Giovanni Boldini

Emilia Cardona Boldini, Ferrara (wife of the artist)
Newhouse Galleries, New York
Thelma Chrysler Foy (her sale: Parke-Bernet, New York, 13 May 1959, lot 18)
John and Frances Loeb, New York (purchased at the above sale; their sale: Christie's, New York, The John and Frances L Loeb Collection, 12 May 1997, lot 102)
Private Collection, USA (purchased at the above sale)
Purchased by the present owner in 2006

The Frances and John L. Loeb Collection, London, 1982, no. 59, illustrated
Giuseppe Luigi Marini (ed.), Il valore dei dipinti italiani dell'Ottocento e del primo Novecento, Turin, 1997, p. 107
Piero Dini & Francesca Dini, Giovanni Boldini, 1842-1931, Turin, 2002, vol. III, p. 94, no. 149, catalogued & illustrated

The sheet has not been laid down and is hinged in the extreme upper left and upper right corners. This work is in very good original condition, with fresh colours, and is ready to hang. Held in a decorative gilt frame, with laurel-leaf ornaments, under glass. The colours are somewhat less red than in the catalogue illustration, notably in the table and floor, and the scene therefore has more depth.
"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."

Boldini painted the present work soon after he had moved permanently to Paris. Lured away from Italy by the promise of a new audience of French and foreign collectors, he signed a lucrative contract with the dealer Adolphe Goupil, painting a series of small-scaled works which depicted elegantly-dressed men and women in seventeenth century or, as here, Empire interiors. In the present work, two elegant ladies have just come in from a stroll, to be greeted by a letter, perhaps a love letter as indicated by the work's alternative title.

In his choice of subject and scale, Boldini reveals the influence of French artist Ernest Meissonier, whose carefully-painted small-scale genre scenes were widely celebrated. However, The Letter reveals Boldini's personal and unique approach to the genre. Working in watercolour rather than oil, he builds a softly layered palette of lacey whites, pale blue-greys and minty greens, contrasting with the saturated splashes of mustard-yellow, crimson and mahogany. While the artist often employs his brush to create the loosely defined swags of the wallpaper design, his strict control also renders subtly powerful elements which heighten visual interest.

In comparison with the women's flounce of feathers and folds of fabric, the furniture surrounding them is symmetrical and strong of line. The chairs are most likely of a good menuisier, such as the celebrated Jacob or Bellanger. The guéridon table with its glossy-grained wood, bronze appliques, and Spinx-like decorations allude to Napoleon's conquest of Egypt. It is likely no accident that the pink upholstered chair in the background bears a double swan design, their touching beaks and curved necks form a heart, and reveal the influence of Empress Joséphine on decoration.