Sotheby's

The Orientalist Sale London | 23 Apr 2013, 02:30 PM | L13100

LOT 1

GEORGES WASHINGTON
FRENCH 1827 - 1910 LA RENCONTRE DES CAVALIERS signed G Washington lower left oil on canvas 65 by 81cm., 25 by 32in. ESTIMATE 20,000-30,000 GBP

The Orientalist Sale London | 23 Apr 2013, 02:30 PM | L13100

LOT 2 PROPERTY FROM A EUROPEAN PRIVATE COLLECTION

HERMANN CORRODI
ITALIAN 1844 - 1905 THE FOUNTAIN OF THE SWEET WATERS OF ASIA, ON THE BOSPHORUS signed and inscribed H. Corrodi. Roma lower left oil on canvas 86.5 by 165cm., 34 by 65in. ESTIMATE 200,000-300,000 GBP

PROVENANCE
Acquired by the present owner in 2001

CATALOGUE NOTE
The present work depicts the mouth of the Gksu stream, formerly known as Guiuk-Suey, on the Asian shores of the Bosphorus some seven miles north of the Golden Horn. In the distance, silhouetted against the horizon, are the domes and minarets of Constantinople, while to the left is the freshwater stream of Gksu itself and, behind the viewer, lies the Anadolu Hisari (Castle of Asia). The verdant meadow between the Gksu and the Kksu streams provided a popular and fashionable resort for the people of Constantinople to relax and socialise, shaded by the trees and refreshed by the fresh water from the fountains. The presence of the Kksu Palace nearby, a summer residence of the Ottoman sultans, also explains the glamour of the area. The Sweet Waters of Asia, as the pleasure ground came to be known, gave Western visitors an excellent opportunity to observe Ottoman life, and depictions of the area frequently appear in nineteenth century literature, art, and photography (see fig. 1). With wealthy ladies in their yashmak veils in the centre right, stall traders displaying their

wares, and ferrymen and their passengers on the Gksu, Corrodi presents a particularly harmonious and peaceful vision of Ottoman life away from the turmoil of the capital. Fig. 1 Abdullah frres, Les Eaux douces d'Asie, circa 1880, albumen print

The Orientalist Sale London | 23 Apr 2013, 02:30 PM | L13100

LOT 3

GEORGES BRETEGNIER
FRENCH 1860 - 1892 UNE AUDIENCE DU PACHA A TANGER signed and dated G Bretegnier 1887 lower left oil on canvas 124 by 174cm., 48 by 68in. ESTIMATE 60,000-80,000 GBP

PROVENANCE
Arthur Tooth & Sons, London UK Private Collection (acquired from the above)

EXHIBITED
Paris, Salon, 1887, no. 344 (titled Une audience du Pacha; - Maroc) Paris, Exposition Universelle, 1889, no. 182 (titled Une audience du Pacha Tanger)

CATALOGUE NOTE
Depicting a pasha seated beneath the cool splendour of one of the grand portals considered to be that of the Dar el Makhzen Palace, Tangiers, the present work captures the rituals, hierarchy and colourful life that Bretegnier encountered on his visits to North Africa to optimum effect. Centrally positioned and raised slightly higher than his subjects, his eminence engages in dialogue with a group of

men who gather round before him to seek his counsel. Outside the richly decorated archway, men line the approach, sitting in groups or leaning against the formidable palace ramparts, some no doubt patiently waiting their turn to discuss matters with their ruler, others there to pass the time of day, look on with curiosity or chat with their friends. The magnificent height of the central arch and the massive scale of the tall palace walls to either side, all focus on the great authority of the central character in a composition that brilliantly evokes the intense heat of the day, the simple splendour of the architectural setting its austerity broken only by the lush leaves of an overhanging tree - and the colourful cast of characters from near and far attracted to the occasion who populate the canvas, each man a figure study in his own right. A pupil of Jean-Lon Grme, Bretegnier first visited North Africa at the end of 1884 where he remained until the following summer, studying the culture and the architecture, while visiting Morocco, Tunisia and Spain. Hugely influenced by what he found, he took to dressing in the local garb in order to mix more easily with the locals, sporting a djellaba and travelling with a donkey to transport his equipment. Bretegnier returned to North Africa in 1887, exploring Tunisia, and renting a house by the sea in Tangiers. The present work was the only painting he showed that year at the Salon, selecting the painting again for inclusion in the Exposition Universelle of two years later.

