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Abstract Figure with Red Mark

Estimated price$301 – $559

Graphic, Silver Nitrate

35 × 25 cm | 13.8 × 9.8 in

Certificate of Authenticity

A Certificate of Authenticity (COA) is a signed document verifying that this artwork is the genuine work of the named artist. For pieces from the Hindiyeh Collection, the COA is signed by the collection. For gallery- or artist-direct pieces, it is issued by the gallery or by the artist's authorized estate.

The COA includes the artist's name, the title, year, medium, and dimensions of the work, and is delivered with the artwork at the time of dispatch.

Rarity classifications

Unique
A one-of-a-kind work. No other version of this piece exists.

Limited edition
The artist or their estate produced a known, finite number of copies. The edition size is shown in the work's details.

Open edition
The edition run is ongoing. New works may still be produced in the same series, which may be numbered or made to order.

Unknown edition
The edition has ended, but the number originally produced is no longer documented.


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Shipping & taxes

Ships from Amman, Jordan. Hand-packed in a custom crate or rigid art-tube depending on medium and size.

Delivery (after handling): 5–10 business days within MENA, 10–18 to Europe and North America, 14–25 elsewhere. Larger or framed works ship via fine-art freight; timing confirmed by email after purchase.

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Works leaving Jordan require an export clearance certificate, arranged on your behalf.

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About the work

A densely layered graphic print reveals an abstracted figure amid a field of olive green and dark brown gestural marks, with a bold red streak cutting through the composition. Scratched lines, splatters, and fragmented forms create a raw, energetic surface that draws the eye across the picture plane.

Murad Hussain (Iraq).

Graphic, Silver Nitrate, 25 × 35 cm.

Part of the permanent collection of the Hindiyeh Museum of Arts, Jordan. One of a kind.

Medium
Size
35 × 25 cm | 13.8 × 9.8 in
Rarity
Limited Edition
Certificate of authenticity
Included
Genre
Colours
Green, Brown, Red
Location
Amman, Jordan

About the artist

Murad Hussain — Graphic, Print Making , 24 × 36 cm (representative image)
Murad Hussain

Iraq

Murad al-Daghistani (1917–1984) was a prominent Iraqi photographer renowned for his black-and-white images that captured fleeting moments of human endeavor. His ability to freeze time in his photographs earned him the moniker "sniper photographer." Al-Daghistani's work primarily focused on realism, portraying everyday life and the human condition with profound depth.

Throughout his career, al-Daghistani participated in over eighty international exhibitions across Europe and the Americas. Notable among these were the "Man and Sea Exhibition" in Yugoslavia in 1965 and "Presenting a Hundred International Pictures" in Germany. His photographs were featured in numerous international magazines, including "Photographic Photography," as well as various English, Iraqi, and Arabic publications. Some of his most acclaimed works include "The Old Man," "Sousou the Dancer and the Snake" (Baghdad, 1930), "The Smoker" (1930s), "Fishing" (1930s), "River Crossing" (1930s), "Boats," "Clay Work," "Waiting," and "Casting the Net" (1930s).

Al-Daghistani's legacy continues to influence contemporary photography. His works are preserved in the archives of the Arab Image Foundation, ensuring that future generations can appreciate his contributions to the art of photography. In recognition of his impact, a book titled "Murad Al-Dagestani: The Dialectic of Man and Nature," authored by Professor Najman Yassin, was published in Baghdad in 1985, offering an in-depth exploration of his artistic journey.

View all works by Murad Hussain

Printmaking

Images made by transferring ink from a prepared surface — etching, lithography, screenprint, woodcut — usually in limited editions. Iraqi artists such as Rafa Nasiri helped make printmaking a serious modern art form across the Arab world.

Abstract Expressionism

A postwar movement built on spontaneous, gestural abstraction and broad fields of color, conveying feeling without recognizable subjects. Its freedom shaped many Arab modernists exploring abstraction in their own visual language.