Tahia Halim (Egyptian, 1919 - 2003)
Lots are subject to 5% import Duty on the importat… Read more PROPERTY FROM THE COLLECTION OF DR. MOHAMMED SAID FARSI
Tahia Halim (Egyptian, 1919 - 2003)

Face Of A Nubian Girl

Details
Tahia Halim (Egyptian, 1919 - 2003)
Face Of A Nubian Girl
signed 'T.Halim' (lower left); signed, titled and dated in Arabic (on the reverse)
oil on board
19¾ x 19¾in. (50 x 50 cm.)
Painted in 1963
Provenance
Mrs. Khariya Khiri Collection
Literature
Sobhy Al-Sharouny, T. Halim: Mythical Realism', Cairo, 1999 (illustrated in colour on the cover and p.68, no.128/63)
Sobhy Al-Sharouny, A Museum in a Book: The Farsi Art Collection "The Egyptian Works" Owned by Dr. Mohammed Said Farsi, Cairo, 1998 (illustrated in colour, p.251 and illustrated p.248 ref 32/29)
Special notice

Lots are subject to 5% import Duty on the importation value (low estimate) levied at the time of collection shipment within UAE. For UAE buyers, please note that duty is paid at origin (Dubai) and not in the importing country. As such, duty paid in Dubai is treated as final duty payment. It is the buyer's responsibility to ascertain and pay all taxes due.

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Lot Essay

The construction of the Aswan High Dam in the early 1960s in one way or another provided much inspiration for the artist. Behind it and upstream the huge Lake Nasser was created by the accumulating waters of the Nile, and was to submerge a major part of Nubia, the region which straddled the Egyptian-Sudanese border. Almost an entire culture which had existed there since antiquity had to be relocated. Conscious of this, a few artists made the journey to Nubia rather than to the dam to record that which was about to vanish. Tahia Halim visited in 1962, and from then on the people of Nubia and their daily life became the focus of her paintings . Halim was originally from an aristocratic family from Upper Egypt and this was for her a way of reconnecting with her Nubian roots. Her style from this time assumed the aspects of Coptic art, with scarce attention to correct proportion but instead expressive exaggeration of form and colour, lending it a kind of authenticity in keeping with the subjects.
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