Frederick Arthur Bridgman

Acquired by the father of the present owner circa 1975; thence by descent

The canvas has been relined. There are a few scattered flecks of retouching overall. Apart from some pinhead-sized spots of paint loss and some light abrasion to the right edge, and scattered light craquelure to the areas of brown pigment, this work is in good overall condition and ready to hang.
"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."

Ever since his first visit to North Africa in 1872, Algiers captivated Bridgman's imagination, and became his favourite destination during his travels in the region. During the 1880s he even put up his wife and family in the Hôtel de l'Orient in the Mustapha Supérieur quarter, and hired a guide, Belkassem, to find him an entrée into private houses in which, and from which, to watch and paint daily life. From Algiers he wrote home: 'Here we have all the advantages of civilisation with quite enough in the picture line for anybody.'

Typically for Bridgman, the present scene is devoid of an obvious narrative, and it is left up to the viewer to interpret the interaction between individual figures. More to the point, however, Bridgman was interested in evoking a sensual experience, making almost palpable the contrast between the hot sun and the cool shade cast by the tree, as well as the luxuriant colours and textures, from the rough cobble stones on the street to the rich fabric of the robes.

Bridgman's subjects, while infused with the light and colour of the Orient, were nevertheless founded on his academic training in the studio of Jean-Léon Gérôme. In true academic fashion, his finished paintings were worked up from sketches made on the spot, and the present work would have been no exception. A New York show of over three hundred works by Bridgman at the American Art Gallery in 1881 included finished canvases, but the major part of the exhibition consisted of sketches, praised for their 'frankness, their fidelity, their freshness, their beauty.'

Bridgman's cumulative experiences in Algeria and his prolific output led him in 1888 to publish a long and well-illustrated account of his stay in Algiers in Harper's Monthly Magazine; the success of the several articles led to the contract for a book, Winters in Algiers, illustrated with woodcuts after the artist's drawings and paintings.