Rudolf Ernst

Acquired by a friend of the present owner's mother circa 1930; given as a gift to her in the 1980s; thence by descent 

This condition report has been provided by Hamish Dewar, Hamish Dewar Ltd. Fine Art Conservation, 14 Masons Yard, Duke Street, St James's, London SW1Y 6BU. Structural Condition The panel is providing a stable and secure support with no evidence of any previous structural intervention. Paint surface The paint surface has an even varnish layer and no retouchings are visible under ultra-violet light. Summary The painting would therefore appear to be in excellent and stable condition and no work is required.
"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."

Ernst exhibited his works at the Salon de la Société des artistes français for over sixty years and is today one of the most celebrated and sought-after Orientalist painters of the nineteenth century. Composed in his studio in Paris, Ernst's best-known Orientalist subjects include colourful portrayals of the traditional professions and customs of the Ottoman world. Noteworthy too are a series of pictures of Arab sentinels and guards, which feature elaborately costumed male figures standing guard at entrances to marble palaces, harems and other sacrosanct spaces. The present work is unusual in that it depicts such an entrance, but with the figure not standing guard but rather arriving to enter. Ernst thus introduces an element of mystery and frisson, leaving the viewer guessing who awaits him inside.