Farhad Moshiri

Olyvia Fine Art, London
Acquired directly from the above by the present owner

This work is in good condition. There are some faint wear to all four extreme corner tips, with three minute specs of paint losses below the centre of the right edge of the composition. The canvas is slightly slack. The colours in the catalogue illustration are fairly accurate, with the overall tonality being softer than the original work.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Farhad Moshiri's Jars series is one of the most important and instantly recognisable sequences of the artist’s career to date. His Jars evoke the relationship between tradition and modernity in present day Iran. They are influenced by the amphorae of the pre-Islamic period, namely Sassanian remains, the thirteenth century Seljuk potters in Persia, and the extraordinary archaeological riches of Iran. The creation of the Jars is a painstaking process: the fragility of the craquelure within this piece is the result of the artist patiently applying layers of paint before folding and crushing the canvas. This process sensibly achieves effects of three-dimensionality through modelling and shade to create convincing images of these voluminous vessels. Set against a plain background, the viewer is invited to consider the object in its entirety and without extraneous distraction. Moshiri’s decision to celebrate a humble utilitarian object marks his commitments to continuity and tradition. The repetition, variation and cultural relevance, combined with the strong colours and outlines which lend these imageries of Jarsmake them true icons of Iran’s artistic and literary tradition.