collector, Buckinghamshire 61 NADIRA AZZOUZ (IRAQI 1927-2020) TREE OUT OF THE ROCK signed in Arabic lower left mixed media on canvas 75 x 100cm; 29 1/2 x 39 1/3in 87 x 112 cm; 34 1/4 x 44in (framed) Provenance By descent from the artist Nadira Azzouz started painting from the age of six, later studying art at the School of Domestic Fine Arts in Baghdad (1944-49). This was followed with further studies at the Central School of Art in London (1957-60) where she achieved a BA in Painting. Like most Iraqi artists of her generation who had similarly studied abroad, her work is informed by the canon of 20th century international art yet at the same time displays its own distinctive, Iraqi, identity as found in Sumerian and Assyrian sculptures, medieval Arab manuscript illumination and the folk motifs of handicrafts and rugs, as well as local popular themes.

What sets Nadira apart from her artistic peers, however, is the femininity of touch in her work. The Iraqi novelist, critic and artist, Jabra Ibrahim Jabra, wrote in 1983, ‘There is something peculiarly feminine … in her choice of colour and composition as well, explicable perhaps in the context of an Iraqi woman’s passions. Things akin to burning coals suddenly glow and let off sparks through a brazier full of ashes’. ‘For her, painting has often been a communication with inner visions, inner eruptions to which no figure or word could do justice, hence her emphasis and resourceful play on colour. In her recent work one can see her striving after a more lyrical, more diaphanous effect, suggestive of technical mastery’. Her works can be found in the collection of the Barjeel Art Foundation, Sharjah, as well as prominent private international collections.

£2,000-3,000 ARR may apply 49

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Property of a Private Collector, Buckinghamshire 62 NADIRA AZZOUZ (IRAQI 1927-2020) A GET TOGETHER signed in Arabic lower left; inscribed 2012 on the reverse mixed media on canvas 50 x 40cm; 19 1/2 x 15 3/4in (unframed) Provenance By descent from the artist

£700-900 ARR may apply 50

Lot 73

63

Property from a Private Collection, New York 63 MOHAMMED OMAR KHALIL (SUDANESE B.1936) TRIPLE BLUE signed in Arabic; titled and editioned 16/25 TRIPLE BLUE lower margin pigment print on paper 22.5 x 18cm; 8 3/4 x 7 in (plate) 50 x 43.5cm; 19 3/4 x 17in (framed) Provenance Acquired directly from artist

£700-900 52

Property from a Private Collection, London 64  GEORGE LILANGA

(TANZANIAN 1934-2005) DANCING FIGURES: NO 3 YELLOW CENTRAL signed in English Lilanga lower left acrylic on canvasboard 61 x 61cm; 24 x 24 in (unframed) £400-600

64

Property from a Private Collection, London 65  GEORGE LILANGA

(TANZANIAN 1934-2005) DANCING FIGURES: NO. 5 TURQUOISE signed Lilanga lower right acrylic on canvasboard 61 x 61cm; 24 x 24in (unframed) £400-600

65 53

Property from a Private Collection, London 66  GEORGE LILANGA

(TANZANIAN 1934-2005) BLUE LADY WITH BOWL ON HEAD signed in English lilanga on the base carved and painted wood 40.5 x 15 x 13cm; 16 x 6 x 13 1/3in £500-700

66

Property from a Private Collection, London 67  GEORGE LILANGA

(TANZANIAN 1934-2005) SEATED FIGURE signed in English lilanga on the base carved and painted wood 35.5 x 15 x 13cm; 14 x 6 x 5 1/3in £600-800

67 54

68

Property of a Private Collector, London 68 HENDRICK LILANGA (TANZANIAN B. 1974) SUNFLOWER EYES (THREE EYES) signed H. lilanga lower right; titled and inscribed on the reverse oil and watercolour on canvas 75 x 75cm; 29 1/2 x 29 1/2in (unframed) Provenance Acquired from the artist Hendrick Lilanga was born in 1974 in Dar es Salaam.

He learned his craft from his grandfather, the late Makonde Tanzanian artist George Lilanga (see lots 64-67) and works in a style derived from him, depicting a world of mischievous mashetani (devils). Like his grandfather’s work, it is not truly of the tingatinga style (so named after its founder Edward Tingatinga in 1978), but spans the worlds of both the tingating artists and the Makonde woodcarvers of their roots. In 2007 to 2008, he joined a short course of graphic etching in Salzburg, Austria as well as studying calligraphy and ceramics back home. From 2013, he began spending time in Asia and his subsequent long stays in Japan and South Korea can be seen as a clear influence in his artwork.

