Mahmoud Said

Private Collection, Egypt (acquired directly from the artist)
Thence by descent

Guerizeh, Grand Palais of Royal Agriculture Society, Retrospective des Oeuvres de Mahmoud Said 1921-1951, 1951
Alexandria, Museum of Fine Arts and Cultural Center, Exposition Retrospective des Oeuvres du Pinetre Laureat Mahmoud Said, 1960

Exhibition Catalogue, Guerizeh, Grand Palais of Royal Agriculture Society, Retrospective des Oeuvres de Mahmoud Said 1921-1951, 1951, n.p.
Exhibition Catalogue, Alexandria, Museum of Fine Arts and Cultural Center, Exposition Retrospective des Oeuvres du Pinetre Laureat Mahmoud Said, 1960, n.p., illustrated
Eswat Dawestashy, Mahmoud Said, Cairo 1997, p. 205, no. 200, illustrated

Condition: This work is in good condition. There is very fine hairline craquelure running along the top edges, above the centre of bottom edge, on lower left corner and in places throughout, all of which are only visible upon close inspection. The canvas is slack. Colour: The colours in the catalogue illustration are very accurate.
"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."

Born into an aristocratic Alexandrian family, Mahmoud Said was not predestined to become an artist. Said was the son of Mohammed Pasha Said, who was Egypt’s Prime Minister during the reign of King Faud I, he later became uncle to Queen Farida, the first wife of King Farouk. Throughout his lifetime Said was incessantly convoluted with Egyptian gentry, further fuelling his obsessive observation of local Egyptians, which was a stark contrast to the pseudo-European aristocracy which surrounded him.

Said was trained in law, nonetheless, it was never his passion, but rather his father’s pre-ordained career choice. In parallel to working in the Mixed Court Systems in Egypt, Said’s raw passion and intolerable drive enabled him to maintain and further his art career. Finally in 1947, Mahmoud Said resigned from practicing law and dedicated himself to his true calling, painting.

Said is considered one of the pioneers of Egyptian Modern Art; his rich painting style encapsulated the golden era of glamour pre-dating the 1952 revolution. The painting Le Porte a Marsa Matrouh is an inimitable image, characteristic of Said’s opulent method. Said visited Marsa Matrouh annually which he immortalised via his extensive oeuvre, of which this painting is an outstanding example. Mahmoud Said offers us an intimate reflection into the landscape of Marsa Matrouh - a city which lies on the Egyptian Mediterranean coast, a site of many battles during World War II. Marsa Matrouh’s rich history and enchanting air was eternalised by film noir artists such as Rhousdy Abaza and Hind Rustam.

In the present work, Said fondly immortalises this popular summer destination for Cairenes and Alexandrians, and personally inspirational city via an exquisite palette of vivid colours archetypal of his pioneering style. The canvas is illuminated with the application of vibrant and wide ranging hues. The artist also includes the sight of the passing ships, depicting a lesser known side of Marsa Matrouh. Said presents this image masterfully framed within his personal window view.

The present work is significant for its dynamic representation of Said's grasp of light, and also offers a glimpse into the artist's personal haven. Its documentary nature presents historical evidence of this seaside city before the development of the Egyptian coastline. Said’s majestic painting of Le Port a Marsa Matrouh is an iconic artwork from the artist's later phase, focusing on landscapes, as opposed to his earlier works which encapsulated the seductress and provocative nudes and banat bahary. This serenely depicted port backdrop showcases Said’s inimitable application of various hues which effectively communicate a nostalgic atmosphere, whilst also offering a delicate window into the personal life of this internationally acclaimed artist.