Cesare Dell'Acqua

Bruxelles, Exposition Générale des Beaux-Arts, 1869, no. 367

Franco Firmiani & Flavio Tossi, Il Pittore Cesare Dell’Acqua 1821-1905 fra Trieste e Bruxelles, Trieste, 1992, p. 206, no. 298 (as Orientale che brucia profumi and incorrectly catalogued as oil on canvas)

The panel is flat, even and ensuring a stable support. There is some light frame rubbing along the extreme edges, with some minor associated paint flaking. Ultra-violet light reveals some uneven residual varnish which makes the surface quite difficult to read. However, minor, isolated spots of cosmetic retouching are visible, notably: - some spots addressing old flaking in the centre of the left and right framing edges; - a cluster of fine strokes in the background to the right of the sitter's head, and - some very small spots in her face and neck. Otherwise, this work is overall in good condition and ready to hang. Presented in a decorative gilt 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. 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."

Cesare dell'Acqua was born in Pirano, near Trieste, in 1821. Having trained as an artist at the Venice Academy between 1842 – 1847, he moved to Brussels where his brother Eugène lived, and worked under the painter Louis Gallait. Dell'Acqua became most famous for his historic genre pictures, some of which were acquired by the Musées royaux des Beaux-Arts, Bruxelles. He also exhibited at the World's Fair in Vienna (1873) and the International Exhibition in London (1874).  The present work exemplifies nineteenth-century French taste for Orientalism and turqueries. Dressed in a red velvet jacket with stunning gilded embroidery, this woman might have well been inspired by one of the numerous publications of time on Ottoman costumes, including Auguste Wahlen’s book Mœurs, usages et costumes de tous les peuples du monde, d'après des documents and authentiques et les voyages des plus récents (1843-44) which included coloured prints after watercolours by Duverger amongst other artists.

While the sitter's dress and the gueridon table are quintessentially Turkish, in her left hand she appears to be holding a Jiajing or Wanli wucai decorated jarlet and cover, of the style produced in the sixteenth or seventeenth centuries. While covered jars of this type were originally produced as tea caddies, here it has been used to contain incense. The Chinese origins of the pot are a subtle reminder of the Silk Road which connected China with the Mediterranean through trade.



The authenticity of this work has been confirmed by Flavio Tossi.