Ludwig Deutsch

Acquired by the present owner circa 1950

The panel is in good condition, flat and even. There are three minor spots of retouching visible under ultraviolet light, to the cupboard at the right of the composition. Apart from some frame rubbing, notably to the upper centre, this work is in very good condition, with a strong surface and fine detail, 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."

One of the most revered Orientalists of the late nineteenth century, Ludwig Deutsch devoted himself almost exclusively to Cairene subjects from the early 1880s and onwards. Deutsch masterfully captured everyday life on the streets of Cairo, favouring subjects from cafés, markets and mosques. An interest in Cairene architecture, religious ceremonies, Oriental furniture and local dress characterises the artist's oeuvre. Always described with breath-taking virtuosity, these elements form exquisitely detailed backdrops for the figures depicted.

To ensure ethnographic exactitude, Deutsch and many of his fellow Orientalist artists used Islamic tiles, textiles and metalwork as studio props. In the present work, the intricate design of the rug, time-worn wooden cabinet and tiles, delicate and complex fretwork of the marquetry mahmal (book stand) and mashrabiyya screen are described in minute detail. Painted in Deutsch's Parisian studio upon returning from his second trip to Egypt in 1890, it is likely that the artist relied on photographs as well as props in the execution of the present work. Deutsch's keen eye for small gestures and individual expressions adds a sense of intimacy to this quiet, contemplative scene.