MONTE-CARLO.- Under the High Patronage of HSH Prince Albert II of Monaco, the fourth edition of the prestigious event, the POINT ART MONACO – FINE ART FAIR is to be held from Thursday, June 12th, through Monday, June 16th, at the Sporting d’Hiver Monte Carlo. Five days of dreaming, to admire hundreds of exceptional pieces!
After only three editions of PAM, the impressive Fine Art Fair rose through the ranks of major international gatherings of top professionals and art collectors, of worldwide criticism. These artistic effervescent days, allow them to share their passion for Art at its finest.
During this prestigious event, visitors will discover an amazing selection of archaeological pieces, period paintings, ancient, and modern works of art, antiques, jewellery, art nouveau furniture, and other exquisite decorating treasures. The viewer's attention will be drawn towards a fascinating pictorial symphony and a multidimensional space where a variety of pieces will coexist.
In an attempt to showcase twenty internationally renowned Antique and Art Dealers of the world, exhibitors were carefully selected with utmost care and attention by an Official Committee.
Among the masterpieces featured, you will view a sculpture of the Fifth Century BC, proposed by Phoenix Ancient Art; a wonderful canvas by Marc Chagall, exhibited by Beck & Eggeling; a painting by El Greco, presented by Maison d’Art; a De Nittis, proposed by the Società di Belle Arti; a Korovine exposed by MC Fine Arts; a bronze by Brancusi displayed by M.-F. Toninelli Art Moderne ; a Zao Wou-Ki exposed by Aktis Gallery, and a sculpture of Arman, presented by the Grippaldi Gallery.
Hosted in the legendary destination of the French Riviera, the Principality of Monaco has a scent of glamour, and fineness, unique and exclusive to the rest of the world. Founded in 2011 by five art galleries in Monaco, PAM is now recognized as a prestigious and leading event in its own right.
From Thursday June 12th to Monday June 16th, 2014 / 15h - 21h. WINTER SPORTING - Place du Casino - 98000 MONACO
Andy Warhol, Mao, 1972 . Sceenprint in colour on special paper, 91,4 x 91,4 cm. Photo courtesy Galerie Adriano Ribolzi.
PROVENANCE: The Andy Warhol Foundation – stamp verso
Andy Warhol Art Authentication Board A145 -103
Printed by Styria Studio Inc.
Andy Warhol, Self – Portrait 1986. Polaroid photograph; image: 9,5 x 7,3 cm; paper: 10,8 x 8,9 cm; embossed stamp recto. Unique. Photo courtesy Galerie Adriano Ribolzi
Chu Teh-Chun (B. 1920), Untitled 2004. Oil on canvas, 22 x 27 cm. Signed and dated lower left. Photo courtesy Aktis Gallery
Certificate of authenticity has been issued by Madame Ching-Chao Chu
LITERATURE: To be included in the forthcoming Chu Teh Chun catalogue raisonné
Zao Wou-ki, Composition 15.07.89 1989. Oil on canvas, 54 x 65 cm. Signed lower right. Photo courtesy Aktis Gallery
PROVENANCE: Veranneman Foundation, Belgium
Private collection, Switzerland
LITERATURE: This work will be reproduced in the catalogue raisonné being prepared by Françoise Marquet and Yann Hendgen
A certificate of authenticity has been issued by the artist
Giuseppe Molteni (Affore 1800 – Milan 1867), Portrait of a Woman. Oil on canvas, 63 x 50 cm. Photo courtesy A. Pallesi Art Gallery
LITERATURE: S. Rebora. Giuseppe Molteni e il ritratto nella Milano romantica…, exhibition catalogue, Milan 2000, no. 189.
