Mahmoud Saïd (Égypte, 1897–1964) Le turban bleu Signé et daté « Saïd 1946 » en bas à gauche ; signé, titré et daté au dos en arabe et en français. Huile sur panneau. 53 × 45 cm. Peint en 1946. L’authenticité de cette œuvre a été confirmée par Valérie Didier Hess et le Dr Hussam Rashwan. Cette œuvre sera reproduite dans : Azar, Aimé ; Didier Hess, Valérie (dir.) ; Rashwan, Hussam (dir.), Modern Painting in Egypt, à paraître. Provenance René Cattaui Bey, Égypte ; Par descendance à la famille Cattaui ; Conservée dans la même collection familiale jusqu’à ce jour. *** Signed and dated “Saïd 1946” lower left; signed, titled, and dated on the reverse in both Arabic and French. Oil on panel. 53 × 45 cm. Painted in 1946. The authenticity of this work has been confirmed by Valérie Didier Hess and Dr. Hussam Rashwan. This work will be illustrated in: Azar, Aimé; Didier Hess, Valérie (eds.); Rashwan, Hussam (eds.), Modern Painting in Egypt, forthcoming. Provenance René Cattaui Bey, Egypt; By descent within the Cattaui family; Preserved in the same family collection to the present day. Cette œuvre inédite de Mahmoud Saïd, datée 1946, appartient à la période de pleine maturité de l’artiste, moment où son langage pictural atteint une synthèse particulièrement aboutie entre la tradition picturale européenne et l’affirmation d’une identité plastique égyptienne moderne. Peint sur panneau, Le Turban bleu présente un portrait féminin frontal, traité avec la monumentalité silencieuse et la densité psychologique qui caractérisent les grandes compositions de Saïd. Le visage, modelé par une lumière chaude et diffuse, révèle l’attention quasi sculpturale que l’artiste accorde à la construction des volumes : pommettes hautes, lèvres pleines, regard sombre et pénétrant. Cette présence hiératique, presque intemporelle, est renforcée par l’économie du décor et la frontalité de la pose. La composition s’organise autour d’une harmonie chromatique dominée par le bleu, visible dans le turban qui coiffe la figure ainsi que dans le corsage lacé du modèle. Ce bleu profond, vibrant, contraste avec les tonalités plus sourdes du manteau sombre et de l’arrière-plan, créant une tension subtile entre la figure et l’espace environnant. Le fond, traité en larges aplats brun et gris bleuté, demeure volontairement indéterminé afin de concentrer l’attention sur la présence du modèle. Certains détails graphiques, notamment les motifs linéaires visibles sur le cou et le menton, introduisent une dimension décorative singulière. Ils évoquent les ornements, parures ou motifs issus des traditions populaires qui nourrissent régulièrement l’imaginaire de Saïd. Cette hybridation entre réalisme psychologique et stylisation décorative constitue l’une des signatures de son œuvre. Au cours des années 1930 à 1950, Mahmoud Saïd développe une iconographie devenue emblématique de la modernité artistique égyptienne : portraits de femmes, scènes populaires, pêcheurs, paysages d’Alexandrie et figures du Nil. Les figures féminines occupent cependant une place centrale dans sa production. Chez Saïd, elles ne sont pas seulement des modèles mais deviennent les vecteurs d’une réflexion sur l’identité nationale, la dignité et la modernité du pays. Dans ces portraits, l’artiste combine un sens aigu de la construction classique, hérité de sa formation et de sa connaissance de la peinture européenne, avec une sensibilité profondément ancrée dans la culture visuelle égyptienne. Les volumes pleins, les contours nets et la monumentalité des figures confèrent à ses portraits une puissance plastique immédiatement reconnaissable. Réalisé à une époque où Saïd est déjà reconnu comme l’un des principaux artistes du pays, Le Turban bleu illustre parfaitement cette synthèse stylistique. L’œuvre témoigne d’une maîtrise picturale affirmée et d’une recherche constante d’équilibre entre modernité formelle et affirmation culturelle. Considéré aujourd’hui comme le fondateur de la peinture moderne égyptienne, Mahmoud Saïd occupe une place centrale dans l’histoire de l’art du monde arabe au XXe siècle. Ses œuvres figurent dans les principales institutions du Moyen-Orient ainsi que dans de grandes collections internationales. Par la force de ses portraits et la singularité de son langage pictural, il a contribué à définir une modernité artistique propre à l’Égypte, distincte mais dialoguant avec les avant-gardes européennes. L’œuvre a été acquise à l’origine par René Cattaui Bey, sénateur égyptien et membre de l’Institut d’Égypte, figure importante de la vie intellectuelle et politique égyptienne du XXe siècle. Conservée au sein de la famille pendant plusieurs décennies, elle témoigne du rôle essentiel joué par certaines grandes familles levantines et alexandrines dans le soutien et la préservation de l’art moderne égyptien. La famille Cattaui compte