Hendrick has exhibited internationally at a very young age, including South Korea, Japan and Uganda.

£500-800 55

Property of a Private Collector, London 69 HENDRICK LILANGA (TANZANIAN B.1974) PENDEZA signed in English H. lilanga lower right; signed, titled, dated and inscribed in English PENDEZA / watercolour with oil paint / Hendry Lilanga / 2014 on the reverse oil and watercolour on canvas 60 x 60cm; 23 1/2 x 23 1/2in (unframed) Provenance Acquired from the artist by the present owner

£450-650

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Property of a Private Collector, London 70 HENDRICK LILANGA (TANZANIAN B.1974) THE FAMILY signed in English H. lilanga lower right oil and watercolour on canvas 75 x 75cm; 29 1/2 x 29 1/2in (unframed) Provenance Acquired from the artist

£500-800

70 56

Property of a Private Collector, London 71 ROBINO NTILA (TANZANIAN 1953-2020) AFRICA MASKS signed in English R. Ntila lower right acrylic on canvas 80 x 63cm; 31 1/2 x 24 3/4in 92 x 77cm; 36 1/4 x 30 1/3in (framed) Provenance Acquired from the artist in Dar es Salaam circa 2014-15 Born in the town of Ndanda in the Mtwara Region of southern Tanzania, Ntila came to Dar es Salaam in the 1970s. He was a veteran of the Nyumba ya Sanaa (House of Art) Artists Association.

Whilst there, he learned painting, print making and other techniques and worked as an artist and chief coordinator. His art brought him more than ten times to Austria where he specialised in producing etchings. From 1992 onwards, Ntila worked as a freelance artist, conducting workshops in Africa, curating local and international exhibitions and promoting Tanzanian art.

He is considered to be one of the preeminent artists in these fields in eastern and southern Africa. Known for his abstracted figuration, this technique enabled him to express his true inner feelings without any perceived borders or time contstraints.

£600-800

71

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Property of a Private Collector, London 72 ROBINO NTILA (TANZANIAN 1953-2020) COUPLE signed and dated in English R. NTILA / 12 lower right acrylic on canvas 50 x 40cm; 19 1/2 x 15 3/4in (unframed) Provenance Acquired from the artist in Dar es Salaam circa 2014-15

£350-550

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Property of a Private Collector, London 73 ROBINO NTILA (TANZANIAN 1953-2020) HUGGING acrylic on canvas signed and dated in English R. NTILA / 13 lower right; signed, titled, inscribed and dated in English on the reverse acrylic on canvas 100 x 80cm; 39 1/3 x 31 1/4in (unframed) Provenance Acquired from the artist in Dar es Salaam in 2014/15

£700-900

73 58

74

Property from a Private Collection, London 74 MOHAMED CHARINDA (TANZANIAN 1947-2021) GEREZA LA WATUM WA BAGAMOYO (AT BAGAMOYO PRISON) signed in English CHARINDA lower right; inscribed GEREZA LA WATUM WA BAGAMOYO lower left acrylic on canvas 76 x 100cm; 30 x 39 1/3in (unframed) Provenance Acquired from the artist by the present owner

£300-500

59

75

Property from a Private Collection, London 75 MOHAMED CHARINDA (TANZANIAN 1947-2021) UNYAGIO WA KIMAKUA (INITIATION CEREMONY) signed in English Charindra; titled in Swahili lower right acrylic on canvas 70 x 110cm; 27 1/2 x 43 1/3in (unframed) Provenance Acquired from the artist Charinda trained under the artist Hashim Mruta, and is a follower of the Tinga Tinga school of art, founded by Edward Saidi Tingatinga. The artists commonly depicted idealised wildlife scences in bright colours. Contrary to his fellow apprentices, Charinda’s subject matter focuses on Tanzanian history, often portraying warfare, the East African slave trade, folk tales and rural scenes of life. He was one of the first artists to introduce different media and techniques to the practice. For instance using canvas, instead of masonite panels, allowed tourists to carry them home easily, making the art more marketable.

Charinda exhibited at the Institut du Monde Arabe, Paris in Tresors de L’Islam en Afrique: De Tombouctou à Zanzibar, in which he had a version of the ivory and slave trade painting (see lot 74). Other artworks of his can be found in the Brtish Museum, and Indigo Arts in Philadelphia, USA.

