Yusuf Huwayyik

Acquired directly from the artist
Private Collection, Lebanon (acquired directly from the above by the present owner in 1998)

Condition: This work is in good condition considering the age. There is some patination across the body of the work.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Yusuf Huwayyik, who started out as a painter but later moved into sculpture, is one of the most important Lebanese artists of the 20^th Century. The history of modern Arab sculpture essentially begins with Huwayyik, who went on to inspire artists such as Mahmoud Mokhtar (lot 109) to follow suit, study abroad, and experiment with this three-dimensional medium. Huwayyik is one of the few sculptors from the Middle East to have received commissions to represent public figures and prominent dignitaries.

Motivated by a desire to expand his artistic knowledge and experience, Huwayyik travelled to Paris in 1909 and studied in Rodin's studio for two years. It was during this time that he decided to forsake works on paper and canvas and focus exclusively on sculpture until the end of his life. Like his friend and contemporary, the poet and artist Khalil Gibran, Huwayyik was determined to continue in his classically-trained style and not be affected by the variety of experimental modes that were current in Europe and in the Middle East.

Huwayyik's relationship with the Emir is a fascinating one. It began with Huwayyik's father, Saadallah, who as a member of the Syrian Conference in 1920, announced the refusal of the French Mandate and elected Emir Faisal as the King of Independent Syria. Unfortunately, Huwayyik's father was also among those arrested by the French authorities for this rejection and was exiled for two years.  Huwayyik however, had already cemented his friendship with Emir Faisal and when he heard the news that the Emir would lead the Arab delegation to the peace conference to decide the fate of Syria, he left immediately for Paris to work alongside him.

Huwayyik began this commission in August 1921 when the Emir was on an official visit to Paris as the King of Iraq. It was in the Grand Palais, where the artist and Emir were residing in adjoining rooms, that this bust was executed.

In this striking portrait, Huwayyik not only captures the character of a dear friend but also provides us with a compelling record of an important historical figure. The combination of artistic value and documentary significance make this a work of outstanding museum-quality and interest.