parmi les figures marquantes de la société cosmopolite égyptienne de la première moitié du XXe siècle. Joseph Cattaui Pacha, membre éminent de cette dynastie, occupa une place importante dans la vie politique et économique du pays, tandis que la famille entretenait des liens étroits avec les milieux culturels et artistiques d’Alexandrie et du Caire. Cette provenance historique renforce l’importance patrimoniale de l’œuvre et inscrit ce portrait dans l’histoire des grandes collections égyptiennes du XXe siècle. *** The Blue Turban, 1946 This previously unpublished work by Mahmoud Saïd, dated 1946, belongs to the artist’s mature period, a moment when his pictorial language achieved a particularly accomplished synthesis between the European painting tradition and the assertion of a modern Egyptian visual identity. Painted on panel, The Blue Turban presents a frontal female portrait rendered with the quiet monumentality and psychological depth that characterize Saïd’s finest compositions. The face, modeled by a warm and diffused light, reveals the almost sculptural attention the artist devoted to the construction of volume: high cheekbones, full lips, and a dark, penetrating gaze. This hieratic, almost timeless presence is further reinforced by the economy of the setting and the frontal nature of the pose. The composition is organized around a chromatic harmony dominated by blue, visible both in the turban crowning the sitter and in her laced bodice. This deep, vibrant blue contrasts with the more subdued tones of the dark cloak and the background, creating a subtle tension between the figure and the surrounding space. The background, treated in broad passages of brown and bluish-grey, remains deliberately undefined, allowing the viewer’s attention to focus entirely on the sitter’s presence. Certain graphic details, notably the linear motifs visible on the neck and chin, introduce a distinctive decorative dimension. These elements evoke ornaments, adornments, and motifs derived from popular traditions that frequently nourished Saïd’s imagination. This fusion of psychological realism and decorative stylization is one of the hallmarks of his artistic language. During the 1930s, 1940s, and 1950s, Mahmoud Saïd developed an iconography that became emblematic of Egyptian artistic modernity: portraits of women, popular scenes, fishermen, Alexandrian landscapes, and figures associated with the Nile. Female figures, however, occupy a particularly central place within his oeuvre. For Saïd, they were not merely models but became vehicles for a broader reflection on national identity, dignity, and the modernity of Egypt itself. In these portraits, the artist combined a profound understanding of classical construction, inherited from his training and his deep knowledge of European painting, with a sensibility firmly rooted in Egyptian visual culture. The fullness of the volumes, the clarity of the contours, and the monumentality of the figures endow his portraits with an immediately recognizable visual power. Executed at a time when Saïd was already acknowledged as one of Egypt’s foremost artists, The Blue Turban perfectly illustrates this stylistic synthesis. The painting demonstrates a mature command of pictorial means and a constant search for balance between formal modernity and cultural affirmation. Today regarded as the founder of modern Egyptian painting, Mahmoud Saïd occupies a central place in the history of twentieth-century Arab art. His works are held in major institutions throughout the Middle East as well as in important international collections. Through the strength of his portraits and the singularity of his pictorial language, he contributed decisively to the definition of a distinctly Egyptian artistic modernity—one that remained rooted in local culture while engaging in dialogue with the European avant-garde. The painting was originally acquired by René Cattaui Bey, Egyptian senator and member of the Institut d’Égypte, an important figure in the intellectual and political life of twentieth-century Egypt. Preserved within the family for several decades, it bears witness to the essential role played by prominent Levantine and Alexandrian families in supporting and preserving modern Egyptian art. The Cattaui family ranks among the notable figures of Egypt’s cosmopolitan society during the first half of the twentieth century. Joseph Cattaui Pasha, a distinguished member of this influential dynasty, occupied a prominent position in the country’s political and economic life, while the family maintained close ties with the artistic and cultural circles of Alexandria and Cairo. This distinguished provenance further enhances the historical significance of the work and places this portrait within the lineage of the great Egyptian collections of the twentieth century.
