Rudolf Weisse

Private Collection, USA

The panel is flat and even and appears to be providing a stable support. Under ultraviolet a few old retouches are visible, notably a spot in the nape of the neck of the man reading, some spots in the face of the standing man and in the lower part of his gown, clustered tiny spots in the black pigments just above the head of the man hidden by the column, and scattered spots at the framing edges. Judging from the panel's smooth surface these retouches appear to be largely cosmetic, and the condition of the painting is very good. Held in a Salon-style gilt frame with floral and foliate motifs. The catalogue illustration is accurate, although there is perhaps very slightly less red overall.
"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 A Moment of Prayer Weisse powerfully pays tribute to the customs and religion of the East. Four men are absorbed in prayerful contemplation, facing towards the Mosque's mihrab indicating the direction of the Kaaba in Mecca. The two nearest men are at different stages in the positions of the raka'ah, or prayer sequence; the man dressed in yellow beginning his sequence while the man in green is performing the sujud, prostrating himself. Below the arch an older man sits reading the Koran.

The elaborate capitals and other architectural features in the present work recall the architecture of Islamic Spain and North Africa, and notably the Lion Court of the Alhambra. Weisse has meticulously rendered the Arabic text on the far wall, which reads la ghalib illa Allah- 'there is no conqueror but God'. Indeed this was the motto of the Nasrid Dynasty (1232-1492), the rulers of Spain responsible for the construction of the Alhambra. Such detailed observation gives a strong stylistic unity to the setting, while Weisse nevertheless arranges these and other elements to suit his artistic vision.

Weisse was born in the town of Usti (also known as Aussig) on the banks of the river Elbe. He studied at the Viennese Akademie der Bildenden Künste, but settled in Paris, where he became a regular exhibitor at the Salon from 1889 (when he showed at the Exposition Universelle) until 1927. Like fellow Austrian School painters Ludwig Deutsch (lot 10), Rudolf Ernst (lots 14 & 19), and Arthur von Ferraris (lot 9), Weisse specialised in Orientalist subjects from early in his career, responding to a ready market for such new and exciting subjects.

Weisse travelled to Egypt and the Middle East to observe the mores and customs at first hand, and to make detailed sketches of what he saw. He also brought home with him a whole collection of props, ranging from ceramics and tiles, pipes and weapons, inlaid furniture and rugs, to beautiful dishdashas and silk robes, which he painted meticulously in his studio to evoke the rich and colourful mercantile street life of the East.