£300-500

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Property from a Private Collection, London 76 MOHAMED CHARINDA (TANZANIAN 1947-2021) ABSTRACT OF CONNECTED SHETANI signed and inscribed in English BY. CHARINDA lower right acrylic on canvas 70 x 110cm; 27 1/2 x 43 1/3in (unframed) Provenance Acquired from the artist Literature Chris Spring, Angaza Africa - African Art Now, London, 2008

£300-500

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Property from a Private Collection, London 77  RICHARD WITIKANI (ZIMBABWEAN B.1967)

PRECIOUS - RECTO; VILLAGE SCENE WITH FIGURES - VERSO signed and dated in English Richard Witikani 2007 lower left - recto oil on paper 63.5 x 43.5cm; 25 x 17 1/4in 70 x 50.5cm; 27 1/2 x 19 3/4in (framed) 77

£300-500

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78

Property from a Private Collection, London 78  LOVEMORE KAMBUDZI (ZIMBABWEAN B.1978)

STODART POLICE STATION signed and dated L. KAMBUDZI / 2007 lower right oil on canvas 83.5 x 129cm; 33 x 50 3/4in (unframed) Born in Zimbabwe in 1978, Lovemore Kambudzi grew up in Mbare, in inner city Harare. He trained at the National Gallery of Zimbabwe (NGZ) Visual Arts Studios in Mbare (1996-98). Known locally as the eyes of the people, Kambudzi records life in Harare, and his artworks often comment on the local political and economic situations, e.g. water shortages and the cholera outbreak.

Kambudzi employs pointillistic brushstrokes, in vibrant colours, to create lively compositions. His paintings are densely packed with figures, right up to the foreground, thus encroaching on the viewer and giving us the impression that we are amidst the action.

He has exhibited at a selection of shows across the world, including the Migration Exhibition, Gallery Delta, Harare (2015), Eye of the People, Gallery Delta and NGZ, Harare (2007) and Witness - The spectre of memory in contemporary African art, Ed Cross Fine Art, Edinburgh (2010).

£900-1,200

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Property from a Private Collection, London 79 ATO DELAQUIS (GHANAIAN B.1945) PACKED MARKET LANE signed in English ato delaquis lower right acrylic on canvas 106 x 70.5cm; 41 3/4 x 27 3/4in 111 x 75.5cm; 43 3/4 x 29 3/4in (framed) £600-800

79

Property from a Private Collection, London 80 ABLADE GLOVER (GHANAIAN B.1934) MARKET SCENE signed and dated in Engish Glo / 08 lower right oil on canvas 121.5 x 121.5cm; 47 3/4 x 47 3/4in 126.5 x 126.5cm; 49 3/4 x 49 3/4in (framed) £3,000-5,000

80 63

81

Property of a Private Collector, Ivory Coast 81 FREDERIC BRULY BOUABRE (IVORIAN 1923-2014) CONNAISSSANCE DU MONDE crayon and pen on card each: inscribed in the margins and signed and dated on the reverse each: 18 x 12cm; 7 x 4 1/2in (unframed) (32) Provenance The artist’s family to be sold with a certificate of authenticity from the artist’s family Frédéric Bruly Bouabré was an Ivorian designer and poet born in Zéprégühé in the Daloa region and died in Abidjan. On March 11th 1948, Bruly Bouabré had a vision that he was to become Sheikh Nadro: the one who does not forget. As he result of this he was inspired to create the Bété alphabet, a syllabary composed of 448 signs, for his local tribe, in order to transcribe and preserve their history. His was interested in capturing reality as opposed to the imagined, so he recorded local folklore, religion, culture and philosophy. The artworks manifest as brightly coloured pictograms, drawn onto reclaimed cardboard, with pen and coloured pencil, each with captions. The Connaisance du Monde (Knowledge of the World) series is Bruly Bouabré’s play on an Encyclopaedia, commenting on themes such as colonialism and modern day society.