Mahmoud Said | La Femme Qui Reve, 1946 Oil on Canvas Signed: Signed and Dated: Hand-signed in Arabic and “M. SAÏD” and dated “1946” in the lower left corner. Verso Inscription: Hand-inscribed by the artist on the back of the canvas: “MAHMOUD SAÏD / LA FEMME QUI RÊVE / 1946”. Dimensions: Artwork: 63 × 83 cm | 24.8 × 32.7 in Provenance: Private Collection, Alexandria, Egypt (acquired in the 1950s). Private Collection, Paris, France (brought to France; by descent until 2021). Private Collection, Spain (acquired from the above in 2021). Condition: The work is in very good overall condition, with the oil pigments remaining exceptionally rich and vibrant. The canvas is well-tensioned on its original wooden stretcher. There are some minor, age-appropriate handling marks along the extreme canvas edges where it meets the frame. The verso of the canvas shows natural age-related toning and remains clean, with the artist’s handwritten inscriptions clearly legible. Conditions of Sale: All lots are sold as is. See Section 4 of our Terms and Conditions for return policy. All inquiries must be made prior to bidding, as no further details can be provided after the sale. By placing a bid, you confirm that you have read and agree to our Terms and Conditions in full. Shipping: Aurora & Athena does not provide in-house shipping. The successful buyer arranges shipping directly with a company of their choice. For shipments outside the EU, Spanish export tax may apply to certain higher-value artworks; no export tax applies within the EU. Any such tax is payable by the buyer. Please refer to our Shipping & Export Information page for further details. -- Executed in 1946, La Femme Qui Reve (The Dreaming Woman) is a masterful oil on canvas by Mahmoud Said, the pioneering father of modern Egyptian painting. The work depicts a serene, luminous female nude in a moment of quiet contemplation, set against an intimate interior background featuring a bookshelf. Said’s signature style is evident in the sculptural modeling of the figure, the warm, Mediterranean-infused light that bathes the scene, and the rich, jewel-like color palette. The composition beautifully balances Western academic techniques with a distinct Egyptian identity, portraying the subject with an idealized, almost statuesque elegance. From the delicate jewelry and red lips to the flowing white drapery, every detail contributes to the dreamlike, atmospheric quality of the work. This piece represents Said at the height of his career, capturing the soul and timeless beauty of the Orient through a sophisticated modernist lens.
MAHMOUD SAÏD (1897, ALEXANDRIA - 1964, ALEXANDRIA). Le Lac sacré à Louxor (The Sacred Lake in Luxor). oil on canvas laid on board7 ½ x 11in. (19 x 28cm.).
MAHMOUD SAÏD (1897, ALEXANDRIA - 1964, ALEXANDRIA). La fille aux yeux verts (réplique) (The Girl with the Green Eyes.... oil on panel16 5/8 x 20 7/8in. (42.1 x 53cm.).
‡ MAHMOUD SAID (EGYPTIAN 1897-1964) SELF PORTRAIT inscribed on the reverse pencil on paper 14 x 8cm; 5 1/2 x 3 1/4in 23 x 16cm; 9 x 6 1/4in (mounted) Executed circa 1940's. Property from the Zulficar Family Collection, Alexandria Provenance Youssef Pasha Zulficar Thence by descent to the present owner The authenticity of this lot has been confirmed by Dr Hussam Rashwan and Valérie Didier Hess; it will be included in the Mahmoud Saïd catalogue raisonné. The renowned Egyptian painter and pioneer of modern Arab art, Mahmoud Saïd, is celebrated for his vibrant oil paintings, but his pencil portraits and drawings are equally significant to his body of work. These pencil studies, typically rendered on a modest scale and possessing a simple, intimate quality, demonstrate his exceptional command of line and his ongoing pursuit to depict the human form and spirit. They provide insight into Saïd’s creative process, underscoring both his technical proficiency and his enduring dedication to portraiture. Employing pencil and other drawing media such as charcoal, he created works for a variety of purposes, including preparatory studies for large-scale oil compositions and independent portrait pieces. His self-portraits, exemplified by the present work, present an honest and direct portrayal of the artist himself.
