Rudolf Ernst

Private Collection, USA

The panel is in good condition, even and bowing only very slightly at the extreme corners. There are scattered spots of retouching visible under ultraviolet light, notably to the extreme edges and to the periphery of the figures and partially obscured under a varnish. Apart from some minor frame rubbing to the centre of the right edge, this work is in very good condition, with rich, vibrant colours and strong detail, and ready to hang. Held in a decorative, gold-painted moulded plaster and wood frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Replica Shoes 's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Ernst's fascination with Islamic culture was sparked by his journeys to Spain and north Africa in the early 1880s and to Turkey and Egypt in the 1890s, and his paintings reflect the breadth of his knowledge. Like many of Ernst's best works, A Romantic Interlude represents an idealised imagined Orient (no Westerner would have had access to the pasha's inner sanctum), although its component elements - from the Ottoman gilt metal-thread embroidered portière and Ladik carpet, to the iznic tiles and tile frieze - are minutely observed, based on sketches made in the field, or on props brought back from his travels. Of particular interest in the present work is the ornate stove mounted with a circular cup warmer. Ernst decorated his Paris studio in an eclectic 'Eastern' style, in which he would paint wearing a taboosh, the better to feel his way into the world of his paintings.