01 Orientalist Painting, Joaquín Miró's Arab Riders, with footnotes #106

Joaquìn Mirò (Spanish, 1849-1914)

Arab Riders

Oil on artist board

11 x 13 in. (27.9 x 33 cm.)

Private collection

Sold for USD 9,600 in April 2006

Joaquín Miró (Spanish, 1849–1914)  was a painter of figures, nudes, interior scenes, urban and rural landscapes and still lives. Miro studied at the School of Fine Art in Barcelona before travelling to Paris. At this stage Miro associated with the Montmartre artists. He was a friend of Théophile Steinlen and was attracted by the work of Picasso and Utrillo. Miro exhibited widely at the Autumn Salon in Paris, Liége and elsewhere. More on Joaquín Miró

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01 Orientalist Painting, Georges Bertin Scott's The Charge, with footnotes, #105

George Bertin Scott (French, 1873-1942)

The Charge, c. 1904

Oil on canvas

47 3/8 x 79¼ in. (120.5 x 201.1 cm.)

Private collection

Georges Bertin Scott (10 June 1873 – 10 January 1943) was a French war correspondent and illustrator for the French magazine L'Illustration during the early 20th century. His work was part of the painting event in the art competition at the 1928 Summer Olympics. He produced paintings of the Balkan Wars and the First World War, and also covered and illustrated scenes from the Spanish Civil War and the early Second World War. One of his works, an oil painting of his depicting King Constantine I of Greece during the Balkan Wars hangs in main entry hall of the Presidential Palace in Athens. In 1909 Scott married French singer Nelly Martyl, who served as a nurse during the First World War, and was awarded the Croix de Guerre. More on Georges Bertin Scott

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01 Orientalist Painting, George Washington's CHARGE DES CAVALIERS ARABES/CHARGE OF ARAB RIDERS , with footnotes, #104

George Washington, French, 1827 - 1910

CHARGE DES CAVALIERS ARABES/CHARGE OF ARAB RIDERS  

Oil on canvas 

21½ by 28¾ in.; 54.6 by 73 cm

Private collection

George Washington, born 15 September 1827 in Marseille and died November 19, 1901 in Douarnenez, was a French Orientalist painter. Like most aspiring artists, the young Georges Washington moved to Paris, where he trained at the Ecole des Beaux Arts under François-Edouard Picot (1786-1868). The artist’s exotic style was also indebted to Eugène Delacroix (1798-1863). Washington’s art conveys a similar feeling to the work of Eugène Fromentin (1820-76) who often painted naturalistic Middle Eastern scenes of rural and nomadic life. Washington’s love of the Middle East and its customs was further enhanced and encouraged by his father-in-law, the military and Orientalist painter Henri-Félix-Emmanuel Philippoteaux (1815-1884), whose daughter Anne-Léonie Philippoteaux married Washington in Paris on 6th August 1859.

Not long after finishing his training at the Ecole des Beaux Arts, Washington embarked on the first of a number of trips to Algeria and based on close observation of its inhabitants, their dress and customs in 1857 he made his Paris debut at the Salon des Artistes Français with a view of nomads titled Plaine du Hoiina (Sahara Algérien). From then up until 1901 Washington continued to be a popular exhibitor at the Salon; one of his first works shown there to gain critical acclaim was Nomades dans le Sahara en Hiver. In addition to Paris, Washington also showed his work in Moscow in 1881 and was later posthumously honoured when four of his paintings were included in the Exposition Coloniale de Marseille in 1906.

Following two commissions from a Belgian company, he travelled to Morocco and then subsequently visited Hungary, Bulgaria and Turkey, which were to inspire his varied subjects including battle scenes and cavalry skirmishes. His travels also took him to America for the unveiling in Philadelphia of a cyclorama (a monumental 360° panoramic view) of the Battle of Gettysburg by his brother-in-law Paul-Dominique Philippoteaux (1846-1923).

Following the death of his wife he retired to live with his daughter and son-in-law at Douarnenez on the Brittany coast, where he died shortly after on 19th November 1901. More George Washington

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01 Orientalist Painting, Emmanuel de Dieundonné's Turkish Beauty with a Narguilé, with footnotes, #121

Emmanuel de Dieundonné (Swiss, 1845-1889)

A Turkish Beauty with a Narguilé, c. 1887

Oil on panel

27 x 41¾ in. (68.6 x106 cm.)

