Impressionist and Modern Art including Russian and Latin American Art

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Lot 48
  • 48

Felice Casorati 1883-1963

Estimate
70,000 - 90,000 USD
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Description

  • Felice Casorati
  • Donna Seduta (con il capo reclino)
  • signed F Casorati (lower right)
  • oil on canvas
  • 31 7/8 by 21 1/2 in.
  • 81 by 54.5 cm.
  • painted in 1943.

Provenance

Collection Adolfo Fila, Cossato, Italy (1947)
Private Collection, Palm Beach

Exhibited

Rome, IV Quadriennale d'Arte Nazionale, 1943, n. 130

Literature

Giorgina Bertolino and Francesco Poli, Felice Casorati Catalogo Generale, 1949, n. 730, p. 383.

Condition

Canvas is not lined. In good condition aside from slight surface dust and dirt. Very minute speck of loss in figure's hair (in bun). Slight buckling to canvas lower left and right at corners. Under UV: no apparent sign of in-paint
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 Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

Felice Casorati first distinguished himself as an artist at the Venice Biennales of 1907, 1909 and 1911.  His initial contemporary influences were symbolists such as Gustave Klimt and Aubrey Beardsley.  After the end of World War I, his art turned to more classical concerns sharing this development with numerous Italian contemporaries as well as many artists residing in Paris including Pablo Picasso. By 1922, Casorati first showed a distinct preference for 15th century Italian painting, particularly that of Piero della Francesca, a style he generally softened and made more personal as the nineteen twenties and thirties progressed.  He favored quiet, meditative compositions of female models posed in interior settings. He continued to enjoy the acclaim of his peers, winning the First Prize at the Venice Biennale in 1938 and having a one-man exhibition there in 1952.