ALBERTO PASINI | Market in Constantinople

Sale: Christie's, New York, 11 November 1998, lot 138
L'Etoile Royale, New York
Private collection, California (acquired from the above by the previous owner in 2000)

The canvas has not been lined. Ultra-violet light reveals some old residual varnish which makes the surface quite difficult to read. However, a circa 10cm vertical stroke of retouching is visible in the orange house in the upper right quadrant, possibly addressing an old tear (also visible on the reverse). A very small area of retouching is visible around the white dish in the lower right quadrant, also possibly addressing an old repair (visible on the reverse). Otherwise, this work is in good overall condition, presents very well and is ready to hang. Presented in a decorative gilt frame.
"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."

Market in Constantinople epitomises Pasini’s carefully observed, naturalistic market scenes, capturing the hustle and bustle and diversity of the mercantile city. The composition is distinguished as much by the artist's fine draughtsman as by the vivid palette, punctuated by brilliant turquoises, pinks, and greens. The exact setting is not known, however it may have been inspired by the entrance to the Mısır Çarşısı, also called the Egyptian or Spice Bazaar. Pasini first travelled to Constantinople on his landmark journey to the East accompanying Prosper Bourré in 1855, which began his career as an Orientalist painter. He returned to the city again in 1867, in that year receiving a commission from Sultan Abdul Mecit for two paintings now in the Dolmabahçe Palace, and stayed until 1869. In the present work Pasini deploys his observations of life in the Ottoman Empire: traders setting out their wares, tethered horses, a rider emerging from the shadow of the gate, and groups in animated discussion or negotiation.