- 56
Fatma Shanan
Estimate
15,000 - 20,000 USD
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Description
- Fatma Shanan
- Self-Portrait and a Carpet 2
- Signed FATMA SHANAN and dated 2017 (on the reverse)
- Oil on canvas
- 78 3/4 by 55 in
- 200 by 140 cm.
- Painted in 2017.
Exhibited
Tel Aviv Museum of Art, Fatma Shanan, Works, 2010-2017, The 2016 Haim Shiff Prize for Figurative-Realist Art, June - October 2017, illustrated on the cover of the catalogue and p. 83
Condition
Oil on canvas, canvas is not lined. Surface: In generally good condition. Not viewed under UV.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
"Concealed within the weave of a carpet are secrets, processes, and events. It is a signifier of local identity, which represents connections between nature, geography, and culture. For Fatma Shanan, who was born and raised in the Druze village of Julis, a carpet is before all else a home" (Carmit Blumensohn, Fatma Shanan Dery, A Single Continuum, p. 98). In Shanan's powerful, monumental self-portrait, the artist weaves her own image into her primary motif, the Oriental carpet. The self-portrait throughout the history of art has served as a reflection of identity and in Shanan's work, the artist's identity is inextricably intertwined with the carpet's thematic identity: hospitality, ritual, tradition, domesticity, multi-culturalism, ornament, craft, community, gender. Shanan's research into traditional arabesque carpet decoration has informed her transition from painting impressionistic representations of carpets, to illustrating a more specific historical iconography. These figures surround the figure of the artist, rooting her in a mythological history that adds a layer of story-telling to the piece.