London Silsila, Dalloul Collection

LONDON

|

6 NOVEMBER 2025

AUCTION Thursday, 6 November 2025, 5:00pm (GMT) 8 KING STREET, ST JAMES’S LONDON SW1Y 6QT

VIEWING Saturday 1 November 12-5pm Sunday 2 November 12-5pm Monday 3 November 9-5pm Tuesday 4 November 9-5pm Wednesday 5 November 9-5pm Thursday 6 November 9-3pm

AUCTIONEER Yu-Ge Wang

AUCTION CODE AND NUMBER

ABSENTEE AND TELEPHONE BIDS

In sending absentee bids or making enquiries, this sale should be referred to as SAMIA-23888

Tel: +44 (0)20 7389 2658 | Fax: +44 (0)20 7930 8870

CONDITIONS OF SALE

BUYER’S PREMIUM

The sale of each lot is subject to the Conditions

In addition to the hammer price, a Buyer’s Premium

of Sale, Important Notices and Explanation of

(plus VAT) is payable. Other taxes and/or an Artist

Cataloguing Practice, which are set out in this

Resale Royalty fee are also payable if the lot has a tax

catalogue and on christies.com. Please note that

or λ symbol. Check Section D of the Conditions of

the symbols and cataloguing for some lots may

Sale at the back of this catalogue.

change before the auction. For the most up to date sale information for a lot, please see the full lot

Principal Auctioneer: Adrien Meyer

description, which can be accessed through the sale landing page on christies.com.

© Christie, Manson & Woods Ltd. (2025)

CON TAC TS

LONDON

DUBAI

SAUDI ARABIA

Dr Ridha Moumni

Meagan Kelly Horsman

Nour Kelani

Chairman, Middle East & Africa

Managing Director

Managing Director

rmoumni@christies.com

mkellyhorsman@christies.com

nkelani@christies.com

+44 20 7389 2861

+971 4 425 5647

+ 442073892604

Marie-Claire Thijsen

Arne Everwijn

Jude Alqunaibit

Head of Sale, Specialist

Director, Middle East

Business Development Associate

mcthijsen@christies.com

aeverwijn@christies.com

jalqunaibit@christies.com

+44 207 389 2266

+44 20 7389 2453

+4420 7389 2320

Kanon Ida Client liaison & researcher kida@christies.com +44 207 389 2615

SALE COORDINATOR Lara Abu Dahab labudahab@christies.com +447442132162

ACKNOWLEDGEMENTS We would like to thank Samia Kayyali and Jad Musaed for their valuable assistance with the research and cataloguing of this sale.

Dr Basel Dalloul in front of Mahmoud Saïd, La fille aux yeux verts (réplique), 1932 and Mahmoud Saïd, Fille à l’imprimé (Girl in a printed dress), 1938

Silsila, an Arabic term meaning “chain” or “continuity,” evokes ideas of connection, transmission, and the enduring lineage of creativity and memory. It serves as an apt metaphor for the ongoing history of the Dalloul Art Collection and for the exceptional collaboration between Christie’s and Dr Basel Dalloul, now in its third year.

Following the single owner auction Marhala in 2023 and last year’s group of highlights from the Dalloul Art Collection that led our Modern and Contemporary Middle Eastern Art Sales in London, Silsila marks a new chapter in this remarkable story. Assembled by the late Dr. Ramzi and Saeda Al Husseini Dalloul, the Dalloul Art Collection has entered a new phase of renewal under the visionary stewardship of Dr. Basel Dalloul. Whilst refining its focus on the art of today, the collection has continued to grow and strengthened its commitment to supporting contemporary artists. This evolution aligns with a broader mission: to

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foster dialogue between generations of artists and to reinforce the ecosystem of contemporary art across the Arab world, and particularly in Beirut, Lebanon, where the collection has been housed in the beautiful premises of the Dalloul Art Foundation (DAF) since 2016.

The year 2025 represents a pivotal moment, symbolised by the launch of the Dalloul Artists Collective (DAC) in Beirut, an unprecedented initiative in the region that supports emerging artists and deepens the Dalloul Art Foundation’s engagement with the creative community. By bridging past and present, Silsila celebrates both the continuity of the Dalloul legacy and its forward-looking vision.

The Dalloul Art Collection, founded in Beirut, stands among the most comprehensive collections of modern and contemporary Arab art. Born from Dr. Ramzi Dalloul’s deep cultural and emotional connection to the Arab world,

his collecting journey began in Baghdad in the 1970s and unfolded across various cities in the United States, Paris, London, and Beirut, in close dialogue with artists from the region and its diaspora. Over five decades, he and his family built a collection that mirrors the artistic, political, and social transformations of the Arab world throughout the 20th and 21st centuries.

From the pioneering geometric abstractions of Samia Halaby and Mohamed Melehi to the lyrical compositions of Huguette Caland and Inji Efflatoun, and the exploration of materiality by Mona Saudi and Farid Belkahia to the profound introspection of Marwan, this auction offers a panoramic view of Arab creativity. It also features emblematic works by Mahmoud Saïd, including the iconic La fille aux yeux verts (réplique) (1939), alongside important works whose provenance is closely linked to both the Dalloul Art Collection and Christie’s early history in the Middle East, notably its first auctions in Dubai.

Through Silsila, Christie’s celebrates this shared history, the intertwined narratives of artists, collectors, and institutions that have shaped the regional art scene. The Dalloul family, and particularly the late Dr. Ramzi Dalloul, remain central to this story. This selection not only highlights the aesthetic richness and diversity of Arab art but also pays tribute to the family’s unwavering dedication to its preservation and promotion.

Silsila is more than an auction: it is a narrative of heritage, transmission, and renewal: an unbroken chain connecting generations of artists and collectors across the Arab world.

The works presented this year reveal the diversity, mastery and freedom of artistic expression that flourished across Lebanon, Palestine, Jordan, Syria, Iraq, Morocco, Tunisia, and Egypt, countries whose histories resonate deeply with the collecting vision of both Dr. Ramzi and Dr. Basel Dalloul.

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SIL SI LA: HI G HLIG HTS F RO M T HE DAL LO UL CO LL ECTI O N I N C LU D I N G M O D E R N A N D CO N T E M P O R A RY M I D D L E E A ST E R N A RT

λ*1

KAMAL BOULLATA (1942, JERUSALEM - 2019, BERLIN) Nocturne I

signed and inscribed ‘boullata. 101’ (lower right); signed and dated ‘boullata.2001’ (on the reverse) acrylic on canvas 51¿ x 51¡in. (130 x 130.4cm.)

Painted in 2001 £30,000-50,000 US$41,000-67,000 €35,000-57,000

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PROVENANCE:

ARTSPACE, Dubai.

Dr Ramzi and Saeda Dalloul Collection, Beirut (acquired from the above in 2014).

Thence by descent to the present owner.

EXHIBITED:

Menton, Palais de l’Europe, Galerie d’art contemporain, Confluences Nord/ Sud, 2001.

Montréal, Musée du Château Dufresne, Mare Nostrum, 2002.

Dubai, ARTSPACE, Kamal Boullata, 2009.

LITERATURE:

K. Boullata, Palestinian Art from 1850 to the present, London 2009 (illustrated in colour, p. 327).

B. Dogramaci (ed.), Uninterrupted Fugue: Art by Kamal Boullata, Munich 2019 (illustrated in colour, p. 80). ''''Jerusalem Is Ahead of Me'': The Art of Kamal Boullata,'' Jerusalem Story, 15 November 2022 (illustrated in colour).

J. Manna and F. Bardawil, ''Hudoud al-democratia al-almaniyah wa dawabet al-fann al-mu'aser,'' Megaphone News, 13 January 2024 (illustrated in colour).

“Colours should feel as fresh as spring water and as clear as glass. Once I begin to sense that I could almost plunge through the painting’s surface as in a pool or a mirror, I realise that the work is finished.”

— Kamal Boullata Painted in 2001, Nocturne I is part of a triptych and exemplifies Kamal Boullata’s signature exploration of 20

Kamal Boullata, Bilquis 2, 2013 Image courtesy of The Ramzi and Saeda Dalloul Art Foundation, Beirut

harmonious and rhythmical geometric abstraction. The artist describes the creation of these works as a deliberate oscillation between the mechanical and the organic: beginning with precise mathematical instruments, a pencil, compass, and ruler, to establish a geometric skeleton which then evolves into a living composition through the application of colour and effects of light.

Overlapping sharp geometric planes are filled with varying tones of blue and purple. This interplay of colour and sharp geometries creates an effect akin to a prism, simultaneously grounded in structure yet evoking lightness and transcendence. At the same time, the rotation and distribution of the overlapping geometries conveys a dynamic balance, as if inviting the viewer to engage moving abstract colour field.

Born in Jerusalem in 1942, Boullata studied at the Academia di Belle Arti in Rome and later at the Corcoran School of the Arts and Design in Washington, D.C., supported by a Fulbright Senior Scholarship. He is widely regarded as one of the leading Palestinian artists of his generation. After extensive residencies in the United States and France, he settled in Berlin, where he was elected a fellow of the Institute of Advanced Study in 2012–13. Boullata’s work has been showcased at prominent institutions such as The British Museum, London; Whitechapel Gallery, London; Barjeel Art Foundation, Sharjah; and Institut du Monde Arabe, Paris.

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*2

SAMIA HALABY (B. 1936, JERUSALEM) Gardenia

signed ‘S.HALABY’ (lower right); signed, titled, inscribed and dated ‘SAMIA A. HALABY “GARDENIA” #318 1978' (on the reverse) oil on canvas 24º x 24¡in. (61.5 x 62cm.)

Painted in 1978 £50,000-70,000 US$67,000-94,000 €58,000-80,000

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PROVENANCE:

Private Collection (acquired directly from the artist in the early 1990s).

George Al-Ama, Palestine (acquired from the above in 2014).

Dr Ramzi and Saeda Dalloul Collection, Beirut (acquired from the above in 2019).

Thence by descent to the present owner.

LITERATURE:

M. Farhat, Samia Halaby: Five Decades of Painting and Innovation, London 2014, p. 359 (illustrated in colour, p. 92). ''SAMIA HALABY, Palestine (1936),'' Bazarrna, 8 May 2024 (illustrated in colour).

In Gardenia, Samia Halaby masterfully uses ever-changing diagonal lines to create an illusion of motion by blending surface and volume, light and shadow, in an endless gradient. This approach is evident in her Diagonal Flight series, which she began in 1974 and continued through 1979. These paintings, first developed in the late 1970s and pursued into the 1980s, reflect her deep engagement with the geometry of motion. Having studied both painting and architecture, Halaby was drawn to the diagonal as a dynamic force, neither static like the horizontal nor hierarchical like the vertical.

Painted in 1978, Gardenia features an exceptional composition of sharp diagonal sweeps that structure the

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painting with clarity and intent. Yet the transitions of colour, from soft-hued green to pure white, interrupted by earthy brown, evoke the organic rhythm of life. The result is a balance of stability and flux, as though the painting were capturing the unfolding of a gardenia in bloom. For Halaby, the diagonal symbolised transition and transformation: a visual metaphor for flight, the passage of time, and natural growth. In this work, the diagonal acts as a compositional vector that guides the eye from grounded green tones upward toward radiant white, echoing the vertical surge of a stem breaking into flower.

One of the most prolific abstract artists of her time, Samia Halaby is a pioneering figure in Arab modernism and abstraction more broadly. Following the 1948 Palestinian Nakba, Halaby was forcibly displaced from her hometown of Jerusalem, where she was born. She was later raised in the United States, where she began her professional career as an artist and educator.

In addition to her studio practice, Halaby has achieved historic milestones. In 1972, she became the first woman appointed Associate Professor at the Yale School of Art, a position she held for a decade, mentoring a generation of younger artists. Her work is held in major institutional collections, including Solomon R. Guggenheim Museum of Art, New York and Abu Dhabi; Yale University Art Gallery, New Haven; National Gallery of Art, Washington D.C.; Jordan National Gallery of Fine Arts, Amman; Art Institute of Chicago, Chicago; Detroit Institute of Art, Detroit; Cleveland Museum of Art, Cleveland; Institut du Monde Arabe, Paris, and British Museum, London. In 2024, her work was also featured for the first time at the 60th Venice Biennale.

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*3

MONA SAUDI (1945, AMMAN - 2022, BEIRUT) Shajarat al-Hayat (Tree of Life) Jordanian jade on white marble base overall: 20¬ x 16Ω x 4æin. (52.5 x 42 x 18cm.)

Executed circa 2014 £50,000-70,000 US$67,000-94,000 €58,000-80,000

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PROVENANCE:

The Artist.

Dr Ramzi and Saeda Dalloul Collection, Beirut (acquired from the above in 2014).

Thence by descent to the present owner.

EXHIBITED:

Beirut, Dalloul Art Foundation, Leads & Artistic Cues from the Arab World, 2021.

Born in 1945 in Amman, Mona Saudi was a key figure in Jordanian art and a pioneering female sculptor in the Arab world. She moved to Lebanon at the age of seventeen to follow her artistic ambitions and later advanced her studies at the École nationale supérieure des Beaux-Arts in Paris.

Saudi developed a distinctive style based on abstraction and minimalism, often beginning with simple geometric shapes such as squares, circles, cylinders, and rectangles, which she transformed into flowing, organic compositions through repetition, variation, and overlapping forms.

In 1965, she created her first stone work, Mother/Earth: a powerful limestone sculpture that conveys feminine energy. Themes of fertility and growth continued to inspire her throughout her career. Describing herself as a ‘stone lover,’ Saudi held a profound respect for her material, viewing it as an essential extension of the earth’s raw essence. She sourced natural stones from across the Middle East, including white marble from Carrara, black diorite from Syria, pink limestone and green marble from Jordan, each selected for its aesthetic qualities and symbolic meaning.

Mona Saudi in her studio.

Image courtesy of Lawrie Shabibi, Dubai

Shajarat al-Hayat (Tree of Life) is a compelling example of Saudi's mature practice. This sculpture is exquisitely carved from a green-brown marble—referred to by the artist as Jordanian jade—and is gracefully mounted on a white marble base. The abstract tree form expresses strength and vitality. Though solid, the shapes suggest movement, reflecting both the rootedness of the earth and the fluidity of life itself. The smooth edges soften the geometry and allow the eye to follow its natural contours.

Towards the top of the sculpture, a circular divot is carved, creating an organic, womb-like cavity that evokes birth and the cycle of life. This feature captures Saudi’s enduring fascination with themes of fertility, creation and transformation. In Shajarat al-Hayat, Mona Saudi invites viewers to experience the ongoing dialogue between the natural and the abstract, the feminine and the elemental, honouring life’s sacred rhythms through the timeless language of stone.

Mona Saudi’s works are part of significant public and institutional collections around the world, including Guggenheim Abu Dhabi, Abu Dhabi; Sharjah Art Foundation, Sharjah; Barjeel Art Foundation, Sharjah; The British Museum, London; Institut du Monde Arabe, Paris, and National Museum for Women in the Arts, Washington D.C.

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*4

HUGUETTE CALAND (1931, BEIRUT – 2019, BEIRUT) Vive la liberté (Long live freedom) signed and dated 'H. Caland 1998' (on the reverse) mixed media on panel, in artist's frame 49Ω x 97Ω x 1¿in. (125.7 x 247.6 x 2.8cm.)

Executed in 1998 £180,000-250,000 US$250,000-330,000 €210,000-290,000

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PROVENANCE:

The Artist's Estate.

Private Collection, USA. Acquired from the above by the present owner in 2023.

EXHIBITED:

Laguna Beach, Elena Zass Gallery, The Scapes & Escapes, 1998 (illustrated on the brochure).

LITERATURE:

M. Duron, "What the World’s Top Collectors Bought in 2023, From Art Historical Treasures to the Freshest Wet Paint," ARTnews, October 2023 (illustrated in colour).

This work is accompanied by a certificate of authenticity from the Huguette Caland Estate.

Vive la liberté is a striking large-scale mixed media panel that captures the viewer with its shimmering, almost ethereal presence. Upon a dark ground, Caland weaves a luminous lattice of delicate silver lines that appears to shift with light, giving the surface a reflective, radiant quality.

Across this metallic expanse, raised dots of impasto form rhythmic pathways, undulating like breath or pulse across the surface. Three floral motifs rise from the composition, like signals or constellations, their organic shapes evoking movement, growth, and renewal. Suspended between figuration and abstraction, they serve as symbols of freedom, delicate yet resilient - mirroring the artist’s lifelong commitment to freedom as a core value. The work is at once meditative and assertive, its restrained 26

palette and tactile texture draw the viewer into an intimate dialogue and transform the surface into a poetic terrain of liberation.

Themes of freedom, transformation, and self-definition are central to Caland’s practice, and Vive la liberté encapsulates these with quiet clarity. The title itself—“Long Live Freedom”—is not only a political sentiment but a personal mantra. Throughout her life, Caland resisted the expectations placed upon her as a woman, daughter, and artist, choosing instead to pursue a life guided by curiosity, experimentation, and autonomy. In the present work, the silver surface becomes a metaphor for possibility: reflective yet impenetrable, delicate yet expansive. The

floral motifs, recurring in Caland’s vocabulary, function here not as decorative elements, but as emblems of liberation. The use of raised dots and calligraphic lines echo her interest in textile traditions, cartographic markmaking, and the tactile nature of memory. Like many of her works, Vive la liberté speaks to a broader philosophy of living freely—artistically, intellectually, and emotionally— while embracing the tension between fragility and strength. It is a visual affirmation of freedom not as a fixed ideal, but as a lived, embodied practice.

Born in Beirut in 1931, Huguette Caland studied at the Lebanese Academy of Fine Arts before embarking on a diverse international career that spanned painting,

drawing, sculpture, and performance. Despite her cosmopolitan life—living and working in Paris, Los Angeles, and Beirut—her art remained deeply connected to her roots and personal history. In 2025, Caland was honoured with her first major European retrospective, Huguette Caland: A Life in a Few Lines, at the Museo Nacional Centro de Arte Reina Sofía in Madrid, cementing her legacy as a trailblazing figure in contemporary art.

Her works are held in prominent collections worldwide, including Museum of Modern Art, New York; Toledo Museum of Art, Ohio; San Diego Museum of Art; Centre Pompidou, Paris, and Tate Modern, London.

SIL SI LA: HI G HLIG HTS F RO M T HE DAL LO UL CO LL ECTI O N I N C LU D I N G M O D E R N A N D CO N T E M P O R A RY M I D D L E E A ST E R N A RT

*5

PAUL GUIRAGOSSIAN (1926, JERUSALEM - 1993, BEIRUT) Automne (Autumn) signed 'PAUL. G' (lower right) oil on canvas 51º x 55¿in. (130.2 x 140cm.)

Painted in 1989 £120,000-180,000 US$170,000-240,000 €140,000-210,000

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Paul Guiragossian photographed by his son Jean Paul Guiragossian circa 1987, Beirut, Lebanon. © Courtesy Paul Guiragossian Foundation archives.

PROVENANCE:

The Artist’s Estate.

The Mokbel Art Collection, Beirut (acquired from the above in 2002).

Anon. sale, Christie’s Dubai, 18 March 2015, lot 7.

Dr Ramzi and Saeda Dalloul Collection, Beirut.

Thence by descent to the present owner.

LITERATURE:

A. Rafeh, "An Enduring Awakening," Canvas, vol. 4, issue 4, 2008 (illustrated in colour, p. 77).

"Dans l'antre d'un collectionneur," Femme Magazine Hors Série, October 2010 (illustrated in colour, p. 38).

This work is accompanied by a certificate of authenticity from the Paul Guiragossian Foundation.

An exquisite and rare example from Paul Guiragossian’s late oeuvre, Automne, painted in the late 1980s, is a masterpiece that reveals the artist’s unparalleled command of colour and his mature synthesis of figuration and abstraction. Widely regarded as one of the most important Arab modernists, Guiragossian developed a visual language that distilled the human figure into vertical bands of pigment, at once evoking communities in solidarity and the universal condition of exile. Over the course of his six-decade career, he consistently redefined the limits of modern Arab painting, transitioning from early figurative portraits to luminous abstraction that was profoundly rooted in the human spirit. Automne is a testament to the late period, during which his canvases attained both formal refinement and profound emotional resonance.

Dominated by tall interwoven silhouettes rendered in thick impasto, the composition is reminiscent of the autumnal leaves through the radiant tonalities of yellow. Through robust, sculptural brushstrokes, the figures appear to emerge from the surface, their contours dissolved into the surrounding field of colour. The yellow palette, long associated with the artist, embodies both warmth and optimism yet carries a subtle undertone of fragility and sorrow, mirroring the tensions between hope and hardship that marked Guiragossian’s life and the history of his region. Each patch of pigment sits distinctly beside the next, never overlapping, producing a visual rhythm that suggests a community bound together while retaining its individual parts. With its harmony of tone, texture, and movement, Automne captures a poetic balance between resilience and melancholy.

