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Simon parkes dark corner2/15/2024 Müller felt compelled to transcribe what he saw, though understood the practical necessity of studio works. Müller credited the Egyptian air as enhancing this spectacular visual atmosphere: "The air is a dazzling brilliance, and all objects, even the most colourless, gleam like diamonds in this ocean of air" (Wimmer, p. Muller was perhaps most taken with the clear, hard sunlight in the North African country and its ability to ignite color and transform figures and buildings into dramatic passages of light and shadow. This initial impression set the course of his artistic career and his reaction was immediate – instead of visiting Syria following this trip, as planned, he hurried straight back to Vienna so that he would not lose the invaluable impressions made by this beautiful land. A letter from the artist from 1875 mentions he had spent almost six months in Egypt two years earlier, which suggests Müller arrived in Egypt in December 1873. ![]() There is little documentation of Müller's departures and arrivals in Egypt, however, it is known that Müller visited Egypt on nine occasions between 18, earning the nickname "Müller the Egyptian" from his students at the Vienna Academy. While the specific source of Leopold Carl Müller's fascination with Egypt is unclear, the North African country's abiding hold on the Viennese artist is perhaps best summarized in one of his attempts to explain the enigmatic appeal of the capital city, resolving to simply call it the " magic of Cairo" (Günther Wimmer, "The Orientalist Painter Leopold Carl Müller," The Orient, Austrian Painting between 18, Salzburg, 1997, p. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller." "This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. I would be happy to answer any further questions about this painting. All these retouches are incidental, and probably address a pentiment or unevenness to the paint layer rather than paint loss or damage. There is another small spot in the dark area to the right of the figure riding a camel. There is a small retouch in the cheek of the seated boy with the blue headdress and a small retouch near the ankle of the standing bearded figure in the center. There are a few isolated retouches that have been added in the dark dress of the girl holding the oranges and a vertical restoration in the neck of the seated veiled woman at lower left. The painting is clean and varnished and the paint layer is in lovely condition. ![]() The panel is made from two sections of mahogany joined vertically and reinforced with two horizontal bars on the reverse, one at the top and one at the bottom. This oil on panel is in beautiful condition. ![]() The following condition report was kindly provided by Simon Parkes Art Conservation, Inc.: Herbert Zemen, Leopold Carl Müller, 1834-1892: ein Künstlerbildnis nach Briefen und Dokumenten: Anhang: 32 Naturstudien aus Ägypten in in-und ausländischem Museums-und Privatbesitz, Vienna, 2001, p. Herbert Zemen, Leopold Carl Müller im Künstlerhaus: die Orientbilder, Vienna, 1998, p. Herbert Zemen, Leopold Carl Müller, 1834-1892: Briefe und Dokumente, Vienna, 1996, p. The New International Encyclopedia, New York, 1916, 2nd ed., vol. 312 (as Oriental Market Scene)īryson Burroughs, The Metropolitan Museum of Art, Catalogue of the Paintings, New York, 1914, p. 191 (M91, Gallery 16), and in 1917 edition p. John Denison Champlin, ed., Cyclopedia of Painters & Paintings, New York, 1913, vol. 101 (as Bazaar Street, Cairo), illustrated opposite title page (in a color engraving the work as hung in the picture gallery)Ĭatalogue of the Paintings in the Metropolitan Museum of Art, New York, 1905, p. Vanderbilt's House and Collection, New York, circa 1883-84, vol. Vanderbilt, 640 Fifth Avenue, New York, n.p., 1882, p. Edward Strahan, ed., The Art Treasures of America, Philadelphia, 1879, vol.
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