James-Jacques-Joseph Tissot

James Beer;
Rex Nan Kivell, Esq.;
Stanley Berwin, Esq.

London, Goupil Gallery, 1925;
London, Redfern Gallery, Plaisirs de l'Europe 1900, 1954;
London, The Arts Council of Great Britain, James Tissot 1836-1902, 1955, cat. no. 32

STRUCTURE The panel is sound. There is a tiny fleck of paint loss to the lower right corner and a couple of further light flecks towards the centre of the left hand edge. There are some very light old surface scratches in the lower left quadrant. Otherwise the work is in good condition. UNDER ULTRAVIOLET LIGHT There are one of two old cosmetic spots of retouching in the lower right and lower left sections. FRAME Held in a lightly decorated unpatined carved wood frame in fair condition.
"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."

The present work is partly based on a painting by Tissot from the late 1880s; Departure Platform, Victoria Station. The figure's dress, accoutrements and pose are virtually identical to that of the present work.  The Impressionist and almost abstract style of A la Gare De L'Est suggests it was executed following Tissot's return to Paris in 1882. While retaining a sense of his unique and established style, there is no doubt he was aware and influenced by the emerging movements in French art at this time.  Tissot had employed the strikingly upright format of the panel since the late 1870s while still based in London.  On a practical level this allows him to evoke the grandeur of a capital city skyline which serves as an imposing backdrop to the individual.  This is evident in works such as Going to Business (Going to the City) c.1879 (Previously The Edmund and Suzanne McCormick Collection).  The narrow, almost monochrome palette, is strongly reminiscent of James Abbot McNeill Whistler, a member of Tissot's London circle.