Born in Jerusalem in 1926 to Armenian parents who survived the genocide, Guiragossian experienced exile from an early age, an experience that would shape his lifelong exploration of belonging and collective memory.

After formative years in Jaffa and Beirut, he studied in Florence and Paris, discarding academic conventions to develop his signature abstracted figuration. His works today are held in major public and private collections worldwide, including Institut du Monde Arabe, Paris; Mathaf: Arab Museum of Modern Art, Doha, and Barjeel Art Foundation, Sharjah.

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*6

FATEH MOUDARRES (1922, ALEPPO - 1999, DAMASCUS) Ziyarat Ashtar (The Visit of Ashtar)

signed in Arabic, signed ‘Moudarres 1980’ (lower right); signed, titled, inscribed and dated in Arabic, signed, titled, inscribed and dated ‘F. MOUDARRES DAMAS 1980 The visit of Ashtar’ (on the reverse) oil, metallic paint and sand on canvas 27æ x 21√in. (70.5 x 55.5cm.)

Executed in 1980 £12,000-18,000 US$17,000-24,000 €14,000-21,000

LEARN MORE PROVENANCE:

Private Collection.

Anon. sale, The Young Collectors Auction Dubai, 15 April 2011, lot 1.

Private Collection.

Gallery Atassi, Damascus (acquired from the above in 2013).

Dr Ramzi and Saeda Dalloul Collection, Beirut (acquired from the above in 2013).

Thence by descent to the present owner.

In The Visit of Ashtar, Syrian modernist Fateh Moudarres masterfully intertwines mythology, memory, and political allegory, drawing on the enduring symbols of the Near East to reflect the condition of the contemporary Arab world. Ashtar, a figure rooted in both Mesopotamian and Canaanite mythology, often associated with love, war, and the celestial realm arrives not as a divine saviour, but as a witness to human suffering and resilience. The “visit” in Moudarres’ painting is quiet, solemn, and mysterious, a moment suspended in time that evokes both a ritual and a reckoning.

Moudarres often looked to Syria’s mythological past to articulate the traumas and disillusionments of the present.

In this work, the presence of Ashtar may be read as both

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a return of the sacred and a mirror to human conflict, emblematic of his dialogue between ancient heritage and modern tragedy. His flat, icon-like figures heavily influenced by Byzantine iconography and Assyrian reliefs are rendered in a palette of subdued earth tones and shadowy contours. The abstraction of form serves not to obscure meaning but to universalize it, transforming the canvas into a psychological and spiritual landscape.

The Visit of Ashtar stands as a powerful example of Moudarres’ ability to collapse time, connecting Syria’s ancient mythology with its modern history of colonialism, dictatorship, and resistance. The divine becomes human, and the human divine, as past and present interlace on a stage where political and metaphysical questions converge.

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λ*7

MARWAN (1934, DAMASCUS - 2016, BERLIN) Kopf (Head)

signed and dated 'MARWAN Dez. 13 + Jan. 14 + Feb. 14 + Juli. 14' (on the reverse) oil on canvas 77 x 57¬in. (195.5 x 146.3cm.)

Painted in 2013 - 2014 £150,000-200,000 US$210,000-270,000 €180,000-230,000

LEARN MORE PROVENANCE:

The Artist.

Dr Ramzi and Saeda Dalloul Collection, Beirut (acquired from the above in 2014).

Thence by descent to the present owner.

EXHIBITED:

Beirut, Dalloul Art Foundation, Pourquoi il fait si sombre?, 2025.

London, Christie's, MARWAN: A Soul in Exile, 2025, p. 98 (illustrated in colour, pp. 96 and 99).

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Marwan Kassab-Bachi, known simply as MARWAN, stands as one of the most influential artists in modern and contemporary art. Born in 1934 in Damascus, Syria, he was raised amid the city’s vibrant cultural circles and the rural landscapes of Al-Qasimiyah, where the distinctive Damascene light and scenery deeply shaped his artistic imagination. His early work focused on landscapes, shaped by the Syrian landscapist Nasser Chaura as well as the impressionistic sensibilities of Claude Monet and Édouard Manet. In 1957, MARWAN left Syria, intending to study in Paris, but settled in Berlin, where he remained for the rest of his life. At the Hochschule der Künste, he studied under Hann Trier, absorbing the gestural freedom of German Informel while encountering the confrontational figuration of artists such as Georg Baselitz and Eugen Schönebeck. These influences, combined with the memory of Damascus, shaped a distinctive visual language that merged European experimentation with his Arab heritage.

In his early Berlin years, MARWAN explored expressionism, still lifes, and figural compositions, gradually turning to the human face. By the 1970s, his “facial landscapes” transformed features into terrain, cheeks suggesting hills, brows evoking horizons, where memory, geography, and emotion intertwined. However, after the death of his sister Raqia in 1983, his work evolved into the monumental “Heads”, vertical, silent, and confronting the viewer directly. These forms abandoned individual likeness, becoming archetypal presences imbued with notions of grief, exile, and resilience.

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Painted between 2013 and 2014, Kopf (Head), exemplifies this late period. A solitary head dominates the vertical canvas, its features shadowed and framed by a yellow halo-like structure that dissolves into the surrounding atmosphere. Layered strokes of ochre, crimson, and brilliant blue evoke both corporeal fragility and spiritual luminosity, suggesting an interior landscape suspended between presence and dissolution. During this period, MARWAN returned with renewed urgency to colour, abstraction, and the expressive force of form, pushing further into the territory where memory, poetry, and spirit converge. While the human head remained central, it was treated with increasing openness, the dense, heavily modelled faces of earlier years giving way to a more atmospheric approach, where forms dissolve into broad, layered fields of colour. His enduring fascination with Paul Cézanne resurfaced with fresh clarity, enriched by a deepened internal sensibility. Texture, emotional resonance, and reminiscence fused into a visual language in which yellows, reds, and greens move across the canvas in a loose, rhythmic flow.

Kopf (Head), in its solemn simplicity and layered complexity, embodies this synthesis, transforming the human visage into a universal symbol of memory, loss, and resilience. Its quiet power and reflective depth mark it as a culminating expression in the long arc of MARWAN’s career, created in the years preceding his death in 2016.

Marwan’s works are included in major international collections such as Museum of Modern Art, New York; Tate Modern, London; Berlinische Galerie-Museum of Modern Art, Photography and Architecture, Berlin; Centre Pompidou, Paris; Museum of Contemporary Art, Chicago, and Barjeel Art Foundation, Sharjah.

MARWAN: A Soul in Exile, Christie’s London 2025 © 2025 Christie’s Images Limited

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*8

SHAKER HASSAN AL SAID (1925, SAMAWAH - 2004, BAGHDAD) Untitled

signed and dated in Arabic (upper right) oil on panel 32¿ x 24in. (81.7 x 61.1cm.)

Painted in 1991 £40,000-60,000 US$54,000-80,000 €46,000-69,000

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PROVENANCE:

Private Collection, Jordan (acquired directly from the artist in 1991).

Private Collection, Jordan.

Anon. sale, Christie’s London, 30 October 2013, lot 115.

Dr Ramzi and Saeda Dalloul Collection, Beirut.

Thence by descent to the present owner.

EXHIBITED:

Amman, Darat al Funun, Shaker Hassan Al Said, 1992.

Beirut, Dalloul Art Foundation, UNTITLED Abstractions, 2023.

LITERATURE:

S. Nader, "Allashakliyah kamuhayatha fanniya basariyyah," Makou Magazine, vol. 3, issue 1, March 2022 (illustrated in colour, p. 14).

Shaker Hassan Al Said is one of Iraq’s most important artists, who—through his writing and art—greatly contributed to the development and discourse of Modern art in the region.

Painted in 1991, Untitled is a remarkable example of Said’s iconic Wall series, presenting the culmination of his artistic and philosophical pursuits. Informed by Sufism and Western and Eastern philosophies, Al Said developed his Contemplative Art Manifesto and One Dimension theory during the 60s and 70s. He stated that art is ‘a testimony to the majesty and beauty of the universe’ where the artist becomes a witness; transmitting and contemplating on the beauty of the world. Art is no longer a perspective on the 38

world as it exists, but rather the world as it is witnessed. To achieve this, Al Said pursues the ‘one dimension’ in art, a dimension that has no beginning or end, one that is linked to eternity and the universe. He achieves this in his Wall series by treating the pictorial surface as walls, leaving marks or traces on them similar to graffiti on the walls of the street.

Scraping and graffiti emphasise his pursuit to reduce the physicality of ‘wall’ into one dimension. His marks of scratches on sand, Arabic numbers, and different signs are the material traces acting as transmissions of Al Said’s role as a witness and passerby.

Shaker Hassan Al Said was born in Samawah, Iraq, in 1925.

After receiving a degree in social science, Al Said pursued painting at Baghdad’s Institute of Fine Arts, where he studied under Jewad Selim and held his first solo show in 1954. He co-founded the Baghdad Group for Modern Art with Selim before obtaining a scholarship to study in Paris at the Académie Julian, the École Nationale Supérieure des Arts Décoratifs and the École Nationale Supérieure des Beaux-Arts. He later returned to Baghdad, where he taught history at the Institute of Fine Arts from 1970-80. He then began his writings on art, including the Contemplative Art Manifesto (1966) and One Dimension theory (1971).

Shaker Hassan participated in shows at Institute of Fine Arts, Baghdad; Sultan Gallery, Kuwait City; Jordan National Gallery of Fine Arts, Amman; Institut du monde arabe, Paris; Venice Biennale, Venice; National Museum of Modern Art, Baghdad, among others. His works are found in institutional collections such as Barjeel Art Collection, Sharjah; Mathaf: Arab Museum of Modern Art, Doha; Museum of Modern Art Baghdad, and Jordan National Gallery of Fine Arts, Amman, among others.

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DIA AL-AZZAWI (B. 1939, BAGHDAD)

Qasida janubiya (Southern Poem) signed in Arabic, inscribed and dated ‘1976’ (on the reverse) oil on canvas 37¡ x 37¡in. (95 x 95cm.)

Painted in 1976 £50,000-70,000 US$67,000-94,000 €58,000-80,000

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PROVENANCE:

Galerie Claude Lemand, Paris.

Dr Ramzi and Saeda Dalloul Collection, Beirut (acquired from the above in 2012).

Thence by descent to the present owner.

EXHIBITED:

This work is accompanied by a certificate of authenticity from the Artist.

London, Patrick Seale Gallery, Al Azzawi, 1978 (illustrated in colour, unpaged; titled Southern Poem II).

LITERATURE:

C. David, (ed.), Dia Al-Azzawi: A Retrospective from 1963 Until Tomorrow, Milan 2017 (illustrated in colour, p. 224).

Born in Baghdad in 1939, Dia al-Azzawi is widely recognised as a pioneering figure in modern Arab art.

Trained as an archaeologist at the University of Baghdad and formerly Director of Antiquities at the National Museum of Iraq, al-Azzawi developed a deep engagement with Iraq’s ancient civilisations: Sumerian, Assyrian, and Babylonian. These cultural legacies would later become a wellspring of inspiration for his artistic practice, which blends contemporary techniques with historical forms and aesthetics, creating a unique visual language that bridges past and present.

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Southern Poem is an homage to the culture and geography of southern Iraq. Painted in the 1970s, during a time when the artist was deeply immersed in visualising the poetry of the region, the work draws on sources ranging from the ancient verses of al-Mu‘allaqat to the politically charged poetry of contemporary figures like Muzaffer al-Nuwwab.

The South, marked geographically by an arrow above the central figure in the painting, was known for its distinctive sha‘bi dialect, often used in poetry to express grief, longing, love, and resistance. This language flowed like song and resonated deeply with the public. Al-Azzawi paints the figure of the South in his bold, recognisable style, drawing on the visual vocabulary of Sumerian figures, as he often does, this time, however, returning those ancient motifs to their original homeland. The figure appears mid-recitation, with words flowing from his mouth into darkness, reminiscent of the water channels that cut through the reeds and grasses of the famous marshlands of southern Iraq.

It is a powerful tribute to both the literary culture of the South and the fertile geography that shaped it, a land and dialect that have haunted and inspired many Iraqi poets, and one often considered the cradle of Iraq’s poetic tradition.

Al-Azzawi’s works have been widely exhibited and are held in major institutional collections around the world, including the British Museum, London; Tate Modern, London and Mathaf: Arab Museum of Modern Art, Doha.

His career has been celebrated in retrospectives at the Institut du Monde Arabe in Paris (2002), and in a joint exhibition at Al Riwaq and Mathaf in Doha (2016). Today, his legacy continues to shape the trajectory of modern and contemporary art from the Arab world.

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KADHIM HAYDAR (1932, BAGHDAD - 1985, BAGHDAD) Language of the Birds

signed and dated in Arabic (lower left) oil on canvas 24Ω x 24Ωin. (69.7 x 69.7cm.)

Painted in the 1980s £50,000-70,000 US$67,000-94,000 €58,000-80,000

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In the present work, Language of the Birds, Haydar revisits his anthropomorphized creatures. A yellow bird, warmly coloured, impresses itself boldly against a muddied, deep green background, imbuing the painting with a sense of weightlessness. Beneath this subject, a series of geometric planes intersect, moving toward the tail end of a human body which has metamorphosised into a bird.

PROVENANCE:

Private Collection.

Anon. sale, Bonhams London, 7 October 2015, lot 17.

Dr Ramzi and Saeda Dalloul Collection, Beirut.

Thence by descent to the present owner.

LITERATURE:

S. Eigner, Artists of the Middle East: 1900 to Now, London 2025, (illustrated in colour, p. 171).

Kadhim Haydar is regarded as one of the most influential figures of the modern Iraqi art movement. Born in Baghdad in 1932, he studied literature at the Higher Institute of Teachers while simultaneously pursuing a degree at the Institute of Fine Arts, graduating from both in 1957. He later continued his training in London, where he studied theatre design, lithography, and painting at the College of Art. Upon his return to Baghdad, Haydar joined the faculty of the Institute of Fine Arts. From an early stage, his drawings and paintings revealed a singular vision, marked by a deep engagement with the human condition. Bringing together his diverse academic and artistic training, he developed a multidisciplinary practice that combined literary, theatrical, and visual elements. Haydar’s originality lies in his ability to translate a unique outlook on life into a visual language that remained in constant evolution, both in style and in technique.

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Birds occupy a significant place in Kadhim Haydar’s visual language, serving both symbolic and compositional functions. Drawing on Arabic poetry and folklore, they often embody themes of freedom, transcendence, and the soul’s yearning, while at times reflecting states of loss or confinement that parallel Iraq’s historical and political struggles. The title of the piece references the "Surat Al-Naml" in the Qur’an, in which Solomon mentions the existence of a language only the birds know as a testimony to God’s grace.

Frequently positioned as silent witnesses to human suffering, birds in Haydar’s work amplify his meditations on martyrdom, resilience, and the endurance of the human spirit. Their fluid forms also serve a structural purpose within his compositions, introducing rhythm and softness that counterbalance the rigidity of architectural or figurative elements. In this way, the motif of the bird encapsulates Haydar’s poetic vision, where allegory and formal experimentation converge to express the complexities of contemporary life.

His artworks are part of important private and public collections across the globe including Mathaf: Arab Museum of Modern Art, Doha; Barjeel Art Foundation, Sharjah, and the Ibrahimi Collection, Amman.

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INJI EFFLATOUN (1924, CAIRO - 1989, CAIRO) Street of the Village oil on canvas 19√ x 26æin. (50.5 x 70.5cm.)

Painted in 1968 £25,000-35,000 US$34,000-47,000 €29,000-40,000

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PROVENANCE:

Safarkhan Gallery, Cairo.

Dr Ramzi and Saeda Dalloul Collection, Beirut.

Thence by descent to the present owner.

Painted in 1968, Street of the Village exemplifies Inji Efflatoun’s post-incarceration period (1963–1973) a pivotal decade in her artistic development. During these years, her oeuvre was distinguished by a dynamic interplay of form and an earthy chromatic palette. Executed in her unmistakable hand, the work reveals her deliberate use of reserve, leaving passages of blank canvas to imbue the composition with an ethereal lightness. This spatial breathing animates the scene, imparting a sense of organic rhythm—as though the work itself were alive, gently stirred by a passing breeze.

A seminal figure of Egyptian Modernism, Efflatoun was not only a painter but also a committed feminist and political activist. Deeply engaged with the struggles of

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the working classes, she channelled their narratives and hardships into both her art and activism. In 1942, she joined the Communist Youth Party and, three years later, founded the League of University and Institutes’ Young Women. Her political commitments led to her arrest under Gamal Abdel Nasser’s regime, culminating in nearly four years of imprisonment beginning in 1959.

Following her release in 1963, Efflatoun’s practice underwent a profound transformation. She moved away from the stark idiom of social realism towards a more lyrical celebration of everyday life and the natural world– imagery that reflected her regained sense of personal and creative freedom. Today, her works are recognised internationally, featured in major exhibitions such as the 2024 Venice Biennale, and held in significant collections, including Museum of Modern Art, Cairo; Mathaf: Arab Museum of Modern Art, Doha, and Barjeel Art Foundation, Sharjah.

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HAMED NADA (1924, CAIRO - 1990, CAIRO)

L'amour dans une nuit lumineuse (Love in a Bright Night) signed and dated in Arabic (lower right) oil on board 47Ω x 33¿in. (120.5 x 84cm.)

Painted in 1978 £60,000-80,000 US$81,000-110,000 €69,000-92,000

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PROVENANCE:

Private Collection, USA. Dr Ramzi and Saeda Dalloul Collection, Beirut (acquired from the above in 2014).

Thence by descent to the present owner.

EXHIBITED:

Cairo, Private Residence, Hamed Nada, 1982.

Painted in 1978, L’amour dans une nuit lumineuse is a remarkable work from Hamed Nada’s later oeuvre.

Through the mastery of his technique, the canvas unfolds like a dreamscape, where sky and land dissolve into one another, creating a unified space that radiates serenity and mysticism. By layering shades of turquoise and blue, Nada blurs the boundary between earth and sky. Rather than establishing a defined horizon, he allows colour gradients and soft transitions to merge the realms of the terrestrial and celestial. Human figures float in this ethereal atmosphere, suspended within a bubble, unbound by gravity or the constraints of time.

Here, Nada juxtaposes interior and exterior spaces, separated by an archway that stands as a metaphor for passage or union. This spatial device creates tension between intimate private moments and the broader public sphere. The painting exemplifies Nada’s mature style, defined by expressive colour, stylised figures, and symbolic motifs, alongside a synthesis of popular and mythic imagery that characterises his later work.

A leading figure of modern Egyptian art, Hamed Nada explored themes of symbolism, daily life, and Egypt’s profound spiritual traditions through a vivid and imaginative visual language. Born in Cairo’s Al-Qa‘la district, the son of a religious sheikh, Nada was shaped by the historic environment of the Sayyida Zeinab neighbourhood. The grandeur of Mamluk and Ottoman monuments left a lasting impression on his imagination, while the vibrant atmosphere of Cairo’s markets—with their puppet shows and celebratory Moulids—enriched his artistic vision.

Nada studied at the Faculty of Fine Arts in Cairo, graduating in 1951 under the guidance of prominent artists such as Ahmed Sabry and Youssef Kamel. In 1960, he continued his training in mural painting at the Real Academia de Bellas Artes de San Fernando in Madrid—an experience that expanded his technical and conceptual range while reinforcing his commitment to Egyptian cultural identity. Nada’s work is held in major institutional collections worldwide, including Mathaf: Arab Museum of Modern Art, Doha; Barjeel Art Foundation, Sharjah; the Museum of Modern Art, Cairo, and Fine Art Museum, Alexandria.

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MAHMOUD SAÏD (1897, ALEXANDRIA - 1964, ALEXANDRIA) La fille aux yeux verts (réplique) (The Girl with the Green Eyes (replica)) signed and dated ‘M.SAÏD 1932’ (upper right); signed, titled and dated ‘MAHMOUD SAÏD ‘LA FILLE AUX YEUX VERTS’ 1931 (Réplique) 1932’ (on the reverse) oil on panel 16¬ x 20√in. (42.1 x 53cm.)

Painted in 1932 £250,000-350,000 US$340,000-470,000 €290,000-400,000

LEARN MORE PROVENANCE:

Charles Terrasse Collection, Paris (acquired circa 1936).

Grand Marché d’Avignon, France (titled Tableau avec une gitane).

Mario Giovannini Collection, Trieste (acquired from the above in 1998).

Anon. sale, Casa d’Aste Trieste, 24 and 25 May 2007, lot 773.

Private Collection, Luxembourg.

Anon. sale, Christie's London, 25 October 2017, lot 12.

Dr Ramzi and Saeda Dalloul Collection, Beirut.

Thence by descent to the present owner.

Mahmoud Saïd, La Fille aux yeux verts, 1931 © Mahmoud Saïd Estate

EXHIBITED:

Cairo, Palais des Beaux-Arts, Société des Amis de l’Art sous le Patronage de S.M. Le Roi, XIXème Salon du Caire, 1939 (titled La fille au collier).

