
Christie’s announces its bi-annual Modern and Contemporary Middle Eastern Art sales this autumn, with a live auction on 31 October at Christie’s London headquarters and online from 21 October to 4 November. Building on last year’s success, Christie’s presents a second selection of 48 pieces from the Dalloul Collection in Beirut. This collection, formed by the late Dr. Ramzi Dalloul and Saeda El Husseini and now led by Dr. Basel Dalloul, celebrates the breadth and depth of Arab art through its culturally rich acquisitions.
The auction features masterpieces from pioneering Arab artists, including Marwan, Dia Al-Azzawi, and Mohamed Melehi, alongside works by renowned contemporary figures such as Ahmed Mater and Ibrahim El-Salahi. Highlights from female artists include notable pieces by Samia Halaby, Etel Adnan, Yvette Achkar, and Baya. Key works include Halaby’s “Lemon Tree,” created as a unique commission for Dr Dalloul, and Mater’s “Artificial Light,” an iconic photograph from his Desert of Pharan series.
Additional highlights from various private collectors include Aref El Rayess’s desert-inspired “The Desert,” and Mahmoud Saïd’s evocative seascape Vue de la plage à Cassata en Grèce. The auction also showcases Marwan’s powerful portrait Head, Monir Shahroudy Farmanfarmaian’s intricate mirror-mosaic, and a piece by Mohammed Al Saleem, one of Saudi Arabia’s modernist trailblazers. This sale continues Christie’s dedication to honouring the diversity and legacy of Middle Eastern art.
We asked Dr Basel Dalloul and Dr Ridha Moumni to answer a few questions about the auction and the selection of artworks this is what they had to say:
Interview with Dr Basel Dalloul
The Marhala auction marks another milestone in the Dalloul Collection’s journey. How has your vision for the collection evolved since its inception, and what themes or narratives do you seek to highlight in this second iteration, particularly in the context of Arab identity and heritage?

My vision for the Dalloul Collection is direct and straightforward. I maintain a comprehensive and unbroken timeline of Arab art, particularly from the modern era, where I aim to fill in the gaps, namely the representation of artists and art styles. Lately, I’ve focused on gathering iconic modernist pieces and building an encyclopedic array that allows for a deeper understanding of the evolution of Arab art. I don’t dictate specific themes or narratives; instead, I prioritise showcasing the diversity of perspectives each artist brings. Given the political climate, art from this region naturally carries social and political undertones, so I let the artists lead in defining their messages. My shift is gradual but intentional. Once the modernist section of my collection feels complete, the focus will turn toward contemporary works to capture ongoing narratives.
As for the artwork selection for Marhala #2, I came up with a holistic selection that includes modern and contemporary art pieces from most of the Arab countries, created in different time periods that range from the 1920s to 2020. I am proposing 49 artworks from the Dalloul Collection, distributed amongst a Live auction that will take place at Christie’s London on October 31st and an Online auction (21st Oct.-4th Nov.) The selected artworks being auctioned are those present in excess in the Dalloul collection. I make sure to represent artists with an adequate number of artworks, featuring diverse themes, including different types of abstraction, folkloric cultural heritage, and political and socio-economical narratives.
Eventually, my approach of reshuffling the Dalloul collection and complementing it with contemporary artworks reflects my respect for the complexities of Arab identity and heritage – a mosaic of influences shaped by varied regional backgrounds yet unified by shared language, cultural roots, and traditions. While unique differences exist, such as between the Gulf and Levant regions, the Dalloul collection emphasises these similarities, fostering a sense of cohesion in our shared Arab heritage.
The inclusion of artists such as Kamal Boullata, Asim Abou Shakra, and Sliman Mansour reflects a deep connection to Palestinian heritage. Could you elaborate on how these works contribute to the broader narrative of Palestinian art and how this aspect of the collection serves to address larger political and cultural dialogues?
My collection doesn’t take explicit political stances; instead, I allow the artists to express those narratives, especially concerning significant issues like Palestine. Palestine remains a central and unifying concern across the Arab world, with artists from Morocco to Iraq reflecting on it in their work. It’s not solely Palestinian artists who address this; it’s a theme that resonates deeply across the region. This is a unique aspect of Arab art – while politicians have often divided us, artists have found common ground through shared themes and narratives. The Palestinian struggle is among these unifying topics woven into my collection through diverse voices. For me, it’s a testament to how artists have, in many ways, succeeded where politicians have struggled to foster unity.
Furthermore, I have to pinpoint that Palestinian artists such as Kamal Boullata and Samia Halaby have addressed diverse themes throughout their careers. They experimented with and developed the notion of abstract art, contributing tremendously to the advancement of abstract art in the region as well as globally.
In this light, I practice what could be called ‘cultural diplomacy’ when approaching my collection. Take, for example, a recent exhibition by the Ramzi and Saeda Dalloul Art Foundation, The Little Prince of Gaza, showcased in December 2023. This wasn’t about making a political statement but about highlighting a humanitarian crisis, focusing on the innocence and resilience of children affected by conflict. We approach such exhibitions with a focus on human stories, respecting the gravity of the cultural and historical context. The collection is about letting art speak for itself, allowing each piece to contribute to broader dialogues without imposing our own stance.

