Lucien Lévy-Dhurmer

The artist's paper has been mounted in a white mount which has itself been glued to the backing board, thus preventing inspection of the back of the paper. However, this work is fresh, in good original condition and is ready to hang. Presented glaze, in a decorative gilt frame.
"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."

‘then an Eden, which had been behind us, slowly rises [...]’
Pierre Loti (Revue Universelle, 1901, p. 385)

Painted circa 1900, the present work is an exceptional example of Lucien Levy-Dhurmer’s ability to transport the viewer into an imaginary journey of the senses. Partly obscured by a rose bush (Isfahan is in fact the name of a Damask rose originally from the Middle East) stands the Persian city of Ispahan. Certainly inspired by George Fauré’s mélodie Les Roses d’Ispahan (1884), there are also remarkable connections between this painting and author Pierre Loti's description of the city. Levy-Dhurmer knew Loti personally and painted his portrait titled Fantôme d’orient (Musée Basque et de l'histoire de Bayonne).