LITERATURE:

La Semaine Égyptienne. Cahiers des peintres et sculpteurs de l’Égypte moderne no. 1: Mahmoud Saïd, 31 January 1936, no. 80 (titled La fille aux yeux verts [2ème version]).

V. D. Hess and H. Rashwan, Mahmoud Saïd Catalogue raisonné Volume 1, Paintings, Milan 2016, no. P 133 (illustrated in colour pp.

38 and 327)

Christie’s is pleased to re-offer La fille aux yeux verts (réplique) this year. A rediscovered masterpiece by the pioneering Egyptian modernist Mahmoud Saïd, whose mysterious subject and complex provenance have captivated scholars and collectors alike. Initially scheduled 48

for Christie’s Dubai in October 2007, the painting was mistakenly withdrawn due to confusion with the original La fille aux yeux verts (1931), which has long been part of the Museum of Modern Art in Cairo. The 1932 réplique, once in the collection of Charles Terrasse, the museum’s first director, was conclusively authenticated following the 2017 publication of Saïd’s catalogue raisonné, resolving a decade-old art historical ambiguity. Thus it was offered for the first time at Christie's London in 2017 (price achieved: 175,000 GBP).

The practice of creating authentic replicas of one’s own work has a long precedent in Western art history, seen in the oeuvres of Hyacinthe Rigaud, Peter Paul Rubens, and

Paul Cézanne. In Saïd’s case, the inscription on the reverse affirms his intentional authorship and transparency: the replica is signed, titled, and dated with a clear distinction between the original and its twin. This practice, though rare within Saïd’s corpus, was not unprecedented, his celebrated Belles de Bahari also exists in two versions, the second commissioned by a close family friend and dated 1948.

shaped green eyes, auburn hair, and stylised anatomy, the figure transcends individuality to become a symbol of Egyptian feminine beauty, tinged with a deliberate ambiguity. In stripping the subject of a specific name, Saïd universalizes her presence, lending her an aura of timeless seduction and mystery that recurs throughout his oeuvre, in works like Invitation au Voyage (1932), Baigneuses à la périssoire (1932), and Belles de Bahari (1935).

Painted during a pivotal period in Saïd’s early 1930s portraiture, La fille aux yeux verts (réplique) exemplifies the archetype of the "Mahmoudsaïdian" woman: sensuous, enigmatic, and composed with a blend of Egyptian and hybridised Mediterranean features. With her almond-

Both aesthetically and historically, La fille aux yeux verts (réplique) occupies a vital space in Mahmoud Saïd’s legacy. It stands not merely as a repetition of form, but as a conscious act of preservation, of a subject, a sentiment, and a painter’s hand at its most assured.

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RAMSES YOUNAN (1913, MINIYEH - 1966, CAIRO) Untitled (Abstract Series) oil on canvas 38º x 51¡in. (97.2 x 130.5cm.)

Painted in 1964 £40,000-60,000 US$54,000-80,000 €46,000-69,000

LEARN MORE PROVENANCE:

The Artist’s Estate.

Dr Ramzi and Saeda Dalloul Collection, Beirut (acquired from the above in 2017).

Thence by descent to the present owner.

EXHIBITED:

Paris, Centre Culturel Égyptien, Ramses Younan Peintures, 1978, no. C029.

Beirut, Dalloul Art Foundation, UNTITLED Abstractions, 2023.

LITERATURE:

S. El-Charouni, L’Intellectuel Révolté, Cairo 1992.

S. Younan (ed.), Ramses Younan: The Share of Sand, Paris 2022, no. 58 (illustrated, p. 317).

Painted in 1964, Ramses Younan’s Untitled is a striking work from the artist’s Abstract Series in which forms dissolve and merge imbued with warm colours reminiscent of Egyptian landscapes. Starting from an initial improvisation, he would develop and refine the surface of his paintings to produce complex abstract compositions.

Enhanced by the transparency of thinned oil paint, Younan highlights the tactile nature and painterly quality of the medium through gestural brushwork and rough edges.

A prominent figure in twentieth-century modernism, Ramses Younan, a painter, writer, and political activist, was born in Miniyeh, Egypt. In 1938, he became one of

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the co-signatories of the manifesto ‘Long Live Degenerate Art’, endorsed by thirty-seven artists and intellectuals, predominantly from Cairo. That same year, Younan, along with poet and journalist Georges Henein, founded the Art and Liberty Group, a collective of intellectuals and artists primarily aligned with Surrealism. The group maintained strong connections with their international counterparts, including figures like American photographer Lee Miller and French writer André Breton. This cross-cultural exchange played a pivotal role in introducing Surrealism to Egyptian art history, ultimately paving the way for the development of Egyptian Surrealism. This sought to break free from the established styles of artists like Salvador Dalí and René Magritte, emphasising the necessity of a Surrealist expression that allowed for radical and subconscious dreaming, characterising moral and social revolution.

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ABDULHAY MUSALLAM ZARARA (1933, AL-DAWAYIMA - 2020, AMMAN) Al-Hayat (Life)

signed and dated in Arabic (lower left); signed, titled, inscribed and dated in Arabic (on the reverse) acrylic and sawdust on panel 31º x 41√in. (79.5 x 106.5cm.)

Executed in 2004 £20,000-30,000 US$27,000-40,000 €23,000-34,000

LEARN MORE PROVENANCE:

The Artist.

Dr Ramzi and Saeda Dalloul Collection, Beirut (acquired from the above circa 2014).

Thence by descent to the present owner.

Abdulhay Musallam Zarara

LITERATURE:

"Abdulhay Musallam Zarara A Palestinian Artist: Journey of Resilience and Resistance," Bazarrna, 8 May 2024 (illustrated in colour).

Born in Al-Dawayima, Palestine in 1933, Abdulhay Musallam Zarara was a self-taught artist whose deeply expressive body of work stands as a testament to the enduring spirit of the Palestinian people. His practice, rich in memory, cultural symbolism, and political urgency, was shaped by both the idyllic rural life of his early childhood and the effect of his exile in 1948, during which his village was the site of a massacre. Forced into exile at the age of fifteen, Zarara’s identity as a refugee became the cornerstone of his artistic and ideological journey.

It was not until the age of thirty-nine that Zarara began to paint. He developed a highly original technique: acrylic paint applied over a textured base of sawdust and glue, giving his works a sculptural, tactile quality.

This distinctive method imbues each piece with a threedimensional presence, transforming his paintings into 52

vivid, almost physical recollections of place, people, and collective struggle.

Emerging at a time when questions of national identity and cultural resistance were central to Palestinian art, Zarara’s oeuvre resonated with a unique urgency. His work became a means of preserving memory, documenting tradition, and advocating for resistance, while also celebrating Palestinian life with vibrant depictions of village scenes, folklore, and everyday rituals.

Over the course of his lifetime, Zarara created nearly 600 works, making his practice not only prolific but also politically and culturally vital. Each piece serves as a visual archive of loss and resilience and a powerful artistic response to dispossession.

His art, both ideologically driven and aesthetically distinct, occupies a singular place in the canon of modern Arab art, embodying the role of the artist as both witness and warrior in the face of exile and erasure.

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NABIL ANANI (B. 1943, LATROUN) The Palestinian Icon

signed in Arabic and dated '2010' (lower left) acrylic on canvas 44¿ x 29¡in. (112 x 74.5cm.)

Painted in 2010 £20,000-30,000 US$27,000-40,000 €23,000-34,000

LEARN MORE PROVENANCE:

George Al Ama, Palestine (acquired directly from the artist in 2010).

Dr Ramzi and Saeda Dalloul Collection, Beirut (acquired from the above in 2014).

Thence by descent to the present owner.

LITERATURE:

S. Mleahat and M. Mulloy (eds.), Nabil Anani: Palestine, Land and People, London 2018 (illustrated in colour, p. 101).

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Nabil Anani, born in 1943 in Latroun, Palestine, is a seminal figure in contemporary Palestinian art, known for his work as a painter, sculptor, and ceramicist.

Experiencing the mass expulsion of Palestinians during 1947, and subsequent conflicts firsthand, Anani’s artistic vision has been deeply shaped by his connection to Palestinian history, culture, and collective memory. He studied fine arts at Alexandria University in Egypt, later earning a master’s in Islamic Archaeology at Al-Quds University, before returning to Palestine to teach and mentor emerging artists.

A pioneer of the New Vision Movement, Anani explored innovative approaches that incorporated natural, locally sourced materials, emphasising a tangible connection to Palestinian land and heritage. Central to his work is the theme of the Palestinian motherland, often symbolised through the figure of women, traditional embroidery, and pastoral landscapes, reflecting both national identity and cultural continuity. Beyond his artistic practice, Anani has played a pivotal role in cultivating Palestinian art institutions, co-founding the League of Palestinian Artists and contributing to the establishment of the International Academy of Art in Ramallah.

Nabil Anani’s 2010 painting The Palestinian Icon depicts a female figure clad in traditional Palestinian dress, its surface richly adorned with scenes that mimic the intricate embroidery known as tatreez. In a remarkable reinterpretation of this traditional craft, Anani replaces

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the customary geometric and floral motifs with vivid depictions of communal and domestic life, including children at play, families engaged in everyday routines, mothers carrying their children, birds, flowers, vegetation, and even buildings, collectively evoking the social and physical fabric of Palestinian life. These figures and structures function as living motifs, inseparable from the cultural heritage they inhabit, as though the people and their environment have literally become part of the woman and, by extension, part of the land itself.

Through this integration, Anani materialises the concept of heritage: the figure embodies Palestine, and within her are woven the lives, relationships, and natural beauty of its people. The composition is set against a vibrant purple background, while the domesticity and vitality of the embroidered scenes are juxtaposed with a wall spanning the width of the canvas—a poignant allusion to the West Bank Barrier. In this way, the work serves simultaneously as allegory and celebration, merging maternal symbolism, collective memory, and national identity into a visually and conceptually resonant icon.

Anani’s works are included in major international collections such as The British Museum, London; Tate Modern, London; Bunker Art Space Museum, Florida; Institut du Monde Arabe, Paris; Barjeel Art Foundation, Sharjah; Sharjah Art Museum, Sharjah; Guggenheim Museum Abu Dhabi, Abu Dhabi, and Mathaf, Arab Museum of Modern Art, Doha.

Nabil Anani © 2025 Palestine Museum US

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SLIMAN MANSOUR (B. 1947, BIRZEIT) Untitled

signed in Arabic (lower left of left panel); signed in Arabic, signed and dated ‘S. Mansour 2014’ (lower left of centre panel); signed in Arabic (lower left of right panel) oil on canvas, in three parts each: 89 x 43¿in. (226 x 109.5cm.) overall: 89 x 129¡ (226 x 328.5cm.)

Painted in 2014 £120,000-180,000 US$170,000-240,000 €140,000-210,000

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PROVENANCE:

Dr Ramzi and Saeda Dalloul Collection, Beirut (acquired directly from the artist in 2014).

Thence by descent to the present owner.

EXHIBITED:

Beirut, AUB Byblos Bank Art Gallery, Traces of Utopia, 2023, fig. 2 (illustrated in colour, unpaged).

LITERATURE:

A. Nysten, "Curated by Basel Dalloul," Selections, 16 December 2020 (illustrated in colour).

J. Barakat, Narrative Threads: Palestinian Embroidery in Contemporary Art, London 2025 (illustrated in colour, pp. 62-63; titled Orange Fields).

J. Barakat, "From Stitch to Symbol: The Power of Palestinian Tatreez," The Markaz Review, 25 August 2025 (illustrated in colour; titled Orange Fields).

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Sliman Mansour was born in 1947 in Birzeit, Palestine, just a year before the Nakba, which led to the mass displacement of Palestinians during the 1948 Arab-Israeli war. Throughout his life, Mansour has witnessed ongoing political upheaval, including the occupation of the West Bank, Gaza Strip, Golan Heights and Sinai Peninsula, experiences that deeply shaped his artistic vision.

He began his education at the Evangelical Lutheran School in Bethlehem, where his German art teacher, Felix Theis, introduced him to European art traditions. In 1967, Mansour enrolled at the Bezalel Art Academy in West Jerusalem, studying under Yossi Stern and Joseph Hirsch, and earned his Bachelor of Fine Arts in 1970 as one of the few Palestinian students there. After graduation, Mansour emerged as a leading figure in modern Palestinian art.

Influenced by religious imagery from his childhood and the realities of life under occupation, he developed a distinctly Palestinian visual language rooted in memory, heritage and identity. In 1973, he co-founded the League of Palestinian Artists and later established the Al Wasiti Art Centre in Jerusalem (1995–1996). He also taught at Al-Quds University and helped to found the Palestinian Association for Contemporary Art (2004) and the International Academy of Art Palestine (2006) in Ramallah.

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His monumental triptych Untitled, painted in 2014, powerfully captures the collective strength and perseverance of the Palestinian people. In the central panel, two women, carry a basket of oranges together, a gesture of unity and shared labour. Behind them, the sea of Jaffa evokes both serenity and the memory of a coastal homeland. On either side, harvesters bend to pick oranges from flourishing trees, their backgrounds blending seamlessly into the central scene, where the sky meets the sea in a soft, continuous horizon. Long associated with Palestine's cultural and agricultural identity, the Jaffa orange becomes here a potent symbol of rootedness and resilience. The women’s garments feature traditional Palestinian embroidery (tatreez), their intricate patterns evoking identity and cultural continuity. Through his masterful use of colour, form and symbolism, Mansour expresses the unbreakable bond between people and place, and the strength and grace that define their Palestinian experience. Together, the three panel become a vivid celebration of land, memory and collective identity.

Today, Sliman Mansour’s work is represented in major international collections, including Guggenheim Abu Dhabi; Mathaf: Arab Museum of Modern Art, Doha; Institut du Monde Arabe, Paris; Jordan National Gallery of Fine Arts, Amman, and Barjeel Art Foundation, Sharjah.

He continues to live and work in Jerusalem, inspiring new generations of artists dedicated to expressing the Palestinian story through art.

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AMMAR FARHAT (1911, BÉJA - 1987, TUNIS) La Mariée (The Bride)

signed in Arabic, signed and dated 'Farhat 77' (lower left) oil on canvas 60¡ x 36¬in. (153.5 x 93cm.)

Painted in 1977 £100,000-150,000 US$140,000-200,000 €120,000-170,000

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PROVENANCE:

Private Collection, Tunisia.

Le Violon Bleu, Sidi Bou Said.

Dr Ramzi and Saeda Dalloul Collection, Beirut (acquired from the above in the 2014).

Thence by descent to the present owner.

Probably one of the most captivating paintings by Tunisian artist Ammar Farhat, La Mariée holds a very special place in the history of Tunisian art. It comes from one of the most important private collections in Tunisia before being acquired by the Dalloul Art Foundation.

Born into extremely modest circumstances in western Tunisia and illiterate for much of his early life, Ammar Farhat became one of the most recognisable and celebrated artists in the country. Entirely self-taught, he learned to paint and draw while working various humble jobs: as a street vendor, baker, soap seller, and construction worker. It was on the streets, selling his sketches and caricatures, that his artistic talent first attracted public attention. A keen observer of Tunisian society, his innocent yet perceptive gaze offered a raw and genuine reflection of the people and life around him, depicting some of the most illustrious genre scenes in Tunisia and North Africa.

As a young, promising artist, Farhat became a central figure in the Ecole de Tunis, the celebrated postindependence movement of painters who defined a new 62

Ammar Farhat, La mariée (The bride), 1946

pictorial language and iconography for modern Tunisia.

He collaborated with several notable contemporaries, including his friends Hedi Turki, Zoubeir Turki, Jellal Ben Abdallah, Safia Farhat, Abdelaziz Gorgi, among others.

Deeply rooted in his modest background and always closely tied to his family, Farhat dedicated much of his work to depicting key aspects of Tunisian social life: scenes of daily labour, music, religious rituals, and especially marriage ceremonies, which hold deep symbolic and social significance in Tunisian and broader North African culture. Marriage became a recurring theme in his exploration of womanhood and community traditions.

Painted in 1977, La Mariée is centred on the solemn figure of the bride, surrounded by a procession of women dressed in the traditional Tunisian wedding attire known as "futa wa blouza," rendered in a vibrant palette that reflects the rich chromatic heritage of North African female garments.

The bride gently tilts her head forward, her eyes closed, radiating a sense of humility and introspection in this significant moment of her life. Encircled by family and friends in a paved street flanked by traditional houses with open windows, the scene exudes both intimacy and ceremony as they proceed in the bridal procession along a Tunisian street.

This painting showcases Ammar Farhat’s mature use of colour and composition, qualities that distinguished his work throughout the 1960s and 1970s. It reflects his deep naturalism and his ability to capture the poetic beauty of everyday Tunisian life; qualities that made him one of the most beloved artists in the country’s modern art scene.

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HATEM EL MEKKI (1918, JAKARTA - 2003, CARTHAGE) Portrait de Gorgi (Portrait of Gorgi) signed ‘elmekki’ (upper left) gouache on paper 25 x 19¿in. (63.5 x 48.7cm.)

Executed in 1952 £18,000-25,000 US$25,000-33,000 €21,000-29,000

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PROVENANCE:

Le Violon Bleu, Sidi Bou Said.

Dr Ramzi and Saeda Dalloul Collection, Beirut (acquired from the above in 2014).

Thence by descent to the present owner.

Hatem El Mekki, L’homme Couché (The sleeping man), 1953 Image courtesy of The Ramzi and Saeda Dalloul Art Foundation, Beirut

LITERATURE:

Hatim Elmekki : l'homme et l'oeuvre, Tunis 1989, no. 10 (illustrated, unpaged; titled and dated Portrait 1953).

Born in Batavia (present-day Jakarta), Indonesia, in 1918 to a Tunisian father and an Indonesian mother, Hatem El Mekki moved to Tunisia in 1924 following his first visit to his father’s homeland. He was educated at the Lycée Carnot in Tunis before receiving a government scholarship to study in Paris, where he resided at the Cité Internationale des Arts during the 1930s.

El Mekki returned to Tunisia permanently in 1951, where he began to develop his distinctive style. His work reflects a life shaped by profound historical events, merging his formal academic training with the Indonesian technique of batik textile printing. Employing abstracted forms, rhythmic lines, and a palette of warm, often intense colours, El Mekki produced compositions that conveyed both vitality and severity. His paintings frequently engaged with themes of hardship, including the realities of French colonial rule, with particular attention given to the 64

expressive power of the human figure. El Mekki remained a central figure in Tunisian modern art until his death in Carthage in 2003.

El Mekki’s Portrait de Gorgi (1952) depicts Abdelaziz Gorgi (1928–2008), one of the leading figures of modern Tunisian art. Trained at the École des Beaux-Arts in Tunis and later in Paris, Gorgi became a founding member of the École de Tunis, the movement that sought to merge modernist aesthetics with local traditions, thereby shaping a distinctly Tunisian artistic identity. By the early 1950s, Gorgi was already emerging as a pivotal presence within the country’s cultural landscape, a trajectory that would later include his long tenure as professor at the Institut supérieur des Beaux-Arts in Tunis and his establishment of influential galleries such as Galerie Gorgi. El Mekki’s portrait of his contemporary not only signals the close ties and mutual recognition among Tunisian artists of the period but also documents the vibrant artistic milieu in which modern Tunisian art was being actively defined.

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FARID BELKAHIA (1934, MARRAKECH - 2014, MARRAKECH) Somalia 2

titled, inscribed and dated ‘SOMALIA 1994’ (on the reverse) natural pigments on skin and sand on panel 81√ x 45¬ x 1/2in. (208 x 116 x 1.3cm.)

Executed in 1994 £100,000-150,000 US$140,000-200,000 €120,000-170,000

LEARN MORE PROVENANCE:

Private Collection.

Anon. sale, Compagnie Marocaine des œuvres et objets d'art Casablanca, 22 June 2022, lot 69.

Acquired at the above sale by the present owner.

EXHIBITED:

Paris, Institut du Monde Arabe, recontres africaines, 1994 (illustrated in colour, p. 24).

Nice, Musèe d’Art Moderne et d’Art Contemporian, Farid Belkahia, 1999-2000 (illustrated in colour, p. 47). This work later travelled to Paris, Musèe national des arts d’Afrique et d’Oceanie.

Farid Belkahia in his studio in Marrakech, 2010 © Fondation Farid Belkahia

LITERATURE:

R. Benchemsi, ''Farid Belkahia: Eroticism in Malhoun,'' Nka: Journal of Contemporary African Art, vol. 2001, issue 13-14, May 2001 (illustrated in colour, p. 81).

This work is accompanied by a certificate of authenticity from the Farid Belkahia Foundation.