George Clairin (Paris 1843 – Belle-Île-En-Mer 1919), a) Les Beaux-Arts b) Les Sciences c) Le commerce et l’agriculture d) Le travail et l’industrie.Oil on canvas; 74 x 115 cm. Signed lower left and right: G. Clairin. Photo courtesy A. Pallesi Art Gallery
It also sees an inscription on the top edge: dimensions of performance 7 m long and 5 m high
Marc Chagall (Witebsk 1887 - Saint-Paul de Vence 1985), Le Prophête Isaie - 1968.Oil on canvas, 41 x 33 cm, signed bottom left 'Marc Chagall'. Photo courtesy Beck & Eggeling
Expertise: An expertise by the 'Comite Marc Chagall' of 19. April 1996 is available
PROVENANCE: Private collection, Switzerland
Emil Nolde (Nolde, Nordschleswig 1867 - Seebüll 1956), Phantasie (Drei Köpfe).Watercolour, pen and Indian ink on Japanese paper, 1931 and 1935 ;41 x 30,5 cm, signed bottom left 'Nolde'. Photo courtesy Beck & Eggeling
PROVENANCE : Galerie Ferdinand Möller, Berlin, 1935
Charles Tabachnick, Toronto
Sotheby's New York, 19 November 1986, Lot 6 Private collection, England
Christie's London, 22 June 2006, Lot 479 Galerie Thomas, München
Christie's London, 7 February 2013, Lot 208
Gaspar van Wittel, called Vanvitelli (Amersfoort 1652/53 - Rome 1736), Rome, Piazza Navona with Palazzo Pamphilj and the churches of Sant’Agnese in Agone and San Giacomo degli Spagnoli. Oil on canvas, 60 x 108 cm. Photo courtesy Cesare Lampronti
LITERATURE: Expertise: Federico Zeri, 8 April 1996;
Giancarlo Sestrieri, 8 April 1997.
Giovanni Francesco Barbieri, called Guercino (Cento circa 1591 – Bologna 1666), Head of Saint Peter. Oil on canvas, 50 x 40 cm. Photo courtesy Cesare Lampronti
PROVENANCE: Private collection
LITERATURE: Expertise: Nicholas Turner, August 2012
Silver-gilt table, signed M. Aucoc, 1890; diam. 101 cm, 89 cm tall. Photo courtesy Galerie de Bartha
A large silver caviar server. Hallmarked "London 2002". Fitted with five glass dishes in a framework and a liner for crushed ice. 90 cm long, 53 cm wide, 35 cm tall. Photo courtesy Galerie de Bartha
Galerie de Bartha. 3, rue du Mont-Blanc, 1201 Geneva, Switzerland. T +41 227 16 2720 - M +44 7866 638 973 - F +41 227 318009 - firstname.lastname@example.org
François Boucher (29 september 1703 – 30 may 1770), Portrait d’Alexandrine-Jeanne Le Normand D’Etiolles, Fille de la Marquise de Pompadour. Oil on Canvas; 53 x 45 cm. Signed and Dated on the Bird Cage: f.Boucher, 1749. Photo courtesy Derek Johns & Theo Johns
We are grateful to Dr. Christoph Vogtherr, Director of the Wallace Collection who supports the attribution to Francois Boucher upon first hand examination. Edgar Munhall, Curator Emeritus at the Frick Collection is also favourable to the work based on a photo examination.
PROVENANCE: Collection of Mme de Pompadour, probably at Chateau de Marly or Crécy;
His Sale, Galerie Georges Petit on May 15 – 18th 1899, n. 6 (Sold for 85000 FF);
Collection of M.H. Deutsch de la Meurthe;
Mme Raba Deutsch de la Meurthe;
LITERATURE: Sale Catalogue Galerie Georges Petit. Georges Mühlbacher, his collection, 15 – 18th May 1899, n. 6.
Charles Jervas (Clonlisk, Ireland 1675 – London 1739), Portrait sketch of Laetitia Tipping, Lady Sandys (1699 -1779), as a child. Circa 1712 .Oil on paper, laid down onto canvas; 34 x 26.5 cm. Inscribed on the reverse of the stretcher “Lady Sandys”. Photo courtesy Derek Johns & Theo Johns
PROVENANCE: Private collection, London for at least the last eighty years.
The Mother of God of Vladimir with a Patron Saint on the Border, Russian (Moscow), circa 1650. Tempera and gold leaf on panel, 31,5 x 27 cm. Photo courtesy Dritsoulas Gallery.
