Paul Fischer Danish 1860-1934

Sale: Bruun Rasmussen, Copenhagen, 2 October 1984, lot 125
Purchased at the above sale by the present owner

Hellerup, Øregaard Museum, Paul Fischer på Øregaard Museum, 2003-4, n.n. (illustrated in colour on the catalogue cover)

Jane Sandberg, Paul Fischer: Ingen kan tjene alle til takke, Copenhagen, 2005, p. 13, catalogued and illustrated in colour

Original canvas, there is a strip-lining along the extreme edges where the canvas has been attached to the stretcher. Apart from some spots of minor retouching notably to the top hat of the gentleman in the centre of the composition, visible under ultraviolet light, this work is in very good condition. Held in a simple gilt frame.
"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."

Two elegant ladies step into the crisp night air, their passage illuminated by brightly blazing lamps from Det Kongelige Teater and the surrounding horse-drawn carriages gathering to welcome the theatre-goers. Paul Fischer, the chronicler of life in Copenhagen at the turn of the century, found inspiration in simple scenes of daily life injecting them with vitality and a sense of immediacy.

Reflecting contemporary artistic trends in Paris, Fischer chose urban street subjects favoured by the many artists who drew inspiration from the French metropolis, from Jean Beraud to Gustave Caillebotte. Typically taking an unremarkable subject, Fischer carefully structured his composition to ensure a sense of movement, here achieved by the splashes of colour drawing the viewer's eye along the diagonal line from the foremost lady to the horse in the distance, and then back again; the eye led by the shadows hint at figures beyond the picture frame. Fischer's cropping of the composition along the edges reflects the influence of photography on his work and embues the scene with a spontaneity and vibrancy highly suited to life in Denmark's increasingly fast moving capital.