Farid Belkahia, born in 1934 in Marrakech, stands among the foundational figures of modern Moroccan art. Raised in a francophone family, he showed early artistic promise, studying painting under Olek Teslar before leaving home to pursue his passion independently. In 1955, he moved to Paris to attend the École des Beaux-Arts, later joining Raymond Legueult’s atelier, where he developed a freer artistic style. His travels across the Middle East deepened his appreciation for Arab and pre-Islamic cultures, shaping his vision of art rooted in identity and heritage.

After studying scenography in Prague, Belkahia returned 66

to Morocco in 1962 to direct the École des Beaux-Arts in Casablanca. There, he transformed the institution by replacing French academic models with experimental teaching grounded in Moroccan craft traditions such as pottery, tapestry, and Islamic design. Alongside artists Mohamed Melehi, Mohammed Chabâa, and Mohamed Hamidi, he founded the Casablanca Art School, which championed a distinctly Moroccan modernism: open to global influences yet firmly anchored in local culture.

Belkahia’s oeuvre represents a turning point in the development of Moroccan modern art, uniting ancestral memory with contemporary experimentation. Rejecting academic formalism and colonial aesthetics, he reimagined artistic creation through materials and symbols drawn from Morocco’s own cultural landscape. From the 1970s onward, Belkahia turned away from conventional

Western media such as canvas and oil paint, embracing natural, tactile substances like copper and ram’s skin. This deliberate choice reflected his reverence for Morocco’s pre-colonial, multicultural heritage and its diverse artistic languages. He incorporated references to Amazigh and African material culture—including Tifinagh script, the geometric rhythms of traditional carpets, and tattoo patterns. Through this synthesis of material and meaning, Belkahia forged a dialogue between art and craft, modernity and origin, affirming a distinctly Moroccan vision of contemporary art grounded in local identity and spiritual depth.

Executed in 1994, Somalia 2 exemplifies Belkahia’s distinctive artistic language, combining natural pigments on treated skin with sand on panel. The work echoes the tactile and symbolic quality of henna on flesh, its surface animated by vivid planes of red, black, and deep blue that form a composition both monumental in scale and fluid in form. Through these rich chromatic fields and organic contours, Belkahia evokes a sense of vitality and ritual, transforming elemental materials into a visual meditation on identity, memory, and the deep connection between body and land.

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*21

MOHAMED MELEHI (1936, ASILAH – 2020, BOULOGNE-BILLANCOURT) Composition

signed, inscribed and dated ‘MELEHI 2006’ (on the reverse) acrylic on canvas 39¡ x 35¡in. (99.9 x 89.8cm.)

Painted in 2007 £40,000-60,000 US$54,000-80,000 €46,000-69,000

LEARN MORE PROVENANCE:

Brahim Alaoui Collection (acquired directly from the artist).

Dr Ramzi and Saeda Dalloul Collection, Beirut (acquired from the above in 2014).

Thence by descent to the present owner.

Mohamed Melehi was a pioneering Moroccan artist whose work helped shape the country’s modern art movement.

Born in 1936 in the coastal town of Asilah, he developed an early passion for art and pursued formal studies in Seville, Madrid, and later Rome, where he became the first African-Arab artist to exhibit at the avant-garde Topazia Alliata gallery. His explorations of abstraction earned him a teaching position at the Minneapolis Institute of Art in 1962 and led to further study at Columbia University in New York under a Rockefeller scholarship, where he participated in the influential Hard Edge and Geometric Painting and Sculpture exhibition at the Museum of Modern Art in 1963.

Returning to Morocco in 1964, Melehi joined the Casablanca School of Fine Arts as a professor and, alongside artists such as Farid Belkahia and Mohammed Chabâa, helped establish a postcolonial artistic platform, culminating in the groundbreaking Présence Plastique street exhibition of 1969. Drawing inspiration from Moroccan crafts, Amazigh textiles, and Islamic art, he developed a vibrant visual language of geometric forms 68

and dynamic waves, reflecting both his hometown and the philosophical rhythms of life.

Painted in 2007, Composition exemplifies Melehi’s mastery of colour and form, featuring sharp diagonals emerging from either side of the canvas in white and vibrant blues, within which his iconic waves in tonal variations of yellow and grey flow. Softer, organic geometric forms in ochre and white converge towards the centre, creating a dialogue between fluidity and structure. These overlapping shapes contrast yet coexist harmoniously, while brilliant red punctuates the composition, enhancing its visual impact. The work demonstrates Melehi’s ability to balance symmetry and asymmetry, warm and cool tones, and geometric precision with organic movement, resulting in a composition that is both vibrant and melodious.

Mohamed Melehi’s works are held in major international collections, including Tate Modern, London; Centre Pompidou, Paris; Institut du Monde Arabe, Paris; Mathaf: Arab Museum of Modern Art, Doha; Musée d’Art Contemporain Africain–Al Maaden (MACAAL), and Museum of Modern Art, New York. In 2017, Melehi was honoured with a retrospective at Mathaf: Arab Museum of Modern Art, Doha and more recently his work was featured in The Casablanca Art School exhibition, which travelled from Tate St Ives to the Sharjah Art Foundation in 2023–2024.

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BAYA (1931, BORDJ EL KIFFAN - 1998, BLIDA) Untitled (Plateau, lampes, fruits et papillons) signed with the artist's monogram and dated '73' (lower right); signed 'Baya' (on the reverse) gouache on paper 39 x 39¿in. (99.2 x 99.3cm.)

Executed in 1973 £20,000-30,000 US$27,000-40,000 €23,000-34,000

LEARN MORE PROVENANCE:

Anon. sale, Gros et Delettrez Paris, 20 November 2015, lot 242.

Acquired at the above sale by the present owner.

We would like to thank Mrs Souad Teldjoune Mahieddine for her valuable assistance with the research of this work.

“My painting is not a reflection of the outside world, but of my own world within me... from things that surround me, from music, ...from things in life...”

— Baya

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FORMERLY IN THE PRIVATE COLLECTION OF JUKKA AND MARJATTA NEVAKIVI

*23

GAZBIA SIRRY (1925, CAIRO - 2021, CAIRO) Untitled

signed twice in Arabic, signed twice 'Gazbia' (upper and lower centre); dated in Arabic (lower centre) oil on canvas 29¬ x 39Ωin. (75.2 x 100.4cm.)

Painted in 1968 £50,000-70,000 US$67,000-94,000 €58,000-80,000

LEARN MORE PROVENANCE:

Private Collection, Finland (acquired directly from the artist circa 1970).

Thence by descent to the present owner.

EXHIBITED:

London, Zaydler Gallery, Gazbia Sirry, 1970 (illustrated on the back cover).

Image of Gazbia Sirry with the work at Zaydler Gallery in 1970.

Image © and courtesy of the Artist’s Estate

LITERATURE:

Y. Sultan, ''Raheel Gazbia Sirry, Ra'edat Jeel Al-Hadatha AlTashkeelyah Al-Masriyah,'' Independent Arabia, 11 November 2021 (installation shot illustrated).

Born in Cairo in 1925, Gazbia Sirry was one of the most influential Egyptian artists of the 20th century.

Her long and prolific career stands as a reflection of her lived experiences in Egypt, interwoven with the country’s political shifts, urban transformations, and social dynamics. Whether addressing themes of personal freedom, collective struggle, or the evolving fabric of Cairo, Sirry’s work consistently sought to capture the emotional and psychological realities of Egyptian life.

Educated in Egypt and later in Europe, Sirry developed a distinct visual language that harmonised international modernist influences with her own deep-rooted cultural identity. The resulting style was not only intellectually rigorous but also deeply personal, a synthesis of global techniques and local spirit.

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The present work comes from the former collection of Finnish diplomats Jukka and Marjatta Nevakivi, who lived near Sirry’s studio in Cairo. It is an early and exceptional example of Sirry’s geometric abstraction, marking a turning point in her artistic evolution. First exhibited at her debut solo show in London at the Zaydler Gallery in 1968, this composition focuses on the Cairene cityscape, rendered through a dense accumulation of stacked, cubelike forms. These architectural shapes evoke the compact, layered housing structures of Cairo, symbolising both physical density and social complexity.

Sirry’s canvas is visually divided, suggesting a contrast between two temporal or spatial realms, perhaps day and night, or two urban realities. On one side, stark white cubic forms appear isolated, less crowded, and almost sterile,

possibly representing a gated community or an idealised urban vision. In contrast, the opposing section is painted against a black background and features a much tighter configuration of vibrant, colourful forms, evoking the bustling, lived-in vitality of everyday Cairo. This portion appears to encroach upon the white section, a gesture that hints at urban expansion, resistance, or convergence.

Sirry’s technique in this work is also notable for its textural experimentation. She applies methods derived from her study of lithography, particularly scraping and scratching into the black surfaces, creating a tactile richness that she would later expand upon in her celebrated Desert Series.

A rare and significant example from her early abstract period, this work captures both the aesthetic innovation and socio-political consciousness that define Gazbia Sirry’s legacy.

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PROPERTY FROM THE ESTATE OF HUSSEIN BEK SAÏD

*24

MAHMOUD SAÏD (1897, ALEXANDRIA - 1964, ALEXANDRIA) La colline de Mekarzel (Mekarzel Hill)

signed and dated ‘M. SAÏD 1955’ (lower right); signed, titled and dated ‘MAHMOUD SAÏD ‘LA COLLINE DE MEKARZEL’ 1955’ (on the reverse) oil on board 12 x 16in. (30.5 x 40.6cm.)

Painted in 1955 £60,000-80,000 US$81,000-110,000 €69,000-92,000

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PROVENANCE:

Hussein Pasha Sirry Collection, Cairo (acquired directly from the artist circa 1960).

Mrs Hussein Pasha Sirry Collection, Cairo (acquired from the above circa 1964).

Hussein Saïd Collection, Alexandria.

Thence by descent to the present owner.

Mahmoud Saïd © Hesham Salama & Mahmoud Saïd Estate

EXHIBITED:

Alexandria, Musée des Beaux-Arts and Centre Culturel, À l'occasion du Huitième Anniversaire de la Révolution: Exposition rétrospective des œuvres du peintre lauréat Mahmoud Saïd, 1960, no. 31 (titled Vue de la colline Mekarzel, Liban).

Alexandria, Musée des Beaux-Arts and Centre Culturel, À l'occasion du Douxième Anniversaire de la Révolution: Exposition rétrospective des œuvres du peintre lauréat Mahmoud Saïd 1897-1964, 1964, no. 30 (titled Vue de la colline Mekarzel, Liban).

LITERATURE:

E. Dawastashy, Mahmoud Saïd: Memorial Book on the Pioneer of Contemporary Egyptian Painting - On the 100th Anniversary of his Birth, Cairo 1997, no. 259 (illustrated in colour, p. 307, fig.

238; dated 1952).

R. Al-Shafei, Artist Mahmoud Saïd: An Artistic and Analytical Study, University of Alexandria, Faculty of Fine Arts (MA Thesis), Alexandria 2012, no. 207 (illustrated in colour; dated 1952).

V. D. Hess and H. Rashwan, Mahmoud Saïd Catalogue raisonné Volume 1, Paintings, Milan 2016, no. P356 (illustrated in colour, p.

563).

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Mahmoud Saïd, Paysage au Liban (esquisse), 1951 © Mahmoud Saïd Estate

Mahmoud Saïd’s brilliance in landscape painting shines through once again in La colline de Mekarzel, a depiction of the mountainous Beqaa region in Lebanon. This painting is part of a distinguished series Saïd created during his visits to Lebanon between 1951 and 1959.

Escaping the Egyptian summer heat, he would retreat to Lebanon, where he produced some of his most celebrated non-Egyptian landscapes, including Port of Beyrouth and Après la pluie, au Liban.

What distinguishes this series, are the warm orange tones and deep greens that vividly evoke the Lebanese mountainous landscapes. The hues and the radiant light, drawing from the local pine trees, sun-soaked soil, and terracotta bricks, convey not only the visual essence of the region but also its atmosphere and warmth. Saïd masterfully captures the unique light and spirit of each place he visits, revealing his deep sensitivity to location and mood.

By the 1950s, when La colline de Mekarzel was executed, Saïd had reached full artistic maturity. Drawing on his extensive training in both Europe and Egypt, he had developed a distinctive style rooted in strong composition, expressive colour, and nuanced handling of light. His enduring pursuit was to reveal the "inner light" of his subjects, be they people or places.

This work, in particular, is a striking example of Saïd’s use of aerial perspective. Unlike his other mountain scenes from Lebanon, La colline de Mekarzel is painted from a lower vantage point, creating an intimate sense of presence, almost as if the viewer is seated among the trees, immersed in the mountain’s quiet majesty. This perspective enhances the painting’s atmospheric quality and evokes the serene brilliance of the Lebanese mountains.

Coming from the collection of Hussein Bek Saïd, the present work has remained in the Saïd family since its creation and is being offered to the public for the first time in its history.

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PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION, ALEXANDRIA

*25

SAÏD EL-ADAWI (1938, ALEXANDRIA - 1973, ALEXANDRIA) Untitled

signed and dated in Arabic (lower left) oil on celotex 36¡ x 48ºin. (92.4 x 122.5cm.)

Painted in 1972 £60,000-80,000 US$81,000-110,000 €69,000-92,000

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PROVENANCE:

The Artist's Estate.

Acquired from the above by the present owner circa 2017.

EXHIBITED:

Cairo, Aisha Fahmi Palace, Saeed El Adawi: A Sudden Absence, but a Constant Presence, 2023 (illustrated in colour, p. 116).

LITERATURE:

H. Rashwan (ed.), The World of Saïd El-Adawi, Cairo 2025 (illustrated in colour, pp. 276-277; detail illustrated in colour, pp.

568-569).

Reverse of the present work detailing an unfinished painting by Said El Adawi and a later attempt to create a poster for the Experimental Group in 1968.

The verso of this work reveals an unfinished painting by the artist and a later attempt to create a poster in 1968 for the Experimental Group that El- Adawi was a member of.

The sea, with its creatures, fishermen, boats, and beaches full of people and stories, weaved its way into El-Adawi’s soul. We see it in his artworks, shadows, and creatures in the pitch-black darkness, his soul searching for existence in the folds of that sorrow that we feel in his works.

From the sea to the carriages, markets and vernacular architecture, El Adawi drew inspiration from his everyday encounters in the vibrant city of Alexandria. He captured the rhythms of life and reimagined it through a distinctive visual language that was at once reminiscent of his culture and engaged in dialogue with global modern movements.

— Dr. Magda Saad El-Din on Saïd El-Adawi Born in 1938, Said El Adawi was one of the most talented and understudied Egyptian Painters of his generation.

Though his career was tragically cut short by his untimely death in 1973, El Adawi crafted a rich and compelling painterly world within a brief yet prolific span of time.

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The current work, a masterpiece and one of his final creations, stands as a culmination of El Adawi’s artistic genius. Here, we encounter the intuitive abstracted Adawian forms with their curves, circles and triangles that recall the visual textures of his culture and Arabesque motifs. These forms, drawn from years of

observing the human figure, the natural world, and the built environment, are intricately interwoven in a dense, multilayered composition that follows the structure and rhythm of eastern tapestries.

El Adawi's masterful use of colour further enhances the spatial dynamics of the work. Layers are clearly articulated, with teal shapes appearing to float at the forefront of the composition as if they are suspended in a kinetic,

multidimensional field. The use of bright orange passages further enhances the sense of movement by offering pockets of light in between the forms.

This composition is a testament to El Adawi’s brilliance in weaving his locality within a modern context, achieving his goal of offering the viewer the experience of encountering an Eastern tapestry translated into a modern visual language.

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PROPERTY FROM AN ESTEEMED PRIVATE COLLECTION

λ*26

ADAM HENEIN (1929, CAIRO - 2020, CAIRO) Nesma

incised with the artist's initials 'A.H', incised with the artist's signature in Arabic (on the base) bronze 34º x 8Ω x 6ºin. (87 x 21.5 x 16 cm.)

Executed in 1965, this work is from an edition of six £50,000-70,000 US$67,000-94,000 €58,000-80,000

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PROVENANCE:

Waddah Faris Collection, Barcelona.

Acquired from the above by the present owner in 2009.

EXHIBITED:

Paris, Fares Gallery, Adam Henein, 1982 (another from the edition exhibited).

Paris, Institut du Monde Arabe, Trois sculpteurs contemporains, 1991 (another from the edition exhibited).

Cairo, Amir Taz Palace, Adam Henein Retrospective, 2006 (another from the edition exhibited).

Cairo, SODIC Sales Centre, AC&C Art Fund Collection, 2010.

Cairo, Al Masar Gallery, Tawasul/Continuity, 2009 (another from the edition exhibited; illustrated in colour).

LITERATURE:

M. Khazindar (ed.), Adam Henein, Milan 2005, (illustrated, p. 76).

“One’s artistic style is as unique as his fingerprint; if one can’t change, then neither can the other. I have learnt a lot of things throughout my journey, but what stayed with me from the very beginning, is my dedication to the Egyptian vision, maintaining both my vision and my insight, purely Egyptian” — Adam Henein 78

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OMAR EL NAGDI (1931, CAIRO - 2019, CAIRO) El Kaaba Elsharifa

signed and dated 'OMAR. EL. NAGDI 77' (upper left) oil on canvas 37æ x 37æin. (96 x 96cm.)

Painted in 1977 £40,000-60,000 US$54,000-80,000 €46,000-69,000

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PROVENANCE:

The Artist.

Private Collection, Egypt.

Private Collection.

Acquired from the above by the present owner.

This work is accompanied by a certificate of authenticity from the Artist's Estate.

“It’s mystic; the use of black and white, black is night. Black absorbs things and takes them into itself and hides them. White is lightness and the sun. Everything is clear and open: One takes in, one gives out.”

— Omar El Nagdi

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MONIR SHAHROUDY FARMANFARMAIAN (1922, QAZVIN - 2019, TEHRAN) Untitled

indistinctly signed in Farsi, signed and dated 'MONIR. SH. FA 1976' mirror mosaic, reverse-glass painting and plaster on wood, in artist's frame 38¬ x 38¬in. (98 x 98cm.)

Executed in 1976 £80,000-120,000 US$110,000-160,000 €92,000-140,000

LEARN MORE PROVENANCE:

Private Collection (acquired directly from the artist in the 1970s).

Acquired from the above by the present owner.

This work is accompanied by a certificate of authenticity from the Monir Shahroudy Farmanfarmaian Estate.

The present work is a pre-revolution mirror mosaic and reverse glass painting by Monir Shahroudy Farmanfarmaian, exemplifying her mastery of traditional Persian craft fused with a modern sensibility. The work’s kaleidoscopic quality showcases a delicate interplay of light, reflection, and colour. Mirror fragments arranged in intricate geometric patterns refract light in multiple directions, creating a dazzling visual rhythm that shifts with the viewer’s movement. The effect recalls Farmanfarmaian’s formative visit to the Shah Cheragh shrine in Shiraz in 1966. In A Mirror Garden: A Memoir (2007) the artist’s described this experience of being surrounded by shimmering mirrored surfaces as standing “inside a many-faceted diamond,”— a moment that profoundly influenced her artistic practice. Beneath the mirrored surface, vivid pigments in reverse glass painting introduce depth, with the vibrant red hexagons interacting with light to create an ever-changing architectural presence. The overall result is a luminous spatial composition that is at once meditative and dynamic.

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Monir Farmanfarmaian in her studio in Tehran, 1975 Image courtesy of the Third Line, Dubai

This 1976 composition holds particular historical and artistic significance. As a rare example of Farmanfarmaian’s pre-revolutionary output, it reflects her foundational engagement with Islamic geometry and traditional Persian craft prior to her long period of exile following the 1979 Islamic Revolution. The work draws on the centuries-old techniques of ayeneh-kari (mirror mosaic) and verre églomisé (reverse glass painting), both historically used in the decoration of shrines, mosques and palaces. Farmanfarmaian brought these practices into the language of modern art, exploring the modular systems and spatial harmonies of Islamic geometry through a contemporary lens. Her unique fusion of craft and abstraction anticipated later global conversations around the intersection of cultural heritage and modernism, situating her at the forefront of modernism in the Middle East.

Monir Shahroudy Farmanfarmaian was born in Qazvin, Iran in 1922 and studied at the University of Tehran before moving to New York in the 1940s, where she attended Parsons School of Design and the Art Students League.

During her time in New York, she was closely connected with figures of the Abstract Expressionist and Pop Art movements, including Jackson Pollock and Andy Warhol, whose approaches to form and repetition would later influence her own practice. Returning to Iran in the 1950s, she began her life-long investigation into Islamic architecture, geometry, and ornamentation. The 1979 revolution marked a major rupture, forcing her into exile for over two decades. In the 2000s, she re-established

her studio in Tehran and experienced a renaissance in recognition. Her work has been widely exhibited, including in the landmark Epic Iran exhibition at the Victoria and Albert Museum in 2021. In 2015, she became the first Iranian artist to receive a solo exhibition at the Solomon R. Guggenheim Museum in New York. Today, her works reside in major institutional collections including Tate Modern, London; Metropolitan Museum of Art, New York, and Musée d’Art Moderne de la Ville de Paris.

