John Frederick Lewis R.A.

With Spink's, London, by whom sold in 1995 to the father of the present owner 

London, Spink's, Visions of the Orient, 1995, no 11

Support The artist has used a sheet of buff paper, which is fully laid down onto a thin card. At present, it has an inlay or false margin for display. The surface is damaged at the edges in places and in the centre towards the foot there is a lighter area of rubbing. In my opinion, this drawing has probably been cleaned in the past. Medium Lewis's colours would have been considerably brighter when he painted this interesting interior subject. Note: This work was viewed outside studio conditions. Condition Report by Jane McAusland (Fellow of the International Institute for Conservation of Historic and Artistic Works)
"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."

Lewis' recent arrival in Istanbul in October 1840 was recorded by his fellow artist, Sir David Wilkie, who noted admiringly, 'He has been making most clever drawings, as usual'.  Lewis remained there for over a year, responding to the colour and variety of the city's people and places.  His fascination with the bustle of modern city life in conjunction with its architectural heritage is evident in many sketches, remarkable both for their fluency of execution and acuteness of observation; they are far removed from the stereotypical views of the city popularised by prints in earlier Western publications.  This drawing of the interior of a coffee house is an exceptionally fine example. It shows a typical kahvehane, a wooden structure with ornate, European-influenced decoration, including carved furnishings and painted tiles, as well as traditional Turkish textiles; in the foreground, hot water in metal jugs is being heated over a brazier.  The room is frequented by middle-class men of the city, most of them wearing a fez, following recent decrees by the Sultan modernising the dress of Ottoman citizens.

A similar but less developed version of this scene, possibly a study, is in the British Museum, but the composition is not related to any of Lewis's known finished watercolours or oil paintings.

We would like to thank Briony Llewellyn and also Charles Newton for their assistance in cataloguing this lot.