JOSEF VON BRANDT | A Prize Thoroughbred

Peter Kaeser, Munich (by 1897)
Sale: Hugo Helbing, Munich, 24 September 1924, lot 53
Purchased at the above sale by the great grandfather of the present owner; thence by descent

Munich, Glaspalast, VI. Internationalen Kunst-Ausstellung, 1892, no. 256 (as Pferdemarkt)
Munich, Peter Kaeser Galerie, no. 447 (by 1897)

Kunstchronik: Wochenschrift für Kunst und Kunstgewerbe, Leipzig, 1892, no. 15, p. 554, cited
Echo Muzyczne, Teatralne i Artystyczne, Warsaw, 1892, p. 372
Czesław Jankowski, 'Kurier Warszawski', in Wrażenia i szkice, Munich, 1892, no. 204, p. 2
Tygodnik Ilustrowany, Warsaw, 1892, no. 130, p. 412-13, illustrated (as Arabczyk)
Über Land und Meer, Stuttgart, 1892-1893, no. 35, vol.1, p. 13, illustrated 
Biesiada Literacka, Warsaw, 1895, no. 4, p. 55, cited, p. 57, illustrated 
Biesiada Literacka, Warsaw, 1896, no. 47, cited, p. 336, illustrated
Bogdan Zakrzewski, Sienkiewicz i Brandt, PhD. thesis, Poznan, p. 168
Irena Olchowska-Schmidt, Józef Brandt, Krakow, 1996, p. 17, no. 28
Ewa Micke-Broniarek, Genre themes in Józef`s Brandt`s painting: Józef Brandt (1841-1915). Between Munich and Orońsko, exh. cat., Orońsko, 2015, p. 13 
Ewa Micke-Broniarek, Józef Brandt 1841-1915, exh. cat, Warsaw, 2018, p. 213-14

The canvas has not been lined and is securely attached to a keyed wooden stretcher. The paint surface appears to be entirely stable. Inspection under ultra-violet light reveals an even layer of residual varnish and some intermittent strokes of cosmetic retouching along the edges of the upper left corner and in the extreme right framing edge. One small spot possibly addressing some paint flaking is also visible in the centre of the upper framing edge. The main composition appears to be untouched. This work is in very good condition 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."

Painted circa 1890-1891. Set before a khan or hostelry in the Caucasus, most likely Dagestan or Chechnya, during the Russian occupation of the region during the protracted Caucasian War fought between 1817 and 1864, Brandt's painting is a fascinating observation of an encounter between Cossack mercenaries in the employ of the Russian Empire and local Muslim tribesmen. 

Though on opposing political sides, this did not stand in the way of commerce between the occupants and occupied: a group of horse traders has come to town to show off their mounts. The handler stands at the back, while the rider in the foreground demonstrates his steed to the interested Cossack buyers, being accosted by the man with the whip. Other traders look on: a fruit seller on the ground, another perched on the wall displaying a panoply of wares, including on the left a Kazak triple medallion rug, and on the right a Caucasian kilim.

Brandt travelled to the Ukraine as early as 1860. The beauty of the eastern marches left a lasting impression on him, and the region subsequently became one of the main settings for his paintings. In 1862 he moved to Munich where he trained under the celebrated painter of horses and armies, Franz Adam (1815-86), honing his skills as a horse painter. Out of these two experiences evolved Brandt's distinctive and dramatic subjects, which won him international acclaim.

The present work is recorded in the Pruszak Family Archive and in the artist's photo archive held in the National Museum in Warsaw (inventory number: DI 39637 MNW).






The authenticity of this work has been confirmed by Mariusz Klarecki.