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SAMIA HALABY (B. 1936, JERUSALEM) Flowers in the Sky for Hala

signed and dated in Arabic (lower left); signed and dated 'S.A. HALABY 1995' (lower right); inscribed and dated 'No. 462 1995' (on the reverse) oil on canvas 36 x 48in. (91.5 x 116.8cm.)

Painted in 1995 £80,000-120,000 US$110,000-160,000 €92,000-140,000

LEARN MORE PROVENANCE:

Private Collection (acquired directly from the artist).

George Al Ama, Palestine.

Acquired from the above by the present owner in 2023.

Samia Halaby in her Studio, New York, 2022 Image courtesy of Dr. Ridha Moumni

LITERATURE:

M. Farhat, Samia Halaby: Five Decades of Painting and Innovation, London 2014, p. 359 (illustrated in colour, p. 179).

“There is a symmetry in what sometimes feels disorganised. The motion of things, their coming and going, their temporary partnerships and separations, their inhalations and exhalations, and their complex organisation is what I intuitively seek in these paintings.”

— Samia Halaby Flowers in the Sky for Hala, painted in 1995, is a poignant tribute to Samia Halaby’s cousin, Hala, following her passing that same year. The work is one of the earliest compositions from Halaby’s Painterly Abstraction phase. Beginning in the early 1990s, this phase marked a shift in her artistic approach, from the precise dissection of simple geometries to a more spontaneous, intuitive application of colour and brushstroke.

In this work, Halaby draws inspiration from the organic geometry of flowers. Layers of brushstrokes in shades of grey, purple, blue, yellow, and red build upward across the canvas, gradually increasing in scale. This compositional motion evokes the sensation of petals rising and scattering 84

in the sky, with the largest strokes hovering at the top, creating the illusion that the viewer is floating amidst them. The darker palette, accentuated by a prominent black mark, adds a somber tone to the composition, evoking the emotional weight of grief and the feeling of loss that underpins the work.

Samia Halaby, born in Jerusalem and displaced by the 1948 Palestinian Nakba, has established herself as a pioneering figure in contemporary abstraction. Raised in the United States, she began her professional career there and became the first woman appointed Associate Professor at the Yale School of Art in 1972, where she taught for a decade and mentored a new generation of artists.

Her contributions to modern and contemporary art are widely recognised. Halaby’s work is held in major public collections, including Solomon R. Guggenheim Museum, New York and Abu Dhabi; Yale University Art Gallery, New

Haven; National Gallery of Art, Washington D.C.; Jordan National Gallery of Fine Arts, Amman; The Art Institute of Chicago, Chicago; The Detroit Institute of Arts, Detroit; Cleveland Museum of Art, Cleveland; Institut du Monde

Arabe, Paris, and The British Museum, London. Most recently, her work was presented at the 60th Venice Biennale in 2024, further cementing her legacy as one of the most important Arab artists of her generation.

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PROPERTY FROM THE MOKBEL COLLECTION

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AREF EL RAYESS (1928, ALEY - 2005, ALEY)

Soukhour Meyrouba (The Rocks of Meyrouba) signed and dated in Arabic (lower left); titled in Arabic, signed and dated 'A. Rayess 1977' (on the reverse) oil on canvas 31º x 43in. (79.3 x 109.2cm.)

Painted in 1977 £100,000-150,000 US$140,000-200,000 €120,000-170,000

LEARN MORE PROVENANCE:

Private Collection, Paris.

Acquired from the above by the present owner in 2010.

Soukhour Meyrouba is an exquisite work from Aref El Rayess’ oeuvre, centred around the rocky terrain of a village in Northern Lebanon. Soukhour, which translates to “rocks” in Arabic, are placed at the forefront of the composition, asserting their strong dominance within the landscape and highlighting their conceptual significance for the artist. The other elements of the scenery, including the trees and hills, are rendered with less thoroughness, serving merely as a backdrop to the rocks. Their perspective and scale are even intentionally distorted, further emphasising the monumentality of the rocks and their importance in the composition.

El Rayess’ whimsical and mystical style of depicting permeates the scene. In addition to the distortion of scale, the breeze felt in this place is rendered as visible lines, allowing the viewer to see the sensation of being in that place. The hills are painted in a red umber tone, standing in beautiful contrast to the cooler tones of the rocks. As for the rocks themselves, the central focus of the composition, El Rayess renders them as abstract human silhouettes.

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Aref El Rayess, Untitled, 1977 Image courtesy of Barjeel Art Foundation, Sharjah © the Artist’s Estate

Frozen in geological time, the slopes of natural stone are carved to suggest human presence: strong, powerful, and resilient.

At the time this work was created, Aref El Rayess was also working as a sculptor, producing monumental stone pieces for public spaces in both Lebanon and Saudi Arabia. This context helps explain his sculptural treatment of the rocks in the painting. When viewed alongside his Untitled 1977 work in the Barjeel Collection, a clear

progression emerges: the rock-figures that once occupied only the foreground now dominate the entire composition, dispensing with the landscape altogether. These forms shift from geological masses into more abstract, figurative shapes, recalling the configuration of human figures in The Witnesses, his graphite drawing from his 1976 book The Road to Peace. Seen through this lens, Soukhour Meyrouba offers a compelling window into El Rayess’ imaginative process and serves as a bridge between his sculptural practice and his politically engaged works of the 1970s.

Aref El Rayess was one of Lebanon’s most influential artists and is widely regarded as a pioneer of Lebanese modernism. His work has been celebrated in major retrospectives, including at the Sharjah Art Museum (2022) and Institut Valencià d'Art Modern (2023). Works from his Desert series were also recently exhibited at the 60th Venice Biennale, and his art is held in esteemed public and private collections, such as the Sursock Museum, Beirut; the Musée Public National des Beaux-Arts, Algiers; the Barjeel Art Foundation, Sharjah, and the Dalloul Art Foundation, Beirut.

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ETEL ADNAN (1925, BEIRUT - 2021, PARIS) Untitled

signed and dated 'Adnan 19' (on the reverse) oil on canvas 12æ x 16in. (32.5 x 40.5cm.)

Painted in 2019 £70,000-100,000 US$94,000-130,000 €81,000-110,000

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This work is accompanied by a certificate of authenticity from the artist and Galerie Lelong & Co., Paris.

PROVENANCE:

Galerie Lelong & Co., Paris.

Acquired from the above by the present owner in 2020.

“I would like to speak to you of the sea, of its patience.

Of the sun entangled with her. To tell you of the brass deafened by the waters.”

— Etel Adnan Untitled is a brilliant example of Etel Adnan’s late work, painted in 2019. Throughout her life, Adnan returned again and again to the memory of the landscape through both painting and poetry. From Mount Tamalpais to the mountains of Athens and the coastlines of Izmir, she found in the sun, sea, and mountains an enduring muse.

In her distinctive visual language, Adnan distills these landscapes into elemental forms, like after-images of a vivid experience. Her process of repeatedly painting the same landscapes differently reveals her view of the natural world not as fixed, but as fluid and ever-changing: a memory in motion.

In this particular work, Adnan’s beloved sun rests warmly above. Her mountains, rendered in interlocking shades of peach, green, and yellow, flank either side of an azure sea.

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Etel Adnan, 2024 © Sueddeutsche Zeitung Photo/ Alamy Stock Photo

Sandy tones along the lower edge of the painting suggest that Adnan is standing at the shore, overlooking the mountain in this remembered moment.

Of Greek and Syrian heritage, Adnan was born in Beirut in 1925. She studied at the Sorbonne in Paris before relocating to California, where she taught philosophy at Dominican College. Moving between several worlds, Adnan led a nomadic life shaped by multiple languages and cultures. She often said her paintings were her only true home.

Adnan’s solo exhibition has been held in institutions across the world, including at Serpentine, London; Pera Art Museum, Istanbul; Aspen Art Museum, Colorado; MUDAM, Luxembourg; San Francisco Museum of Modern Art; Zentrum Paul Klee, Bern; and Institut de Monde Arabe, Paris. Her work has also been featured in numerous international art exhibitions, including the Sharjah Biennial, UAE; Whitney Biennial, New York; and Documenta 13, Kassel, Germany. Adnan received many honours for her contributions to the field of art and culture, including the Ordre de Chevalier des Arts et des Lettres, France’s highest cultural honour, in 2014. The same year, Mathaf: Arab Museum of Modern Art in Doha dedicated a retrospective exhibition to Adnan curated by Hans Ulrich Obrist.

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ETEL ADNAN (1925, BEIRUT - 2021, PARIS) Untitled

signed and dated in Arabic, signed 'Etel Adnan' (on the label); signed 'Adnan' (on the first spread); signed and dated in Arabic (on the last page) watercolour, coloured pencils and pastel on Japanese paper, in 22 parts, in leporello book cover: 7 x 4√in. (17.8 x 12.4cm.) each sheet: 6√ x 4æin. (17.6 x 12cm.)

Executed in 2003 £40,000-60,000 US$54,000-80,000 €46,000-69,000

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PROVENANCE:

Private Collection, Lebanon (acquired directly from the artist).

“This sense of reading ‘scrolls’ brought to my mind poetry and literature. I felt that kinship between script and the horizontality of the paper. I suddenly saw that I was going to write poetry on these papers and paint watercolours with the sentences, verses, or words. I opened up to myself, with exhilaration, a new artistic world whose possibilities I was going to explore by the very acts of painting.”

— Etel Adnan

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SALOUA RAOUDA CHOUCAIR (1916, BEIRUT - 2017, BEIRUT) Poem

wood 26¡ x 25º x 3¿in. (67 x 64 x 8cm.)

Executed in 1966-1968 £75,000-85,000 US$110,000-110,000 €87,000-98,000

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PROVENANCE:

Francine Holly Collection, France (a gift of the artist).

Thence by descent to the present owner.

LITERATURE:

S. Choucair et al., Saloua Raouda Choucair: Her Life and Art, Beirut 2002, p. 53 (illustrated in colour, p. 52).

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These two exceptional sculptures, Poem, carved in wood, and Dual, cast in brass and aluminium, are distinguished not only by their artistic ingenuity but also by their remarkable provenance. They originate from the personal collection of the late Belgian artist Francine Holley (1919–2020), a close friend of Saloua Raouda Choucair.

Holley moved to Paris in 1946 and trained under major figures such as André Lhote, Fernand Léger, Jean Dewasne and Edgard Pillet. When Choucair arrived in Paris in 1948, the two artists eventually crossed paths at Dewasne and Pillet’s Atelier d’Art Abstrait in the early 1950s—a pivotal encounter that laid the foundation for a lasting friendship rooted in a shared exploration of abstraction, structure, and form. Their bond, shaped by common influences and mutual respect, deepens the historical and emotional resonance of the present works.

Choucair’s time at the Atelier d’Art Abstrait in the early 1950s proved decisive in the evolution of her sculptural language. Founded by Jean Dewasne and Edgard Pillet, the atelier championed a non-figurative, rational approach to abstraction in post-war Europe, which aligned closely with Choucair’s own sensibilities. Dewasne’s concept of “flat painting”—which rejected illusionism in favour of structure, order and mathematical logic—resonated with Choucair’s deep engagement with Islamic art, which is inherently geometric, planar, and non-representational. This approach validated and strengthened her commitment to abstraction based on logic, order, and repetition—a conceptual framework that harmonised her Arab-Islamic heritage with the Parisian avant-garde. Immersed in this intellectually vibrant setting, Choucair was introduced to systemic approaches to form, modularity, and spatial relationships—all of which would become defining features of her sculptural practice. As one of the few non-Western women artists in the atelier, her presence was both groundbreaking and formative. Choucair's exposure to the atelier's principles allowed her to develop a singular artistic language rooted in both science and spirituality setting her apart as a pioneering voice in both Arab and global art histories.

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Poem and Dual stand as elegant expressions of this synthesis. Poem is composed of finely articulated wooden modules, stacked with rhythmic precision, resembling stanzas of a poem materialised in space. The surface retains the natural grain of the wood, while the carefully interlocked forma create an interplay of light, shadow, and negative space lending the piece a quiet lyricism. In contrast, Dual employs the cool luminosity of brass and aluminium to explore opposition and unity. The metal surfaces gently echo their surroundings, suggesting not only duality but also transformation through interaction.

Together, these two works can be understood as threedimensional extensions of Dewasne’s “flat painting”— sculptures that embrace modular logic while also affirming a deep sense of tactility and spatial awareness. The wood evokes warmth and organic rhythm, while the metal reflects its surroundings with cool clarity, underscoring Choucair’s belief in harmony through contrast.

These sculptures exemplify the key tenets of Choucair’s artistic philosophy: the poetics of form, the use of abstraction to convey philosophical and spiritual ideas, and the interplay of modular systems. Inspired by Islamic geometry, architecture, and Sufi poetry, Choucair conceived sculpture as a dynamic system rather than a fixed object. Her “poems”- a term she often used for modular works, could be rearranged to express different configurations and meanings. Dual, belonging to her series of interforms and duals, emphasises complementarity— where unity is achieved not through uniformity but through balance between opposites. Together, these two works offer a powerful dialogue of material and meaning, rooted in structure yet rich with symbolic resonance.

Born in Beirut in 1916, Saloua Raouda Choucair is now widely recognised as a trailblazer of modern abstraction in the Arab world. After studying at the American University of Beirut, she moved to Paris in 1948, where she exhibited at the Salon des Réalités Nouvelles and Galerie Colette Allendy—among the first Arab artists to do so. Returning to Lebanon in the mid-1950s, she continued to develop her

sculptural practice, working across a wide range of materials including wood, stone, metal, and plexiglass. Though overlooked during much of her lifetime, Choucair’s legacy has been powerfully reasserted in recent years, most notably through her landmark retrospective at Tate Modern in 2013. Her work now resides in major international collections, including Museum of Modern Art, New York; Tate Modern, London; Centre Pompidou, Paris; Sursock Museum, Beirut; Mathaf: Arab Museum of Modern Art, Doha; Guggenheim, Abu Dhabi, and Barjeel Art Foundation, Sharjah. In 2024, the artist's daughter Hala Schoucair, president of the Saloua Raouda Choucair Foundation, inaugurated a dedicated space in Ras El Metn, Lebanon, to house Choucair's extensive collection and personal archive. The space attests to Choucair’s visionary legacy where forms—like poems—continue to unfold across time and space.

Cover of Art d’Aujourd’hui magazine featuring a project by Saloua Raouda Choucair and Francine Holley as presented by Atelier d’Art Abstrait, 1950 Image courtesy of Catherine Holley

Saloua Raouda Choucair in her studio, Beirut, 1976-77 Image © and courtesy of Salaou Raouda Choucair Foundation

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HELEN KHAL (1923, ALLENTOWN - 2009, AJALTOUN) Untitled

signed 'H. Khal' (on the reverse) oil on canvas 23¬ x 19¬in. (60 x 50cm.)

Painted in 1985 £30,000-40,000 US$41,000-53,000 €35,000-46,000

LEARN MORE PROVENANCE:

Private Collection, Lebanon.

Agial Art Gallery, Beirut.

Acquired from the above by the present owner in 2017.

“For me, the directions, abstract and figurative, have been a necessary complement, one to the other. An abstract eye alone finally leads to creative sterility; by the same token, to deny the abstract neglects the presence of a significant underlying structure in life” — Helen Khal

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PROPERTY FROM THE COLLECTION OF HUGUETTE CALAND'S ASSISTANT AND STUDIO MANAGER

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HUGUETTE CALAND (1931, BEIRUT – 2019, BEIRUT) Self-Portrait with Words

signed, titled and dated 'Self - Portrait with words H. Caland 1998' (on the reverse) acrylic and pen on canvas 30º x 30in. (76.8 x 76.2cm.)

Executed in 1998 £30,000-40,000 US$41,000-53,000 €35,000-46,000

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PROVENANCE:

Private Collection, USA (acquired directly from the artist in the early 2000s).

This exceptional Self-Portrait with Words by Huguette Caland originates from the collection of the artist’s former assistant and studio manager, offering a rare opportunity to acquire a significant work that embodies Caland’s distinctive artistic vision. Executed in acrylic and pen, the composition is both visually striking and conceptually layered. The monochrome palette emphasises contrasts and contours, while the textured surface reveals a tactile engagement with materiality. The image is abstract yet suggestive of the human form, fragmented and reassembled through flowing lines and carefully inscribed words that weave across the canvas like threads of memory. The pen work interlaces with the painted forms, creating a rhythmic dialogue between image and text, surface and depth. This interplay invites the viewer to contemplate not only the physical presence of the self but also its linguistic and cultural constructions, thus evoking intimate yet universal meditation on identity.

Self-Portrait with Words fits seamlessly into Caland’s broader oeuvre, which defied aesthetic, social, and political conventions by engaging with themes of diaspora, loss, selfhood, and collectivity. Throughout her career, Caland drew extensively from her deep-rooted cultural heritage—

Huguette Caland © Waddah Faris Image courtesy of Huguette Caland Estate

fusing influences such as Palestinian tatreez embroidery, and the symbolism of Phoenician and Byzantine visual cultures—with her cosmopolitan experience. This fusion created a complex tapestry of forms and motifs, often grounded in abstraction but always steeped in both personal and collective histories. Her work’s focus on lettered forms and symbolic language reflects her lifelong fascination with communication, identity, and cultural memory. This self-portrait is a powerful example of how Caland’s material experimentation and abstract vocabulary functioned as vehicles for exploring notions of belonging, community, and the construction of identity.

Born in Beirut in 1931, Huguette Caland studied at the Lebanese Academy of Fine Arts before embarking on a diverse international career that spanned painting, drawing, sculpture, and performance. Despite her cosmopolitan life—living and working in Paris, Los Angeles, and Beirut—her art remained deeply connected to her roots and personal history. In 2025, Caland was honoured with her first major European retrospective, Huguette Caland: A Life in a Few Lines, at the Museo Nacional Centro de Arte Reina Sofía in Madrid, cementing her legacy as a trailblazing figure in contemporary art.

Her works are held in prominent collections worldwide, including Museum of Modern Art, New York; Toledo Museum of Art, Ohio; San Diego Museum of Art; Centre Pompidou, Paris, and Tate Modern, London.

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DIA AL-AZZAWI (B. 1939, BAGHDAD) Untitled

signed in Arabic, signed and dated ‘Azzawi 86’ (lower right) oil on canvas 34æ x 34√in. (88.4 x 88.5cm.)

Painted in 1986 £50,000-70,000 US$67,000-93,000 €58,000-80,000

LEARN MORE PROVENANCE:

Kufa Gallery, London.

Acquired from the above by the present owner in 1988.

EXHIBITED:

London, Kufa Gallery, Azzawi, Jumaie, Nasiri, 1988.

“These are the colors of the Bedouins, of the desert.

Almost all tribes, from Morocco to the Gulf, share a preference for warm colors – reds, oranges, yellows – in contrast to Europe, where pastels are more common. Such colors stand out against the neutral tones of the desert, and, indeed, Bedouins will often surround a black tent with textiles of vibrant colours, as if replicating a garden.”

— Dia al-Azzawi

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JEWAD SELIM (1921, ANKARA - 1961, BAGHDAD) Back Gardens - Camden Town

signed and dated 'JEWAD SELIM 1947' (lower right) oil on board 217/8 x 157/8in. (55.7 x 40.2cm.)

Painted in 1947 £60,000-80,000 US$81,000-110,000 €69,000-92,000

LEARN MORE PROVENANCE:

Dr Norman Daniel Collection, Baghdad (acquired directly from the artist in 1951).

Private Collection, USA. Private Collection, London.

Anon. sale, Christie's Dubai, 17 April 2012, lot 1.

Acquired at the above sale by the present owner.

EXHIBITED:

London, Walton House, First Exhibition of Paintings and Sculpture by Iraqi Artists at present in England, April-May 1949.

Baghdad, House of Nizar and Ellen Jawdat, Jewad Selim, 1950, no. 45.

Baghdad, British Institute, Paintings of England by Iraqi Artists, 1951, no. 33.

LITERATURE:

N. Sagharchi and Z. Selim (eds.), Jewad Selim: Catalogue raisonné of Paintings and Sculptures, Milan 2025, no. JSP.38 (illustrated in colour, pp. 108 and 335).

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Jewad Selim benefited from an eclectic and cosmopolitan education. Between 1938 and 1940, he studied in both Paris and Rome, before continuing his artistic training at the Slade School of Fine Art in London from 1946 to 1949. Back Garden, Camden Town was painted during this London period, a time in which Selim produced many of his most transient and observational depictions of everyday reality—works that would later give way to a more deliberate engagement with his Iraqi folkloric heritage.

The painting’s title reflects Selim’s fascination with the city and its artistic milieu. Of particular relevance is the Camden Town Group, an early twentieth-century PostImpressionist circle active between 1911 and 1913, who convened to paint and discuss art and poetry in Walter Sickert’s studio in Camden Town. It is possible that Selim intended this work as an homage to that earlier group, having found himself living and working in the same area of London several decades later.

