Salah Taher (Syrian, 1911-2006)
This lot is offered without reserve. These lots h… Read more PROPERTY FROM THE ESTATE OF A US FOREIGN SERVICE OFFICER, STATIONED IN CAIRO 1960-1963, NEWPORT, RHODE ISLAND
Salah Taher (Syrian, 1911-2006)

Harmonie

Details
Salah Taher (Syrian, 1911-2006)
Harmonie
signed and dated in Arabic (lower right)
oil on canvas
38 1/3 x 26 1/2 in. (97.3 x 67.4cm.)
Painted in 1959
Provenance
Private Collection (by whom acquired directly from the artist circa early 1960s)
and thence by descent.
Acquired from the above by the present owner.
Literature
A. Azar, La peinture moderne en Egypte, Cairo 1961 (illustrated p. 181)
Special Notice
This lot is offered without reserve. These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

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Lot Essay

Salah Taher is considered one of the most prolific painters of the second generation of modern Egyptian artists. Throughout his life, Taher produced an extensive oeuvre with talent and sensitivity, where he explored various styles, from Academic Realism, to Figurative Symbolism, to Abstract Expressionism.

The artist became highly acclaimed for his abstract works, where he broke away from the traditional and academic notion of painting, thus placing himself at the forefront of modern art. Through an ingenious use of colours, expressive technique, and bold contrasts, Taher conveys a powerful passion for the matter and dynamism.

In the present lot, Harmonie, the artist makes a full-fledged display of his mastery of oil painting. The artist incorporates both elements of portraiture and landscape painting to create a complete and eerie scene. The canvas is mostly occupied by the tall-standing characters, which seem to be women dressed in long, traditional, white clothing taking care of their children. In the upper section of the canvas, the viewer is able to catch a glimpse of the landscape in the background– the dunes of a desert – that is topped by a thin glimpse of the sky. The sand that covers the landscape is painted with quick and rough strokes of an intense, bright red, while the sky is a dull and pale grey. Meanwhile, all figures are clearly distinguished from one another through bold black lines and white attire, with some brushstrokes of yellow and grey. This unique use of colours evokes a ghoulish and supernatural atmosphere.

The texture of this painting also takes a leading role. Most often in his works, Taher makes use of hard tools such as the knife to create an additional layer of perspective as well as mysteriousness. Known for mastering this technique, the artist uses the knife to spread transparent coats of diluted paint over his canvases. Art critic Aime Azar, highlights Taher’s breaking away from academic painting and becoming an artist of “vehement contrasts”, creating works that are done with a measured sense of equilibrium.” (A. Azar, La Peinture Moderne en Egypte, Cairo 1961, p. 182).

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