Tawfik Tarek

Private Collection, Berlin
By descent to the present owner

New York, Flushing Meadows, World's Fair, 1938

This work is in good condition. There are some faint stains of water, 8cm from the upper centre edge, and the lower centre area of the paper. There are some noticeable signs of paper folding along the centre horizontal line of the work. There are some extensions to the original paper, along the left and bottom edges of the work, all aforementioned areas are inherent to the artist's working process. The colours of the catalogue illustration are fairly accurate with the original work tending towards lighter pastel hues.
"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 in 1875 in Damascus, son and grandson of military officers, Tawfik Tarek completed his secondary schooling at the military academy of Istanbul in the 1890’s. During this period, he was involved in a political group which stood for nationalist ideas, poles apart from the Ottoman ideology. Imprisoned in1892, he was liberated provided he left Istanbul. His precocious political involvement led him to discover his artistic abilities, as he found asylum in Paris and studied land surveying, painting and urbanism in Paris School of Beaux-arts. After his graduation in 1901, he settled in Damascus where he worked as an architect and topographer.

Tarek focused on historically or culturally important Islamic scenes and figures.  Stirred by the conviction that he should unveil the historic sham related by orientalist painters about Christian battles, he depicted a series of Arab battles, caliph councils and portraits that imitated famous orientalist artworks. He was also well-known for his drawings of the Mecca Pelerinage and  the prophet’s grave. His aim was to create a historic balance by appropriating the techniques orientalists used and subvert them, bringing to life the downside of history.

Tarik was equally interested in architecture. He worked in the restoration of historical sites, such as the Umayyad Mosque in Damascus where he restored an important mosaic. His independent works are nonetheless in the classic orientalist style, highly detailed and informative in their presentation. During his life he refused to sell his works, even when facing financial difficulties.

The present work is a depiction of the fall of vassal Kingdom Sidon, at the hand of Alexander the Great; a pivotal moment in the destruction of Persian Phoenicia, and thus the destruction of Phoenician culture and identity. It is undoubtedly meant to present the event as a monumental tragedy, and forewarn against history repeating itself. This work inspired numerous other painters to create engaged artwork in the same vein - the most famous production  being the  “Hittin Battle” by Said Tahsin, where Saladin accepts the surrender of Guy de Lusignan and the Christian armies.

This work is a study, executed in pencil and crayon, for an oil picture which was featured at the massive World Exhibition in New York 1938/1939,  now part of a private collection in the United States.