JOHANN MICHAEL WITTMER | Outside the Gates of Smyrna

The canvas has not been lined. There are a few scattered lines of hairline craquelure and some pin-head sized spots of paint loss in the woman's dress in the lower right quadrant. Inspection under ultra-violet light reveals an ever layer of residual varnish and no visible sign of restoration. This work is in good condition and ready to hang. A light surface cleaning could possibly be beneficial to the appearance of this work. Presented 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."

This animated view of Smyrna (modern day Izmir) includes the so called ‘Caravan Bridge’, a key crossing point for travellers setting off for Anatolia and still in existence to this day.  Only about twenty paintings of oriental scenes are documented in Wittmer’s oeuvre. They were inspired by the artist’s journey to Greece and Constantinople in 1833. As travel companion of Maximilian of Bavaria, the thirty-one year-old Wittmer documented the Crown Prince’s journey. Both on their way to and from Constantinople, they passed through Smyrna, where Wittmer made sketches of the everyday scenes he observed: men and women in colourful traditional clothing sitting in cafés or discussing on a street.

The artist’s travel sketches were later used for the decoration of the 'Turkish Room' in the Crown Prince's Castle Hohenschwangau.