Telemaco Signorini

Painting rilined. From a first hand inspection three signatures are visible: one on the front, one folded on the loom on the left hand side and one partially visible along the lower left hand side edge. The ultra violet light reveals that the signature on the front is not coeval, residual fluorescent varnish is visible over the houses and road. The painting has recently undergone a cleansing; there are few restoration in the sky on the right hand side of the houses (the largest cm 1,5x1 circa) probably to cover a scratch and another along the edge on the right; another restoration (cm 1x1 circa) on the left hand side of the woman's waistline and some retouches over the walled up window of the house in the foreground.
"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. 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."

Telemaco Signorini andò in Francia a più riprese tra il 1873 e il 1881. La veduta che presentiamo è lo scorcio di un piccolo paese a sud di Parigi, non lontano da Lieusaint, Quincy– sous-Sénart e Varennes-Jarcy, come si evince dai cartelli posti all'angolo delle due strade raffigurate. E' probabile che si tratti di Combs-la-Ville, dove Signorini si recò a dipingere nel 1873 con gli amici Boldini - che lì aveva la sua residenza estiva - e De Nittis. Nel quadro Signorini utilizza un punto di vista ribassato che conferisce imponenza alle seppur modeste costruzioni e maggior profondità alla ripida prospettiva. E' inoltre già evidente il nitore che raggiungerà l'apice nelle celebri vedute di Settignano.
L'artista ha evidentemente utilizzato una vecchia tela, con la sua firma sul bordo inferiore, ora al di sotto della cornice. Signorini ha poi firmato il nuovo lavoro in basso a sinistra, in modo solo parzialmente visibile a causa dell'attuale sistemazione del telaio. La terza firma, in rosso, non è autografa ed è stata apposta a seguito di un restauro che ha fatto slittare di proposito la tela verso sinistra, per recuperare parte della prospettiva della strada a destra.

Telemaco Signorini has repeatedly been in France between 1873 and 1881. The view that we show is the foreshortening of a small village in the South of Paris, not far from Lieusaint, Quincy– sous-Sénart e Varennes-Jarcy, as shown by the road signs placed on the corner of the two represented streets. Perhaps it is Combs-la-Ville, where Signorini went for painting in 1873 with his friends Boldini and De Nittis, at his summer residence. In the painting Signorini employs a lower point of view that makes imposing the modest buildings and gives more depth to the steep prospective. Moreover it is already clear the otherness that will reach the top with the famous Signorini's views of Settignano. The artist has visibly used an old canvas, with his signature at the lower edge, now covered by the frame. Signorini has also signed the new work at the bottom left, partially visible because of a repair that purposely slided the canvas on the left, in order to retrieve part of the prospective of the left street.