Lot 25: NAZIR NABAA (SYRIAN, 1941-2016) Untitled (Three Ladies) signed in Arabic an

NAZIR NABAA (SYRIAN, 1941-2016) Untitled (Three Ladies) signed in Arabic and dated ‘1991’ (lower right of right panel); titled in Arabic, signed and dated ‘Nazir Naba.1991.’ (lower left of left panel) oil on canvas, in three parts each: 27 1/2 x 43 1/2 in. (69.5 x 109.5cm.) overall: 27 1/2 x 83 1/2 in. (69.5 x 211.3cm.) Painted in 1991

PROVENANCE: Acquired directly from the artist by the present owner. One of the pioneers of the Modern Expressionist movement in Syria, the late artist Nazir Nabaa embarked on a lifetime of rich cultural engagement through numerous exhibitions, journalism and an academic practice that continues to be revered. Nabaa was heavily infuenced by the mystical legends of Mesopotamia. As a result, his work took on an adaptation of surface, shape and colours that were reminiscent of this ancient and rich civilisation, the female fgure consistently the central focal part of his oeuvre. Mostly inspired by the goddess Ishtar, his female protagonists are presented in soft delicate representations of women that are at once both godly whilst mortal. They would become a representation of his own Syrian goddess and rooted within society would encapsulate the strong traditions of the rich lands of Syria. He remained always at heart a Damascene, so much so that features of architecture and traditions featured heavily in his canvases. Christie’s is proud to present a seminal triptych by the artist that captures his beloved respect for the female form. Intended as a symbol of the fertile rich land of dreams, this important work represents three women and thus in turn the virtues of chastity, beauty and love. Set against intricately and highly rich ornamented backgrounds with arabesque geometric designs, Nabaa references the highly decorated interiors of old Damascene homes whilst simultaneously paying homage to the passage of time. Heavily adorned in beautiful Levantine elements such as locks, trinkets and silver bracelets encrusted with amber and precious stones, their beautifully intricate dresses also incorporate arabesque embroidery that merges and interlinks with the arabesque of the background – making them as one comprehensive and captivating entity. The central fgure is illustrated as a beautiful and chaste goddess with a fowery crown and veil, fowing richly behind her elegant fgure. Depicted as the idealised woman, she is concurrently the perfect mother, the perfect wife and the perfect city; the capital Damascus. On her left, another young woman, pearls adorning her head, symbolises purity. Her wavy hair cascades gloriously like a waterfall onto her shoulder, evoking the richness of the land. She symbolises civilisation and enlightenment using the burning and fery glow of the light, guiding her goddess to the truth. On the right side, the third fgure gracefully holds gathered fruits in a basket, a symbol of both springtime and fertility. Set within the confnes of his frame as well as the arabesque interior, Nabaa enforces the sanctity of marriage, an ideal that remained a big focus as an underlying theme in many of his works. A dreamer of better times, in attempt to forget the harsh reality of 1980s Syria, Nabaa intended to food his images with an overwhelming sense of optimism and glow that radiates from his canvases. Looking to fll the gap between reality and the imaginary, Nabaa’s magical mastery of both colour and sheer technical skill cements his place in the history of an artistic practice in Syria.