The Orientalist Sale London | 23 Apr 2013, 02:30 PM | L13100

LOT 4 PROPERTY FROM A PRIVATE COLLECTION

ALBERTO PASINI
ITALIAN 1826 - 1899 MARKET DAY signed and dated A. Pasini 1884 lower right oil on canvas 48 by 72.5cm., 19 by 28in. ESTIMATE 400,000-600,000 GBP PROVENANCE
Commendatore Sebastiano Sandri, Turin Edmundo Sacerdoti, Galleria dArte, Milan Schiapparelli Arte, Biella Sale: Christies, London, 19 June 2003, lot 23 Purchased at the above sale by the present owner

EXHIBITED
Turin, Galleria dArte della Gazzetta del Popolo, Mostra Commemorativa di A. Pasini e G.B. Quadrone, 1949, no. 55 Turin, Galleria Fogliatio, Pittori dell800, 1954, no. 97, illustrated in the catalogue Rome, Associazione Via Frattina, Mostra dei Maestri dellOttocento Pittorico Italiano, 1967

LITERATURE
Marziano Bernardi, Alberto Pasini, (exh. cat.), Galleria Fogliato, Turin, 1949, pl. 55, illustrated

Enrico Piceni & Mario Monteverdi, Gli animali nella pintura italiana dell800, Milan, 1966, pl. X, illustrated (titled Cavalli arabi al mercato) Enrico Piceni, ed., Catalogo Bolaffi della pittura italiana dell800, Turin, 1969, vol. II, p. 353, illustrated (titled Mercato, with incorrect dimensions 51 by 81cm.) Agostino Mario Comanducci, Dizionario illustrato dei Pittori, Disegnatori e Incisori Italiani Moderni e Contemporanei, Milan, 1973, vol. IV, p. 2361, illustrated (as Bazar persiano) Vittoria Botteri Cardoso, Alberto Pasini, Geneva, 1991, p. 350, no. 752, catalogued (titled Bazar persiano, or Mercato turco, or Cavalli arabi al mercato) & illustrated

CATALOGUE NOTE
Market Day is a rich example of Pasinis carefully observed, naturalistic market scenes, painted when the artist was at the height of his career. Pasini expertly captures the bustle and diversity of the setting, letting the eye wander across the rhythmically arranged groupings. The work exemplifies the artists reputation as both a fine draughtsman and meticulous colourist, the figures captured precisely, almost photographically, and with the brilliant blues, golds, and pinks of the ladies dresses in the foreground contrasting against the darker colours of the figures in the background. Mercato turco or A Turkish Market is one of the titles by which the present work has been known. Pasini first travelled to Constantinople on his landmark journey to the East accompanying Prosper Bourr in 1855, which began his career as an Orientalist painter. He returned to the city again in 1867, in that year receiving a commission from Sultan Abdul Mecit for two paintings now in the Dolmabahe Palace, and stayed until 1869. In the present work Pasini deploys his observations of life in the East: ladies in their veils, traders both negotiating deals and awaiting customers, riders with their mounts, and men playing a board game all have been brought together from across the Ottoman empire by trade.

The Orientalist Sale London | 23 Apr 2013, 02:30 PM | L13100

LOT 5 PROPERTY FROM A PRIVATE COLLECTION

IPPOLITO CAFFI
ITALIAN 1809 - 1866 SUNRISE OVER THE GOLDEN HORN signed and dated Ipto Caffi a Roma / 1844 lower right oil on canvas 70 by 99.5cm., 27 by 39in. ESTIMATE 100,000-150,000 GBP PROVENANCE
UK Private Collection (acquired in the 1940s, thence by descent; sale: Sotheby's, London, 16 November 2005, lot 214) Purchased at the above sale by the present owner

CATALOGUE NOTE
This panoramic view is from the Eyp Heights south along the Golden Horn, with the Tower of Galata and the domes and minarets of the Haghia Sophia and Blue Mosque visible in the distance. In the foreground, by the water's edge, stands the Eyp Sultan Mosque. Built in 1458, it was the first mosque constructed by the Ottoman Turks following their conquest of Constantinople in 1453. Often described as the world's greatest natural harbour, the Golden Horn, on the European side of the city, flows into the Bosphorus at Seraglio Point. According to legend, the Byzantines threw so many valuables into it during the Ottoman conquest that the waters glistened with gold, and Caffi's view is aptly - bathed in a golden morning light.

Caffi attended the Accademia di Belle Arti in Venice, studying under Teodoro Matteini, Francesco Bagnara, and Tranquillo Orsi before establishing his reputation as one of Italy's leading ottocento vedutisti, the heir to Canaletto. His views are distinguished by his virtuoso command of spatial construction (in 1835 he published a textbook on perspective, Lezioni di prospettiva pratica, with Antonio Bianchini) and by his striking observation of the fleeting effects of light and atmosphere as in the present work. While painting mainly in Rome and Venice, in 1843-4 Caffi travelled to Constantinople, recording his experiences in numerous sketches which he worked up into rare views like the present one.

The Orientalist Sale London | 23 Apr 2013, 02:30 PM | L13100

LOT 6 PROPERTY FROM A FRENCH PRIVATE COLLECTION

GERMAIN FABIUS BREST

FRENCH 1823 - 1900 FISHERMEN ON THE BOSPHORUS NEAR SCUTARI, WITH THE SELIMIYE BARRACKS IN THE BACKGROUND signed Fabius Brest lower left oil on canvas 52 by 75.5cm., 20 by 29in. ESTIMATE 60,000-80,000 GBP PROVENANCE
Acquired by the family of the present owner circa 1920-30

CATALOGUE NOTE
The Selimiye Barracks take their name from Sultan Selim III, under whose rule they were constructed. As part of their renovation during the 1840s, the corner towers visible in the present view were added, and during the Crimean War of 1854-56, the barracks were used by the British Army as a military hospital. Encouraged by his teacher in Marseille, Emile Loubon, Fabius Brest spent four years, from 1855 until 1859, living in Asia Minor (modern-day Turkey), recording in a series of paintings views of Constantinople, the surrounding countryside, and the Black Sea coast. The time he spent there continued to inspire his work for the rest of his career, and provided the subjects for many of his Salon submissions throughout the 1860s and 1870s.

