Mohammad Ghani

Acquired directly from the artist in 1967
Private Collection
Acquired directly from the above by the present owner in 1998

Condition: This work is in relatively good condition. With some minor scratches to the wood, mainly to extremities. There is one section of minor restoration to the bend in the knee, on the reverse, glue is visible.
"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."

"Art in Mesopotamia has always been like its people, who have been the product of the land and climate. They have never reached decadence and never reached perfection; for them perfection of craftsmanship has been a limitation on their self-expression. Their work has been crude but inventive, has had a vigour and boldness which would not have been possible with a more refined technique. The artist has always been free to express himself, even amid the state art of Assyria, where the true artist speaks through the drama of the wounded beast."
Jawad Selim, cited in: Jabra Ibrahim Jabra, The Grass Roots of Iraqi Art, Jersey 1983, p. 7.