4
4

PROPERTY FROM A PRIVATE COLLECTION

Alberto Pasini
ITALIAN
MARKET DAY
ZU LOS SPRINGEN
4

PROPERTY FROM A PRIVATE COLLECTION

Alberto Pasini
ITALIAN
MARKET DAY
ZU LOS SPRINGEN

The Orientalist Sale

|
London

Alberto Pasini
1826 - 1899
ITALIAN
MARKET DAY
signed and dated A. Pasini 1884 lower right
oil on canvas
48 by 72.5cm., 19 by 28½in.
Zustandsbericht lesen Zustandsbericht lesen

Provenienz

Commendatore Sebastiano Sandri, Turin
Edmundo Sacerdoti, Galleria d’Arte, Milan
Schiapparelli Arte, Biella
Sale: Christie’s, London, 19 June 2003, lot 23
Purchased at the above sale by the present owner

Ausgestellt

Turin, Galleria d’Arte della Gazzetta del Popolo, Mostra Commemorativa di A. Pasini e G.B. Quadrone, 1949, no. 55
Turin, Galleria Fogliatio, Pittori dell’800, 1954, no. 97, illustrated in the catalogue
Rome, Associazione Via Frattina, Mostra dei Maestri dell’Ottocento Pittorico Italiano, 1967

Literatur

Marziano Bernardi, Alberto Pasini, (exh. cat.), Galleria Fogliato, Turin, 1949, pl. 55, illustrated
Enrico Piceni & Mario Monteverdi, Gli animali nella pintura italiana dell’800, Milan, 1966, pl. X, illustrated (titled Cavalli arabi al mercato)
Enrico Piceni, ed., Catalogo Bolaffi della pittura italiana dell’800, 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

Katalognotizen

Market Day is a rich example of Pasini’s 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 artist’s 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 Bourré 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 Dolmabahçe 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

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London