The Vladimirskaya is one of the most venerated icons in the Orthodox world. A variation of the Eleusa type (of Tenderness), this icon portrays the Mother of God supporting Her Son with Her left hand while pointing at Him with the other, thus directing the beholder’s attention towards the Child. Christ snuggles in His Mother’s bosom as He stretches His arm around Her neck and touches His cheek onto Hers.
The icon is executed according to the Byzantine style. The facial features are boldly rendered; the almond-shaped eyes are big, the noses are elongated and the mouths are small. The curved areas are accentuated by white highlights, whereas the deep-coloured garments shimmer with the golden folds and decorations. The haloes of the figures are outlined in red against a gold background.
An elderly saint, dressed in monastic vestments, with his hands extended in supplication appears on the raised border. This is probably the patron of the person who commissioned the icon.
Christ Pantokrator Enthroned , Crete, early 16th century. Tempera and gold leaf on panel, 67 x 54 cm. Photo courtesy Dritsoulas Gallery.
Christ is portrayed seated on a carved wooden and gem studded throne complemented by a double-cushion, with his feet resting on a matching suppedaneum. He faces the viewer directly, as he raises his right hand in benediction and displays the Gospel Book inscribed with the text of John 15:17-18 in Greek majuscule: Ταῦτα ἐντέλλομαι ὑμῖν, ἵνα ἀγαπᾶτε ἀλλήλους. Εἰ ὁ κόσμος ὑμᾶς μι[σεῖ, γινώσκετε ὅτι ἐμὲ πρῶτον ὑμῶν μεμίσηκεν] (These things I command you, that you love one another. If the world hates you, you know that it hated Me before it hated you]).
The face of Christ is executed with soft shading; the rounded areas are brighter and the tips and corners are emphasized by fine, white, linear brushstrokes. His long brown hair is arranged in locks falling behind his left shoulder. He wears a tripartite halo inscribed Ο ΩΝ, while the flanking roundels include his name in a contracted form, I[HCOY]C X[PICTO]C.
The folds of his chiton are shaped by geometrical red tones, while the orange clavus and the volume of his himation are opulently rendered in gold.
The refined facial features, the smooth shades combined with linear highlights, the skilfull application of chrysography against a dense gold background, as well as the strong Byzantine character, classify this icon in the artistic production of the early 16th century Crete.
Arman (1928 – 2005), Mulligan’s Chorus, 1983.Accumulation of saxophones, 182.9 x 259.6 cm. Photo courtesy Galerie Grippaldi.
Francesco Guardi (Venice, 1712 - 1793), The Piazzetta looking towards San Giorgio Maggiore, Venice. Painted circa 1788-90. Panel, 17,8 x 30,5 cm. Photo courtesy Galerie Grippaldi.
PROVENANCE: M Knoedler, New York
Private collection, America, since the 1920s
LITERATURE: To be included in the forthcoming catalogue raisonné of the work of Francesco Guardi being prepared by Dario Succi
Galerie Grippaldi. 7, avenue Saint Michel, 98000 Monte-Carlo, Monaco. T +377 97 98 14 10 - F +377 97 98 14 11
Brooch in platinum and yellow gold set with diamonds, spinels and multicolour tourmalines, numbered and verified by Cartier, 1936. Photo courtesy Galerie Montaigne.
Art Deco Necklace onyx and coral beads, pampilles of Colombian emeralds weighing 110 carats, platinum set with diamonds weighing 15 carats. Photo courtesy Galerie Montaigne.
Wassily Kandinsky (1866 - 1944), Le zigzag rouge, 1943. Oil on cardboard, 42 x 58 cm. Photo courtesy Kunstberatung Zürich AG.
Augusto Giacometti (1877 - 1947), Tabernacle, 1923. Oil on canvas, 68 x 40 cm. Photo courtesy Kunstberatung Zürich AG.
Doménikos Theotokópoulos, called El Greco (Crete, 1541 – Toledo, c. 1576), Portrait of a Bearded Man Holding a Mouchoir, c. 1570-73, signed. Oil on canvas, 94.5 x 70.5 cm. Photo courtesy Maison d’Art.