Private collection

A hookah; shisha, Narguilé, or waterpipe is a single- or multi-stemmed instrument for heating or vaporizing and then smoking either tobacco, flavored tobacco, or sometimes cannabis, hashish, and opium. The smoke is passed through a water basin—often glass-based—before inhalation. More on the Narguilé

As a young artist, Emmanuel de Dieudonné devoted himself to academic art, painting in the style of Alexandre Cabanel, under whom he studied at the École des Beaux-Arts in Paris. His later travels to the Middle East, notably to Turkey, inspired a renewed interest in Orientalist subjects, including portraits. Among the portraits he painted was that of the Turkish Orientalist painter Osman Hamdy Bey.

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02 Orientalist Paintings, Adolf Schreyer's The Chase, with footnotes, #120

Adolf Schreyer (German, 1828-1899)

The Chase

Oil on canvas

51½ x 32¼ in. (130.8 x 82 cm.)

Private collection

The Chase, depicts a group of Bedouin warriors in full gallop charging through the desert landscape. The rapidity and nervous quality of the brushstroke emphasizes the forward momentum of the riders; the vivid red cloak of the rider in the center identifying him as the leader. More on this painting

Adolf Schreyer (German, 1828-1899)

The Chase, c. 1863

Oil on canvas

44 x 67 1/3 in. (112 x 171 cm.)

Private collection

Adolf Schreyer (July 9, 1828 Frankfurt-am-Main – July 29, 1899 Kronberg im Taunus) was a German painter, associated with the Düsseldorf school of painting. He studied art, first at the Städel Institute in his native town, and then at Stuttgart and Munich. He painted many of his favourite subjects in his travels in the East. He first accompanied Maximilian Karl, 6th Prince of Thurn and Taxis through Hungary, Wallachia, Russia and Turkey; then, in 1854, he followed the Austrian army across the Wallachian frontier. In 1856 he went to Egypt and Syria, and in 1861 to Algiers. In 1862 he settled in Paris, but returned to Germany in 1870; and settled at Cronberg near Frankfurt, where he died.

Schreyer was, and is still, especially esteemed as a painter of horses, of peasant life in Wallachia and Moldavia, and of battle incidents. His work is remarkable for its excellent equine draughtsmanship, and for the artist's power of observation and forceful statement; and has found particular favour among French and American collectors. Of his battle-pictures there are two at the Schwerin Gallery, and others in the collection of Count Mensdorff-Pouilly and in the Raven Gallery, Berlin. More on Adolf Schreyer

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01 Orientalist Painting, Edwin Lord Weeks' Three Moorish princesses, with footnotes, #119

Edwin Lord Weeks (American, 1849-1903)

Interior of La Torre des Infantas, illustrating the legend of the three Moorish princesses, c. 1881-82

Oil on canvas laid down on board

32 x 39½ in. (81.3 x 100.3 c

Private collection

One of the best known legends of the Alhambra was that of the three captive princesses, in which a tyrannical Moorish king fathered beautiful triplet daughters, Zayda, Zorayda, and Zorahayda, by his young Spanish wife, whose Christianity he had forced her to renounce. To protect them from suitors when they became of "a marriagable age," as Irving describes it, the king imprisoned the three princesses in a tower in a palatial room, connected to the world beyond only by a window with a view across a ravine toward the gardens of the Generalife on a nearby hill. Entranced by three captive Christian Spanish cavaliers, whom they could see from their window, the princesses eventually conspired with their duenna to elope with the virile and handsome young men, as they themselves fled their Muslim captors. At the last moment, one princess decided to remain behind, as her two sisters lowered themselves out of the great window on a rope ladder and galloped off with their suitors to a new life in Christian Spain. Tragically, the third princess, too timid to join her sisters in escape, pined away in the tower and died at an early age. More on this painting

Edwin Lord Weeks (1849 – 1903) was an American artist. Weeks was born in Boston, Massachusetts in 1849. His parents were affluent spice and tea merchants from Newton, a suburb of Boston, and as such they were able to finance their son's youthful interest in painting and travelling. As a young man Weeks visited the Florida Keys to draw, and also travelled to Surinam in South America. His earliest known paintings date from 1867 when he was eighteen years old, although it is not until his Landscape with Blue Heron, dated 1871 and painted in the Everglades, that Weeks started to exhibit a dexterity of technique and eye for composition—presumably having taken professional tuition.

