- 55
Ramses Younan
Estimate
8,000 - 12,000 GBP
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Description
- Ramses Younan
- Abstract
- signed with initials and dated 64 lower right; signed and dated on the reverse
- oil on canvas
- 73 by 81cm., 28¾ by 32in.
Provenance
Sylvie Younan and Sonia Younan (daughters of the artist)
Purchased from the above by the present owner in 2014
Purchased from the above by the present owner in 2014
Condition
The canvas has not been lined. Under ultra-violet light there are some scattered signs of uneven fluorescence relating to the artist's pigments and old varnish layers, and no notable signs of retouching are visible. This painting is in good original condition, and its appearance could be further enhanced if desired with a surface clean.
Presented in a simple carved wood frame. Overall the colours are somewhat lighter, more luminous, and less red in reality than in the catalogue illustration.
"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."
"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
Raised in al-Minya in Upper Egypt, Younan studied at the School of Fine Arts in Cairo (1929-1933), before working as an art teacher in secondary schools in Cairo. From 1933 to 1938 Younan was a regular exhibitor at the Salon du Caire, the group exhibitions sponsored by the Friends of the Fine Arts Society. Abstract, painted in 1964, builds on the new-found style he developed in Paris, which cemented his reputation at his first solo show there in 1948.
Younan returned to Cairo following his dismissal by the French Broadcasting services for refusing to denounce the Egyptian government over the Suez crisis in 1957. He was instrumental in introducing the concept of Abstraction to Egypt in his 1958 Cairo show Toward the Unknown. In Younan's words, 'True Egyptian art will not exist unless our past heritage is allowed to react with international heritage: only that will lead us to establish a foundation for our modern art. Therefore, we should not fear any innovation, no matter how extreme it may be, for those who fight innovation under the pretext of protecting our national identity reveal the weakness of their faith in its potential for growth.'
Younan returned to Cairo following his dismissal by the French Broadcasting services for refusing to denounce the Egyptian government over the Suez crisis in 1957. He was instrumental in introducing the concept of Abstraction to Egypt in his 1958 Cairo show Toward the Unknown. In Younan's words, 'True Egyptian art will not exist unless our past heritage is allowed to react with international heritage: only that will lead us to establish a foundation for our modern art. Therefore, we should not fear any innovation, no matter how extreme it may be, for those who fight innovation under the pretext of protecting our national identity reveal the weakness of their faith in its potential for growth.'