Georges Hanna Sabbagh (Egypt, 1877-1951)L'île Éléphantine à Assouan oil on panel, framedsigned 'G.H.Sabbagh' (lower left), executed in 194233 x 41cm (13 x 16 1/8in).Footnotes:ProvenanceProperty from a distinguished private collection, FranceProperty from a private collection, BeirutAcquired directly from the artist family by the aboveExhibitedGeorges Sabbagh: Solo Exhibition, Cairo and Alexandria, 1953PublishedGeorge Sabbagh by Jean and Pierre Sabbagh, Georges Sabbagh: Monograph, Beauchesne Editeur, Paris 1981, No.62, P.121, Le Progres Egyptien, Cairo, 1st February 1949Nouvelle Revue Française, 1st February 1955The present work is a rare and significant painting of the Elephantine island in Aswan which has been extensively published and exhibited. Sabbagh's dedication to capturing the essence of historical Egypt through his art is exemplified in his major work. Sabbagh's life and artistic journey were marked by a profound connection to the rich cultural heritage of Egypt. His oeuvre often featured landscapes and archaeological sites, reflecting his deep fascination with the country's ancient past and its natural beauty.Elephantine, situated within the city of Aswan in Upper Egypt, is an island of profound historical significance. Spanning approximately 1,200 meters from north to south and 400 meters at its widest point, Elephantine is strategically located downstream of the First Cataract, marking the southern border of Upper Egypt with Lower Nubia. The island's name may derive from its distinctive shape, resembling an elephant tusk when viewed from above, or from the rounded rocks along its banks, which bear a resemblance to elephants. In antiquity, Elephantine served as an essential hub for river trade, offering a prime location for cargo transfer. Its archaeological sites, now designated as a UNESCO World Heritage Site as part of the 'Monuments from Abu Simbel to Philae,' provide invaluable insights into the historical and cultural tapestry of ancient Egypt and its interactions with Nubia. Notably, Elephantine was a crucial border fort during the Second Intermediate Period and is renowned for its association with the Elephantine Triad, a group of Egyptian deities led by Khnum, the ram-headed god who guarded the Nile's cataracts from beneath the island. Georges Hanna Sabbagh, an Egyptian artist, was born in Alexandria and embarked on an artistic journey that eventually led him to the revered halls of the Louvre School in Paris. There, he honed his craft under the tutelage of notable artists like Paul Sérusier, Félix Vallotton, and the Symbolist painter Maurice Denis. While Sabbagh was closely associated with the Paris School and even worked alongside renowned figures like Amedeo Modigliani, he always maintained his artistic independence and freedom. His oeuvre encompassed a wide range of subjects, from portraits and nudes to landscapes, and his art captured the essence of his childhood landscapes in Egypt, where he would eventually return. Georges Sabbagh's career spanned multiple artistic movements, including Les Nabis, Fauvism, and Cubism. Despite falling into relative obscurity after World War II, his work remained a testament to his cordial and deeply human approach to painting.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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Naim Ismail (Syria, 1930-1979)The Wheat Field (Haql Al-Qamh) oil on canvassigned 'Naim' and dated '1962' in Arabic (lower right), executed in 1962130.5 x 100cm (51 3/8 x 39 3/8in).Footnotes:Provenance:Property from a private collection, BakuFormerly in the collection of a staff member of prominent Azerbaijani poet and former Deputy Culture Minister, Nabi Khazri'In the golden fields of Syria, where the sun kisses the earth, Wheat emerges as a symbol of resilience and sustenance,weaving the tapestry of life with its golden strands, nourishing both body and soul. From these sun-kissed grains,humanity's sacred alchemy unfolds, as hands lovingly transform them into the humble yet revered bread, thecornerstone of Arab life. In every loaf, we find not just sustenance, but the very essence of community, tradition, andthe enduring spirit of a culture deeply rooted in the grains of time.'This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Omar El-Nagdi (Egypt, 1931-2019)Alef Lam Mim mixed media on canvassigned and dated '2008' (lower right), executed in 2008 180 x 180cm (70 7/8 x 70 7/8in).Footnotes:Provenance:Property from the Artist's EstateHurrufiyya – The Art of the Word'Just as Zikr serves as a meditative tool, guiding the soul towards divine contemplation, the rhythmic repetition of letters in calligraphic compositions similarly evokes a meditative state. This repetitive technique in calligraphy resonates with the Sufi idea of cyclical remembrance, drawing parallels between the written form and spiritual transcendence''They deconstruct writing, exploit the letter and turn it into a lexical sign of calligraphy, tradition and cultural heritage. As the sign is purely aesthetic, and only linguistic in its cultural