In 1872 Weeks relocated to Paris, becoming a pupil of Léon Bonnat and Jean-Léon Gérôme. After his studies in Paris, Weeks emerged as one of America's major painters of Orientalist subjects. Throughout his adult life he was an inveterate traveler and journeyed to South America (1869), Egypt and Persia (1870), Morocco (frequently between 1872 and 1878), and India (1882–83).

Weeks died in Paris in November 1903.[2] He was a member of the Légion d'honneur, France, an officer of the Order of St. Michael, Germany, and a member of the Munich Secession. More on Edwin Lord Weeks

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01 Orientalist Painting, Georg Macco's Bab Zuwayla, Cairo, with footnotes, #118

Georg Macco (German, 1863-1933)

The Orange Seller, Outside Bab Zuwayla, Cairo, c. 1907

Oil on canvas

19 x 28½ in. (48.3 x 72.4 cm.)

Private collection

In the present painting the stand of the orange seller is placed just outside the Bab Zuwayla, the Southern Gate of Cairo's Fatimid enclosure. Looking in through the archway, on the right one can see the Sabil-Kuttab of Nafisa Bayda (1796). On the left, there is an indistinct rendering of the facade of the Mosque-Mausoleum of Sultan Mu'ayyad, 1415-20. 

Its name comes from Bab, meaning "gate", and Zuwayla, as its in the Western Gate of the city that had a trade route for overland travelers. More on this painting

Bab Zuweila is one of three remaining gates in the walls of the Old City of Cairo. It was also known as Bawabbat al-Mitwali during the Ottoman period. It is considered one of the major landmarks of the city and is the last remaining southern gate from the walls of Shia Islamic Fatimid Cairo in the 11th and 12th century. More on Bab Zuweila 

Nafisa al-Bayda began her life as a slave and then was married in the mid 1700s to a man of power in the state named Ali Bey. Afterwards, she married the wealthy Murad Bey who was at first a Mamluk, but then later rose to power in 1784 and became the leader of the resistance against the Napoleon Bonaparte invasion.

Lady Nafisa al-Bayda, meaning the white one, was a woman of beauty, wealth, charity and known to be of great culture. She is also a symbol for womens participation in those days to the political life. During her husbands resistance, she played a major role in helping him acting as an intermediate between him and Napoleon. More on Lady Nafisa al-Bayda

Georg Macco (23 March 1863, Aachen - 20 April 1933, Genoa) was a German landscape painter and illustrator, associated with the Düsseldorfer Malerschule. He is primarily known for his Orientalist works.

He was inspired by stories of his great-great-uncle, the history and portrait painter Alexander Macco, who painted a portrait of the Queen of Prussia and was a close friend of Beethoven and Goethe. His artistic career began at the Kunstakademie Düsseldorf in 188o, where he studied with Eugen Dücker and Johann Peter Theodor Janssen until 1887. During this time, he also contributed illustrations to Die Gartenlaube and drawings of coats-of-arms for his brother, Hermann Friedrich Macco, who was an historian and genealogist.

He moved to Munich to further his studies and used that city as a base for his numerous travels, beginning with mountainous regions from Italy to Spitsbergen. Later, he travelled throughout the Mediterranean region, visiting such then-exotic locations as Istanbul, Baalbek, Jerusalem, Cairo and the vicinity of Mecca. The works he produced as a result of these travels would eventually become his most popular and sought after.

His works may be seen at the Kunstmuseum Düsseldorf, the Suermondt-Ludwig-Museum in Aachen, the Rudolfinum in Prague and the Alpines Museum in Munich. Some of his works in Aachen were previously on the "Schattengalerie" (shadow gallery) list of works looted by the Nazis during World War II. Other works, not yet displayed, have been uncovered at the Simferopol Art Museum. More on Georg Macco

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