PROVENANCE: Private collection, UK
LITERATURE: F. Marías, El Greco, Biografía de un pintor extravagante, Nerea, 1997, fig. 69, p. 115;
F. Marías, El Greco, Biografía de un pintor extravagante, Nerea, 2013, p. 114; To be published by Prof. Franco Moro
Attribution to El Greco is confirmed by:
Prof. William Jordan, Prof. Robin Cormack, Maria Paphiti, Prof. Lionello Puppi, Prof. Andrea Donati, Prof. Fernando Marias, Prof. Franco Moro
EXHIBITIONS : To be exhibited at the Musée Maillol (Paris) in 2016 (exhibition devoted to El Greco in Italy).
Paris Bordone (Treviso, 1500 – Venice, 1571), Diane and Callisto, ca. 1545. Oil on panel, 28.5 x 110 cm. Photo courtesy Maison d’Art.
PROVENANCE: Private collection, Switzerland
LITERATURE: F. Dabell, From Titian to El Greco, exh. cat., Piero Corsini, Inc., New York 1991, p. 36, no. 6;
Frank Dabell, Le Meraviglie dell’Arte, exhibition catalogue, Maison d’Art, 2005,N 4, pp 25-29, color ill. p. 27 ;
From Light to Enlightenment, Exhibition catalogue, Shanghai Art Museum, 2005, N 2, pp. 22-25,129-130.
EXHIBITIONS : From Titian to El Greco, exhibition, Piero Corsini, Inc., New York 1991, no. 6; Le Meraviglie dell’Arte, Important Old Master Paintings, exhibition catalogue, Maison d’Art, Monte-Carlo, 2005; From Light to Enlightenment, Exhibition in the Shanghai Art Museum, China, 12 -17 November 2005.
Korovine Constantin Alexeevitch (1861-1939), The Port of Nice. Oil on canvas, 60 x 81 cm. Signed and dated 1922 lower left. Photo courtesy MC FINE ARTS.
PROVENANCE: Artist’s family
LITERATURE: Exhibition catalogue "Les artistes russes hors frontière", July 21 – 31 October 2010, Museum of Montparnasse, Paris, ill. page 52.
Solomatkine Leonid Ivanovitch (1837-1883), The night scene in front of a Tavern. Oil on canvas, 67 х 98, 5 cm. Signed and dated 1872 lower left. Photo courtesy MC FINE ARTS.
LITERATURE: E. V. Nesterova "Leonid Ivanovitch Solomatkine", edition Zolotoi Vek, Hudojniki Rossii, Saint Petersburg, 2006, ill. no. 66.
Martial Raysse, A' Pinelli et à nous tous. Photo courtesy M.F. Toninelli Art Moderne.
Roberto Matta, L'Intact 1955, 100 x 100 cm. Photo courtesy M.F. Toninelli Art Moderne.
M.F. Toninelli Art Moderne. Palais de la Scala, 98000 Monte-Carlo, Monaco. T +377 93 30 57 31 - email@example.com
Mariotto Di Nardo (Florence documented from 1394 to 1424), The Angel of the Annunciation.Tempera on Panel, 45 x 26 cm. Photo courtesy Moretti Fine Art.
PROVENANCE: Washington, Horsey Collection
New York, Sale Sotheby’s, 6th December 1973
London, P. Corsini (1978)
Florence, Private Collection
LITERATURE: M. Boskovits, Pittura Fiorentina alla vigilia del Rinascimento 1370 - 1400, Florence, 1975, p. 402, fig. 495
Gerhard Richter, Abstraktes Bild, 454-4, 1980. Oil on canvas, 45.1 x 34.9 cm , inscribed verso: '454-4 / Richter 80' RICHT1968 / 454-4. Photo courtesy Moretti Fine Art.
