Jean Baptiste Vanmour

Acquired in Geneva by the present owner in 1989

Olga Nefedova, A Journey into the World of the Ottomans: The Art of Jean-Baptiste Vanmour (1671-1737), Milan, 2009, pp. 136-137, fig. 139, catalogued & illustrated; p. 142, mentioned; illustrated on the front cover

The following condition report has been provided by Hamish Dewar Ltd, 13 & 14 Mason's Yard, London SW1Y 6BU: UNCONDITIONAL AND WITHOUT PREJUDICE Structural Condition The canvas is lined and is securely attached to a keyed wooden stretcher. This is providing a stable structural support. Paint surface The paint surface has a rather uneven varnish layer. There are several areas of slightly raised craquelure, most notably within the upper left quadrant of the composition. These appear to be stable. Inspection under ultraviolet light shows extensive retouching throughout the composition, a great deal of which is in the dark background between the many figures and fine detail, applied presumably to sharpen the contours of the figures. It should be noted many of the figures including that of the Sultan appear comparatively well preserved. There is also evidence of abrasion and wear in the darker pigments which is often found on paintings by Vanmour. Summary The painting would therefore appear to be in stable condition and the extensive retouching should be noted.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

The present work is a spectacular panoramic depiction of an Ottoman procession, testament to Vanmour’s first-hand observation of the customs of court life in Istanbul and among the largest known works by the artist. Led by janissaries mounted and on foot, the Sultan is depicted in the foreground of the scene flanked by bodyguards wearing distinctive headdresses of white feathers, with the grand vizier in the middle-distance beyond and the chief eunuch towards the rear, while a dervish and a group of onlookers bow down to express their allegiance. Olga Nefedova records at least five such depictions of the procession by Vanmour including the present work, led variously by the grand vizier or sultan (see Olga Nefedova, A Journey into the World of the Ottomans…, pp. 134-137, fig. 135-139). Their inspiration can be identified as the ceremony of the sultan’s procession to the mosque for Friday prayers, one of the most impressive events of everyday life in Ottoman society.

The Sultan depicted is probably Ahmed III, who ruled from 1703-1730 and appears in a number of important works by Vanmour, notably in a small portrait alongside two hasodalı agas, as well as in a larger work depicting a reception with the Dutch ambassador Cornelis Calkoen (both now in the Rijksmuseum). Ahmet III was deposed following the Patrona Halil rebellion of 1730 and replaced by his nephew Mahmud I, who was also portrayed by Vanmour and could alternatively be the subject of the present work.

Born in Valenciennes of Flemish roots, Vanmour first visited Istanbul in 1699 together with the Marquis Charles de Ferriol, who had recently been appointed French ambassador to the city. Although Ferriol’s own diplomatic career was relatively unsuccessful and the ambassador never gained a reception with the Sultan, Ferriol was the main early patron of Vanmour until his return to France in 1710. Thereafter Vanmour remained in Istanbul as the official artist of the French embassy, however it was the Dutch ambassador Cornelis Calkoen, stationed in Istanbul from 1727-1744, who amassed the largest collection of the artist’s work.