Rudolf Ernst

W. B. Simpson, Glasgow
Mrs P. H. Massey
Sale: Bonhams London, 'Fine 19th Century European Paintings', 12 June 1997, lot 91
Sale: Tajan, Paris, 11 May 2005, lot 239
Purchased at the above sale by the present owner

The panel is in good condition, flat and even. There are strokes of retouching along the extreme edges addressing frame abrasion, with scattered spots elsewhere, notably in the carpet and table. Apart from some frame abrasion along the extreme upper and lower edges, the work is in good original condition, with strong colours. Held in a decorative gold-painted frame, with foliate motifs.
"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."

In this richly finished work, a scholar seated on a high bench pours over a thick tome. The eclectic but minutely observed components of the composition - from the mother-of-pearl inlaid marquetry mahmal (book stand) and guéridon table, the iznic tiles, and Persian rug, to the reader's flowing robes contrasting with the cool marble floor - make this painting, like many of Ernst's best works, a veritable tapestry in pattern and texture, a cumulative memory of his disparate travels in the Orient.  

Ernst worked up his Orientalist works from the sketches, photographs, souvenirs, and memories accumulated during his travels. Almost all his paintings were executed in his studio in Paris, which he decorated in an eclectic Eastern style, and in which he would paint wearing a taboosh, the better to transport himself mentally into the world created in his canvases.