The Orientalist Sale London | 23 Apr 2013, 02:30 PM | L13100

LOT 7 PROPERTY OF A LADY

DAVID ROBERTS R.A.

1796-1864 SIDON LOOKING TOWARDS THE RANGE OF LEBANON signed and dated David Roberts. R. A. 1858 lower left; also signed, titled, dated and inscribed on the stretcher: Sidon looking towards the Range of Lebanon from sketches made on the spot, April 28th 1839/ Painted for Elhanan Bicknell Esq. oil on canvas 58 by 114.5cm., 23 by 45in. ESTIMATE 100,000-150,000 GBP PROVENANCE
Elhanan Bicknell (commissioned from the artist. Bicknell (1788-1861) was a wealthy businessman and one of the most important British art patrons of his day, notably to JMW Turner, and a friend of Roberts. His son, Henry Sanford Bicknell, married Roberts' only daughter, Christine) (his estate sale: Christie's, London, 25 April 1863, lot 72) Rhodes (purchased at the above sale) Sir Charles Booth (sale: Christie's, 13 March 1897, lot 62) Prior (purchased at the above sale) Sale: Sothebys, London, 20 November 1963, lot 82 Purchased at the above sale by the father of the present owner

EXHIBITED
British Institution, 1858, no. 76 (titled Tsaida or Sidon, Capital of Ancient Phoenicia, looking towards Mt Lebanon, and exhibited with its pendant, The Ruins of Tyre (see fig. 1))

LITERATURE
Robertss Record Book, no. 195

The Athenaeum, 1858, p. 214 The Literary Gazette, 13 Feb 1858, pp. 162-3 The Art Journal, 1858, p. 78 The Times, 8 Feb 1858, p. 9 Illustrated London News, 1858, p. 171 The Athenaeum, 1863, vol. I, p. 592 The Art Journal, 1863, p.121 James Ballantine, The Life of David Roberts RA, Edinburgh, 1866, p. 188, no. 214 Helen Guiterman and Briony Llewellyn, David Roberts, (exh. cat.), Barbican Art Gallery, London, 1986, cited with no. 174 William Roberts, Memorials of Christies: a record of art sales from 1766 to 1896, London, 1897, vol. I, p. 203 Fine Art Society, London, Spring 97, (exh. cat.), 1997, cited with no.10

CATALOGUE NOTE
The present view of Sidon in Southern Lebanon, worked up from sketches made up on the spot in 1839, is one of a pair of Lebanon views Roberts painted in 1858, its pendant The Ruins of Tyre hanging in the Sheffield City Art Galleries (fig. 1). Writing in his diary, Roberts explained: 'I was determined to sketch and got one or two views of an ancient fort connected to the land by a bridge of several arches, which has at one time been guarded by a strong tower (MS Eastern Journal, National Library of Scotland, Edinburgh). Roberts' panorama alludes to Sidon's rich history and many conquerors. The figures in the foreground walk on its Roman ruins, while the middle-ground is dominated by the sea castle built by the Crusaders in 1228. Another pair of canvases with similar dimensions, one of Tiberius and the other of Sidon, had been painted by Roberts four years earlier for Alfred Brooks. We are grateful to Briony Llewellyn for her assistance in cataloguing this work. Fig. 1 David Roberts, The Ruins of Tyre, 1858, Museums Sheffield

The Orientalist Sale London | 23 Apr 2013, 02:30 PM | L13100

LOT 8

RUDOLF WEISSE
BOHEMIAN B. 1859 A MOMENT OF PRAYER signed R Weisse lower right oil on panel 60 by 48.5cm., 23 by 19in. ESTIMATE 180,000-250,000 GBP PROVENANCE
Private Collection, USA

CATALOGUE NOTE
In A Moment of Prayer Weisse powerfully pays tribute to the customs and religion of the East. Four men are absorbed in prayerful contemplation, facing towards the Mosque's mihrab indicating the direction of the Kaaba in Mecca. The two nearest men are at different stages in the positions of the raka'ah, or prayer sequence; the man dressed in yellow beginning his sequence while the man in green is performing the sujud, prostrating himself. Below the arch an older

