Giovanni Boldini (Ferrara 1842 - Parigi 1931)

From a first hand inspection there is a parallel line along the left-hand edge due to a folding of the support. There are small holes in the corners, in the middle of the top edge and on the left-hand side. Other three small holes are visible in the background, all visible in the picture published in the catalogue. The support is yellowish due to the natural aging of the paper. There are also some darker stains caused by the acid released by the scotch-tape where the paper was folded. The overall condition as to the state of preservation is good.
"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."

Reca iscrizione sul retro n. 34 d.m. atelier Boldini  / Emilia Boldini - Cardona / 1931

Il disegno è riconducibile all'omonimo dipinto eseguito da Giovanni Boldini nel 1897 e presentato al Salon parigino del medesimo anno. L'effigiata, Jules Veil-Picard, seduta in un atteggiamento raffinato e, al contempo, informale con il braccio che sorregge la testa appoggiato sullo schienale di una dormeuse - posa che Boldini utilizza anche in altri due ritratti eseguiti quell'anno, quello di Lady Colin Campbell e James Abbott McNeill Whistler - è la moglie del ricco banchiere Arthur Veil-Picard. L'amicizia tra Boldini e i Veil-Picard è da far risalire a circa una decina di anni prima, quando il pittore è ospite nella villa di famiglia a Besançon dove esegue l'intenso ritratto a pastello del padrone di casa.