Your father, Dr. Ramzi Dalloul, began this collection with key works like Amitié by Paul Guiragossian, and now you are expanding it with contemporary commissions like Samia Halaby’s Lemon Tree. How do you navigate the balance between preserving the legacy of foundational artists while embracing new contemporary perspectives?
Amitié, 1973, by Paul Guiragossian, and Lemon Tree, 2011, by Samia Halaby, both acquired by my father, reflect his foundational vision for this collection. Amitié was one of his early acquisitions when we moved back to Lebanon. The collection began with hundreds of such artworks, each carefully chosen. These pieces helped set the tone for what would become a vast and thoughtful assembly of works. Although Lemon Tree is often seen as a contemporary piece, it, too, represents my father’s commitment to showcasing artists across generations, blending past and present voices.
Navigating the balance between legacy and contemporary perspectives is a natural progression. The past and present are interconnected – you can’t have one without the other. My father began the collection with significant works that chronicle the evolution of Arab art, not just a few standout pieces. Each addition to the collection, whether modern or contemporary, contributes to a larger dialogue across generations. It’s about creating a balanced collection that respects the historical impact of past artists while embracing today’s evolving voices. This balance ensures that each piece, each artist, adds to an ongoing conversation within the collection.
Following the Dalloul Collection’s presentation at the 2024 Venice Biennale, what lessons or insights did you gain about the reception of Arab art on the global stage? How did this experience influence your curatorial decisions for the Marhala auction?
My experience at the 2024 Venice Biennale reaffirmed a strong, enthusiastic global interest in art from the Arab world. Audiences were captivated by the depth, vibrancy, and technical mastery of the works. There’s an undeniable intrigue around Arab art – its distinct colour palettes, narratives, and the skill of the artists themselves resonate with viewers from diverse backgrounds.
In the 2024 Venice Biennale section Nucleo Storico, the curator Adriano Pedrosa gathered modern artworks from the global south (Latin America, Africa, the Middle East, and Asia). Artworks from the Arab world were showcased next to others created by different nationalities from the Global South. This curatorial approach underscores how artists from this part of the world share similar concerns and address relatively common themes.
However, this didn’t directly influence my curatorial approach to the Marhala auction. The auction has its own focus, built around showcasing essential works reflecting the diversity and continuity of Arab artistic expression. While the Biennale highlighted the global appeal of Arab art, my focus for Marhala remains rooted in presenting significant, authentic voices from the region, staying true to the original vision of the Dalloul Collection.
Selling significant pieces from your collection, like the 1973 Marwan portrait, is a powerful decision. Could you share your reflections on how you approach the process of letting go of such works, and what motivates these sales in terms of both the collection’s evolution and its financial sustainability?
Letting go of significant pieces, like the 1973 Marwan portrait, is part of a larger strategy to maintain a balanced and evolving collection. The Dalloul collection includes many important works, and in cases where I have an extensive representation of a particular artist – such as Marwan – it’s natural to refine my holdings. By releasing select works, I’m able to right-size the collection, ensuring that it remains representative without unnecessary redundancy. I don’t need a hundred works by a single artist to capture their impact; a curated selection serves this purpose well.
My motivation for these sales lies in creating a sustainable model and enriching the collection’s diversity. Each sale allows me to reinvest in new acquisitions that add breadth and depth to my holdings, making the collection more holistic. This approach allows me to share these pieces with a broader audience while reinvigorating the collection with fresh perspectives. It’s a process that keeps the collection dynamic and continuously reassessed to represent the evolving landscape of Arab art.

Interview with Dr Ridha Moumni Chairman, Christies: Middle East and Africa.
What distinguishes this sale from other auctions of modern and contemporary Middle Eastern art, and how do you see it shaping the future of the region’s art market?