Mahmoud Said (Egypt, 1897-1964) Vue de Mansoura oil on wood panel, framed signed 'M. SAÏD' and dated '1922' (lower right), executed circa 1922 15.5 x 36cm (6 1/8 x 14 3/16in).
Mahmoud Said (Egypt, 1897-1964) Le port d'Alexandrie oil on wood panel, framed signed 'M. SAÏD' and dated '1919'(lower right), executed circa 1919 11.5 x 20cm (4 1/2 x 7 7/8in).
MAHMOUD SAÏD (1897, ALEXANDRIA - 1964, ALEXANDRIA). Vue de la plage à Cassata en Grèce (View of the beach in Cassata in.... oil on board 23 ¾ x 28in. (60.4 x 71cm.).
‡ MAHMOUD SAID (EGYPTIAN 1897-1964) SELF PORTRAIT pencil on paper 14 x 8cm; 5 1/2 x 3 1/4in 23 x 16cm; 9 x 6 1/4in (mount) Property from the Zulficar Family Collection, Alexandria The authenticity of this lot has been confirmed by Dr Hussam Rashwan and Valerie Didier Hess; it will be included in the Mahmoud Saïd catalogue raisonné.
‡ MAHMOUD SAID (EGYPTIAN 1897-1964) VILLAGE SCENE pencil on paper 10 x 14cm; 4 x 5 1/2in 22 x 32.5cm; 8 3/4 x 12 3/4in (mount) unframed Property from the Zulficar Family Collection, Alexandria The authenticity of this lot has been confirmed by Dr Hussam Rashwan and Valerie Didier Hess; it will be included in the Mahmoud Saïd catalogue raisonné.
‡ MAHMOUD SAID (EGYPTIAN 1897-1964) FIGURE STUDIES (i) (ii) AND RIVER BANK STUDY (iii) (iii) inscribed in French with artist's notes on the reverse pencil on paper 17 x 12cm; 6 3/4 x 4 3/4in unframed (3) Property from the Zulficar Family Collection, Alexandria The authenticity of this lot has been confirmed by Dr Hussam Rashwan and Valerie Didier Hess; it will be included in the Mahmoud Saïd catalogue raisonné.
Mahmoud Saïd (1897-1964) Nude with Red Headscarf Gouache on paper Signed and dated lower right From the Dr Mohammed S Farsi Collection Dimensions: (Paper) 18.5 in. (H) x 13.5 in. (W) (Frame) 26.5 in. (H) x 22.5 in. (W)
Attributed to Mahmoud Saïd (1897-1964) A landscape Oil on canvas Signed and dated bottom right From the Dr Mohammed S Farsi Collection Dimensions: (Canvas) 9 in. (H) x 10.5 in. (W) (Frame) 16.5 in. (H) x 17.5 in. (W)
Mahmoud Saïd (1897 - 1964) Maisons à Aïtanit (Houses at Aitanit) signed, titled and dated (to the reverse); signed, dated and dedicated in French (to the reverse) oil on board 25 by 35 cm.; 9¾ by 13¾ in. Framed: 45 by 55 cm.; 17 ¾ by 21½ in. Executed in 1951.
Mahmoud Said (Egypt, 1897-1964) Vue d'Assouan ( View of Aswan) oil on paper, framed signed 'M.SAID' (lower left), executed circa 1940s 10 x 17cm (3 15/16 x 6 11/16in).
Mahmoud Said (Egypt, 1897-1964) La Seine á Paris, 1922 oil on board, framed signed 'M.Said' and dated '1922'(lower left), executed in 1922 22 x 35cm (8 11/16 x 13 3/4in).
