This condition report has been provided by Hamish Dewar, Hamish Dewar Ltd. Fine Art Conservation, 14 Masons Yard, Duke Street, St James's, London SW1Y 6BU. Structural Condition The canvas is unlined and is supported by what appears to be the original keyed wooden stretcher. This is providing a secure support, however the canvas is very slack and requires retensioning. There are several old repairs on the reverse, including a large crudely applied patch in the upper right quadrant. Paint surface The paint surface has an uneven and discoloured varnish layer and appears to have been selectively cleaned in the past. There are raised lines of craquelure throughout the sky, although these appear stable and secure and are not of any immediate structural concern. Inspection under ultra-violet light shows scattered retouchings, the most significant of which are: 1) within the red clothing of the figure on the left, 2) a large area within the torso of the seated figure on the far right, 3) an area that corresponds to the patch on the reverse. Summary The painting therefore appears to be in stable condition having undergone previous restoration in the past. However, the painting would require retensioning to improve the overall appearance and ensure structural stability.
"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."

Depicting a dancer on tiptoe, performing before musicians and her mistress, herself holding a baglama while an African servant fills a small brazier, this dynamic and exotic scene unfolds on a roof terrace🔯 beyond which can be glimpsed the roofline of an Eastern city. Captured in virtuoso detail are vibrant carpets decorating a low, tiled wall; these surround eight oranges arranged in a circle around an incense burner at the centre of the dance.  

While the costumes and props are closely observed, the scene is most probably imagined. Whether it depicts a quiet corner of a harem, or a private home, the leisured lady in question, estranged from all aspects of vulgar labour, s♉its in comfort being entertained by what appear🌞s to be a travelling troupe of musicians and their dancer. 

The minute attention to detail seen in the tiles, the geometric patterns of the carpet and the silver and gold of the jewellery and braziers testify to the influence of the Spanish painter Mariano Fortuny Marsal, who played an important role in the Orientalist works of Serra. Serra also sought inspiration from José Villegas y Cordero. This can clearly be seen in the incorporation of many Orientalist objets, greatly admired by the European audiences and characteristic of the work of Cordero.

According to the critic Carlos Reyero, Enrique Serra y Auqué works were, along with Modesto Urgell, a precursor of Catalan Symbolism. Indeed, the present work blends an ostensibly Orientlaist subject with a elements of the mystical in the form of the circle of oranges and the rising incense smoke. After studying in Barcelona, he travelled to Rome, where he settled for the rest of his life. He ꧑enjoyed great success during his lifetime, selling his work to both Italian and French collectors. Although he never travelled to North Africa or Turkey, Orientalist themes occupy an important place in his work, and reflect the popularity of th൩ese subjects at the time.