PROVENANCE: Munich, Galerie Fred Jahn
Munich, Walther Barreis Collection
Zurich, Galerie Hauser & Wirth
Switzerland, Private Collection
LITERATURE: Städtische Kunsthalle (ed.), Gerhard Richter. Bilder 1962-1985, Cologne, 1986, p. 229, illustrated p. 391
Kunst und Ausstellungshalle der Bundesrepublik Deutschland (ed.), Gerhard Richter. Werkübersicht. Catalogue raisonné 1962-1993, Vol. III, Ostfildern-Ruit, 1993, no. 454-4, illustrated
D. Elger, Gerhard Richter. Catalogue Raisonné. nos. 389-651-2, 1976-1987, Vol. III, Dresden, 2013, no. 454-4, p. 172, illustrated
EXHIBITIONS : Kunsthalle Bielefeld, Gerhard Richter. Abstrakte Bilder 1976 bis 1981, Bielefeld, Germany, 10 January - 21 February 1982 Mannheimer Kunstverein, Gerhard Richter. Abstrakte Bilder 1976 bis 1981, Mannheim, Germany, 18 April - 16 May 1982
Moretti Fine Art. Piazza degli Ottaviani, 17/r, 50123 Florence, Italy. T +39 055 265 42 77 - F +39 055 239 66 52 - www.morettigallery.com - firstname.lastname@example.org
2a - 6 Ryder Street, St. James's, London, SW1Y 6QA , United Kingdom. T +44 207 491 05 33 - F +44 207 491 05 53 - www.morettigallery.com - email@example.com
24 East 80th Street, New York, 10075 , United States. T +1 212 249 4987 - F +1 212 249 4987 - www.morettigallery.com
Roundel Representing Scylla, Hellenistic Greek, ca. 3rd-2nd century B.C., Gilded silver, Diam: 16.9 cm. Photo courtesy Phoenix Ancient Art.
This roundel, or tondo, was hammered from a silver plaque and then decorated in repoussé from the inside to represent the figural scene. For the two-colored effect, some gilding was applied to the background (sky and sea), to the body of the sea monster and to Scylla’s skirt of acanthus leaves.
Circular in shape, but perfectly flat, the tondo is bordered by a ring that was made separately and adorned by two incised lines. The object is remarkable, both for its weight and for its diameter (well above the average size), classifying this example in the group of the largest specimens attested.
The scene, which appears in high relief, represents a very ancient myth documented in Homer’s Odyssey (Odyssey, XII, 73 ff.). The sea monster, with the head and torso of a pretty young woman and the lower body formed by two serpentine fishtails, both coiled with the tails upraised, with three dog protomes springing from her hips, is Scylla, the nymph turned into a hideous and terrifying monster by Circe (or by Amphitrite, according to the versions reported by the mythologists). After her metamorphosis, the young woman lived in a cave on the Italian coast of the Strait of Messina. From there, she terrorized sailors, capturing them on their ships and devouring them alive. For Homer, Scylla was one of the many adversities which Odysseus, King of Ithaca, had to deal with on his way home, after the Trojan War; during this episode, the hero saw several of his companions perish in a terrifying manner, without being able to save them.
In our example, Scylla is represented upright, grasping the rudder of a ship in her hands. Her serpentine coils enclose two sailors, whose bodies are dislocated, while three dogs’ heads appear between the large leaves forming her skirt. The sky is rendered by regular dots, while the waves of the sea form a lively surface in low relief.
This scene, already attested in Attic red-figure pottery, was very popular in the western Greek colonies in the 4th century B.C. and in the Hellenistic period. Its meaning was often related to the funeral sphere, since Scylla appears either as an appliqué ornament for an askos (pottery vessel for storing lamp oil) or as a painted subject exclusively intended for tombs.
Structurally, the composition perfectly corresponds to a circular support. Most often used to decorate mirror lids, such a disk-shaped element was also frequently intended to be placed at the center of a phiale (libation bowl) or on smaller knobs, interpreted as phalerae for a horse bit. Given its imposing size, one can imagine that our example had a decorative purpose on an object perhaps as large as a piece of furniture.
