Lavinia Fontana

London, Bonhams, 9 December 2015, lot 25 (as Circle of Fontana).

The painting presents a strong and impressive image under a clear varnish. It appears to have been recently conserved and is ready to hang in its current state. The canvas appears to be lined. The paint surface is good and stable, but there has perhaps been a little abrasion in her flesh tones and hair, but the details in the costume, particularly the jewels, remain strong and clear. Inspection under UV light reveals fine, feathered retouching to the canvas weave throughout her face, and strengthening to the gold embroidery, areas of the green curtain, and outlines of the book. The painting requires no further work, and it is offered in a decoratively carved gilt 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 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.

Only recently restored to the artist’s oeuvre, this striking portrait of a noblewoman was recognized by Maria Teresa Cantaro as an autograph work by Lavinia Fontana, dating between 1605 and 1615.¹   The identity of the distinguished sitter remains unknown but the opulence of her attire and the exquisite jewels about her neck indicate that she was a woman of high social standing and some considerable wealth.  Her white silk gown is brocaded with gold and opens from the waist to reveal a forepart decorated with gold embroidered buttons.  Her fashionable false sleeves are worn open to display further precious textiles in the under-sleeves, with multiple rows of gold braiding.   The sitter wears a ring on the third finger of both hands and in her right clasps two flowers, a rose and a pink, symbolic of love and fidelity.  Their prominence in the portrait suggest it may have been commissioned in celebration of the young woman’s marriage.

 

1. A copy of the expertise by Maria Teresa Cantaro, dated 9 May 2016, is available upon request from the department.