Arthur von Ferraris

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

The panel is bowing very slight convexly in the upper left corner, and is otherwise flat and even and ensuring a stable support. As just visible in the catalogue illustration, there are some lines of fine craquelure in the man's yellow cloak. Under ultraviolet light the varnish fluoresces green, however there appears to be virtually no signs of retouching, apart from a spot in the man's left shoulder and possibly a couple of spots in the upper part of the door's wooden framework. This painting is overall in very good condition and ready to hang. The colours of the painting are slightly stronger and cleaner than in the catalogue illustration. Held in a modern simple gilt frame, with a black-painted edge.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

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-Léon Gérôme.

It may have been Gérôme 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.