Ferdinand Max Bredt

Acquired by the family of the previous owner in 1932

The board is flat and even and ensuring a stable support. There is a minor circa 2cm vertical indentation in the board in the centre of the extreme lower edge (visible in the catalogue illustration). Under ultraviolet light the varnish fluoresces quite opaquely, however there certainly appear to be only a few spots of minimal retouching, primarily in the hair of the reclining girl, and in the nearest corner of the rug. Although the work's appearance could be further enhanced with a light surface clean to address a few scattered spots of surface dirt, it is in good condition and otherwise ready to hang. Held in a decorative gilt and black-painted frame, with geometric motifs. The catalogue illustration is overall accurate, though some of the yellows are less saturated and subtler in reality.
"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."

Bredt travelled widely in Turkey and Tunisia, and it was the women he encountered that became the main inspiration for his work. Whether set in courtyards or interiors, his paintings are characterised by sumptuous colours and an atmosphere of languor and softness.

Afternoon Repose is wonderfully sensual work: touch is evoked by the reclining girl dipping her hand in the fountain; smell by the olenader flowers in the background; sound by the lute played by the seated girl; and sight through the wealth of surfaces, from the wall of polished tiles to the woven rug, the rippling water and the girls' robes. The whole is bathed in a soft afternoon light, with rays of sun providing accents of light from above. 

The harem as a subject was a constant source of inspiration to the Orientalist painters, not least because it left so much open to the imagination, being a private space inaccessible to male painters. Bredt evokes a domestic scene of bliss and tranquility.