The most famous representation of the Scylla myth appears later than these images of minor art: it is the colossal group known through the examples from the grotto at Sperlonga (in modern-day Campania, north of Naples), dated to the early 1st century A.D. (Tiberian period), but whose original representation probably dates back to the 2nd century B.C.
CONDITION: Complete and in excellent condition. Probably ancient rivets still in place on the edge. Cracks and minor damage.
PROVENANCE: Ex-private collection, acquired before 1962.
LITERATURE: Lexicon Iconographicum Mythologiae Classicae (LIMC), Vol. VII, Zurich-Munich, 1994, s.v. Skylla, p. 1142, nos. 52 ff.
MERTENS J.R. et al., Metropolitan Museum of Art: Greece and Rome, New York, 1987, pp. 80-81, no. 60.
REEDER E.D. (ed.), L’or des rois scythes, Paris, 2001, pp. 288 ff., nos. 141-144 (phalerae for a horse bit).
A Mosaic Panel Depicting a Satyr and a Maenad Face, Roman, 2nd - 3rd century A.D. Polychrome tesserae. Ca. 70 x 92 cm. Photo courtesy Phoenix Ancient Art.
Though fragmentary, the mosaic itself is in excellent state of preservation. Virtually no missing tesserae, and no restoration.
This beautiful mosaic features two portraits within the same central frame; that of a Satyr and a Maenad (the bawdy followers of Dionysos). The detailed representations of these two fi gures, each associated with the god of the theatre, wine, revelry and festivities makes this both an interesting and beautiful composition.
On the right, the face of a ‘shaggy’ satyr with two pointy horn on his forehead, and small pointed ears, is coupled with that of a maenad, or a female follower of the deity.
The mosaicist took great care in depicting the nuances of the two fi gures, particularly the gradations of their hair and skin, utilizing a myriad of subtly coloured tesserae in various material in including glass paste, to create an effect that is not only technically impressive but also truly visually mesmerizing.
This mosaic is truly representative of the highest quality achieved in the eastern provinces of the empire.
The square panels that frame the fi gures are surrounded by an elaborate geometric border, which stand in wonderful visual contrast to the portraits.
The relatively neutral colours, an array of warm browns, peaches, and greens are a wonderful complement to the bucolic theme of the mosaic itself, as both fi gures are associated with the countryside and rural activities.
This mosaic would have been part of a signifi cantly larger fl oor mosaic, and been one of the panels framing the larger central theme of this mosaic.
PROVENANCE: Ex-Asfar and Sarkis, collected in the 1960’s.
LITERATURE: CIMOK F. (ed.), Antioch Mosaics, 1999, pp. 38-39, n. 21.
DUNBABIN K.M.D., Mosaics of the Greek and Roman World, Cambridge, 1999.
LING R., Ancient Mosaics, Londres, 1998.
Phoenix Ancient Art. 6 rue Verdaine, 1204 Geneva, Switzerland. T +4122 318 80 10 - F +4122 310 03 88 - firstname.lastname@example.org
Electrum Exclusive Agent for Phoenix Ancient Art S.A., 47 East 66th Street, New-York, 10021 NY, United States. T +1 212 288 7518 - F +1 212 288 7121 - email@example.com
Raoul Larche (1860-1912) & Siot-Decauville, "Loie Fuller" Table Lamp, circa 1900. Patinated gilt-bronze. Height: 45 cm. Signed RAOUL.LARCHE, with Siot Decauville Fondeur Paris foundry seal and stamped F45. Photo courtesy Robert Zehil Gallery.
Muller Frères & Chapelle, Parrot Lamps circa 1925.Glass in patinated iron armature; the original base in iron. Total height: 51,5 cm. Depth: 40 cm. Diameter of the base: 20 cm. Photo courtesy Robert Zehil Gallery.
Each base signed Chapelle Nancy.
Frères Muller from Croismare, near Nancy, and the iron-maker from Nancy, Chapelle, collaborated and realized fourteen different kind of animals among which the parrot is the most rare
Lucio Fontana (Rosario de Santa Fé 1899 - Comabbio 1968), Concetto spaziale, Attesa, 1966. Waterpaint on canvas, 61.1 x 50.2 cm. Signed, titled and inscribed 'l. Fontana "Concetto Spaziale" ATTESA Mi piacerebbe tanto sapere come si trova l'uomo nella luna' (on the reverse). Photo courtesy ROBILANT+VOENA.
