Lavinia Fontana

A rarity in its double-sided nature, this captivating work has recently been identified by Maria Teresa Cantaro as a unique and important addition to the œuvre of the Bolognese painter Lavinia Fontana.¹ Executed in 1604, the likenesses were captured by Lavinia when she was at the height of her career, having recently relocated to Rome with her family to realise one of her most significant commissions, the monumental altarpiece of The Stoning of Saint Stephen for the Basilica Papale di San Paolo fuori le Mura (the work was destroyed by a fire in 1823).

Originally conceived to be worn as a pendant, as indicated by the presence of a small circular aperture in the upper margin, these minutely executed portraits depict two unidentified sitters in elegant and sombre attire. The artist’s vivid attention to detail is especially evident in the portrait of the woman, as can be seen in the delicately painted lace collar and jewels adorning her figure. Particularly fine is the minutely rendered cameo in her hair, possibly depicting a bird.

Distinctly dated around the male sitter's head and also inscribed in gold with his age, the portraits may have been commissioned by his wife to celebrate their union. Alternatively, these miniature portraits on copper may have been a gift from the husband to his wife to commemorate a milestone in their married life. Whatever the exact biographical details, one can only speculate as to the reason behind the commission of this precious work, but it is partly this unknown, alongside its fine and meticulous execution, that constitutes its charm. 

¹ A copy of the expertise by Maria Teresa Cantaro, dated 8 March 2023, is available upon request from the department.