Sale: Sotheby's New York, 18 March 1998, lot 99
Purchased at the above sale by the present owner

Original canvas. There are scattered spots of retouching visible under ultraviolet light, notably along the upper half of the extreme right edge, scattered flecks to the tree surrounding the figure, and to the lower facade of the kiosk. Apart from a small spot of paint loss (approx. 1cm. in diameter) and a few minor spots of frame rubbing along the extreme edges, this work is in very good condition, with rich colours and tones, and fine detail.
"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."

Composed in his studios in Paris and later Fontenay-aux-Roses, Ernst's distinctive Orientalist subjects include colourful depictions of the traditional professions and customs of the Ottoman world. The present work stands out among these by virtue of its bright outdoor setting, which affords the viewer a glimpse of a broader background and perspective not found in his more usual interiors or close-up exterior views. Here, a cobbler sits plying his trade in the trunk of a gnarled tree, a Turkish kiosk and a group of robed ladies visible on the shores of what may be the Bosphorus beyond. Despite Ernst's first-hand knowledge of many of the subjects he painted, and his abundant library of images and collection of objects and costumes, there is also in his works an unapologetic eclecticism: Turkish, North African, Egyptian, and Indian motifs are often juxtaposed to highly decorative, but ultimately fantastic effect. So too in the present work, in which a Turkish kiosk vies with a the baobab tree native to Africa, staffed by a cobbler whose features and costume could be Tunisian or Moroccan.