Mahmoud Said (Egypt, 1897-1964) Vieux cheikh assis ( Old Sheikh Seated) charcoal on paper, framed signed 'M.SAID' (lower left), executed in 1920s 46 x 27cm (18 1/8 x 10 5/8in). For further information on this lot please visit the Bonhams website
Mahmoud Said (Egypt, 1897-1964) Arbre dans une cour ( Tree in a Courtyard) pencil on paper, framed signed 'M.SAID' (lower left), executed circa 1920s 26.5 x 19.5cm (10 7/16 x 7 11/16in). For further information on this lot please visit the Bonhams website
Mahmoud Said (Egypt, 1897-1964) Nude pencil on paper, framed signed 'M. SAID' (lower right), executed circa 1920s 25 x 19cm (9 13/16 x 7 1/2in). For further information on this lot please visit the Bonhams website
Mahmoud Said (Egypt, 1897-1964) Nu couché au divan blue ( Nude Reclining on a Blue Couch) oil on panel, framed signed 'Mahmoud Bey Said' and dated '1938' and further inscribed 'Alexandria' on the verso, executed in 1938 69 x 98cm (27 3/16 x 38 9/16in). For further information on this lot please visit the Bonhams website
Mahmoud Said (Egypt, 1897-1964) La Mise Au Tombeau (The Entombment) oil on board, framed signed and dated 'M. SAID 1926' (lower left), executed in 1926 57 x 75cm (22 7/16 x 29 1/2in). For further information on this lot please visit the Bonhams website
Mahmoud Said (Egypt, 1897-1964) Le Chômeur ( The Vagabond) oil on canvas, framed signed 'M.SAID' and dated '1946' (lower left), further signed, dated and titled 'Le Chômeur' in Arabic and English on the verso, executed in 1946 80 x 70cm (31 1/2 x 27 9/16in). For further information on this lot please visit the Bonhams website
Mahmoud Said (Egyptian, 1897-1964) i) Kena ii) Paysage à Assouan i) watercolour and India ink on paper ii) watercolour and India ink on paper each: 3 1/4 x 4 7/8 in. (8.2 x 12.3 cm. (2)
* MAHMOUD SAID (EGYPT, 1897-1964) Portrait de Mme Ahmed Pacha oil on canvas, framed signed “M.SAID” and inscribed “D’APRES PHOTO” (lower left), executed circa 1930s 66 x 55cm (26 x 21 5/8in).
* MAHMOUD SAID (EGYPT, 1897-1964) Village / Seascape (View of Alexandria) oil on two sides of wooden panel signed “M. SAID” and dated “1923” (lower right), executed in 1923 22 x 35cm (8 11/16 x 13 3/4in).
MAHMOUD SAID (EGYPT, 1897-1964) Le Canal de Mahmoudieh oil on panel signed M.SAID and dated 1922 (lower right), executed in 1922 27.5 x 45cm (10 13/16 x 17 11/16in).
MAHMOUD SAID (EGYPT, 1897-1964) Fille à l’imprimé (Girl in a Printed Dress) oil on canvas, framed signed M. Said and dated 1938 (lower right), inscribed MAHMOUD SAID FELLAHA AU VOILE NOIR (crossed out) and titled FILLE À L’IMPRIMÉ 1938 on the verso, executed in 1938 81 x 56cm (31 7/8 x 22 1/16in). Refer to department Provenance: Property from the collection of May Zeid and Adel Youssry Khedr, Cairo Acquired directly from Nazli Fayed (the artist’s cousin) by the present owner Hussein Pasha Sirry (Former Prime Minister of Egypt), Cairo by 1951 until at least 1960 Literature: Valerie Didier Hess and Hussam Rashwan, Mahmoud Said: Catalogue raisonne Volume 1, Paintings, Skira Editore, 2016, illustrated on page 399 Rassem, 1940, illustrated on page 134; Dawastashy, 1997b, no. 130 and 154 El-Bissy, 2004 illustrated on page 80 Al-Shafei, 2012, fig 123 Exhibited: Cairo, 1939 (not illustrated. titled: La fellaha au voile noir) Guezireh, 1951, no.6 (not illustrated) Alexandria, 1960, no.29 (not illustrated, titled: Fille a la robe imprimee) Alexandria, 1964 (not numbered, illustrated, unpaged, titled: Nabawia a l’imprime and incorrectly dated 1939) Note: J. Moscatelli in his review of the XIXeme Salon du Caire, in Images, May 1939 notes: c’est La Fellaha au voile noir qui s’impose comme une oeuvre maitresse, comme le plus beau tableau du Salon. En plus de l’expression du visage bien mahmoudsaidienne, il y a dans la robe noire, fleurie et transparente, un morceau pictural d’une seduction profonde dont on ne peut echapper....trans..Fille à l’imprimé... the noble peasant girl (fellaha) in the black robe imposes itself on the viewer like a true masterpiece. The most beautiful artwork in the Salon; she bears the quintessential gaze of a Mahmoud Said, and in her black translucent floral robe, she is the epitome of a profound and inescapable seduction – Jean Moscatelli, 1939 Bonhams have the rare privilege of presenting one of the most iconic and moving works by the doyen of Egyptian art, Mahmoud Said, ever to come to the market. Poignant, enigmatic and