Wladyslaw Czachorski

David Findlay Galleries, New York
Cooling Galleries, Toronto

The following condition report was kindly provided by Simon Parkes Art Conservation, Inc.: This painting on canvas has been mounted onto masonite. Changing the support is not recommended. The paint layer is quite dirty yet seems to be in very good condition. There are no retouches visible under ultraviolet light, mainly because of the thick layer of old varnish, and it is unlikely that if the painting were to be cleaned, any retouches would be revealed. In general the condition of the paint layer is extremely good and although the canvas is mounted onto board, the surface is stable.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Painted in 1896.

Wladyslaw Czachorski's artistic training began at the age of sixteen when he enrolled at the Warsaw Drawing School. He then studied for a year at the Dresden Academy, and finally joined the Munich Academy, where he spent five years under the direction of Hermann Anschutz, Alexander Wagner and Karl von Piloty. He won the prestigious Grand Silver Medal upon graduation, and proceeded to travel throughout Europe, visiting France, Italy and Poland. In 1879, he settled permanently in Munich, but continued to exhibit frequently in Poland, in particular Warsaw, Krakow, Lwow and Lodz. When Czachorski died in 1911, an exhibition of his work was held that year at the Zacheta Society of Fine Arts in Warsaw (The Kosciuszko Foundation, www.kosciuszkofoundation.org).

Czarchorski's choice of subject ranged from still lifes to Shakespearian scenes, however he is best known for his finely-painted depictions of beautiful aristocratic women in lavishly appointed interiors. In The Letter, Czachorski features a well-dressed young woman seated in a French Louis XVI style chair, holding a letter in one hand and a small bouquet of flowers in her lap. The subject of a young woman reading a letter, perhaps most famously portrayed by seventeenth century Dutch master Jan Vermeer, has held great appeal for artists throughout history. Through the power of suggestion, the viewer feels witness to the exchange of intimate correspondence between the sender and the recipient.  Here, the young woman displays a charming innocence; a sweet smile plays upon her lips. The variety of fabrics in the room - from her pink satin embroidered dress, to the burgundy and navy oriental rug on the table - characterize the eclecticism prevalent in interior decoration during this era. No one furniture style was dominant, and rooms overflowed with accoutrements intended as social signifiers to communicate the owner's refined taste and worldliness.