This exquisite composition depicts the view from the studio Selim shared with fellow Iraqi artists during his time at the Slade. The vantage point afforded him a dynamic study of light and colour—qualities that captivated him throughout his London years. In this work, he demonstrates a keen sensitivity to the subtle interplay between structure and atmosphere: the carefully planned juxtaposition of houses, rooftops and windows in the background contrasts with the looser, more expressive treatment of the foliage in the foreground. The irregular rhythm of the branches, painted with luminous energy, softens the angular geometry of the buildings behind them, capturing the fleeting glimmer of sunlight in a quiet London street. As the title suggests, Back Garden, Camden Town evokes a duality—between the natural and the urban, the private and the public. Selim’s palette, rich in both warm and muted tones, recalls the innovations of European modernism, particularly those of artists he greatly admired during his travels: Pablo Picasso, Henri Matisse, and Henry Moore.

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Image of Jewad Selim with the present work at Exhibition of Paintings of England by Iraqi Artists, British Institute, Baghdad, 1951. © Trustees of the Jewad Selim Family Estate

Selim’s European sojourn, and especially his years in London at the close of the 1940s, provided a vital foundation for the mature style he developed upon returning to Baghdad. There, in 1951, he co-founded the Baghdad Group for Modern Art, a movement that sought to reconcile modernist expression with indigenous cultural identity. Among the group’s followers were many of the leading figures of Iraq’s burgeoning modern art and literary scene, including Shakir Hassan Al-Said and Dia Al-Azzawi, as well as the Palestinian writer and critic Jabra Ibrahim Jabra. Jabra, a close interlocutor of Selim’s ideas, wrote extensively on his modernist vision and later published the artist’s biography in 1974 in Baghdad.

Although Jewad Selim’s life was cut tragically short in his early forties, he remains one of the few Arab artists to have engaged deeply with modern Western art while developing a profoundly original response to it. His legacy endures not only in his own body of work but also in the generations of Iraqi artists he inspired to explore modernism through the lens of their own cultural heritage.

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FAHAD AL HAJAILAN (1957, BILBEIS - 2018, RIYADH) Untitled

signed and dated 'HAJAILAN 2006' oil on canvas 35¡ x 35¡in. (90 x 90cm.)

Painted in 2006 £12,000-18,000 US$16,000-24,000 €14,000-21,000

LEARN MORE PROVENANCE:

Private Collection, Riyadh (acquired directly from the artist in 2006).

“And my colours are my support, my strength and my power” — Fahad Al Hajailan

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ABDUL HALIM RADWI (1939, MECCA - 2006, JEDDAH) Untitled

oil on canvas 47√ x 35æin. (121.5 x 90.8cm.)

Painted in 1986 £60,000-80,000 US$81,000-110,000 €69,000-92,000

LEARN MORE PROVENANCE:

The Artist.

Thence by descent to the present owner.

Abdulhalim Radwi is widely regarded as one of the founding figures of modern art in Saudi Arabia. Born in Mecca in 1939, his prolific career spanned painting, sculpture, and public art, but he is perhaps best known for his atmospheric cityscapes. These works often depict imagined or remembered urban environments, drawing on the layered architecture of the Hijaz region and the shifting forms of traditional Arab cities. Radwi’s cityscapes are characterised by a unique interplay of light, colour, and texture, combining expressive brushwork with geometric structure to convey both the spiritual resonance and material reality of the city.

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Trained at the Royal Academy of Fine Arts in Madrid and later active in Saudi Arabia and abroad, Radwi blended influences from European modernism with a distinctly regional vocabulary. His cityscapes reflect this synthesis: simultaneously abstract and architectural, they suggest both the visual memory of place and the emotional landscape of the artist. Many of his works evoke a dreamlike stillness, as though the city has been suspended in time, a space for contemplation, nostalgia, and cultural continuity amidst rapid change.

Radwi’s work has been exhibited internationally and is included in numerous significant public and private collections. Among them are Mathaf: Arab Museum of Modern Art, Doha and Barjeel Art Foundation, Sharjah.

His contributions to Saudi modernism are foundational, and his legacy continues to influence contemporary artists across the Gulf and wider Arab world.

SIL SI LA: HI G HLIG HTS F RO M T HE DAL LO UL CO LL ECTI O N I N C LU D I N G M O D E R N A N D CO N T E M P O R A RY M I D D L E E A ST E R N A RT

λ*40

LAILA SHAWA (1940, GAZA - 2022, LONDON) City of Peace (Jerusalem)

signed with artist's initials and dated 'LRS 73' (lower left); signed and dated in Arabic (lower right) acrylic on canvas 59 x 27Ωin. (149.8 x 70cm.)

Painted in 1973 £40,000-60,000 US$54,000-80,000 €46,000-69,000

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PROVENANCE:

Laila Shawa Image courtesy of The Sultan Gallery Archives, Kuwait

The Artist's family.

Private Collection, UAE (acquired from the above in 1975).

City of Peace (Jerusalem) is a large-scale and evocative painting from the early 1970s that reflects Laila Shawa’s profound emotional connection to her homeland.

Rendered in a palette of deep, ethereal tones, the work presents the city of Jerusalem under the glow of a luminous moon, its buildings bathed in soft light and imbued with symbolic stillness. The architecture is stylised and dreamlike, lending the city an almost fairytale quality. The composition is meticulously structured, with rhythmic patterns and flattened perspective giving the city a sense of timelessness and serenity. Rather than a literal representation, Shawa offers a symbolic portrait of Jerusalem—a city at once sacred and contested—as a hopeful vision for peace and belonging.

Created during a formative period in Shawa’s practice, City of Peace (Jerusalem) encapsulates many of the themes that would define her broader artistic oeuvre. As a Palestinian woman navigating the turbulent political landscape of the 20th century, Shawa used her art as a platform for expressing longing, resilience, and political urgency. While many of her later works would take on sharper tones of critique, this early painting reflects a quieter, more 110

contemplative hope—one rooted in cultural memory and the enduring presence of place. The romanticised vision of Jerusalem depicted here contrasts with the harsher realities of occupation that Shawa would increasingly highlight in later decades, especially through her use of photography, mixed media, and installation. Nevertheless, this work is deeply political, asserting the right to imagine, belong and voice Palestinian identity through art.

Laila Shawa was a pioneering Palestinian artist, known for her brave persona and fearless commitment to justice through visual expression. Born in Gaza in 1940, she studied at the Leonardo da Vinci School in Cairo before attending the Academy of Fine Arts at the University of Rome. Upon returning to Gaza, Shawa worked with UN refugee camps, teaching art and engaging directly with displaced communities—an experience that deeply informed the social themes in her work. In 1987, she relocated to London, where she continued to produce politically charged works addressing topics of exile, gender, occupation, and cultural resistance. Her work has been exhibited internationally at institutions such as Institut du Monde Arabe, Paris; Ashmolean Museum, Oxford, and Barjeel Art Foundation, Sharjah.

CONDITIONS OF SALE • BUYING AT CHRISTIE’S CONDITIONS OF SALE These Conditions of Sale and the Important Notices and Explanation of Cataloguing Practice set out the terms on which we offer the lots listed in this catalogue for sale. By registering to bid and/or by bidding at auction you agree to these terms, so you should read them carefully before doing so. You will find a glossary at the end explaining the meaning of the words and expressions coloured in bold. As well as these Conditions of Sale, lots in which we offer Non-Fungible Tokens for sale are governed by the Additional Conditions of Sale – Non-Fungible Tokens, which can be found at Appendix A to these Conditions of Sale. For the sale of Non-Fungible Tokens, to the extent there is a conflict between the “London Conditions of Sale Buying at Christie’s” and “Additional Conditions of Sale – Non-Fungible Tokens”, the latter controls.

Unless we own a lot ( symbol), Christie’s acts as agent for the seller.

This means that we are providing services to the seller to help them sell their lot and that Christie’s is concluding the contract for the sale of the lot on behalf of the seller. When Christie’s is the agent of the seller, the contract of sale which is created by any successful bid by you for a lot will be directly between you and the seller, and not between you and Christie’s.

A • BEFORE THE SALE 1 • DESCRIPTION OF LOTS (a) Certain words used in the catalogue description have special meanings. You can find details of these on the page headed ‘Important Notices and Explanation of Cataloguing Practice’ which forms part of these terms. You can find a key to the Symbols found next to certain catalogue entries under the section of the catalogue called ‘Symbols Used in this Catalogue’. (b) Our description of any lot in the catalogue, any condition report and any other statement made by us (whether orally or in writing) about any lot, including about its nature or condition, artist, period, materials, approximate dimensions or provenance are our opinion and not to be relied upon as a statement of fact. We do not carry out in-depth research of the sort carried out by professional historians and scholars. All dimensions and weights are approximate only.

2 • OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS We do not provide any guarantee in relation to the nature of a lot apart from our authenticity warranty contained in paragraph E2 and to the extent provided in paragraph I below.

3 • CONDITION (a) The condition of lots sold in our auctions can vary widely due to factors such as age, previous damage, restoration, repair and wear and tear. Their nature means that they will rarely be in perfect condition.

Lots are sold ‘as is’, in the condition they are in at the time of the sale, without any representation or warranty or assumption of liability of any kind as to condition by Christie’s or by the seller. (b) Any reference to condition in a catalogue entry or in a condition report will not amount to a full description of condition, and images may not show a lot clearly. Colours and shades may look different in print or on screen to how they look on physical inspection. Condition reports may be available to help you evaluate the condition of a lot. Condition reports are provided free of charge as a convenience to our buyers and are for guidance only. They offer our opinion but they may not refer to all faults, inherent defects, restoration, alteration or adaptation because our staff are not professional restorers or conservators. For that reason they are not an alternative to examining a lot in person or taking your own professional advice. It is your responsibility to ensure that you have requested, received and considered any condition report.

4 • VIEWING LOTS PRE-AUCTION (a) If you are planning to bid on a lot, you should inspect it personally or through a knowledgeable representative before you make a bid to make sure that you accept the description and its condition.

We recommend you get your own advice from a restorer or other professional adviser. (b) Pre-auction viewings are open to the public free of charge. Our specialists may be available to answer questions at pre-auction viewings or by appointment.

5 • ESTIMATES Estimates are based on the condition, rarity, quality and provenance of the lots and on prices recently paid at auction for similar property.

Estimates can change. Neither you, nor anyone else, may rely on any estimates as a prediction or guarantee of the actual selling price of a lot or its value for any other purpose. Estimates do not include the buyer’s premium or any applicable taxes.

6 • WITHDRAWAL Christie’s may, at its option, withdraw any lot at any time prior to or during the sale of the lot. Christie’s has no liability to you for any decision to withdraw.

7 • JEWELLERY (a) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to improve their look, through methods such as heating and oiling. These methods are accepted by the international jewellery trade but may make the gemstone less strong and/or require special care over time. (b) It will not be apparent to us whether a diamond is naturally or synthetically formed unless it has been tested by a gemmological laboratory. Where the diamond has been tested, a gemmological report will be available. (c) All types of gemstones may have been improved by some method.

You may request a gemmological report for any item which does not have a report if the request is made to us at least three weeks before the date of the auction and you pay the fee for the report. (d) Certain weights in the catalogue description are provided for guidance purposes only as they have been estimated through measurement and, as such, should not be relied upon as exact. (e) We do not obtain a gemmological report for every gemstone sold in our auctions. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports will

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be described in the catalogue. Reports from American gemmological laboratories will describe any improvement or treatment to the gemstone. Reports from European gemmological laboratories will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent.

The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report. We do not guarantee nor are we responsible for any report or certificate from a gemmological laboratory that may accompany a lot. (f) For jewellery sales, estimates are based on the information in any gemmological report or, if no report is available, assume that the gemstones may have been treated or enhanced.

8 • WATCHES & CLOCKS (a) Almost all clocks and watches are repaired in their lifetime and may include parts which are not original. We do not give a warranty that any individual component part of any watch or clock is authentic.

Watchbands described as ‘associated’ are not part of the original watch and may not be authentic. Clocks may be sold without pendulums, weights or keys. (b) As collectors’ watches and clocks often have very fine and complex mechanisms, a general service, change of battery or further repair work may be necessary, for which you are responsible. We do not give a warranty that any watch or clock is in good working order.

Certificates are not available unless described in the catalogue. (c) Most watches have been opened to find out the type and quality of movement. For that reason, watches with water resistant cases may not be waterproof and we recommend you have them checked by a competent watchmaker before use. Important information about the sale, transport and shipping of watches and watchbands can be found in paragraph H2(g).

B • REGISTERING TO BID 1 • NEW BIDDERS (a) If this is your first time bidding at Christie’s or you are a returning bidder who has not bought anything from any of our salerooms within the last two years you must register at least 48 hours before an auction to give us enough time to process and approve your registration. We may, at our option, decline to permit you to register as a bidder. You will be asked for the following: (i) for individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of your current address (for example, a current utility bill or bank statement). (ii) for corporate clients: Your Certificate of Incorporation or equivalent document(s) showing your name and registered address together with documentary proof of directors and beneficial owners; and (iii) for trusts, partnerships, offshore companies and other business structures, please contact us in advance to discuss our requirements. (b) We may also ask you to give us a financial reference and/or a deposit as a condition of allowing you to bid. For help, please contact our Credit Department on +44 (0)20 7839 9060.

2 • RETURNING BIDDERS We may at our option ask you for current identification as described in paragraph B1(a) above, a financial reference or a deposit as a condition of allowing you to bid. If you have not bought anything from any of our salerooms in the last two years or if you want to spend more than on previous occasions, please contact our Credit Department on +44 (0)20 7839 9060.

3 • IF YOU FAIL TO PROVIDE THE RIGHT DOCUMENTS If in our opinion you do not satisfy our bidder identification and registration procedures including, but not limited to completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller.

4 • BIDDING ON BEHALF OF ANOTHER PERSON (a) As authorised bidder. If you are bidding on behalf of another person who will pay Christie’s directly, that person will need to complete the registration requirements above before you can bid, and supply a signed letter authorising you to bid for them. (b) As agent for a principal: If you register in your own name but are acting as agent for someone else (the “ultimate buyer(s)”) who will put you in funds before you pay us, you accept personal liability to pay the purchase price and all other sums due. We will require you to disclose the identity of the ultimate buyer(s) and may require you to provide documents to verify their identity in accordance with paragraph E3(b).

5 • BIDDING IN PERSON If you wish to bid in the saleroom you must register for a numbered bidding paddle at least 30 minutes before the auction. You may register online at www.christies.com or in person. For help, please contact the Credit Department on +44 (0)20 7839 9060.

6 • BIDDING SERVICES The bidding services described below are a free service offered as a convenience to our clients and Christie’s is not responsible for any error (human or otherwise), omission or breakdown in providing these services. (a) Phone Bids Your request for this service must be made no later than 24 hours prior to the auction. We will accept bids by telephone for lots only if our staff are available to take the bids. If you need to bid in a language other than in English, you must arrange this well before the auction.

We may record telephone bids. By bidding on the telephone, you are agreeing to us recording your conversations. You also agree that your telephone bids are governed by these Conditions of Sale. (b) Internet Bids on Christie’s LIVE™ For certain auctions we will accept bids over the Internet. For more information, please visit www.christies.com/register-and-bid.

As well as these Conditions of Sale, internet bids are governed by the Christie’s LIVE™ Terms of Use which are available at www.christies.

com/christies-live-terms. c) Written Bids You can find a Written Bid Form at any Christie’s office or by choosing the sale and viewing the lots online at www.christies.com. We must receive your completed Written Bid at least 24 hours before the auction. Bids must be placed in the currency of the saleroom. The auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the reserve. If you make a written bid on a lot which does not have a reserve and there is no higher bid than yours, we will bid on your behalf at around 50% of the low estimate or, if lower, the amount of your bid. If we receive written bids on a lot for identical amounts, and at the auction these are the highest bids on the lot, we will sell the lot to the bidder whose written bid we received first.

C • CONDUCTING THE SALE 1 • WHO CAN ENTER THE AUCTION We may, at our option, refuse admission to our premises or decline to permit participation in any auction or to reject any bid.

2 • RESERVES Unless otherwise indicated, all lots are subject to a reserve. We identify lots that are offered without reserve with the symbol • next to the lot number. The reserve cannot be more than the lot’s low estimate, unless the lot is subject to a third party guarantee and the irrevocable bid exceeds the printed low estimate. In that case, the reserve will be set at the amount of the irrevocable bid. Lots which are subject to a third party guarantee arrangement are identified in the catalogue with the symbol º♦.

3 • AUCTIONEER’S DISCRETION The auctioneer can at their sole option: (a) refuse any bid; (b) move the bidding backwards or forwards in any way they may decide, or change the order of the lots; (c) withdraw any lot; (d) divide any lot or combine any two or more lots; (e) reopen or continue the bidding even after the hammer has fallen; and (f) in the case of error or dispute related to bidding and whether during or after the auction, to continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot. If you believe that the auctioneer has accepted the successful bid in error, you must provide a written notice detailing your claim within 3 business days of the date of the auction. The auctioneer will consider such claim in good faith. If the auctioneer, in the exercise of their discretion under this paragraph, decides after the auction is complete, to cancel the sale of a lot, or reoffer and resell a lot, they will notify the successful bidder no later than by the end of the 7th calendar day following the date of the auction. The auctioneer’s decision in exercise of this discretion is final. This paragraph does not in any way prejudice Christie’s ability to cancel the sale of a lot under any other applicable provision of these Conditions of Sale, including the rights of cancellation set forth in section B(3), E(2)(i), F(4) and J(1).

4 • BIDDING The auctioneer accepts bids from: (a) bidders in the saleroom; (b) telephone bidders, and internet bidders through ‘Christie’s LIVE™ (as shown above in Section B6); and (c) written bids (also known as absentee bids or commission bids) left with us by a bidder before the auction.

5 • BIDDING ON BEHALF OF THE SELLER The auctioneer may, at their sole option, bid on behalf of the seller up to but not including the amount of the reserve either by making consecutive bids or by making bids in response to other bidders.

The auctioneer will not identify these as bids made on behalf of the seller and will not make any bid on behalf of the seller at or above the reserve. If lots are offered without reserve, the auctioneer will generally decide to open the bidding at 50% of the low estimate for the lot. If no bid is made at that level, the auctioneer may decide to go backwards at their sole option until a bid is made, and then continue up from that amount. In the event that there are no bids on a lot, the auctioneer may deem such lot unsold.

6 • BID INCREMENTS Bidding generally starts below the low estimate and increases in steps (bid increments). The auctioneer will decide at their sole option where the bidding should start and the bid increments.

7 • CURRENCY CONVERTER The saleroom video screens (and Christies LIVE™) may show bids in some other major currencies as well as sterling. Any conversion is for guidance only and we cannot be bound by any rate of exchange used. Christie’s is not responsible for any error (human or otherwise), omission or breakdown in providing these services.

8 • SUCCESSFUL BIDS Unless the auctioneer decides to use their discretion as set out in paragraph C3 above, when the auctioneer’s hammer strikes, we have accepted the last bid. This means a contract for sale has been formed between the seller and the successful bidder. We will issue an invoice only to the registered bidder who made the successful bid. While we send out invoices by post and/or email after the auction, we do not accept responsibility for telling you whether or not your bid was successful. If you have bid by written bid, you should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of your bid to avoid having to pay unnecessary storage charges.

9 • LOCAL BIDDING LAWS You agree that when bidding in any of our sales that you will strictly comply with all local laws and regulations in force at the time of the sale for the relevant sale site.

D • THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY 1 • THE BUYER’S PREMIUM In addition to the hammer price, the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold. On all lots we charge 27% of the hammer price up to and including £1,000,000, 22% on that part of the hammer price over £1,000,000 and up to and including £6,000,000, and 15% of that part of the hammer price above £6,000,000. VAT will be added to the buyer’s premium and is payable by you. For lots offered under the VAT Margin Scheme or Temporary Admission VAT rules, the VAT may not be shown separately on our invoice because of tax laws. You may be eligible to have a VAT refund in certain circumstances if the lot is exported.

Please see the “VAT refunds: what can I reclaim?” section of ‘VAT Symbols and Explanation’ for further information.

2 • TAXES The successful bidder is responsible for all applicable tax including any VAT, GST, sales or compensating use tax or equivalent tax wherever such taxes may arise on the hammer price and the buyer’s premium.

VAT charges and refunds depend on the particular circumstances of the buyer. It is the buyer’s responsibility to ascertain and pay all taxes due. VAT is payable on the buyer’s premium and, for some lots, VAT is payable on the hammer price. Following the departure of the UK from the EU (Brexit), UK VAT and Customs rules will apply only.

For lots Christie’s ships or delivers to the United States, sales or use tax may be due on the hammer price, buyer’s premium and/or any other charges related to the lot, regardless of the nationality or citizenship of the purchaser. Christie’s will collect sales tax where legally required.

