Artist: Reza Abbasi Title: Portrait of a Seated Girl Painted in 17th century (Safavid)

International Art Desk: The story of the Tehran Auction stretches back many years before its formal inception. Iranian art has enjoyed a distinguished reputation for decades, particularly over the last century. During the 1960s and 1970s, heightened attention to the arts in Iran paved the way for a comprehensive cultural renaissance, bringing many artists into the national spotlight.  

These creatives, despite facing myriad challenges, ultimately forged a place for themselves in both local and international arenas. By the early 2000s, Iranian artworks began attracting remarkable prices at global auctions such as Christie’s and Sotheby’s—a development that drew attention not only to their value but also to questions surrounding authenticity. While such debates are common in the art world, major auction houses strive to mitigate them, and overall, these discussions have spurred further growth and recognition of Iranian art in recent years. 

Prominent artists and experts, including Aydin Aghdashloo, have observed that Iranian art is in the midst of a transformative phase. In an interview with Shargh, Aghdashloo noted that what was once a profitable trend can sometimes become directionless.   

The recent 2.5-million-dollar sale at the Tehran Auction illustrates this duality: on one hand, it signifies the robust potential of Iranian art, yet on the other hand, in Iran’s economic context, that sum could purchase two upscale homes in Tehran—an undeniably substantial figure. Even so, the auction’s consistent organization and growing reputation arguably outweigh any accompanying controversies, marking it as a significant cultural milestone.   

While authenticity remains an issue—especially regarding works by artists no longer with us—greater transparency is both possible and essential. Seasoned specialists are undoubtedly able to verify the legitimacy of disputed pieces, emphasizing how critical clarity is for the Iranian art market. As Iranian art continues to evolve, the legacy of renowned masters and the emergence of new voices alike will shape the future. Well-established platforms like the Tehran Auction play a pivotal role in nurturing this progression, affording invaluable opportunities for both seasoned and up-and-coming artists to exhibit their works and connect with collectors and critics around the world. 

In its most recent iteration, held last Friday in Tehran former Hyatt Hotel {Now Azadi Hotel} the Tehran Auction—which has been operating for several years—reported total sales of 2.5 million dollars from 99 art pieces.  

A few works changed hands, but the most controversial was a painting by the illustrious and centuries-old Iranian master, Reza Abbasi. The piece sold at 264,000 USD sparked widespread debate. Some contend the work is a forgery, while others argue that if it is indeed authentic—dating back some four centuries—it should be considered a national treasure and thus not subject to sale. 

There is also the question of market value: if a historical piece of this caliber can legitimately be offered for sale, it could garner significant global interest. This leads observers to wonder whether the Tehran Auction deliberately sought the resulting publicity by featuring such a potentially contentious work—perhaps to increase its international profile. Alternatively, they may simply be sending signals about the demand for Iranian art, even if certain voices question the authenticity of some pieces. 

In this context, Vida Shadmehr, an artist and art expert, believes: 

In the world of international auctions, the authenticity of a work and transparency in its sales are the foundation of any reputable art market. When a respected domestic auction—like the Tehran Auction—presents a work attributed to Reza Abbasi at exorbitant prices without thoroughly verifying its authenticity, it not only undermines local market trust but also calls into question the dignity of Middle Eastern art. In global houses such as Christie’s or Sotheby’s, every historical piece is submitted to extensive expert evaluation, supported by international certifications and documented provenance. In contrast, selling a work suspected of being counterfeit or stolen points to a regulatory vacuum and a failure to meet global standards. 

For international observers, including collectors from the Emirates and the Arab world, this issue sounds a serious alarm. When regional auction houses allow dubious, unverified pieces to enter circulation, not only do foreign investors lose confidence, but the true value of regional art also falls under the shadow of forgery and opportunism. Dubai and other art hubs in the Arab world are rapidly emerging as centers of modern and historical art, yet this growth hinges on transparency and adherence to professional standards. If the regional art market wishes to compete on a global stage, it must learn from successful international models rather than adopting murky, destructive practices that ultimately erode quality and drive investment away from the region. 

Another piece that captured attention at this auction was the oil painting “Blue Demon” by Jazeh Tabatabai, measuring three meters by 1.71 meters, it is considered the artist’s largest canvas. When the auctioneer introduced the work, five prospective buyers immediately sprang into action. Their representatives, phones in hand, vied with each other to secure the winning bid. Bidding opened at 33000 USD, with each participant successively adding 1000 USD in turn. Seeing how popular the painting was, the auctioneer tried to entice still more bidders to enter with higher offers. 

During the frenzy, he urged the representatives—who were in phone negotiations with the main buyers—to forgo the 1000 USD increments and jump straight to 77,000 USD. Ultimately, bidder number 59 placed that 90,000USD offer. Created around 1956, the painting was restored in recent years. Two additional works by Tabatabai were also unveiled at this round of the Tehran Auction: a sculpture entitled “Soldier,” and an untitled painting. 

Regardless, the Tehran Auction’s 2.5-million-dollar result is notable, but it still falls short of its $7 million peak in 2016. Comparisons to auctions outside Iran may help gauge its standing on the international stage; however, given Iran’s current economic climate, observers will also weigh these sales against previous domestic auction outcomes before drawing final conclusions. Ultimately, such debates highlight both the enduring appeal and the evolving challenges of Iranian art in a global marketplace. 

Important Note: A few hours before this piece was published, the Tehran Auction announced in a statement that it had obtained the necessary permits from the relevant Iranian authorities to sell the Reza Abbasi work. Previously, an official from Iran’s cultural heritage sector had declared that the sale was unauthorized. This matter is still unfolding and will be addressed in future updates. 

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