The Dalloul Collection boasts a large collection of artworks of modern and contemporary art pieces by Arab artists, constituting one of the most important collections not only in the region but globally as well. Beyond the impressive range of Arab art collected by Dr Basel Dalloul’s parents, the collection also serves as an invaluable and comprehensive reference for curators and art historians. This is only the second time that any works from the Dalloul Collection have come to market (following Marhala Part 1 in November 2023), and the works consigned this season continue to raise the profile of Arab art and artists and set a very high standard for works consigned to auctions of Modern and Contemporary Middle Eastern art. The quality and rarity of the works in Marhala Part 1 engaged bidders and buyers at several key Middle Eastern institutions and Marhala Part 2 continues to raise the visibility (also in The Modern and Contemporary Middle Eastern Art Online sale 21 October – 4 November) as well as the live sale on 31 October.
Given the wide range of artists in the Marhala auction—from modern masters like Paul Guiragossian to pioneering female artists like Samia Halaby—how does Christie’s decide on the selection and curation strategy for such a diverse collection? What factors come into play when curating a sale that spans generations and geographies?

Our curatorial strategy ensures a comprehensive and balanced representation across modern, contemporary, and emerging categories, with a strong focus on female artists in each of these areas. We are committed to highlighting the diversity of the Arab world, spanning North Africa, the Levant, the Gulf, and Iraq. This approach guarantees inclusivity, both generationally and geographically. Our selection this year features artists from 12 different countries across the region.
We are particularly proud to showcase a significant number of female artists, which is crucial given the broader context of the Middle Eastern art scene. By positioning emerging talent alongside established figures, we offer a dynamic and nuanced view of the region’s artistic landscape. This year, we have also sought to reflect on key developments in the contemporary art scene, including featuring artists who made their global debut at the Venice Biennale. Among them are three stunning works by Samia Halaby, which we’re thrilled to offer on the secondary market.
Last year’s auction saw works from the Dalloul Collection entering prestigious collections across the Middle East, Europe, and America. How do you anticipate the Marhala auction will be received this year in terms of global versus regional interest, and do you foresee any shifts in the type of collectors drawn to these works?
Economic growth and an increasing investment in the art and culture sector are visible in key regions within the Gulf. There has been a shift from our established Middle Eastern clients to a greater appetite for modern and contemporary art from the region by institutions and clients internationally. Despite the broader art market dynamics, this rise in global engagement with the category is also evidenced by a stronger presence of Arab artists represented at International Biennials and art fairs. This trend was reflected in last year’s auction, where there were bidders from 14 countries further underscoring the growing global interest, and we anticipate continued international engagement this year. The works consigned by Dr Basel Dalloul comprising ‘Marhala Part 2 Highlights from the Dalloul Collection’ will provide opportunities for existing and new collectors to engage in the sale. It also provides a platform to raise the visibility of Arab art internationally, a shared goal of both Christie’s and Dr Basel Dalloul.
Last year’s auction set several record prices. How do you foresee these records influencing the pricing and market demand for Arab art, particularly in terms of younger and emerging Middle Eastern artists, and what role do you see Christie’s playing in promoting this next wave of talent?
Marhala Part 1 in 2023:
- 4 world records were achieved – two artist records and two for works on paper by the artist
- 25% of buyers were millennials with bidders from 14 countries
Marhala Part 1 in November 2023 realised four records: Samia Halaby’s Return sold for £233,100, Kamal Boullata’s Nocturne II sold for £47,880, Marwan’s Kopf links gedreht, a work on paper, sold for £56,700 and finally Faeq Hassan’s The Fishermen sold for £47,880. These strong results reaffirm the demand and appreciation for established names while reinforcing the visibility of living artists.
As an example, following the sale last year Samia Halaby held her first retrospective in the US at the Michigan State University Art Museum while Faeq Hassan’s work was exhibited at the 2024 Venice Biennale for the first time, further evidence of the continued focus on Arab artists internationally.
How does this auction reinforce Christie’s long-term commitment to promoting Arab art, and in what ways do you see the platform influencing the future trajectory of Middle Eastern art on a global scale?
Christie’s has been dedicated to raising the profile of Arab art and artists for nearly two decades having first held its inaugural Modern and Contemporary Middle Eastern auction in 2006 in Dubai. Since then, Christie’s has consistently showcased exceptional works by Arab artists, growing awareness of the category both regionally and internationally via auctions, exhibitions and programming both in Dubai and in London. Christie’s has actively focused on increasing the global visibility of Arab art and artists supporting contemporary talent and promoting their work on a global stage, an aim which Christie’s and Dr Basel Dalloul both share.

Location: Christie’s, London.
Dates: Live: 31 October & Online: 21 October – 4 November.