graceful, Fille à l’imprimé is the archetypal synthesis of Said’s inimitable portraits of the noble Egyptian rural peasant or fellaha and is specifically identified by leading art critics of the time as a seminal masterpiece within his oeuvre. Said’s empathetic and stylized representations of Egyptian daily life, pronounced so touchingly in the present work, would later be regarded as the supreme expression of Egyptian artistic heritage in the twentieth century. Tender and ennobling in its portrayal of the dignified Egyptian fellaha (or peasant woman), Fille à l’imprimé is evidence of an artist, who belying his aristocratic heritage and classical artistic training, captured the true spirit of the age in his penetrative renderings of the Egyptians and their everyday plight The present work comes to market with a distinguished provenance; originally in the collection of Hussein Pasha Sirry, a three-time Egyptian Prime Minister under King Farouk, the painting was exhibited no less than four times during the artist’s lifetime, most importantly at the 21’st Salon du Caire in 1939 where it was described by Jean Moscatelli as a masterpiece. Never before presented at auction, Fille à l’imprimé is an extremely rare example of a major portrait coming to market. With the majority of Said’s work held by institutions or in permanent collections, the current sale presents collectors with one of the few remaining opportunities to acquire a pivotal work by the artist. Fille à l’imprimé... the noble peasant girl (fellaha) in the black robe imposes itself on the viewer like a true masterpiece. The most beautiful artwork in the Salon; she bears the quintessential gaze of a Mahmoud Said, and in her black translucent floral robe, she is the epitome of a profound and inescapable seduction – Jean Moscatelli, 1939 The composition is permeated by a sense of mystery which is most palpable in the sitter’s inscrutable gaze. Reflective, demure, and exuding a paradoxical melange of melancholy balanced with a subtle sense of seduction - the sitter can be interpreted equally as a weary, sombre figure as she can a subtle temptress, with shapely voluptuous lips, casting a coy but seductive gaze at her viewer. In its ambiguity and indistinctness of expression, its mystery perhaps echoes that of the greatest portrait ever depicted, Da Vinci’s magnum opus, the Mona Lisa. Resting on a large amphora, the fellaha proudly displays the tool of her trade, the vessel which is not only the source of her toil and hardship, but the key to her family’s sustenance, used as it is for carrying water. In the distant background, Said’s standing figure seems almost to serve the viewer with a vignette of the fellaha’s life, engaged as she is in the arduous task of bearing the vessel upon her head in her quest to nourish her family. A dark, almost surreal air envelops the backdrop; gloomy and desolate, the landscape is a visual metaphor for the fellaha’s hardship; yet, in stark contrast to this sullen setting, the figures colourful embellished robe with its vivid flowers stands out as a symbol not only of her dignity but her ultimate triumph over the adversities of her existence The movement towards a vernacular, humanized art-form marked not only an artistic shift for Said, but a shift from his own aristocratic milieu. What we see in Fille à l’imprimé is the apotheosis of Said’s artistic agenda: which was his ache for capturing the ineffable nobility of the common Egyptian. Characterized by an atmosphere of nostalgia and longing, in Said’s depiction we get a purified symbol of the beauty and dignity of Egypt and its people. Well documented, widely exhibited, and with a provenance that testifies to its brilliance, Fille à l’imprimé survives as one of the most elegant and iconic examples of Mahmoud Said’s work. A mysterious expression is seen on the face of Fille à l’imprimé, as if she is in deep thought, or in a sad mood or perhaps she is smiling timidly ... so enigmatic. It may be argued that she is as enigmatic as Da Vinci’s Mona Lisa. Perhaps the model is expressing that famous Oriental Mystery in contradiction to the Occidental mystery of the Mona Lisa – Dr Youssef Kamel MODERN AND CONTEMPORARY MIDDLE EASTERN ART
* MAHMOUD SAID (EGYPT, 1897-1964) Portrait de ma Soeur (Zeinab Said) oil on board, framed signed, dated and inscribed “M. SAID CAIRE 1919” (lower right), executed in 1919 40 x 30cm (15 3/4 x 11 13/16in).