PROVENANCE: Galleria Sperone, Turin;
Galleria La Bertesca, Genoa;
Private Collection, Genoa;
Private Collection, Europe, since 2000.
LITERATURE: E. Crispolti, Lucio Fontana: Catalogue raisonné des peintures, sculptures et environnements spatiaux, vol. II, Brussels 1974, no. 66 T 24, p.180 (illustrated, p. 181);
E. Crispolti, Lucio Fontana: Catalogo generale, vol. II, Milan 1986, no. 66 T 24 (illustrated, p. 634);
E. Crispolti, Lucio Fontana: Catalogo ragionato di sculture, dipinti, ambientazioni, vol. II, Milan 2006, no. 66 T 24 (illustrated, p. 828).
Giovanni Boldini, Portrait of Ena Wertheimer, oil on canvas, 155.5 x 103 cm, signed and dated lower left: Boldini/1902. Photo courtesy ROBILANT+VOENA.
This rarely seen trademark portrait of Giovanni Boldini represents Helena (known as Ena) Wertheimer, one of the two daughters of the prominent London art dealer Asher Wertheimer and his wife, Flora Joseph. A year before this work was painted, Ena was depicted alongside her sister Betty (later Mrs Eustace Salaman, who has sometimes wrongly been identified as the sitter of this painting) in a dazzling double portrait by the family's close friend, John Singer Sargent (fig. 1, Tate Britain, London), one of 12 paintings commissioned by Wertheimer from the artist in 1898. The family's dining room, which housed eight of the 12 portraits, was nicknamed "Sargent's mess". Sargent painted Ena again three years later, in a painting commissioned by her father on the occasion of her marriage to Robert Mathias (also Tate Britain). Ena became herself a painter, and later a part of the Bloomsbury Circle. Boldini's introduction to Wertheimer was no doubt made through Sargent, who was also a close friend of the Italian artist. Both painters were the leading exponents of an exuberant genre which redefined the swagger portrait and celebrated the gilded luxury, confidence and elegance of the belle époque elite. In female portraiture, this style was also often characterized by the strong sensuality which is exuded in this painting. The composition is marked by the sitter's sinuous stance, which exaggerates her tight waist and delicate fingers and is set into strong relief by the sharp verticals of the background. Yet despite this stylization, this remains an intimate portrait which exudes the natural affinity felt between sitter and artist -- two individuals at the pinnacle of the international art world and high society, who shared friendships and fashioned taste.
ROBILANT+VOENA. 1st Floor, 38 Dover Street, London, W1S 4NL, United Kingdom. T +44 20 7409 15 40- F +44 20 7409 15 65 - www.robilantvoena.com - firstname.lastname@example.org
Via Fontana, 16, 20122 Milan, Italy. T +39 02 805 6179 - www.robilantvoena.com - email@example.com
Alessandro La Volpe, Veduta di Capri da Punta Campanella, oil on canvas, 52,5 x 102,5 cm. Photo courtesy Società di Belle Arti.
Through an almost wide-angle framing, set on a prominently horizontal structure, the painter gives us a wide view of the land that from the chain of Lattari Mountains slopes gently down towards Campanella Point, where the myth places the meeting of Ulysses with the charming Sirens; the orderly natural arrangement of the foreground, occupied by the three traditional and motionless figures, functions as a perspective background surrounding the Isle of Capri, focal point of the image. The work coherently integrates into the production of the artist who, moulded by the canons of the School of Posillipo, enunciated by Antoon Sminck Van Pitloo and Giacinto Gigante, relates the well-balanced combination between the veristic instance of the “plein air”, relevant in the clearness of the colours as well as in the study of the light, and the sublimation typical of the pastoral idyll.
Ruggero Panerai, Passa l'artiglieria. Photo courtesy Società di Belle Arti.