man sits reading the Koran. The elaborate capitals and other architectural features in the present work recall the architecture of Islamic Spain and North Africa, and notably the Lion Court of the Alhambra. Weisse has meticulously rendered the Arabic text on the far wall, which reads la ghalib illa Allah- 'there is no conqueror but God'. Indeed this was the motto of the Nasrid Dynasty (1232-1492), the rulers of Spain responsible for the construction of the Alhambra. Such detailed observation gives a strong stylistic unity to the setting, while Weisse nevertheless arranges these and other elements to suit his artistic vision. Weisse was born in the town of Usti (also known as Aussig) on the banks of the river Elbe. He studied at the Viennese Akademie der Bildenden Knste, but settled in Paris, where he became a regular exhibitor at the Salon from 1889 (when he showed at the Exposition Universelle) until 1927. Like fellow Austrian School painters Ludwig Deutsch (lot 10), Rudolf Ernst (lots 14 & 19), and Arthur von Ferraris (lot 9), Weisse specialised in Orientalist subjects from early in his career, responding to a ready market for such new and exciting subjects. Weisse travelled to Egypt and the Middle East to observe the mores and customs at first hand, and to make detailed sketches of what he saw. He also brought home with him a whole collection of props, ranging from ceramics and tiles, pipes and weapons, inlaid furniture and rugs, to beautiful dishdashas and silk robes, which he painted meticulously in his studio to evoke the rich and colourful mercantile street life of the East.

The Orientalist Sale London | 23 Apr 2013, 02:30 PM | L13100

LOT 9

ARTHUR VON FERRARIS

HUNGARIAN 1856-1936 THE LEARNED MAN OF CAIRO signed and dated Arthur Ferraris le Caire 1888 lower left oil on panel 46 by 35.5cm., 18 by 14in. ESTIMATE 80,000-120,000 GBP PROVENANCE
Arthur Tooth & Sons, London Mrs James Todd, Chipperfield The Cooling Galleries, London Private Collection, USA (acquired circa 1940, thence by descent) (sale: Sotheby's, London, 30 May 2008, lot 86) Purchased at the above sale by the present owner

CATALOGUE NOTE
The present work epitomises Ferraris' academic compositions of the Near East. The painstaking attention devoted to the depiction of exotic features, such as the Iznik tiles in the background and the vibrantly coloured robe of the seated man, clearly show the influence of earlier Salon Orientalists, above all Ferraris' teacher, Jean-Lon Grme. It may have been Grme who encouraged Ferraris to travel to Cairo - the setting for the present work - and to adopt a similar, polished realist style. Ferraris travelled to Cairo in the winter of 1885 in the company of his friend and fellow Orientalist painter par excellence Ludwig Deutsch (lot 10). It is likely that Deutsch's many depictions of daily life in Egypt had some influence on Ferraris' choice of subject matter. Indeed, images of Cairo and its inhabitants were to become Ferraris' most celebrated and sought after compositions. The Learned Man of Cairo exemplifies Ferraris' masterful rendering of exacting photographic detail, where one can discern each crease in the fabric and perceive every individual crack to the wall tiles. The vivid colours and textures are electrifying and the powerful diffused light engenders an overall glow to the painting. The attention Ferraris paid to detail and the virtuosity of his brushwork is particularly evident in the depiction of the seated man and the minutely rendered architectural detail of the interior. Nonetheless, the setting of the present work is humble: the tiled wall in the background is crumbling and the only visible furnishings are the wooden chair and rug the man is seated on. This absence of accoutrements serves to highlight the quiet, spiritual and meditative atmosphere of the present work.

The Orientalist Sale London | 23 Apr 2013, 02:30 PM | L13100

LOT 10 PROPERTY FROM A BRITISH PRIVATE COLLECTION

LUDWIG DEUTSCH
AUSTRIAN 1855-1935 THE OFFERING signed L. Deutsch PARIS 1897 lower right oil on panel 61.5 by 80cm., 24 by 31in. ESTIMATE 500,000-700,000 GBP PROVENANCE
Doig, Wilson & Wheatley, Edinburgh Acquired from the above by the family of the present owners circa 1900, thence by descent

CATALOGUE NOTE
The Offering is a tour de force of Orientalist art, a masterful observation of the customs, costumes and architecture of the East, rendered with faithful verisimilitude and in painstaking detail. The importance Deutsch attached to this composition is reflected by the fact that he painted a second, undated, version, with minor compositional differences and measuring 69.8 by 95.5cm, now in a private collection (see Lynne Thornton, Les Orientalistes, peintres voyageurs, Paris, 2001, p. 241). A cortge of four figures approaches an entrance guarded by a Nubian sentinel to pay their tributes. Leading the

retinue is an elder bearing a rolled scroll. He leads a nobleman and a soldier. The soldier wearing the helmet carries a Persian Qajar ivory-hilted jambiya in his belt and an Ottoman shamshir sword with a curved blade in his hand. They are accompanied by a servant carrying the gifts to be presented, including a Qajar gold-overlaid helmet and an Ottoman yataghan as worn by the Janissary Guard. The well-armed sentinel standing guard, his yataghan bared, carries not only a kindjaldagger but an Ottoman flintlock pistol and a powder flask in his belt. The entrance itself, presumably to a palace, incorporates many architectural elements from the portal of the Mosque of Sultan Hassan in Cairo (fig. 1), a site which inspired other Orientalist painters, notably David Roberts (lot 7) and John Frederick Lewis (fig. 2). Deutsch was the leading Orientalist painter of the Austrian school, which also included Rudolf Ernst, Arthur von Ferraris, and Rudolf Weisse. He trained at the Vienna Academy in 1872 but settled in Paris in 1878, where he studied with the history painter Jean-Paul Laurens and honed his highly academic style. Deutsch began travelling regularly to Egypt in 1883, and Orientalist subjects dominated his oeuvre from this time on, earning him unprecedented praise. In 1900, three years after painting The Offering, Deutsch received a gold medal at the Exposition Universelle in Paris, and later the Chevalier de la Lgion dhonneur. The polished surfaces and hallucinatory realism of his paintings were founded on a vast collection of photographs he amassed in Cairo. Deutsch also acquired hundreds of props while abroad, which dressed his Paris studio and featured in many of his paintings. Fig. 1 Photograph of part of the portal of the Mosque of Sultan Hassan, Cairo, Courtesy of the Edward Gibbs Photographic Archive

