GEORGES WASHINGTON | Return from the Razzia

Sale: Sotheby's, London, 13 June 2006, lot 209
Purchased at the above sale by the present owner

Paris, Salon, 1876, no. 2059 (as Retour d'une razzia)

The canvas appears to have an old relining. There are traces of uneven fluorescing varnish which make the surface quite difficult to read. However, ultra-violet light reveals scattered retouching, including: - two circa 7cm vertical lines, possibly addressing old repairs, in the ground in the centre of the lower framing edge and in the sky towards the centre of the upper framing edge respectively; - two small areas possibly addressing flaking in the ground closer to the centre of the lower framing edge; - intermittent strokes along the right framing edge; and - some other minor scattered spots. Overall, this work presents very well and is in good condition. This work is ready to hang. Held in a decorative gilt frame in good condition.
"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."

In this monumental work, Washington depicts the return of a raiding party to the walled city of Oued Rhiou in modern-day Algeria, located in the desert between Oran and Algiers. A razzia, referred to in the title, is via French from the Algerian Arabic ġāziya, meaning a raid, especially one carried out by Moors in North Africa, for the purposes of conquest, plunder, or the capture of slaves. Washington was a prolific painter of North African scenes, exhibiting them regularly at the annual Paris Salon from the late 1850s onwards. Like Schreyer and Rousseau, he was inspired by the bravura, dynamic brushstroke, and dramatic palette of Eugène Delacroix. The present work is not only probably Washington's largest painting, filled with movement, it is also one of his most ambitious compositions.