Lot 12
  • 12

Mahmoud Said

Estimate
50,000 - 70,000 GBP
Log in to view results
bidding is closed

Description

  • Mahmoud Said
  • Liban
  • signed and dated 1951
  • oil on canvas laid down on board

Provenance

Acquired directly from the artist by the previous owner
Thence by descent

Condition

Condition: This work is in good condition. There are very minor rubbing marks along top right edges. Colour: The colours are very accurate in the catalogue illustration but the overall tonality is less red.
"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."

Catalogue Note

This rare and picturesque landscape is one of only two paintings by Mahmoud Said depicting Lebanon to have been offered at public auction.

Recognised as one of Egypt's most innovative modern masters thanks to his departure from traditional subject matter and his nationalistic vision, Mahmoud Said is most celebrated for his representations of Egypt and Egyptiana. As with Marsa Matrouh and Venice, this intimate painting is a record of his travels outside of Egypt and the places that were of personal significance to him, providing a rare insight into his private life.

Said made frequent trips to Lebanon with his friend and confidante Dr Elkayem, particularly during the summer months when the pair would retreat to the Lebanese mountains in order to escape Egypt's burning summers. These excursions inspired Said, and he effortlessly captures the rolling hills, rich earth and summer skies that drew him there in the first place.

Said's technique recalls the early Renaissance painters whose background landscapes consisted of interlocking mountain ranges, drawing the eye from the fore- to the background. In utilising this long-standing technique Said exhibits his Italian training, as well as an intuitive realism that conjures up the tranquility of the Lebanese countryside and highlights the mastery of his art.