Sadequain

SADEQUAIN (1930-1987) Untitled signed 'Sadequain' (lower right); one further dated '4.6.67' (lower right) pencil on paper 29 x 21 in. (73.7 x 53.4 cm.); 28¾ x 21 in. (71.1 x 53.4 cm.); 27 7/8 x 20¾ in.(70.8 x 52.7 cm.); 28¾ x 21 in. (71.1 x 53.4 cm.) Group of four works on paper (4) PROPERTY FROM A PRIVATE COLLECTION, KARACHI

Sadequain (Pakistan, 1937-1987) Untitled (Girl with Mirror) , oil and chalk on board, signed, dated and inscribed UNFINSHED/Delhi/9.VIII.81/13.VIII.84 lower right, framed, 120 x 89.5cm (47 1/4 x 35 1/4in). Provenance: Private UK Collection; acquired directly from artist in mid 1980's. Sadequain began creating the present lot in New Delhi whilst planning a collaborative exhibition with M.F. Husain in the early 1980s. Although this exhibition never took place, he exhibited a group of paintings and drawings at Lalit Kala Academi, New Delhi which was inaugurated by M.F. Husain. The artwork remained incomplete during his trip to India was returned to his home in Karachi. Sadequain later completed the artwork, re-dated it, and gifted the artwork to his friend.

LOT 39 PROPERTY FROM A BELGIAN COLLECTION SADEQUAIN 1930 - 1987 UNTITLED Signed and dated 'SADEQUAIN 8.4.61' centre right Pen and ink on paper 5,000—7,000 GBP 56.5 by 77.5 cm. (22¼ by 30½ in.) Signed and dated 'SADEQUAIN 8.4.61' centre right Pen and ink on paper Alain Le Gaillard, Paris

Description S. Ahmed, ActiveSecond Half 20th C., 'The Floating Net,' Coloretching, Signed, dated, titled, and numbered in pencil along lower margin "1/25 The FloatingNet, 1966 S** Ahmed.' Framed. (ALDE334) Property Title Property from theEstate of Simon Alderwereld, 200 East 70th Street. Mr.Alderwereld was Vice President, Finance, at theInternational Bank for Reconstruction & Development, where he worked for 28 years. Measurements Sight: 10 1/2" H x 20 1/2"W, Framed: 18 1/2" H x 28" W Condition Not examined out of frame.Minor toning, and perhaps mat burn.

LOT 65 - SADEQUAIN 1930 - 1987 SURAH AL-RAHMAN signed and dated 1985 oil and ink on canvas 60,000—80,000 USD measurements 94.7 by 152cm.; 37 1/4 by 59 3/4 in. signed and dated 1985 oil and ink on canvas PROVENANCE Collection of M.A. Khan (acquired directly from theartist)Private Collection, London (acquired directly from the above by thepresent owner) LITERATURE AND REFERENCES Dr. Salman Ahmad, The Legend of Sadequain: Renaissance ofCalligraphic Art in Pakistan, La Mesa 2010, p. 10, illustrated incolour CATALOGUE NOTE inscription: Qur'an, surah al-rahman (LV), verse 19 'He has made the two seas to flow freely (so that) they meettogether,Between them is a barrier which they cannot pass.' A master of calligraphy, Sadequain fast became one ofPakistan's most celebrated artists. This outstanding example of hiswork illustrates his radical departure from establishedcalligraphic norms. Devoting the majority of his life to the art of the pen,Sadequain's unabashed departure from calligraphic tradition and thegenerosity with which he distributed his works, led to his namebeing synonymous with calligraphy in Pakistan and the Middle East.He was a legend in his own time and is single-handedly responsiblefor the renaissance of Pakistani calligraphy. Searching for a new manner of expression, Sadequain was thefirst, and ultimately the most famous Pakistani to use calligraphyfor both religious and artistic purposes. In a short period oftime, he had made a huge impact on the calligraphic world andushered in what has been described as a calligraphic revolution.Inspiring a generation of calligraphers by encouragingexperimentation and innovation, in what had arguably become astagnant art form. In this exquisite work, the calligraphy and its aestheticdominate the image, conveying the essential meaning of the scriptwithout requiring translation. Even for those who cannot comprehendthe inscription, the power and majesty of the words is evident.Sadequain focused on preserving the mystical power of the letterand the concepts behind the word, through visualrepresentation. Sadequain painted this work in 1985 as part of a series in whichhe separated the individual refrains of Surah al-Rahman which hebegan in 1969. This particular painting is by far the most moving,and evokes the calm serenity of the sea. Surah al-Rahman, TheBeneficent, is the fifty-fifth surah of the Qur'an and is oftendescribed as 'the beauty' of the Qur'an. Here the artist chooses to illustrate verses nineteen andtwenty, separating the two seas of dark blue and dusty green with aforbidding barrier in white script framed in black, the calligraphyitself forms the "barrier which they cannot pass". Inspired by themedieval Islamic script thuluth , Sadequain elongates theletters generally used in bold inscriptions on facades of religiousbuildings, or in large copies of the Qur'an visually,calligraphically and conceptually linking this work to itsspiritual inspiration. To this day Sadequain is highly respected for his skill, the wayin which he enriched dry traditional forms with a lyricism andartistry that is second to none and his influence on thegenerations of artists that followed his calling.