Fausto Zonaro

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 thick weave canvas is unlined on what would appear to be the original stretcher. There is no evidence of any previous structural intervention. Paint Surface The paint surface is very dry and would benefit considerably from surface cleaning and revarnishing which would revive the paint surface and give far greater depth to the artist's pigments. There is flaking along the lower horizontal framing edge which should be secured and stabilised. There are also two small losses on La Sultana's right forearm and other small losses on the lower vertical framing edge. Inspection under ultra-violet light shows a number of retouchings, which have clearly been rather crudely applied and if removed during the cleaning process many would be found to be at least partially unnecessary. The most significant of these retouchings are: 1) in La Sultana's hair, 2) lines accentuating her eyelids, 3) lines on the contours of her arms and blouse, and 4) along the lower horizontal framing edge. Summary The painting would therefore appear to be in essentially good condition and should respond very well to cleaning and revarnishing, which would also significantly reduce the amount of retouchings on the paint surface.
"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."

La Sultana was painted in Zonaro's studio in St Remo in Italy in the 1920s, a souvenir of his time in Constantinople, where he had held the prestigious position of court painter to the last Ottoman sultan. Settling with his family in Italy in 1911 after twenty-one years in the Ottoman capital, and despite missing his life in Constantinople enormously, Zonaro wrote in his memoirs, 'I continue to work with all my strength and with all the respect and excitement I feel for my art. The allure of the Orient still holds me in its thrall.'

Painting his chosen model - with her sultry exotic looks - in Turkish costume perhaps provided some solace and kept Zonaro's cherished memories of Turkey alive, at a time when, to satisfy popular demand, he was turning increasingly to landscape painting and views of surrounding Liguria.

Zonaro and his wife Elisa had moved to Constantinople in 1890, where Zonaro immediately became enthralled by the country and its people. The talented Italian soon came to the attention of Abdül Hamid II, the Ottoman Sultan, who appointed him painter to his court. Zonaro went on to become a teacher at the School of Fine Art founded by Osman Hamdy Bey. The present work has all the hallmarks of his best Orientalist paintings, his imaginary 'sultana' lounging languidly against the backdrop of a Turkish carpet and a mashrabiyye screen. 

A pastel version of this composition is recorded and illustrated in Osman Öndes and Erol Makzume, Ottoman Court Painter Fausto Zonaro, Istanbul, 2002, p. 344.