association, it opens hitherto untraveled avenues for interpretation, and attracts different audiences, yet still maintains a link to the respective artist's own culture... Hurufiyya artists do away with the signifying function of language. The characters become pure signs, and temporarily emptied of their referential meaning, they become available for new meanings.' - Christiane TreichlBonhams are proud to present five spectacular artworks that showcase Arab Modern artists experimentation with the aesthetic and conceptual dimensions of Arabic letterforms, a movement broadly defined as 'Hurufiyya'. The works showcased here demonstrate the variety, geographical breadth, and originality of a movement which breathed new life into the traditional craft of calligraphy and which found local forms of expression amongst diverse regions of the Arab world. The Hurufiyya movement was an aesthetic movement that emerged in the late twentieth century amongst Arabian and North African artists, who used their understanding of traditional Islamic calligraphy, within the precepts of modern art. By combining tradition and modernity, these artists worked towards developing a Pan-Arab visual language, which instilled a sense of national identity in their respective nation states, at a time when many of these states where shaking off colonial rule and asserting their independence.They adopted the same name as the Hurufi, an approach of Sufism which emerged in the late 14th–early 15th century. Art historian, Dagher, has described hurufiyya as the most important movement to emerge in the Arab art world in the 20th-century.The term, hurifiyya is derived from the Arabic term, harf which means letter (as in a letter of the alphabet). When the term is used to describe an contemporary art movement, it explicitly references a Medieval system of teaching involving political theology and lettrism. In this theology, letters were seen as primordial signifiers and manipulators of the cosmos. Thus, the term is charged with Sufi intellectual and esoteric meaning.Traditional hurufi art was bound by strict rules, which amongst other things, confined calligraphy to devotional works and prohibited the representation of humans in manuscripts. Practising calligraphers trained with a master for many years in order to learn both the technique and the rules governing calligraphy. Contemporary hurufiyya artists broke free from these rules, allowing Arabic letters to be deconstructed, altered and included in abstract artworks Alef, Lam, Mim Born in 1931 in Cairo, Omar El Nagdi's artistic trajectory is a testament to a deeply ingrained passion for exploring the union of cultural heritage with avant-garde artistry. While El Nagdi's oeuvre spans an array of styles and subjects, his hurrufieh compositions stand out as a distinguished chapter in his prolific career.Detaching from the conventional use of calligraphy, El Nagdi's works in this style liberate the Arabic letters from their primary linguistic function. Instead, they breathe and dance on the canvas, fusing together, intertwining, and morphing into emotive forms. They are at once recognizable as letters and abstract forms, urging the viewer to witness the script in an entirely new light.Alef, Lam, Mim is a particularly significant sequence of letters which appears regularly in the Quran. In the intricate tapestry of Arabic calligraphy, the practice of repetitively inscribing individual letters bears a profound connection to the Sufi concept of Zikr (often spelled 'Dhikr'). Zikr, an essential component of Sufi spiritual practice, entails the repetitive invocation of divine names or religious phrases to cultivate inner mindfulness, presence, and an intimate connection with the Divine. Just as Zikr serves as a meditative tool, guiding the soul towards divine contemplation, the rhythmic repetition of letters in calligraphic compositions similarly evokes a meditative state. This repetitive technique in calligraphy resonates with the Sufi idea of cyclical remembrance, drawing parallels between the written form and spiritual transcendence, where both strive to center the practitioner in a profound space of reflection and devotion.El Nagdi's signature application of vivid hues imbues depth and dynamism to the compositions. Every brushstroke, while revealing letters, also narrates tales of centuries-old heritage and contemporaneous sentiments. Omar El Nagdi's hurrufieh compositions challenge, elevate, and redefine the way viewers engage with calligraphy. No longer simply a medium for conveying messages, the letters in his works embody emotions, stories, and histories.