19

Street Scene, North Africa, signed and dated lower left: F.A. Bridgman 1882, oil on canvas. est:$300,000/500,000. Note: We are grateful to Dr. Ilene Susan Fort, The Gail and John Liebes Curator of American Art at LACMA, for confirming the authenticity of this lot. Born in Alabama but more strongly associated with France, Bridgman moved to Paris as a young man, studying in the studio of pre-eminent French Orientalist Jean-Leon Jerome (1824-1904). Under Jerome's influence he chose to specialize in scenes of the Middle East, and made numerous trips to Spain and North Africa, particularly Algeria and Egypt. His detailed depictions of the region’s scenery, architecture, people and costumes earned him immense popularity and a reputation as the most talented American artist in the Orientalist genre. With interest revived in part by recent major museum exhibitions and scholarly studies, works by Bridgman are again enjoying a buoyant market, appreciated for their technical mastery and recording of a fascinating world that has largely disappeared. Created in 1882 at the peak of Bridgman’s career, 'Street Scene, Algiers' is a theatrically staged piece hosting a large cast, serving up a feast of exotic imagery and fanciful Orientalist details. With bravura contrasts of light, color and texture, Bridgman guides the viewer’s eye through the dusty street in a procession of deeply receding planes from one group of figures and animals to another, each group forming a vignette telling its own story within the whole. The scene centers around the deftly portrayed grouping of a beautifully costumed woman with a young child at her skirt offering a drink to a man mounted on an Arabian horse, offset against a wall painted in myriad shades of white reflecting bright light and color. In his account of his travels, ''Winters in Algeria'', published in 1890, Bridgman rhapsodizes about the quality of the region's light, how ''white objects are ...supported and encouraged to shine by the reflections from their surroundings. Certain it is that my first impressions of North Africa can never be dispelled. The near prospect of revisiting its sunny shores was to me one of those delightful anticipations in life which haunt the fancy.'' In another passage he notes his fascination with the various ''whites- yellow, gray, blue, green, and pink whites- delicious whites in shadow, of those refined tones so terrible to do justice to on canvas, and with which one must wrestle.'' The fruits of this wrestling with light and color, during long hours spent painting outdoors in streets and courtyards, are beautifully captured in the present work.The painting retains the original ornate 3'' ebonized frame liner decorated with stylized Arabic script.'Street Scene, Algiers', as well as other European and American paintings included in these sale sessions, come originally from the collection of South Pasadena, California socialite Minerva Hamilton Hoyt (1866-1945). Hoyt was active in many civic and arts organizations but her interest in and love for the California desert is her true legacy. Hoyt worked tirelessly in the 1920s to preserve California desert land. She contributed to reports for the newly created California State Parks Commission recommending which deserts to preserve and championed a million-acre area East of Palm Springs. In August 1935 President Roosevelt signed a proclamation establishing Joshua Tree National Monument, an 825,000-acre area over 100 miles long and 50 miles wide. Hoyt's legacy was further preserved when President Clinton added 234,000 acres to the park in 1994 and elevated it to National Park status. Provenance: T.A. Wilmurt, New York, NY (see verso label); Property of Minerva Hamilton Hoyt, South Pasadena, CA; by descent in the family to the present owners

34'' H x 53.5'' W

  • Provenance: Provenance: T.A. Wilmurt, New York, NY (see verso label); Property of Minerva Hamilton Hoyt, South Pasadena, CA; by descent in the family to the present owners
  • Literature: oil on canvas
  • Notes: Note: Born in Alabama but more strongly associated with France, Bridgman moved to Paris as a young man, studying in the studio of pre-eminent French Orientalist Jean-Leon Jerome (1824-1904). Under Jerome's influence he chose to specialize in scenes of the Middle East, and made numerous trips to Spain and North Africa, particularly Algeria and Egypt. His detailed depictions of the region’s scenery, architecture, people and costumes earned him immense popularity and a reputation as the most talented American artist in the Orientalist genre. With interest revived in part by recent major museum exhibitions and scholarly studies, works by Bridgman are again enjoying a buoyant market, appreciated for their technical mastery and recording of a fascinating world that has largely disappeared. Created in 1882 at the peak of Bridgman’s career, 'Street Scene, Algiers' is a theatrically staged piece hosting a large cast, serving up a feast of exotic imagery and fanciful Orientalist details. With bravura contrasts of light, color and texture, Bridgman guides the viewer’s eye through the dusty street in a procession of deeply receding planes from one group of figures and animals to another, each group forming a vignette telling its own story within the whole. The scene centers around the deftly portrayed grouping of a beautifully costumed woman with a young child at her skirt offering a drink to a man mounted on an Arabian horse, offset against a wall painted in myriad shades of white reflecting bright light and color. In his account of his travels, ''Winters in Algeria'', published in 1890, Bridgman rhapsodizes about the quality of the region's light, how ''white objects are ...supported and encouraged to shine by the reflections from their surroundings. Certain it is that my first impressions of North Africa can never be dispelled. The near prospect of revisiting its sunny shores can never be dispelled.'' In another passage he notes his fascination with the various ''whites- yellow, gray, blue, green, and pink whites- delicious whites in shadow, of those refined tones so terrible to do justice to on canvas, and with which one must wrestle.'' The fruits of this fascination with light and color, and long hours spent painting outdoors, are beautifully captured in the present work. The painting retains the original ornate 3'' ebonized frame liner decorated with stylized Arabic script. 'Street Scene, Algiers', as well as other European and American paintings included in these sale sessions, come originally from the collection of South Pasadena, California socialite Minerva Hamilton Hoyt (1866-1945). Hoyt was active in many civic and arts organizations but her interest in and love for the California desert is her true legacy. Hoyt worked tirelessly in the 1920s to preserve California desert land. She contributed to reports for the newly created California State Parks Commission recommending which deserts to preserve and championed a million-acre area East of Palm Springs. In August 1935 President Roosevelt signed a proclamation establishing Joshua Tree National Monument, an 825,000-acre area over 100 miles long and 50 miles wide. Hoyt's legacy was further preserved when President Clinton added 234,000 acres to the park in 1994 and elevated it to National Park status
  • Condition: Visual: Generally good condition. Minor frame abrasion, an isolated area of stable craquelure on the central child. Blacklight: No evidence of restoration under blacklight.

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April 17, 2012 3:00 PM PDT
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