Fig. 2 John Frederick Lewis, Exterior of the Mosque of Sultan Hassan, Cairo, circa 1841/51, National Gallery of Scotland, Edinburgh

The Orientalist Sale London | 23 Apr 2013, 02:30 PM | L13100

LOT 11 PROPERTY FROM A FRENCH PRIVATE COLLECTION

STANISLAUS VON CHLEBOWSKI

POLISH 1835 - 1884 MENDICANT AT THE MOSQUE DOOR signed St Chlebowski lower left oil on canvas 43 by 27cm., 17 by 10in. ESTIMATE 20,000-30,000 GBP PROVENANCE
Sale: Htel des ventes de Grenoble (Matre Pierre Blache), 16 December 1968 Purchased at the above sale by the father of the present owner

The Orientalist Sale London | 23 Apr 2013, 02:30 PM | L13100

LOT 12

JEAN-LON GRME
FRENCH 1824 - 1904 CARAVANE DANS LE DESERT signed J.L.GEROME lower left oil on canvas 49.5 by 81.5cm., 19 by 32in. ESTIMATE 200,000-300,000 GBP PROVENANCE
Goupil & Cie., Paris Private Collection, France

LITERATURE
Gerald Ackerman, The Life and Work of Jean-Lon Grme, London, 1986, p. 302, no. 551, catalogued (as lost and described in error as vertical) Gerald Ackerman, La Vie et l'oeuvre de Jean-Lon Grme, Courbevoie-Paris, 2000, p. 376, no. 551, catalogued (as lost); p. 377, illustrated

CATALOGUE NOTE
This evocative work captures a camel caravan filing through a desert landscape, very possibly the Sinai, at sunset. Although they rarely travelled faster than the walking speed of a man, camels' ability to handle harsh conditions made them ideal for communication and trade in the desert areas of northern Africa and the Arabian Peninsula for centuries, though they could only travel on routes with sufficient sources of food and water.

With great mastery, Grme evokes the utter stillness of the evening desert air, as the caravan makes its final approach towards an oasis where it will halt for the night and the camels will be watered. Grme had seen such caravans during his first trip to Egypt with the sculptor and photographer Auguste Bartholdi in 1855-56, and on another trip in 1868, this time accompanied by his brother-in-law the photographer Albert Goupil and fellow painters Paul Lenoir, Lon Bonnat, and Willem de Famars Testas. He was therefore familiar with this harsh, wild world, and the way in which its inhabitants braved it with impassive dignity. The conception of Caravane dans le dsert was based on sketches Grme had made of the desert, but more importantly, on the photographs first taken by Bartholdi and later by Goupil (fig. 1) on the expeditions he made with them. Both the panoramic backdrop and the precise style in which it is executed make the painting a fascinating example of the link between the aesthetics of photography and Gromes own painterly vision, based on precision draftsmanship and clear composition. This rediscovered work was until recently known only through a photograph in the stock books of the dealer Goupil. Fig. 1 Albert Goupil, Our Camp in the Sinai, 1868, albumen print

The Orientalist Sale London | 23 Apr 2013, 02:30 PM | L13100

LOT 13

KONSTANTIN MAKOVSKY
RUSSIAN 1839 - 1915 IN THE CLASSROOM signed in Cyrillic lower right oil on canvas 77.5 by 112cm., 30 by 44in. ESTIMATE 80,000-120,000 GBP PROVENANCE
Sale: Galerie Fischer, Lucerne, 19-23 November 1957, lot 2280 Private Collection, Switzerland (sale: Sotheby's, London, 1 December 2005, lot 25) Sale: Sotheby's, London, 30 November 2010, lot 148 Purchased at the above sale by the present owner

CATALOGUE NOTE
This highly original and animated scene of a schoolroom is testament to Makovsky's fascination with life in Cairo when he visited the city in 1873. Rather than focus on obvious subjects like views of the city or the interiors of the grand Mosques and souks, he was drawn to more intimate, 'behind-the-scenes' vignettes of daily life in the Egyptian capital. Here, he captures two school lessons in progress in an authentic, unidealised interior: the children's books lie open on their book stands; everyone has removed their shoes, which stand in rows or have been shoved pell mell into the cupboards let into the walls. Some of the children sit on rolled up straw carpets, and the whole scene is illuminated by daylight coming through the mashrabiye screens covering the high windows. In the background the classroom entrance opens onto a narrow Cairo street. Egypt's culture and traditions went on to inspire his most important