The applicable sales tax rate will be determined based upon the state, county, or locale to which the lot will be shipped or delivered.

Successful bidders claiming an exemption from sales tax must provide appropriate documentation to Christie’s prior to the release of the lot. For shipments/deliveries to those states for which Christie’s is not required to collect sales tax, a successful bidder may be required to remit use tax to that state’s taxing authorities. Christie’s recommends you obtain your own independent tax advice with further questions.

For lots Christie’s ships or delivers to Jersey (Channel Islands), GST at a rate of 5% will be due on the hammer price, buyer’s premium, freight charges (as set out on your Shipping Quote Acceptance Form) and any applicable customs duty. Christie’s will collect GST from you, where legally required to do so.

For lots purchased by a successful bidder with a registered address in India and who has bid via Christie’s LIVE™, an Indian Equalisation Levy Tax at a rate of 2% will be due on the hammer price and buyer’s premium (exclusive of any applicable VAT). Christie’s will collect the Indian Equalisation Levy Tax from you, where required to do so.

3 • ARTIST’S RESALE ROYALTY In certain countries, local laws entitle the artist or the artist’s estate to a royalty known as ‘artist’s resale right’ when any lot created by the artist is sold. We identify these lots with the λ symbol next to the lot number. If these laws apply to a lot, you must pay us an extra amount equal to the royalty. We will pay the royalty to the appropriate authority on the seller’s behalf.

The artist’s resale royalty applies if the hammer price of the lot is 1,000 GBP or more if located in the United Kingdom at the time of sale. The total royalty for any lot cannot be more than 12,500 GBP. We work out the amount owed as follows: Royalty for the portion of the hammer price (in Pounds Sterling) 4% up to 50,000 3% between 50,000.01 and 200,000 1% between 200,000.01 and 350,000 0.50% between 350,000.01 and 500,000 over 500,000, the lower of 0.25% and 12,500 GBP. E • WARRANTIES 1 • SELLER’S WARRANTIES For each lot, the seller gives a warranty that the seller: (a) is the owner of the lot or a joint owner of the lot acting with the permission of the other co-owners or, if the seller is not the owner or a joint owner of the lot, has the permission of the owner to sell the lot, or the right to do so in law; and (b) has the right to transfer ownership of the lot to the buyer without any restrictions or claims by anyone else.

If one or more of the above warranties are incorrect, the seller shall not have to pay more than the purchase price (as defined in paragraph F1(a) below) paid by you to us. The seller will not be responsible to you for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expenses.

The seller gives no warranty in relation to any lot other than as set out above and, as far as the seller is allowed by law, all warranties from the seller to you, and all other obligations upon the seller which may be added to this agreement by law, are excluded.

2 • OUR AUTHENTICITY WARRANTY We warrant, subject to the terms below, that the lots in our sales are authentic (our ‘authenticity warranty’). If, within five years of the date of the auction, you give notice to us that your lot is not authentic, subject to the terms below, we will refund the purchase price paid by you. The meaning of authentic can be found in the glossary at the end of these Conditions of Sale. The terms of the authenticity warranty are as follows: (a) It will be honoured for claims notified within a period of five years from the date of the auction. After such time, we will not be obligated to honour the authenticity warranty. (b) It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the ‘Heading’). It does not apply to any information other than in the Heading even if shown in UPPERCASE type. (c) The authenticity warranty does not apply to any Heading or part of a Heading which is qualified. Qualified means limited by a clarification in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the section titled Qualified Headings on the page of the catalogue headed ‘Important Notices and Explanation of Cataloguing Practice’. For example, use of the term ‘ATTRIBUTED TO…’ in a Heading means that the lot is in Christie’s opinion probably a work by the named artist but no warranty is provided that the lot is the work of the named artist. Please read the full list of Qualified Headings and a lot’s full catalogue description before bidding. (d) The authenticity warranty applies to the Heading as amended by any Saleroom notice.

(e) The authenticity warranty does not apply where scholarship has developed since the auction leading to a change in generally accepted opinion. Further, it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the sale or drew attention to any conflict of opinion. (f) The authenticity warranty does not apply if the lot can only be shown not to be authentic by a scientific process which, on the date we published the catalogue, was not available or generally accepted for use, or which was unreasonably expensive or impractical, or which was likely to have damaged the lot. (g) The benefit of the authenticity warranty is only available to the original buyer shown on the invoice for the lot issued at the time of the sale and only if, on the date of the notice of claim, the original buyer is the full owner of the lot and the lot is free from any claim, interest or restriction by anyone else. The benefit of this authenticity warranty may not be transferred to anyone else. (h) In order to claim under the authenticity warranty, you must: (i) give us written notice of your claim within five years of the date of the auction. We may require full details and supporting evidence of any such claim; (ii) at Christie’s option, we may require you to provide the written opinions of two recognised experts in the field of the lot mutually agreed by you and us in advance confirming that the lot is not authentic. If we have any doubts, we reserve the right to obtain additional opinions at our expense; and (iii) return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale. (i) Your only right under this authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, in any circumstances, be required to pay you more than the purchase price nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages or expenses. (j) Books. Where the lot is a book, we give an additional warranty for 14 days from the date of the sale that if on collation any lot is defective in text or illustration, we will refund your purchase price, subject to the following terms: (i) This additional warranty does not apply to: (a) the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of the text or illustration; (b) drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals; (c) books not identified by title; (d) lots sold without a printed estimate; (e) books which are described in the catalogue as sold not subject to return; or (f) defects stated in any condition report or announced at the time of sale. (ii) To make a claim under this paragraph you must give written details of the defect and return the lot to the sale room at which you bought it in the same condition as at the time of sale, within 14 days of the date of the sale.

(K) South East Asian Modern and Contemporary Art and Chinese Calligraphy and Painting.

In these categories, the authenticity warranty does not apply because current scholarship does not permit the making of definitive statements. Christie’s does, however, agree to cancel a sale in either of these two categories of art where it has been proven the lot is a forgery. Christie’s will refund to the original buyer the purchase price in accordance with the terms of Christie’s authenticity warranty, provided that the original buyer notifies us with full supporting evidence documenting the forgery claim within twelve (12) months of the date of the auction. Such evidence must be satisfactory to us that the lot is a forgery in accordance with paragraph E2(h)(ii) above and the lot must be returned to us in accordance with E2h(iii) above.

Paragraphs E2(b), (c), (d), (e), (f) and (g) and (i) also apply to a claim under these categories. (l) Chinese, Japanese and Korean artefacts (excluding Chinese, Japanese and Korean calligraphy, paintings, prints, drawings and jewellery).

In these categories, paragraph E2 (b) – (e) above shall be amended so that where no maker or artist is identified, the authenticity warranty is given not only for the Heading but also for information regarding date or period shown in UPPERCASE type in the second line of the catalogue description (the “SubHeading”). Accordingly, all references to the Heading in paragraph E2 (b) – (e) above shall be read as references to both the Heading and the SubHeading.

3 • YOUR WARRANTIES (a) You warrant that the funds used for settlement are not connected with any criminal activity, including tax evasion, and you are neither under investigation, nor have you been charged with or convicted of money laundering, terrorist activities or other crimes. (b) Where you are bidding as agent on behalf of any ultimate buyer(s) who will put you in funds before you pay Christie’s for the lot(s), you warrant that: (i) you have conducted appropriate customer due diligence on the ultimate buyer(s) and have complied with all applicable anti-money laundering, counter terrorist financing and sanctions laws; (ii) you will disclose to us the identity of the ultimate buyer(s) (including any officers and beneficial owner(s) of the ultimate buyer(s) and any persons acting on its behalf) and on our request, provide documents to verify their identity; (iii) the arrangements between you and the ultimate buyer(s) in relation to the lot or otherwise do not, in whole or in part, facilitate tax crimes; (iv) you do not know, and have no reason to suspect that the ultimate buyer(s) (or its officers, beneficial owners or any persons acting on its behalf) are on a sanctions list, are under investigation for, charged with or convicted of money laundering, terrorist activities or other crimes, or that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion; and (v) where you are a regulated person who is supervised for anti-money laundering purposes under the laws of the EEA or another jurisdiction with requirements equivalent to the EU 4th Money Laundering Directive, and we do not request documents to verify the ultimate buyer’s identity at the time of registration, you consent to us relying on your due diligence on the ultimate buyer, and will retain their identification and verification documents for a period of not less than 5 years from the date of the transaction. You will make such documentation available for immediate inspection on our request.

F • PAYMENT 1 • HOW TO PAY (a) Immediately following the auction, you must pay the purchase price being: (i) the hammer price; and (ii) the buyer’s premium; and (iii) any amounts due under section D3 above; and (iv) any duties, goods, sales, use, compensating or service tax or VAT. Payment is due no later than by the end of the seventh calendar day following the date of the auction, or no later than 24 hours after we issue you with an invoice in the case of payment made in cryptocurrency, as the case may be (the ‘due date’). (b) We will only accept payment from the registered bidder. Once issued, we cannot change the buyer’s name on an invoice or re-issue the invoice in a different name. You must pay immediately even if you want to export the lot and you need an export licence. (c) You must pay for lots bought at Christie’s in the United Kingdom in the currency stated on the invoice in one of the following ways: (i) Wire transfer You must make payments to: Lloyds Bank Plc, City Office, PO Box 217, 72 Lombard Street, London EC3P 3BT. Account number: 00172710, sort code: 30-00-02 Swift code: LOYDGB2LCTY. IBAN (international bank account number): GB81 LOYD 3000 0200 1727 10. (ii) Credit Card We accept most major credit cards subject to certain conditions. You may make payment via credit card in person. You may also make a ‘cardholder not present’ (CNP) payment by calling Christie’s Post-Sale Services Department on +44 (0)20 7752 3200 or for some sales, by logging into your MyChristie’s account by going to: www.christies. com/mychristies. Details of the conditions and restrictions applicable to credit card payments are available from our Post-Sale Services Department, whose details are set out in paragraph (e) below.

If you pay for your purchase using a credit card issued outside the region of the sale, depending on the type of credit card and account you hold, the payment may incur a cross-border transaction fee. If you think this may apply to, you, please check with your credit card issuer before making the payment.

Please note that for sales that permit online payment, certain transactions will be ineligible for credit card payment. (iii) Cash We do not accept cash in England. (iv) Banker’s draft You must make these payable to Christie’s and there may be conditions. (v) Cheque You must make cheques payable to Christie’s. Cheques must be from accounts in pounds sterling (GBP) from a United Kingdom bank. (vi) Cryptocurrency With the exception of clients resident in Mainland China, payment for a lot marked with the symbol may be made in a cryptocurrency or cryptocurrencies of our choosing. Such cryptocurrency payments must be made in accordance with the Terms for Payment by Buyers in Cryptocurrency set out at Appendix B in these Conditions of Sale. (d) You must quote the sale number, lot number(s), your invoice number and Christie’s client account number when making a payment.

All payments sent by post must be sent to: Christie’s, Cashiers Department, 8 King Street, St James’s, London, SW1Y 6QT. (e) For more information please contact our Post-Sale Service Department by phone on +44 (0)20 7752 3200 or fax on +44 (0)20 752 3300.

2 • TRANSFERRING OWNERSHIP TO YOU You will not own the lot and ownership of the lot will not pass to you until we have received full and clear payment of the purchase price, even in circumstances where we have released the lot to the buyer.

3 • TRANSFERRING RISK TO YOU The risk in and responsibility for the lot will transfer to you from whichever is the earlier of the following: (a) When you collect the lot; or (b) At the end of the 30th day following the date of the auction or, if earlier, the date the lot is taken into care by a third-party warehouse as set out on the page headed ‘Storage and Collection’, unless we have agreed otherwise with you in writing.

4 • WHAT HAPPENS IF YOU DO NOT PAY (a) If you fail to pay us the purchase price in full by the due date, we will be entitled to do one or more of the following (as well as enforce our rights under paragraph F5 and any other rights or remedies we have by law): (i) to charge interest from the due date at a rate of 5% a year above the UK Lloyds Bank base rate from time to time on the unpaid amount due; (ii) we can cancel the sale of the lot. If we do this, we may sell the lot again, publicly or privately on such terms we shall think necessary or appropriate, in which case you must pay us any shortfall between the purchase price and the proceeds from the resale. You must also pay all costs, expenses, losses, damages and legal fees we have to pay or may suffer and any shortfall in the seller’s commission on the resale; (iii) we can pay the seller an amount up to the net proceeds payable in respect of the amount bid by your default in which case you acknowledge and understand that Christie’s will have all of the rights of the seller to pursue you for such amounts; (iv) we can hold you legally responsible for the purchase price and may begin legal proceedings to recover it together with other losses, interest, legal fees and costs as far as we are allowed by law; (v) we can take what you owe us from any amounts which we or any company in the Christie’s Group may owe you (including any deposit or other part-payment which you have paid to us); (vi) we can, at our option, reveal your identity and contact details to the seller; (vii) we can reject at any future auction any bids made by or on behalf of the buyer or to obtain a deposit from the buyer before accepting any bids; (viii) to exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest or in any other way as permitted by the law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us; and (ix) we can take any other action we see necessary or appropriate.

1 15

(b) If you owe money to us or to another Christie’s Group company, we can use any amount you do pay, including any deposit or other partpayment you have made to us, or which we owe you, to pay off any amount you owe to us or another Christie’s Group company for any transaction. (c) If you make payment in full after the due date, and we choose to accept such payment we may charge you storage and transport costs from the date that is ninety (90) calendar days following the auction in accordance with paragraphs Gc and Gd. 5 • KEEPING YOUR PROPERTY If you owe money to us or to another Christie’s Group company, as well as the rights set out in F4 above, we can use or deal with any of your property we hold or which is held by another Christie’s Group company in any way we are allowed to by law. We will only release your property to you after you pay us or the relevant Christie’s Group company in full for what you owe.

However, if we choose, we can also sell your property in any way we think appropriate. We will use the proceeds of the sale against any amounts you owe us and we will pay any amount left from that sale to you. If there is a shortfall, you must pay us any difference between the amount we have received from the sale and the amount you owe us.

G • COLLECTION AND STORAGE (a) You must collect purchased lots within thirty (30) days from the auction (but note that lots will not be released to you until you have made full and clear payment of all amounts due to us). (b) If you do not collect any lot within ninety (90) days following the auction we can, at our option: (i) charge you storage costs at the rates set out at www.christies.com/ en/help/buying-guide/storage-fees. (ii) move the lot to another Christie’s location or an affiliate or third party warehouse and charge you transport costs and administration fees for doing so and you will be subject to the third party storage warehouse’s standard terms and to pay for their standard fees and costs.use’s standard terms and to pay for their standard fees and costs. (iii) sell the lot in any commercially reasonable way we think appropriate. (c) The Storage Conditions which can be found at www.christies.com/en/ help/buying-guide/storage-conditions will apply. (d) Nothing in this paragraph is intended to limit our rights under paragraph F4.

H • TRANSPORT AND SHIPPING 1 • TRANSPORT AND SHIPPING We will enclose a transport and shipping form with each invoice sent to you. You must make all transport and shipping arrangements. However, we can arrange to pack, transport and ship your property if you ask us to and pay the costs of doing so. We recommend that you ask us for an estimate, especially for any large items or items of high value that need professional packing before you bid. We may also suggest other handlers, packers, transporters or experts if you ask us to do so.

For more information, please contact Christie’s Art Transport on +44 (0)20 7839 9060. See the information set out at www.christies.com/ shipping or contact us at arttransportlondon@christies.com. We will take reasonable care when we are handling, packing, transporting and shipping a lot. However, if we recommend another company for any of these purposes, we are not responsible for their acts, failure to act or neglect.

2 • EXPORT AND IMPORT Any lot sold at auction may be affected by laws on exports from the country in which it is sold and the import restrictions of other countries.

Many countries require a declaration of export for property leaving the country and/or an import declaration on entry of property into the country. Local laws may prevent you from importing a lot or may prevent you selling a lot in the country you import it into. We will not be obliged to cancel your purchase and refund the purchase price if your lot may not be exported, imported or it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to the export or import of any lot you purchase. (a) You alone are responsible for getting advice about and meeting the requirements of any laws or regulations which apply to exporting or importing any lot prior to bidding. If you are refused a licence or there is a delay in getting one, you must still pay us in full for the lot. We may be able to help you apply for the appropriate licences if you ask us to and pay our fee for doing so. However, we cannot guarantee that you will get one. For more information, please contact Christie’s Art Transport Department on +44 (0)20 7839 9060. See the information set out at www.christies.com/shipping or contact us at arttransport_ london@ christies.com. (b) You alone are responsible for any applicable taxes, tariffs or other government-imposed charges relating to the export or import of the lot. If Christie’s exports or imports the lot on your behalf, and if Christie’s pays these applicable taxes, tariffs or other governmentimposed charges, you agree to refund that amount to Christie’s. (c) Lots made of protected species Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife are marked with the symbol ~ in the catalogue. This material includes, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and Brazilian rosewood. You should check the relevant customs laws and regulations before bidding on any lot containing wildlife material if you plan to export the lot from the country in which the lot is sold and import it into another country as a licence may be required. In some cases, the lot can only be shipped with an independent scientific confirmation of species and/or age, and you will need to obtain these at your own cost. Several countries have imposed restrictions on dealing in elephant ivory, ranging from a total ban on importing African elephant ivory in the United States to importing, exporting and selling under strict measures in other countries. The UK and EU have both implemented regulations on selling, exporting and importing elephant ivory. In our London sales, lots made of or including elephant ivory material are marked with the symbol and are offered with the benefit of being registered as ‘exempt’ in accordance with the UK Ivory Act. Handbags containing endangered or protected species material are marked with the symbol ≈ and further information can be found in paragraph H2(h) below. We will not be obliged to cancel your purchase and refund the purchase price if your lot may not be exported, imported or it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to the export or import of property containing such protected or regulated material. (d) Lots of Iranian origin

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As a convenience to buyers, Christie’s indicates under the title of a lot if the lot originates from Iran (Persia). Some countries prohibit or restrict the purchase and/or import of Iranian-origin property. It is your responsibility to ensure you do not bid on or import a lot in contravention of any sanctions, trade embargoes or other laws that apply to you. For example, the USA prohibits dealings in and import of Iranian-origin “works of conventional craftsmanship” (such as carpets, textiles, decorative objects, and scientific instruments) without an appropriate licence. Christie’s has a general OFAC licence which, subject to compliance with certain conditions, may enable a buyer to import this type of lot into the USA. If you use Christie’s general OFAC licence for this purpose, you agree to comply with the licence conditions and provide Christie’s with all relevant information. You also acknowledge that Christie’s will disclose your personal information and your use of the licence to OFAC. (e) Gold Gold of less than 18ct does not qualify in all countries as ‘gold’ and may be refused import into those countries as ‘gold’. (f) Jewellery over 50 years old Under current laws, jewellery over 50 years old which is worth £39,219 or more will require an export licence which we can apply for on your behalf. It may take up to eight weeks to obtain the export jewellery licence. (g) Watches Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile. These lots are marked with the symbol ψ in the catalogue. These endangered species straps are shown for display purposes only and are not for sale. Christie’s will remove and retain the strap prior to shipment from the sale site. At some sale sites, Christie’s may, at its discretion, make the displayed endangered species strap available to the buyer of the lot free of charge if collected in person from the sale site within one year of the date of the sale. Please check with the department for details on a particular lot. For all symbols and other markings referred to in paragraph H2, please note that lots are marked as a convenience to you, but we do not accept liability for errors or for failing to mark lots. (h) Handbags A lot marked with the symbol ≈ next to the lot number includes endangered or protected species material and is subject to CITES regulations. This lot may only be shipped to an address within the country of the sale site or personally picked up from our saleroom.

The term “hardware” refers to the metallic parts of the handbag, such as the buckle hardware, base studs, lock and keys and/or strap, which are plated with a coloured finish (e.g. gold, silver, palladium). The terms “Gold Hardware”, “Silver Hardware”, “Palladium Hardware”, etc. refer to the tone or colour of the hardware and not the actual material used. If the handbag incorporates solid metal hardware, this will be referenced in the catalogue description.

I • OUR LIABILITY TO YOU (a) We give no warranty in relation to any statement made, or information given, by us or our representatives or employees, about any lot other than as set out in the authenticity warranty and, as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E1 are their own and we do not have any liability to you in relation to those warranties. (b) (i) We are not responsible to you for any reason (whether for breaking this agreement or any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us or other than as expressly set out in these Conditions of Sale; or (ii) we do not give any representation, warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature, or historical relevance. Except as required by local law, any warranty of any kind is excluded by this paragraph. (c) In particular, please be aware that our written and telephone bidding services, Christie’s LIVE™, condition reports, currency converter and saleroom video screens are free services and we are not responsible to you for any error (human or otherwise), omission or breakdown in these services. (d) We have no responsibility to any person other than a buyer in connection with the purchase of any lot. (e) If, in spite of the terms in paragraphs (a) to (d) or E2(i) above, we are found to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, or expenses.