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Adam Henein (Egypt, 1929-2020)The Goat bronzesigned 'A.HENEIN' and numbered 'III/ VIII' on the bottom, number 3 from an edition of 10, executed in 1965 84 x 60cm (33 1/16 x 23 5/8in).Footnotes:Provenance:Property from a private collectionExhibited:Adam Henein Museum, Permanant Collection, Giza (another edition)Published:S. Al-Sharouny, A Museum in a Book: The Farsi Art Collection 'The Egyptian Works' Owned by Dr. Mohammed Said Farsi, Cairo 1998 (illustrated in colour p. 318 and illustrated p. 316 ref. 3/41).M. Khazindar, Adam Henein, Skira, Milan 2005 (another edition illustrated in colour p. 69).An iconic 1960's 'Donkey' sculpture by Adam Henein'In Abrahamic traditions, the goat stands as a poignant symbol of sacrifice and atonement. From the ancient Biblical ritual of the scapegoat, bearing the sins of the community into the wilderness, to the deeper theological narratives, the goat embodies the complexities of innocence, burden, and redemption. Its role serves as a profound reflection on humanity's relationship with the divine and our quest for absolution.'Bonham's are thrilled to unveil one of the most defining and iconic Adam Henein sculptures to ever come to market. One of the artists seminal early zoomorphic sculptures, dating from 1965, 'Goat' stands as a grand, symbolically profound, and deeply evocative example of Henein's oeuvre.Henein's childhood memories from a pastoral village in Egypt fostered a profound bond with the natural milieu and animals that surrounded him. Among them, the goat, particularly the proud female with her large, nurturing udder, captured his imagination. In the rural tapestry of Egypt, the goat emerges not only as an essential asset to peasant life but also as an emblem of vitality and fertility.To Henein, the goat epitomized the grace and allure of a modest existence and the intricate bond between humans and the natural world. The expressiveness of the goat's countenance and the emotions conveyed through its stance and demeanour deeply resonated with him.Supplementing his personal affinity for the goat was the influence of ancient Egyptian traditions, which revered animals both in worship and in daily life. Henein's goat sculptures reflect his aspiration to encapsulate this age-old reverence, immortalizing the eternal elegance and dignity of these creatures.In ancient Egyptian society, goats held both utilitarian and symbolic significance. They were indispensable to peasant life, providing milk, meat, and hide. Moreover, goats were intertwined with the lore of Khnum, the god of fertility. Their representation in art and mythology, therefore, bore witness to Egypt's agricultural legacy and its dependence on these animals.Yet, the symbolism of goats is not restricted to ancient Egyptian context. In Christian traditions, goats evoke powerful narratives. Their portrayal as innocent 'scapegoats' underscores their sacrificial roles, bearing humanity's burdens before God. However, the duality of their symbolism is evident, as they have, at times, been associated with the devil, representing the nuanced balance of sacred and profane. Today, the goat remains not only a tribute to Egypt's rich agrarian past but also a testament to its continued relevance in many regions of the nation.'This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
TAPESTRY -- YSSELSTEYN, G.T. v. Tapestry. The most expensive industry of the 15th & 16th centuries. A renewed research into technique, origin and iconography. (1969). Ocl. w. dust-j. -- R.E. WRIGHT & J.T. WERTIME. Caucasian carpets & covers. The weaving culture. (1995). 4°. Ocl. w. dust-j. -- E. GANSE-RUEDIN. Handbuch der orientalischen und afrikanischen Teppiche. (1980). Square-4°. Ocl. w. dust-j. In or. cardboard slipcase. -- Y. PETSOPOULOS. Kilims. Flat-woven tapestry rugs. (1982). Square-4°. Ocl. w. dust-j. -- And 5 o. (9).
Tapisserie à sujet mythologique figurant Thusnelda gravant le nom de son mari Arminius, Lille, début XVIIIe siècleA Lille mythological tapestry depicting Thusnelda engraving the name of her husband Arminius, early 18th centuryWoven in wools and silks, depicting draped Thusnelda with a plumed headdress seated in a wooden landscape and engraving 'ARMIN' on a trunk next to her, with sheep and a goat by her side, with a red ground entwined ribbon and foliate border with scrolling cartouches centred with lambrequins to the angles, 260cm wide264cm high, (102in wide 104 1/2 in high)Footnotes:The Germanic Princess Thusnelda (c.10BC-after AD17), wife of Arminus was captured by the Roman general Germanicus during the invasion of Germania. Tacitus and Strabo cite her capture as evidence of both the firmness and restraint of Roman arms.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Importante tapisserie de Bruxelles figurant 'Le Colosse de Rhodes', fin XVIe siècleAn important Brussels tapestry depicting 'The Colossus of Rhodos', late 16th centuryWoven in wools and silk, after designs by Maarten van HeemskerkDepicting the Colossus of Rhodes -the monumental semi-clad statue of the sun god Helios -one of the wonders of the ancient world, with his quiver of arrows on his left shoulder and his bow grasped in his left hand, set against an extensive and bustling landscape with numerous boats, the central field flanked by large scale figures admiring the Colossus dressed in elaborate costume and gesturing to the ancient monument, to the right of the large female figures on the left is the seated sculptor (Chares of