Orientalist work, the monumental Transportation of the Holy Carpet from Mecca to Cairo (fig.1). Makovsky's choice and close observation of such an everyday subject is testament to his deeply held artistic convictions. He had started out as a history and portrait painter, but disenchanted with the rigid traditionalism of the Imperial Academy of Arts in St Peterburg while studying there, he and twelve other students, including Ilya Repin, resigned from the Academy in 1863 and went on to found The Wanderers, an artists' society calling for the regeneration of art. Adopting a Realist manner and touring their paintings across Russia, these artists took as their subjects scenes from the lives of peasants and the common people, intended to arouse pity or inspire the oppressed to better themselves. The reversal of official policy that their campaign engendered led to Makovsky being made an academician in 1867, a professor in 1869, and a full member of the Academy in 1898. Fig. 1 Transportation of the Holy Carpet from Mecca to Cairo, 1876, State Russian Museum, St. Petersburg

The Orientalist Sale London | 23 Apr 2013, 02:30 PM | L13100

LOT 14

RUDOLF ERNST
AUSTRIAN 1854-1932 A CAPTIVE TIGER signed R. Ernst lower left oil on panel 80 by 100cm., 31 by 39in. ESTIMATE 80,000-120,000 GBP PROVENANCE
Private Collection, New Jersey (sale: Christie's, New York, 30 October 2002, lot 89) Purchased at the above sale by the present owner

CATALOGUE NOTE
Unlike many Orientalist painters, who made great efforts to advertise that their compositions were conceived or executed 'on-the-spot', Ernst made no apologies for the imaginative craftsmanship that took place in his Paris studio. The present work, painted long after his travels to the Middle East were over, brings together a number of interesting vignettes and well-observed details that were probably never witnessed by Ernst in one place or at one time. The captive tiger was among Ernst's most popular subjects, and commissions resulted in several variations on the theme. The composition allowed him to show off in one his diverse experiences, his rigorous draughtsmanship,

and his mastery at rendering light, colour, and texture. The men's and animals' anatomies, the hunters' weapons and accoutrements, and the desert landscape - no doubt modelled on sketches and photographs taken in the Sinai desert - are all observed with the same refinement to make for a compelling and sumptuous whole.

The Orientalist Sale London | 23 Apr 2013, 02:30 PM | L13100

LOT 15

FERDINAND MAX BREDT

GERMAN 1868-1921 AFTERNOON REPOSE signed F.M. Bredt lower left oil on board 50 by 79.5cm., 19 by 31in. ESTIMATE 70,000-90,000 GBP PROVENANCE
Acquired by the family of the previous owner in 1932

CATALOGUE NOTE
Bredt travelled widely in Turkey and Tunisia, and it was the women he encountered that became the main inspiration for his work. Whether set in courtyards or interiors, his paintings are characterised by sumptuous colours and an atmosphere of languor and softness. Afternoon Repose is wonderfully sensual work: touch is evoked by the reclining girl dipping her hand in the fountain; smell by the olenader flowers in the background; sound by the lute played by the seated girl; and sight through the wealth of surfaces, from the wall of polished tiles to the woven rug, the rippling water and the girls' robes. The whole is bathed in a soft afternoon light, with rays of sun providing accents of light from above. The harem as a subject was a constant source of inspiration to the Orientalist painters, not least because it left so much open to the imagination, being a private space inaccessible to male painters. Bredt evokes a domestic scene of bliss and tranquility.

The Orientalist Sale London | 23 Apr 2013, 02:30 PM | L13100

LOT 16 PROPERTY FROM A BRITISH PRIVATE COLLECTION

ETIENNE DINET
FRENCH 1861 - 1929 SPECTATEURS ADMIRANT UNE DANSEUSE signed and dated E DINET / 1905 lower left oil on canvas 84 by 102.5cm., 33 by 40in. ESTIMATE 200,000-300,000 GBP PROVENANCE
Galerie Allard, Paris Marquis du P. (by 1911) Verney Seymour Ackroyd, Bradford, Yorkshire (by the 1940s); thence by descent

EXHIBITED
Paris, Salon de la Socit Nationale des Beaux-Arts, 1906, no. 402 (titled Dans un caf de danseuses (un groupe de spectateurs) ) Paris, Galerie Allard, 1924 (titled Groupe de spectateurs admirant une danseuse)

LITERATURE
tienne Dinet & Slimane Ben Ibrahim, Mirages, Paris, 1906, p. 171, illustrated Louis Vauxelles, Le Salon de 1906, Paris, 1906, p. 32, illustrated Les Arts, Paris, no. 53, May 1906, p. 12, illustrated Camille Mauclair, Action africaine, no. 3, March 1912, p. 8, illustrated Afrique du Nord illustre, no. 287, 30 October 1926, p. 7, illustrated Gabriel Audisio, Larousse mensuel, no. 318, August 1933, p. 473, illustrated Denise Brahimi & Koudir Benchikou, La vie et l'oeuvre de Etienne Dinet, Paris, 1984, p. 196, no. 154, catalogued & illustrated (titled Groupe de spectateurs dans un caf de danseuses)