J • OTHER TERMS 1 • OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained in this agreement, we can cancel a sale of a lot if: (i) any of your warranties in paragraph E3 are not correct; (ii) we reasonably believe that completing the transaction is or may be unlawful; or (iii) we reasonably believe that the sale places us or the seller under any liability to anyone else or may damage our reputation.

2 • RECORDINGS We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law. However, we may, through this process, use or share these recordings with another Christie’s Group company and marketing partners to analyse our customers and to help us to tailor our services for buyers. If you do not want to be videotaped, you may make arrangements to make a telephone or written bid or bid on Christie’s LIVE™ instead. Unless we agree otherwise in writing, you may not videotape or record proceedings at any auction.

3 • COPYRIGHT We own the copyright in all images, illustrations and written material produced by or for us relating to a lot (including the contents of our catalogues unless otherwise noted in the catalogue). You cannot use them without our prior written permission. We do not offer any guarantee that you will gain any copyright or other reproduction rights to the lot.

4 • ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as being deleted and the rest of this agreement will not be affected.

5 • TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer your rights or responsibilities under these terms on the contract of sale with the buyer unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities.

6 • TRANSLATIONS If we have provided a translation of this agreement, we will use this original version in deciding any issues or disputes which arise under this agreement.

7 • PERSONAL INFORMATION We will hold and process your personal information and may pass it to another Christie’s Group company for use as described in, and in line with, our privacy notice at www.christies.com/about-us/contact/ privacy and if you are a resident of California you can see a copy of our California Consumer Privacy Act statement at https://www.christies. com/about-us/contact/ccpa.

8 • WAIVER No failure or delay to exercise any right or remedy provided under these Conditions of Sale shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy.

9 • LAW AND DISPUTES This agreement, and any contractual or non-contractual dispute arising out of or in connection with this agreement, will be governed by English law. Before either you or we start any court proceedings and if you and we agree, you and we will try to settle the dispute by mediation in accordance with the CEDR Model Mediation Procedure. If the dispute is not settled by mediation, you agree for our benefit that the dispute will be referred to and dealt with exclusively in the English courts; however, we will have the right to bring proceedings against you in any other court.

10 •REPORTING ON WWW.CHRISTIES.COM Details of all lots sold by us, including catalogue descriptions and prices, may be reported on www.christies.com. Sales totals are hammer price plus buyer’s premium and do not reflect costs, financing fees, or application of buyer’s or seller’s credits. We regret that we cannot agree to requests to remove these details from www.christies.com.

K • GLOSSARY auctioneer: the individual auctioneer and/or Christie’s. authentic: a genuine example, rather than a copy or forgery of: (i) the work of a particular artist, author or manufacturer, if the lot is described in the Heading as the work of that artist, author or manufacturer; (ii) a work created within a particular period or culture, if the lot is described in the Heading as a work created during that period or culture; (iii) a work for a particular origin source if the lot is described in the Heading as being of that origin or source; or (iv) in the case of gems, a work which is made of a particular material, if the lot is described in the Heading as being made of that material. authenticity warranty: the guarantee we give in this agreement that a lot is authentic as set out in section E2 of this agreement. buyer’s premium: the charge the buyer pays us along with the hammer price. catalogue description: the description of a lot in the catalogue for the auction, as amended by any saleroom notice.

Christie’s Group: Christie’s International Plc, its subsidiaries and other companies within its corporate group. condition: the physical condition of a lot. due date: has the meaning given to it in paragraph F1(a). estimate: the price range included in the catalogue or any saleroom notice within which we believe a lot may sell. Low estimate means the lower figure in the range and high estimate means the higher figure.

The mid estimate is the midpoint between the two. hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot.

Heading: has the meaning given to it in paragraph E2.

SubHeading: has the meaning given to it in paragraph E2. lot: an item to be offered at auction (or two or more items to be offered at auction as a group). other damages: any special, consequential, incidental or indirect damages of any kind or any damages which fall within the meaning of ‘special’, ‘incidental’ or ‘consequential’ under local law. purchase price: has the meaning given to it in paragraph F1(a). provenance: the ownership history of a lot. qualified: has the meaning given to it in paragraph E2 and Qualified Headings means the section headed Qualified Headings on the page of the catalogue headed ‘Important Notices and Explanation of Cataloguing Practice’. reserve: the confidential amount below which we will not sell a lot. saleroom notice: a written notice posted next to the lot in the saleroom and on www.christies.com, which is also read to prospective telephone bidders and notified to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale, or before a particular lot is auctioned.

UPPER CASE type: means having all capital letters. warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct.

01/11/24

VAT SYMBOLS AND EXPLANATION (FOR ALL LOTS EXCLUDING NFTS) IMPORTANT NOTICE: The VAT liability in force on the date of the sale will be the rules under which we invoice you.

You can find the meanings of words in bold on this page in the glossary section of the Conditions of Sale.

VAT PAYABLE

Symbol No Symbol

† θ

We will use the VAT Margin Scheme in accordance with Section 50A of the VAT Act 1994 & SI VAT (Special Provisions) Order 1995.

No VAT will be charged on the hammer price.

VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

We will invoice under standard VAT rules and VAT will be charged at 20% on both the hammer price and buyer’s premium and shown separately on our invoice. For qualifying books only, no VAT is payable on the hammer price or the buyer’s premium.

*

These lots have been imported from outside the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

Ω

These lots have been imported from outside the UK for sale and placed under the Temporary Admission regime. Customs Duty as applicable will be added to the hammer price and Import VAT at 20% will be charged on the Duty Inclusive hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

α

The VAT treatment will depend on whether you have registered to bid with a UK address or non-UK address: • If you register to bid with an address within the UK you will be invoiced under the VAT Margin Scheme (see No Symbol above).

• If you register to bid with an address outside of the UK you will be invoiced under standard VAT rules (see † symbol above)

‡

For wine offered ‘in bond’ only. If you choose to buy the wine in bond no Excise Duty or Clearance VAT will be charged on the hammer.

If you choose to buy the wine out of bond Excise Duty as applicable will be added to the hammer price and Clearance VAT at 20% will be charged on the Duty inclusive hammer price.

Whether you buy the wine in bond or out of bond, 20% VAT will be added to the buyer’s premium and shown on the invoice.

VAT refunds: what can I reclaim?

If you meet ALL of the conditions in notes 1 to 3 below we will refund the following tax charges:

Non-UK buyer

No symbol

† and α ‡ (wine only) * and Ω 1.

We CANNOT offer refunds of VAT amounts or Import VAT to buyers who do not meet all applicable conditions in full. If you are unsure whether you will be entitled to a refund, please contact Client Services at the address below before you bid.

2. No VAT amounts or Import VAT will be refunded where the total refund is under £100.

3. To receive a refund of VAT amounts/ Import VAT (as applicable) a non-UK buyer must: a)

have registered to bid with an address outside of the UK; and

b)

provide immediate proof of correct export out of the UK within the

We will refund the VAT amount in the buyer’s premium.

We will refund the VAT charged on the hammer price. VAT on the buyer’s premium can only be refunded if you are an overseas business.

The VAT amount in the buyer’s premium cannot be refunded to non-trade clients.

No Excise Duty or Clearance VAT will be charged on the hammer price providing you export the wine while ‘in bond’ directly outside the UK using an Excise authorised shipper. VAT on the buyer’s premium can only be refunded if you are an overseas business.

The VAT amount in the buyer’s premium cannot be refunded to non-trade clients.

We will refund the Import VAT charged on the hammer price and the VAT amount in the buyer’s premium.

required time frames of 90 days from the date of the sale. Lots purchased with the * and Ω symbol must be exported via a ‘controlled export’.

4. Details of the documents which you must provide to us to show satisfactory proof of export/ shipping are available from our VAT team at the address below.

We charge a processing fee of £35.00 per invoice to check shipping/ export documents. We will waive this processing fee if you appoint Christie’s Shipping Department to arrange your export/shipping.

5.

Following the UK’s departure from the EU (Brexit), private buyers will only be able to secure VAT-free invoicing and/or VAT refunds if they instruct Christie’s or a third party commercial shipper to export out of the UK on their behalf.

6. Private buyers who choose to export their purchased lots from the UK hand carry will now be charged VAT at the applicable rate and will not be able to claim a VAT refund.

7. If you appoint Christie’s Art Transport or one of our authorised shippers to arrange your export/shipping we will issue you with an export invoice with the applicable VAT or duties cancelled as outlined above. If you

later cancel or change the shipment in a manner that infringes the rules outlined above we will issue a revised invoice charging you all applicable taxes/charges. If you export via a third party commercial shipper, you must provide us with sufficient proof of export in order for us to cancel the applicable VAT or duties outlined above.

9. All reinvoicing requests, corrections, or other VAT adjustments must be received within four years from the date of sale.

If you have any questions about VAT refunds please contact Christie’s Client Services on info@christies.com Tel: +44 (0)20 7389 2886.

Fax: +44 (0)20 7839 1611.

8. If you ask us to re-invoice you under normal UK VAT rules (as if the lot had been sold with a † symbol) instead of under the Margin Scheme the lot may become ineligible to be resold using the Margin Schemes. You should take professional advice if you are unsure how this may affect you.

COPYRIGHT NOTICE No part of this catalogue may be reproduced, stored in a retrieval system or transmitted by any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of Christie’s. © COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2025)

16/10/24

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SYMBOLS USED IN THIS CATALOGUE The meaning of words coloured in bold in this section can be found in paragraph K, Glossary, of the section of the catalogue headed ‘Conditions of Sale’. º

Christie’s has provided a minimum price guarantee and has a direct financial interest in the lot. See Important Notices and Explanation of Cataloguing Practice in the Conditions of Sale for further information.

º♦

λ

Artist’s Resale Right. See paragraph D3 of the Conditions of Sale for further information.

•

Lot offered without reserve.

Christie’s has provided a minimum price guarantee and has a direct financial interest in this lot. Christie’s has financed all or a part of such interest through a third party. Such third parties generally benefit financially if a guaranteed lot is sold. See the Important Notices in the Conditions of Sale for further information.

∼

⇔

Handbag lot incorporates material from endangered species. International shipping restrictions apply. See paragraph H2 of the Conditions of Sale for further information.

A party has provided Christie’s with a bid to cover all or part of Christie’s financial interest in the lot and may benefit financially from such bid. See the Important Notices in the Conditions of Sale for further information.

Christie’s has a financial interest in the lot. See Important Notices in the Conditions of Sale for further information

¤

A party with a direct or indirect interest in the lot who may have knowledge of the lot’s reserve or other material information may be bidding on the lot.

Lot is a Non Fungible Token (NFT). Please see Appendix A – Additional Conditions of Sale – Non- Fungible Tokens in the Conditions of Sale for further information.

Lot incorporates material from endangered species which could result in export restrictions. See paragraph H2(c) of the Conditions of Sale for further information.

Lot contains both a Non Fungible Token (NFT) and a physical work of art. Please see Appendix A – Additional Conditions of Sale – Non-Fungible Tokens in the Conditions of Sale for further information.

Lot incorporates elephant ivory material. See paragraph H2 of the Conditions of Sale for further information.

With the exception of clients resident in Mainland China, you may elect to make payment of the purchase price for the lot via a digital wallet in the name of the registered bidder, which must be maintained with one of the following: Coinbase Custody Trust; Coinbase, Inc.; Fidelity Digital Assets Services, LLC; Gemini Trust Company, LLC; or Paxos Trust Company, LLC. Please see the lot notice and Appendix B – Terms for Payment by Buyers in Cryptocurrency in the Conditions of Sale for further requirements and information.

ψ

†

≈

Lot incorporates material from endangered species which is shown for display purposes only and is not for sale.

See paragraph H2(h) of the Conditions of Sale for further information.

, Ɵ, *, Ω, α, ‡

See VAT Symbols and Explanation in the Conditions of Sale for further information.

See Storage and Collection Page.

Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or failure to, mark a lot.

IMPORTANT NOTICES CHRISTIE’S INTEREST IN PROPERTY CONSIGNED FOR AUCTION Δ Property in which Christie’s has an ownership or financial interest From time to time, Christie’s may offer a lot in which Christie’s has an ownership interest or a financial interest. Such lot is identified in the catalogue with the symbol Δ next to its lot number. Where Christie’s has an ownership or financial interest in every lot in the catalogue, Christie’s will not designate each lot with a symbol, but will state its interest in the front of the catalogue.

lot identified as being subject to a third party guarantee you should always ask your agent to confirm whether or not they have a financial interest in relation to the lot. ⇔ Financial Interest/Irrevocable bids Where Christie’s has a financial interest in a lot, Christie’s is at risk of making a loss if the lot fails to sell. As such, Christie’s may share that risk with a third party who agrees, prior to the auction, to place an irrevocable written bid on the lot and may receive compensation from Christie’s.

Christie’s requires the bidding party to disclose to anyone they are advising of their financial interest in the lot.

º Minimum Price Guarantees On occasion, Christie’s has a direct financial interest in the outcome of the sale of certain lots consigned for sale.

This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the lot. This is known as a minimum price guarantee. Where Christie’s holds such financial interest, we identify such lots with the symbol ° next to the lot number.

Bidding by parties with an interest When a party with a direct or indirect interest in the lot who may have knowledge of the lot’s reserve or other material information may be bidding on the lot, we will mark the lot with this symbol ¤. This interest can include beneficiaries of an estate that consigned the lot or a joint owner of a lot.

Any interested party that successfully bids on a lot must comply with Christie’s Conditions of Sale, including paying the lot’s full buyer’s premium plus applicable taxes.

º♦ Third Party Guarantees/Irrevocable bids Where Christie’s has provided a Minimum Price Guarantee, it is at risk of making a loss, which can be significant if the lot fails to sell. Christie’s therefore sometimes chooses to share that risk with a third party who agrees, prior to the auction, to place an irrevocable written bid on the lot. If there are no other higher bids, the third party commits to buy the lot at the level of their irrevocable written bid. In doing so, the third party takes on all or part of the risk of the lot not being sold.

Lots which are subject to a third party guarantee arrangement are identified in the catalogue with the symbol º♦.

In most cases, Christie’s compensates the third party in exchange for accepting this risk. Where the third party is the successful bidder, the third party’s remuneration is based on a fixed financing fee. If the third party is not the successful bidder, the remuneration may either be based on a fixed fee or an amount calculated against the final hammer price. The third party may also bid for the lot above the irrevocable written bid.

Third party guarantors are required by us to disclose to anyone they are advising their financial interest in any lots they are guaranteeing. However, for the avoidance of any doubt, if you are advised by or bidding through an agent on a

Post-catalogue notifications If Christie’s enters into an arrangement or becomes aware of bidding that would have required a catalogue symbol, we will notify you by updating christies.com with the relevant information (time permitting) or otherwise by a pre-sale or prelot announcement.

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Other Arrangements Christie’s may enter into other arrangements not involving bids. These include arrangements where Christie’s has advanced money to consignors or prospective purchasers or where Christie’s has shared the risk of a guarantee with a partner without the partner being required to place an irrevocable written bid or otherwise participating in the bidding on the lot. Because such arrangements are unrelated to the bidding process they are not marked with a symbol in the catalogue.

Please see: http://www.christies.com/ financial-interest/ for a more detailed explanation of minimum price guarantees and third party financing arrangements.

EXPLANATION OF CATALOGUING PRACTICE

catalogue or lot description as to authorship are made subject to the provisions of the Conditions of Sale, including the authenticity warranty. Our use of these expressions does not take account of the condition of the lot or of the extent of any restoration. Written condition reports are usually available on request.

A term and its definition listed under ‘Qualified Headings’ is a qualified statement as to authorship. While the use of this term is based upon careful study and represents the opinion of specialists, Christie’s and the consignor assume no risk, liability and responsibility for the authenticity of authorship of any lot in this catalogue described by this term, and the authenticity warranty shall not be available with respect to lots described using this term.

PICTURES, DRAWINGS, PRINTS, MINIATURES AND SCULPTURE Name(s) or Recognised Designation of an artist without any qualification: in Christie’s opinion a work by the artist.

QUALIFIED HEADINGS “Attributed to…”: in Christie’s qualified opinion probably a work by the artist in whole or in part.

“Studio of …”/“Workshop of …”: in Christie’s qualified opinion a work executed in the studio or workshop of the artist, possibly under their supervision.

“Circle of …”: in Christie’s qualified opinion a work of the period of the artist and showing their influence.

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

“Manner of …”: in Christie’s qualified opinion a work executed in the artist’s style but of a later date.

“After …”: in Christie’s qualified opinion a copy (of any date) of a work of the artist.

“Signed …”/“Dated …”/ “Inscribed …”: in Christie’s qualified opinion the work has been signed/dated/inscribed by the artist.

“With signature …”/“With date …”/ “With inscription …”: in Christie’s qualified opinion the signature/ date/inscription appears to be by a hand other than that of the artist.

The date given for Old Master, Modern and Contemporary Prints is the date (or approximate date when prefixed with ‘circa’) on which the matrix was worked and not necessarily the date when the impression was printed or published.

Terms used in a catalogue or lot description have the meanings ascribed to them below. Please note that all statements in a

17/09/25

STORAGE AND COLLECTION COLLECTION LOCATION AND TERMS Specified lots (sold and unsold) marked with a filled square ( ) not collected from Christie’s, 8 King Street, London SW1Y 6QT by 5.00pm on the day of the sale will, at our option, be removed to Crozier Park Royal (details below). Christie’s will inform you if the lot has been sent offsite.

COLLECTION AND CONTACT DETAILS Lots will only be released on payment of all charges due and on production of a Collection Form from Christie’s.

Charges may be paid in advance or at the time of collection. We may charge fees for storage if your lot is not collected within thirty days from the sale. Please see paragraph G of the Conditions of Sale for further detail.

If the lot is transferred to Crozier Park Royal, it will be available for collection from 12.00pm on the second business day following the sale.

Tel: +44 (0)20 7839 9060 Email: cscollectionsuk@christies.com

Please call Christie’s Client Service 24 hours in advance to book a collection time at Crozier Park Royal. All collections from Crozier Park Royal will be by prebooked appointment only.

SHIPPING AND DELIVERY Christie’s Post-Sale Service can organise local deliveries or international freight. Please contact them on +44 (0)20 7752 3200 or PostSaleUK@christies.com.

CROZIER PARK ROYAL Unit 7, Central Park Central Way London NW10 7FY Vehicle access via Central Way only, off Acton Lane.

COLLECTION FROM CROZIER PARK ROYAL Please note that the opening hours for Crozier Park Royal are Monday to Friday 8.30am to 4.30pm and lots transferred are not available for collection at weekends.

Tel: +44 (0)20 7839 9060 Email: cscollectionsuk@christies.com.

If the lot remains at Christie’s, 8 King Street, it will be available for collection on any working day (not weekends) from 9.00am to 5.00pm.

Identity Verification Anti-money laundering regulations require Christie’s and other art businesses to verify the identity of all clients. To register as a new client, you will need to provide the following documents, or if you are an existing client, you will be prompted to provide any outstanding documents the next time you transact.

Private Individuals

Organisations

• A copy of your passport or other government-issued photo ID. • Proof of your residential address (such as a bank statement or utility bill) dated within the last three months.

• Formal documents showing the company’s incorporation, its registered office and business address, and its officers, members and ultimate beneficial owners.

• A passport or other government issued photo ID for each beneficial owner and authorised user.

Please upload your documents through your christies.com account: click ‘My Account’ followed by ‘Complete Profile’.

You can also email your documents to info@christies.com or provide them in person.

Please email your documents to info@christies.com or provide them in person.

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Our Sustainability Pledge Christie’s is printing fewer catalogues as our business and client needs evolve.

When we do print, we uphold the highest sustainable standards. Our catalogues are printed on fully recycled paper, with vegetable-based ink and biodegradable laminates.

‘Five years ago we made a decision to create a more sustainable future for Christie’s.

With a 69% reduction in our carbon emissions since 2019, we have shown it is possible and in doing so have driven change in the art market. Art is a source of personal joy and enrichment and that should not come at the expense of the environment.’

Bonnie Brennan Chief Executive Officer

Scan to learn more about our sustainability goals and projects VINCENT VAN GOGH (1853-1890) Coin de jardin avec papillons Price realised: $33,185,000 Christie’s New York, May 2024

To opt out of receiving future Christie’s catalogues, please email info@christies.com

GCC 20 24

Modern and Contemporary Middle Eastern Art: Online London | 28 October – 11 November 2025 EXHIBITION 1–6 November 8 King Street London SW1Y 6QT CONTACT Marie-Claire Thijsen mcthijsen@christies.com +44 (0)7 990831918

SAMIA HALABY (B. 1936, JERUSALEM) Arabic Art from Jerusalem oil on canvas 41⅞ x 48in. (106.5 x 122cm.)

Painted in 1995 £70,000-100,000 Other fees apply in addition to the hammer price.

See Section D of our Conditions of Sale at the back of the Auction Catalogue

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