Lyndus?) dressed in a red tunic, designing a sculpture on paper while his assistants polish pieces of sculpture including a large head to the centre of the main field, the rich border with standing draped figures, flowering vases and vignettes with scenes featuring couples on boats, pastoral scenes and extensive foliate and floral surround with birds and fruited elements, with blue outer slip, 391cm wide350 cm high, (153 1/2in wide x NaNin deep x 137 1/2in high)Footnotes:Provenance:By repute, Contini Bonacossi Collection, Florence;Private Collection, AthensThe present lot forms part of a series called 'The Wonders of the World.' For a similar examples see the 'Colosseum' tapestry at the Metropolitan Museum of Art -although this has an 'Elements' border (specifically designed by Philip II) which differs from the figurative border in the present lot.The designer for the Wonders of the World series was Maarten van Heemskerck (Netherlandish, Heemskerck 1498-1574 Haarlem). These designs are thought to have been based on Pedro Mexia of Seville's Silva de varia Leccion, published in 1540. When it comes to attribution of a weaver for the series, Standen suggests that the following could be possible candidates: Willem Segers, Francis Sweerts, Niclaes de Canter, Isaac van Asperen or Nikolaus Le Coustre. The set was made up of eight panels although the Colosseum usually does not form part of the seven wonders. Standen argues that the Colosseum attained the status of one of the Ancient Wonders of the World partly because the colossal statue of Nero that once stood within the building was confused with the Colossus of Rhodes. The ancient monument was built, circa 280 BC, to commemorate the triumphant defence of Rhodes against an attack by Demetrius I of Macedon. It was believed to stand at 33m (108ft) high and collapsed in the earthquake of 226BC. What is considered to be the original dedication for the Colossus reads as follows:Αὐτῷ σοὶ πρὸς Ὄλυμπον ἐμακύναντο κολοσσὸντόνδε Ῥόδου ναέται Δωρίδος, Ἀέλιε,χάλκεον ἁνίκα κῦμα κατευνάσαντες Ἐνυοῦςἔστεψαν πάτραν δυσμενέων ἐνάροις.οὐ γὰρ ὑπὲρ πελάγους μόνον κάτθεσαν, ἀλλὰ καὶ ἐν γᾷ,ἁβρὸν ἀδουλώτου φέγγος ἐλευθερίας·τοῖς γὰρ ἀφ' Ἡρακλῆος ἀεξηθεῖσι γενέθλαςπάτριος ἐν πόντῳ κἠν χθονὶ κοιρανίαTo you, O Sun, the people of Dorian Rhodes set up tis bronze statue reaching upto Olympus, when they had made peace with the waves of war and crowned their city with the spoils taken from their enemy. Not only over the seas but equally on land did they kindly the lovely torch of freedom. For the descendants of Herakles, theirs in dominion over land and sea. Two panels which are not thought to have survived from the series are Pharos of Alexandria and the Walls of Babylon. The known survivals from the series include Zeus at Olympia, The temple of Diana at Ephesus, The Colossus of Rhodes, The Mausoleum of Halicarnassus and the Pyramids of Egypt. A set of six pieces were sold by Francis Swerts, the Antwerp weaver and dealer to the archduke Ernst in 1594/95 and in inventory of the Hotel de Conde, Paris, made in 1719 includes 'Huit pieces de tapisserie representant les Sept Marveilles.'A set of four were sold in 1920 at Georges Petit in Paris on June 18, lots 55-58. Other sets are known to form the collections of Palazzo Venezia, Rome and the William Rockhill Nelson Gallery, Kansas City. See the following for further reading:E. Cleland, Grand Design Pieter Coeke van Aelst and Renaissance Tapestry, Yale University Press, 2015;E.A Standen, Romans and Sabines: A Sixteenth Century set of Flemish Tapestries;E.A. Standen, European Post-Medieval Tapestries and Related Hangings in The Metropolitan Museum of Art, New York, 1985, cat, 19, vol. I, pp. 154 - 161;M.F Viale, Tapisseries Flamande inédites en Italie, illustrated fig 4This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Tapisserie flamande de type 'Gamepark', fin XVIe-début XVIIe siècleA Flemish Gamepark tapestry, late 16th-early 17th centuryWoven in wools and silks, the central field depicting a hunting scene with exotic animals including a lion and other wild beasts, to the middle distance a village surrounded by trees, the impressive border with medallions, figures and numerous elaborate floral sprays, within a brown slip with spirally turned ribbon, the whole with extensive restorations, 370cm wide 320cm high, (146 1/2in wide125 1/2in high)This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Tapisserie flamande figurant une scène de chasse avec Diane, XVIIème siècleA Flemish tapestry depicting a hunt with Diana, 17th centuryWoven in wools and silks, depicting a boar hunt within a luscious central field including a pond, a hilly landscape and village to the far distance, an abundance of lively villagers and huntsmen, one of whom to the bottom right corner is drawing back his arrow in anticipation of striking the wild beast, lacking border, with brown and blue outer slip,, 278cm wide, 198cm high (109in wide, 77 1/2in high). This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
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