100

Leon Francois Comerre
(French, 1850-1916)

"Harem Dancer"

oil on canvas
signed lower left, "Whitford and Hughes, Fine Paintings 1880-1930, London" and typewritten label with artist and title en verso.
Presented in a giltwood frame.
32-1/4" x 16-1/4", framed 43" x 26-1/2"

Provenance: Sotheby's, London, June 13, 2006, lot 234

Notes: Europeans were fascinated with the exoticism of the "Orient", with the fine porcelain, silk, textiles and spices that flooded ports due to the expansion of trade in the East in the late 17th/early 18th century through the Swedish East India Companies. Turkey, the Middle East and North Africa became synonymous with the Orient following Napoleon's failed campaigns in Egypt and Syria, which fueled public interest in Egyptology that found ubiquitous expression in the French Empire-style- whereby fine and decorative arts prominently featured sphinxes, winged animals, paw feet, and hieroglyphic and geometric patterns. French colonization of Algeria and Tunisia in 1830 and 1881 respectively further aggrandized the misnomer. By the second half of the 19th century, the Orient symbolized all that was not Western European and Christian; it was a collective other that dazzled and afforded a fantastic reprieve from the mores and strictures of the West. Turkish, Indian and Maghrebian rugs were all "Oriental" ones found in sun drenched bazaars in Tangiers and Istanbul that French painters like Kauffman and Gabani frequented, painting embellished depictions for wealthy European patrons such as the "Snake Charmer" in lot 105, and the colorful tapestry rug-laden market in lot 106. The exotic fauna, spices and textiles were revered as vibrant and wild as the forbidden domestic interiors of the Ottoman Empire sultans, namely the women's quarters (seraglios). Harems were highly eroticized by Western men as they erroneously viewed them as personal brothels for the affluent. Romantic painters, notably Gerome, Delacroix and Ingres pictorially invented the harem pastiche of the Odalisque- Turkish slaves or concubines portrayed as belly dancers or as recumbent nudes in lush interiors that often include other women bathing or in intimate embraces. Aureli 's "Courtesans in Waiting" and Ballesio's "Royal Patron" in lots 102 and 103 exemplify this archetype, as does the painting offered here by Comerre of the "Harem Dancer", and Semenousky's "Water Carrier" in the following lot. The latter two present sultry odalisques/belly dancers draped in golden gauze with elaborate sequined accoutrements; the first is posed before a relief of Moorish architecture bedecked in "Oriental" guilloche; and the second portrays a Western Greek or Italian peasant presented as an odalisque.


  • Condition: **Layer of surface soiling. Toning of the varnish layer. Evidence of past restoration: small areas of inpainting upper center (face and outlines of hair), mid-right (arm), mid-center (bodice), lower left (table and floor). Difficult for UV light to completely penetrate varnish layer at mid- and upper center (her hair and in shadows around her arms and body). Patch en verso mid-left - corresponds to star pattern on wall. Gilt frame with surface marks, nicks and abrasions; losses along edges.

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