£3,000-5,000 64

Property from a Private Collection, UK 82 ADRIAAN BOSHOFF (SOUTH AFRICAN 1935-2007) TWO FIGURES BY A HOUSE signed in English Adriaan Boshoff lower left oil on board 16.5 x 21.5cm; 6 1/2 x 8 1/2in 35 x 39.5cm; 13 3/4 x 15 3/4in (framed) £500-800

82

Property from a Private Collection, UK 83 ADRIAAN BOSHOFF (SOUTH AFRICAN 1935-2007) WALKING IN TOWN signed Adriaan Boshoff lower left oil on board 21.5 x 16.5cm; 8 1/2 x 6 1/2in 39.5 x 35cm; 15 3/4 x 35in (framed) £500-800

83 65

84

Property from a Private Collection, UK 84 ADRIAAN BOSHOFF (SOUTH AFRICAN 1935-2007) TOWN WITH FIGURES STROLLING signed Adriaan Boshoff lower left oil on board 21.5 x 16.5cm; 8 1/2 x 6 1/2in 39.5 x 35cm; 15 3/4 x 35in (framed) £500-800 66

85

Property from a Private Collection, Cambridge 85 ALEXANDER ROSE-INNES (SOUTH AFRICAN 1915-1996) ANDRUP LOUNGE signed in English A Rose-Innes lower left oil on canvas 48 x 59.5cm; 19 x 23 1/2in 57.5 x 70.5cm; 22 3/4 x 27 3/4in (framed) Provenance Acquired directly from artist Thence by direct descent to The DinksFãStan Private Collection The subject matter of this work depicts the home of Hans Jorgen Andrup where Alexander Rose-Innes was a frequent visitor. Born 21 February 1918 at Copenhagen, Denmark, Adrup was an actor in his youth appearing in Danish Films. He first arrived in Cape Town in 1952 with first wife Kirsten Lette and their only child from Sweden, where the family had sought refuge during the German occupation of Denmark in the Second World War. He lived in Namibia from 1962 to 1974. He worked as an architect (like artists Jean Welz and Francois Krige) and was also producer and director of drama for SWAPAC until 1973. In Namibia (formerly South West Africa) he married his second wife Gertrud Marie Andrup, née Henning in 1971.

£6,000-8,000 67

86

Property from a Private Collection, Cambridge 86 PETER CLARKE (SOUTH AFRICAN 1929-2014) TRANQUIL SEA brush and ink and watercolour on paper signed and dated in English Clarke / 24.4.1967 lower right; inscribed Tranquil Sea / Watercolour / Peter Clarke / Simons Town C.P. / South Africa on the reverse 26.5 x 36cm; 10 1/2 x 14in 46.5 x 64cm; 18 1/4 x 25in (framed) Provenance Purchased from the artist in Simon’s Town The DinksFãStan Private Collection (by descent from the above) Peter Clarke was born in Simon’s Town, in the Western Cape. He studied etching at the Michaelis School of Fine Art at the University of Cape Town in 1961, as a short-term student under a special permit. As a ‘coloured’ student he was not permitted under apartheid regulations to study full-time at a ‘white’ institution. He also studied at Rijksakademie van Beeldende Kunsten in Amsterdam in 1962/3 and participated in a course on printmaking at the Atelier Nord in Oslo, in 1978.

In 1967, during the apartheid era, Clarke and his family were forcibly moved under the Group Areas Act of 1950 and relocated to the bleak new, ironically named township of Ocean View, where for more than 20 years he ran an art workshop for underprivileged children.

In 2013 a major retrospective of Clarke’s work was presented by the Standard Bank Gallery in Johannesburg and the Iziko South African National Gallery in Cape Town, accompanied by the comprehensive publication on his life and work, Listening to Distant Thunder: The Art of Peter Clarke, by Phillipa Hobbs and Elizabeth Rankin (2011).

£2,000-4,000 68

87

Property from a Private Collection, Cambridge 87 DAVID BOTHA (SOUTH AFRICAN 1921-1995) LABORIE, PAARL signed and dated in English David Botha.54. lower left; signed in English David Botha on a label on the reverse oil on canvas 47.5 x 58.5cm; 18 3/4 x 23in 63.5 x 74cm; 25 x 29 1/4in (framed) Provenance Acquired from the artist Sale, Strauss & Co, Cape Town, Modern, Post -War and Contemporary Art, 14-25 April 2022, lot 288 Purchased at the above auction by present owner Literature E. Berman, Art and Artists of South Africa, Cape Town, 1996, p. 69 G. Ogilvie, The Dictionary of South African Painters and Sculptors, Johannesburg,1988, pp. 77-78 David Botha was a second-generation follower of Cape Impressionism. He was born in Graaff-Reinet in the Eastern Cape in December 1921, and qualified as an art teacher from the Cape Town Teachers Training College in 1941. David Botha’s first wife was artist Nerine Desmond. Botha taught art at various high schools in Paarl from 1946 until 1979. From 1950 to 1952 he studied at the Camberwell School of Art in London, and travelled through France, Italy, and Spain during this period. In 1967 he also travelled to Europe and to the Middle East. According to Berman (1996), Botha’s paintings preserve a record of the quietly aging atmosphere of the typical rural Cape towns, and enjoy extensive patronage, particularly in his home province.