CATALOGUE NOTE
Spectateurs admirant une danseuse is a superb example of Dinet's mature oeuvre, testament to his intimate knowledge of, and respect for, the people of Algeria. Fluid, almost Impressionistic brushstrokes, and beautifully confident handling of light as it filters through from behind the figures, are coupled with a sympathetic, careful observation of the mens various expressions as they react to the dance unfolding before them. Dinet took great interest in painting the women of Algeria in their traditional dances, particularly the dancers of the Ouled Nal tribe. Here, however, the focus is entirely on the male onlookers faces, leaving the viewer to imagine the rest of the scene. As in Dinets best works, the frame is filled with his subjects, in a naturalistic, uncontrived composition which suggests the influence of photography on the artists work. Dinet's fascination with Algeria dated from his first visit in 1883. This proved to be a turning point in his career: he returned virtually every summer thereafter, visiting the capital and oasis towns of Bou Sada, Biskra and Laghouat. 1905, in which this work was painted, was a decisive period for Dinet. In 1904 the artist had acquired a house in Bou Sada, the closest of the oasis towns to Algiers some 150 miles south-east of the capital, choosing to settle there permanently. In his commitment to the places and people of Algeria, Dinet immersed himself in the life of Islamic north Africa more than virtually any other Orientalist artist. Dinet spoke Arabic fluently, and his interest in Islam became increasingly evident in his paintings (see fig. 1). In 1913 he converted to Islam, and changed his name to Nasreddin ('Defender of the Faith'). In 1929 Dinet went on the Hajj with his friend Slimane Ben Ibrahim. More than anything Dinet intended his paintings to be faithful, as well as beautiful, records of the vicissitudes of daily life as experienced by the people of the Algerian oasis towns. Dinets paintings are important depictions of the life of the local people by an observer who became part of their world. Fig. 1 Etienne Dinet, Le Croissant, Muse des Beaux-Arts, Angers

The Orientalist Sale London | 23 Apr 2013, 02:30 PM | L13100

LOT 17 PROPERTY OF A LADY

FREDERICK ARTHUR BRIDGMAN

AMERICAN 1847 - 1928 PENSIVE MOMENTS signed FA Bridgman lower right oil on canvas 55.5 by 47cm., 22 by 18in. ESTIMATE 12,000-18,000 GBP

The Orientalist Sale London | 23 Apr 2013, 02:30 PM | L13100

LOT 18

ETIENNE DINET
FRENCH 1861 - 1929 FILLETTE SE VOILANT signed and dated E DINET / 1901 lower right oil on panel 35 by 27cm., 13 by 10 ESTIMATE 30,000-50,000 GBP PROVENANCE
Georges Leygues (1857-1933, French Politician during the Third Republic, Minister of Marine, and briefly Prime Minister of France) Sale: Christie's, Paris, 18 December 2007, lot 14 Purchased at the above sale by the present owner

EXHIBITED
Bordeaux, Muse des Beaux-Arts, Exposition de la Socit des Amis des Arts, 1901, no. 18

Paris, Palais des Beaux-Arts, Rtrospective Dinet l'Exposition Coloniale Internationale, 1931, no. 10 (lent by Georges Leygues)

LITERATURE
Jeanne Dinet-Rollince, La Vie d'Etienne Dinet, Paris, 1938, p. 90 Denise Brahimi & Koudir Benchikou, La vie et l'oeuvre d'Etienne Dinet, Paris, 1984, p. 181, no. 86, catalogued & illustrated; p. 58, illustrated; also illustrated on the cover

The Orientalist Sale London | 23 Apr 2013, 02:30 PM | L13100

LOT 19

RUDOLF ERNST
AUSTRIAN 1854-1932 THE FORTUNE TELLER signed R Ernst lower right oil on panel 92 by 72cm., 36 by 28in. ESTIMATE 100,000-150,000 GBP PROVENANCE
Acquired by the present owner circa 2005

CATALOGUE NOTE
In this richly finished work, a fortune teller reads a woman's future outside an arched portico. What he predicts from the mysterious energy flowing between her hand and the sand of fortune is left to the viewer's imagination, adding narrative tension to the painting. In ornament and design, the gateway resembles those portals recorded by the great French artist and scholar Achille Prisse d'Avennes (1807-79), and may owe as much to one of these large, richly

coloured lithographs, as to sketches made by Ernst on site. The eclectic components of the composition - the banded stonework, the woman's flowing robes, the gleaming yellow dishdasha of the fortune teller, and the well-worn wooden bench on which he sits - make this painting, like many of Ernst's best works, a veritable tapestry in pattern and texture, a cumulative memory of his disparate travels in the Orient. After studying at the Vienna Academy, Ernst travelled to Rome and, in the 1880s, to Spain, Morocco, and Tunisia. Later travels would take him to Egypt and, in 1890, to Turkey. In 1876, Ernst settled in France, exhibiting regularly at the Salon de la Socit des artistes franais and eventually taking French nationality. After starting out painting portraits and genre scenes, from 1885 Ernst turned exclusively to painting Orientalist subjects, which he worked up from the sketches, photographs, souvenirs, and memories accumulated during his travels. Almost all his paintings were executed in his studio in Paris, which he decorated in an eclectic Eastern style, and in which he would paint wearing a taboosh, the better to transport himself mentally into the world created in his canvases.

