- 155
Simone Pignoni
Estimate
30,000 - 40,000 GBP
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Description
- Simone Pignoni
- Artemisia
- oil on canvas
Provenance
Anonymous sale, London, Bonhams, 3 December 2008, lot 6.
Literature
F. Baldassari, La pittura del Seicento a Firenze. Indice degli artisti e delle loro opere, Turin 2009, p. 599.
Condition
The canvas has been relined.
Some of the darker areas of the blues and background have abraded somewhat and retouching work is visible to the naked eye in these areas. Much of the lighter paint work appears to be well preserved under a glossy dirty varnish.
Inspection under UV light reveals some scattered minor retouchings as well as confirming the aforementioned work.
Offered in an ornate carved gilt wood frame in good condition.
"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."
"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."
Catalogue Note
Pignoni specialised in appealing half-length female figures which usually depict mythological or religious characters. He trained with Francesco Furini in his native Florence and developed his master's soft sfumato style. Though their work has sometimes been confused, Pignoni's models tend to be more buxom and voluptuous than Furini's svelte figures.
Artemisia is held as a beacon of love and conjugal fidelity. She was the wife of Mausolus and on his death succeeded him to the throne of Caria in Asia Minor. She had a monument built to his memory in Helicanassus which was to become one of the wonders of the ancient world and it is from this that the word 'mausoleum' derives. As shown in the present painting, she is said to have mixed his ashes with water which she then drank in honour of her husband.
Pignoni is known to have repeated the subject of Artemisia on at least two other occasions.1
1. See F. Baldassari, Simone Pignoni, Turin 2008, pp. 95-96, cat. nos. 20 and 21.
Artemisia is held as a beacon of love and conjugal fidelity. She was the wife of Mausolus and on his death succeeded him to the throne of Caria in Asia Minor. She had a monument built to his memory in Helicanassus which was to become one of the wonders of the ancient world and it is from this that the word 'mausoleum' derives. As shown in the present painting, she is said to have mixed his ashes with water which she then drank in honour of her husband.
Pignoni is known to have repeated the subject of Artemisia on at least two other occasions.1
1. See F. Baldassari, Simone Pignoni, Turin 2008, pp. 95-96, cat. nos. 20 and 21.