Laborie dates to 1691 and is tucked beneath the foothills of the majestic Paarl Rock.

£800-1,200 69

Property from a Private Collection, Cambridge 88 JOHANNES MEINTJES (SOUTH AFRICAN 1923-1980) STILLEWE MET BEKER (STILL LIFE WITH JUG) signed and dated in English Meintjes / 1972 upper left oil on board 49.5 x 40cm; 19 1/2 x 15 3/4in 68.5 x 58.5cm; 27 x 23in (framed) Provenance Sale, Strauss & Co, Cape Town, Modern, Post -War and Contemporary Art, 7-14 March 2022, lot 89 The DinksFãStan Private Collection (purchased at the above sale) Literature Johannes Meintjes online catalogue, Still life with landscape, no.1102 Johannes Meintjes was a prolific painter, as well as a broadcaster, historian, diarist, costume and set designer, playwright, and published 35 books. After the death of Meintjes’s father in 1928, the family moved from their sheep farm near Molteno to Riversdale where Meintjes struck up a friendship with JEA Volschenk.

The older artist encouraged his young friend’s love of art and after the family moved to Cape Town in 1938 Meintjes studied in earnest under Florence Zerffi.

He completed a bachelor’s degree at UCT in English Literatureand at the age of 21 he published a book on Maggie Laubser, with whom he had developed a close friendship after seeing her work on exhibition.

Meintjes’ first exhibition at the Gainsborough Gallery in Johannesburg in 1944 brought him immediate public acclaim and financial success. From 1945 to 1947 he studied at the Central School of Art in London, and later, back in Cape Town, he worked as an artist, broadcaster, and writer. He lectured at the Worcester School of Drama and at the Cape Technical College.

£1,500-2,500

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88

Property from a Private Collection, Cambridge 89 MAGGIE LAUBSER (SOUTH AFRICAN 1886-1973) (i) FIGURES BY THE CAMPFIRE; (ii) HARVESTING - A PAIR signed M. Laubser lower right each: 16.5 x 10cm; 6 1/2 x 4in each: 62 x 45.5cm; 24 1/2 x 18in (framed) (2) Provenance Estate of Beatrice Hazel The DinksFãStan Private Collection (by descent from the above) Born on the farm ‘Bloublommetjieskloof ’ in the Malmesbury district, Maggie Laubser attended Bloemhof Seminary in Stellenbosch until the age of 15. She later attended singing lessons in Cape Town, where she was introduced to a circle of artists and musicians. Artist Beatrice Hazel is noted as the principal source of encouragement for Maggie to commence painting.

She soon switched from singing to painting classes and studied briefly under Edward Roworth. She became a member of the South African Society of Artists in 1907 and had her own studio in Cape Town until 1912. On holiday in Durban, she met JHA Balwé, an ex-Consul for the Netherlands and successful businessman, who was to become her benefactor and managed to persuade her parents to allow her to study in Europe.

Maggie and her sister left for Europe in 1913. On her arrival in Holland she stayed in Laren, a picturesque rural village which attracted artists from The Hague School, America, England, and France.

With the outbreak of the First World War, Maggie moved to London and attended classes at the Slade School of Art from 1914 to 1919. During 1919, Maggie moved to Belgium where she stayed for just more than a year. She attended drawing classes with Arnold Balwé, the son of her friend Jan Hendrik, at the Antwerp Academy where he was studying.

In Art & Artists of South Africa, Esme Berman describes Maggie Laubser’s work when she was nearly 60 and a well-established and respected artist, very aptly: ‘By the mid-40s Maggie Laubser had staked out her artistic territory: a world of simple images, in which the harmony of her unsophisticated and untroubled youth survived. She no longer ventured beyond this territory. The favourite themes and scenes are tackled time and again; but, with repetition, the integration of shapes becomes less forceful, smooth curves replace the animated irregularity of outline, and the previously vibrant colours dissolve into sweetened pastel tints.’

