This listing is for a 19th century Orientalist sketch of a seated north African man, executed in watercolor over pencil and ink on heavy paper, and trimmed for an oval frame. The artist has used a small amount of opaque white watercolor for atmosphere around the figure's head, silhouetting his shadowy face, which looks in our direction but with eyes we cannot see. It's a striking effect and one can imagine seeing this figure staring back across an expanse of desert. The study was likely made between 1860 and 1875, and came to me from a dealer in Spain. This location history might suggest it was made by a Spanish painter, but more research is needed for attribution.
The back of the sheet reveals an intriguing portrait of a woman with pink and blue scarves tied around her neck, her dark hair pulled back, with curled bangs, and a large golden hoop visible in her left ear. This figure's heavy features could be those of an Algerian or even a Neapolitan woman. Given the sketch on the opposite side, it is also possible that she is one of the artist's traveling companions. Note the long shadow under her nose, a tale-tell sign of being outdoors with sun high overhead. A partial ink inscription is preserved at the bottom. These clues may be the key to identifying the artist.
In my research, a watercolor drawing of an Algerian woman by the French painter Pierre Edmond Alexandre Hédouin (1820-1889) first caught my attention, along with an etching he made of Aïscha Bent Tchelabia. Hédouin traveled to Algeria in 1847 and produced a number of Orientalist paintings and etchings afterward. Hédouin's watercolor of the Algerian woman was made during his trip (see reference image) and was included in Tajan's "Arts d'Orient" sale, Paris, 2008.
The French academic painter Isidore-Alexandre-Augustin Pils (1815–1875) also came to mind for his characteristic use of white to silhouette the heads of figures in sketches and studies. Pils traveled to Algeria in 1863 and spent two years there. He produced a large number of studies during that trip, including one of a young man in similar dress but with his hood up (see reference image).
Turning an eye to the Spanish school, José Villegas y Cordero (1844-1921) stands out for his dynamic watercolors, including the three examples shown here as references. In the first, note Villegas' layering of brown to create similarly rich flesh tones for his snake charmer. In the second example, note his use of blue to build atmosphere around the figure. Inspired by the works of Spain's leading Orientalist painter Marià Fortuny, Villegas traveled to Morocco twice to collect material for his paintings, the first trip in 1867.
This study measures approximately 3"w x 5 1/4"h. It is in overall good condition, with some faint foxing and a few watercolor or ink spots. The sheet was once trimmed to fit an oval frame. Note that there are a few pin holes near one edge, possibly from old frame nails. See images to verify condition and feel free to ask questions.
Terms of Sale
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Condition, Shipping, and Returns
This item comes from a smoke free home. Flaws, manufacturing defects, or damages—if applicable—are noted in the description above to the best of my ability. Returns are not accepted. Measurements are approximate. This study will be carefully packed and shipped flat with tracking and insurance. Please only bid if you agree to these terms and conditions.
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