The Orientalist Sale London | 23 Apr 2013, 02:30 PM | L13100

LOT 20

PIERRE-EMILE GIGOUX DE GRANDPR

FRENCH B. 1826 LA PROMENADE DU HAREM signed and dated E. de Grandpr 1883 lower right oil on canvas 114 by 146.5cm., 45 by 57in. ESTIMATE 80,000-120,000 GBP

CATALOGUE NOTE
In this serene panorama, a barque propelled by eight oarsmen, carrying a harem of veiled beauties guarded by a eunuch, glides across the water in a tranquil Egyptian landscape. A turbaned courtier, seated at the prow, watches over his precious charge, while a ninth oarsman steers from the stern. On the horizon rise the ruins of an archaeological site, presumably the Temple of Karnak at Luxor, while two feluccas lie moored in the middle distance. Harem originally meant the hidden and forbidden place where the sultans wives lived, and was a constant source of fascination for Western artists who were barred from this private world. Here, the wives and concubines are seen, or imagined, during a brief moment of recreation beyond the confines of their domestic space. The composition of Gigouxs painting draws on two famous paintings by his contemporary, Jean-Lon Grme (lot 12): Le Prisonnier (1861, Muse des Beaux-Arts, Nantes), and the eponymous Promenade du harem (1869, fig. 1), the silhouette of the ruins borrowed from the former, and the boat and figures from the latter. Armand Sylvestres praise of Grmes Promenade describes Gigouxs painting just as accurately: This thoroughly remarkable

composition exudes an infinite calm, the calm of warm evenings over quiet waters, before the light wing of night flutteringly disturbs the polished surface of the river and fills the atmosphere with imperceptible vibrations. (Salon de 1869, La Revue moderne, vol. 53, p. 153). The overall effect of reverie of both Grmes and Gigouxs paintings may in turn have been suggested by the most famous painting by Grmes teacher, Charles Gleyre, Lost Illusions. Fig. 1 Jean-Lon Grme, Promenade du Harem, 1869, Chrysler Museum of Art, Norfolk, VA

The Orientalist Sale London | 23 Apr 2013, 02:30 PM | L13100

LOT 21

EUGNE FROMENTIN
FRENCH 1820 - 1876 FELUCCA AU BORD DU NIL signed indistinctly E. Fro[...] lower right oil on canvas 95.5 by 85.5cm., 37 by 33in. ESTIMATE 30,000-50,000 GBP PROVENANCE
Family of the artist (sale: Sotheby's, Paris, 24 October 2007, lot 13) Purchased at the above sale by the present owner

EXHIBITED
La Rochelle, Bibliothque Municipale et Muse des Beaux-Arts, Fromentin le peintre et l'crivain, 1970, no. 38

LITERATURE
Barbara Wright & James Thompson, Eugne Fromentin, Paris, 2008, p. 313, catalogued; p. 312, illustrated

CATALOGUE NOTE
Painted circa 1875-76.

The Orientalist Sale London | 23 Apr 2013, 02:30 PM | L13100

LOT 22 PROPERTY OF A LADY

ALBERTO PASINI
ITALIAN 1826 - 1899 THE ROUT signed and dated A Pasini 1884 lower right oil on canvas 82 by 121cm., 32 by 47in. ESTIMATE 50,000-70,000 GBP PROVENANCE
Blakeslee Collection, New York (his sale, Chickering Hall, New York, 4 April 1893) Sale: Christie's, London, 3 November 1977, lot 175 Purchased at the above sale by the present owner

EXHIBITED
Paris, Galerie Boussod & Valadon, Pasini, 1886 (titled Le Droute)

LITERATURE
Paul de Katow, 'L'Exposition des tudes de Venise par P.', Gill Blas, Paris, 8 March 1886, no. 2302 L'Illustrazione Popolare per la Famiglie, 1889, pp. 456-7 (titled La carica) J. Copeau, L'Orient de Pasini, Paris, 1911, p. 16, illustrated Vittoria Botteri Cardoso, Pasini, Genoa, 1991, pp. 350-51, catalogued and illustrated (titled In rotta)

CATALOGUE NOTE
At the 1886 Pasini exhibition at Galerie Boussod & Valadon, Paul de Katow singled out the present work and The Falconer for special mention: 'il faut signal Le Fauconnier et Le Droute qui sont des chefs-d'oeuvre' (Paul de Katow, op. cit.).

The Orientalist Sale London | 23 Apr 2013, 02:30 PM | L13100

LOT 23

PIERRE JULES MNE

FRENCH 1810 - 1879 FAUCONNIER ARABE PIED (ARAB FALCONER ON FOOT) signed: P.J. MNE bronze, gilt and warm brown patina 67cm., 26 3/8 in. ESTIMATE 4,000-6,000 GBP CATALOGUE NOTE
RELATED LITERATURE M. Poletti and A. Richarme, Pierre-Jules Mne. Catalogue raisonn, Paris, 2007, p. 40, no. F11