£400-600

89 71

Artists Index Artist

Artist

Lot numbers

ABD AL HALEEM, SAID

39

KAMBUDZI, LOVEMORE

78

ABDALLA, HAMED

43

KAMEL,YOUSSEF

3

AHMED, REFAAT

40

LABAKI,YOLANDE

55

AL HADID, DIANA

58

LAUBSER, MAGGIE

89

AL NASIRI, RAFA

60

LILANGA, GEORGE

64, 65, 66, 67

AL SABBAN, TAHA

30

LILANGA, HENDRICK

68, 69, 70

AL-JADIR, KHALED

59

MAHMOUD, NAGUIB

46

AYAD, RAGHEB

16, 17, 18, 19

AZZOUZ, NADIRA

61, 62

BOSHOFF, ADRIAAN

82, 83, 84

MATER AL ZIAD ASEERI, AHMED

32, 33

MEINTJES, JOHANNES

88

MOHAMED YOUSSEF, HUSSEIN

37

BOTHA, DAVID

87

MOUSTAFA, KAMEL

34, 35, 36

BRULY BOUABRE, FREDERIC

81

NAGHI, MOHAMMAD

12, 13, 14, 15

CHARINDA, MOHAMED

74, 75, 76

NTILA, ROBINO

71, 72, 73

CLARKE, PETER

86

OMAR KHALIL , MOHAMMED

DAYDBAN, AYMAN YOSSRI

31

RAGHEB, SABRY HELMY

DELAQUIS, ATO

79

ROSE-INNES, ALEXANDER

85

63 20, 21, 22

EL BANANI, HOSNI

44, 45

SABRY, AHMED

9

EL NAGDI, OMAR

48

SALEM, CARLA

54

GLOVER, ABLADE

80

TAHA NEGM, ISMAIL

28, 29

HABASHY, HALIM

38

TAHER, SALAH

51, 52

WANLY, ADHAM

5, 6, 7, 10

HADI AL GAZZAR, ABDEL

72

Lot numbers

1, 2, 4, 8

HANNA SABBAGH, GEORGES

11, 47

WANLY, SEIF

23, 24, 25, 26, 27, 49, 50

HEDDAYA, SAID

41, 42

WITIKANI, RICHARD

77

HOURANI, HASAN

56, 57

ZGHAL, EMNA

53

FORTHCOMING AUCTIONS 8TH NOVEMBER 2023 ASIAN & ISLAMIC WORKS OF ART 22ND NOVEMBER 2023 EUROPEAN WORKS OF ART 6TH DECEMBER 2023 ANTIQUE ARMS, ARMOUR & MILITARIA 12TH DECEMBER 2023 FINE PAINTINGS, WORKS ON PAPER & SCULPTURE Please contact us for valuations and advice enquiries@olympiaauctions.com | www.olympiaauctions.com Please note these dates may be subject to change

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7. CONDUCT OF THE AUCTION (a) The auctioneer has discretion to refuse bids, withdraw or re-offer lots for sale (including after the fall of the hammer) if (s)he believes that there may be an error or dispute, and may also take such other action as (s)he reasonably deems necessary. (b) The auctioneer will commence and advance the bidding in such increments as (s) he considers appropriate and is entitled to place bids on the Seller’s behalf up to the Reserve Price for the lot, where applicable. (c) Subject to Condition 7(a), the contract between the Buyer and the Seller is concluded on the striking of the auctioneer’s hammer. (d) Any post-auction sale of lots shall incorporate these Conditions of Business.

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CONDITIONS OF BUSINESS FOR BUYERS CONTINUED

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11. DATA PROTECTION

(a) Unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the auction (the “Payment Date”).

Privacy Policy

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Purchased lots are at the Buyer’s risk from the earlier of (i) collection or (ii) 10 working days after the auction. Until risk passes, the Auctioneers will compensate the Buyer for any loss or damage to the lot up to a maximum of the Purchase Price actually paid by the Buyer. The Auctioneers assumption of risk is subject to the exclusions detailed in Condition 5(d) of the Conditions of Business for Sellers. (e) All packing and handling of lots is at the Buyer’s risk. The Auctioneers will not be liable for any acts or omissions of third party packers or shippers.

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(a) What is the legal basis on which the Auctioneers rely to process your data?

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ABSENTEE BID FORM OLYMPIA AUCTIONS SALE TITLE: MODERN & CONTEMPORARY AFRICAN AND MIDDLE EASTERN ART DATE: 25/10/2023 CODE: FROG

Please print or type Name Address

Please mail, fax or scan and email to: Olympia Auctions, 25 Blythe Road, London W14 0PD Fax +44 (0)20 7806 5546 Email: pictures@olympiaauctions.com Important Please bid on my behalf at the above sale for the following Lot(s) up to the hammer price(s) mentioned below. These bids are to be executed as cheaply as is permitted by other bids or reserves and in an amount up to but not exceeding the specified amount.

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£ Cover bid

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