The following condition report has been prepared by Hamish Dewar Ltd., 13 and 14 Mason's Yard, St James', London, SW1Y 6BU:
UNCONDITIONAL AND WITHOUT PREJUDICE
Structural Condition
The canvas is unlined and is securely attached to a keyed wooden stretcher. This is providing a stable structural support. The canvas slightly undulates in the upper left of the composition and there are further minor undulations running intermittently along the lower part of the right edge.
Paint Surface
The paint surface has a relatively even varnish layer. There is evidence of residual discoloured varnish in the extreme upper right corner of the composition. There is a tiny paint loss within the sky in the upper left of the composition. There are a few raised lines of craquelure within the sky in the upper left quadrant of the composition. These are stable and are not visually distracting.
Inspection under ultra-violet light shows a slightly discoloured varnish layer, and no evidence of any retouching.
Summary
The painting would therefore appear to be in very good and stable condition and would respond well to cleaning, restoration and revarnishing, and from the treatment of the minor undulations mentioned above.
"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."
By the Fountain exemplifies Pasini’s carefully observed, naturalistic street views, and his reputation as both a fine draughtsman and meticulous colourist. The figures and horses are observed precisely, almost photographically. Dominating the composition is a circular, domed rococo fountain typically found in public squares in Turkish towns and cities. Ottoman 'fountains', do not spout jets of water, but are more like ornate public taps. They sometimes incorporated a counter, or
sebil, from which refreshments would be served. Here, a man drinks from a tap or
çeşme, above a carved marble basin.
Pasini first travelled to Constantinople on his landmark journey to the East accompanying Prosper Bourré in 1855, which began his career as an Orientalist painter. He returned to the city again in 1867, in that year receiving a commission from Sultan Abdül Mecit for two paintings now in the Dolmabahçe Palace, and stayed until 1869. During his sojourns there, Pasini was clearly inspired by the city's unique rococo-ornamented sebils, and would have made sketches of notable examples to act as the basis for oils including the present work, perhaps including the particularly fine Abdülhamid I sebil, constructed in 1777 (fig. 1).
In the present work Pasini brings together his observations of life in Turkey: ladies in their veils on a market stall, street sellers both negotiating deals and awaiting customers, a resting rider, tethered horses awaiting the return of their owners – the bright sun accentuating the bright colours and the contrast between light and shade.
