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Lot 30
  • 30

Albert Janesch

Estimate
30,000 - 40,000 USD
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Description

  • Albert Janesch
  • A Busy Bazaar
  • signed ALBERT JANESCH and dated 1918 (lower right)
  • oil on panel
  • 42 3/4 by 55 1/8 in.
  • 108.5 by 140 cm

Condition

This painting has recently been cleaned and the colors are clean and bright. It is on a heavy panel made up of 4 joined horizontal planks, and there is a short glued repair to the joinery in the top right, visible on the reverse. Under UV, touch ups and inpainting in isolated areas throughout the composition fluoresce.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

In the beginning of World War I, the twenty-five year old Janesch travelled to Turkey, an ally of his native Austria, serving as a war artist.  Soon after Janesch met up with fellow artist Fritz Grotemeyer, employed in recording scenes from the front at Suez, and the two then travelled to Alepo, Syria in early 1916.  As suggested by another large panel dated 1918 and titled Market in Aleppo (private collection), the present work may depict the same area, the wares on offer as diverse as the regional costumes and people depicted. A Busy Bazaar exemplifies Janesch's documentary style, every detail of the bustling market, here a crossroads of cultures, recorded in fine detail and vibrant color from a merchant haggling his tableware to a punch about to be thrown in the background. Overall, little is known of Janesch's exact agenda during the War and soon after, but surviving drawings suggest the artist travelled to Beirut and Damascus, while portraits of Sultan Mehmed and Prince Osman Fouad (now held by the Heeresgeschichtliches Museum, Vienna) further point to the extent of his travels (Martina Jaja and Günther Wimmer, Les Orientalistes des Écoles Allemande et Autrichienne, Paris, 2000, p. 272).