Antonio Mancini

Edoardo Almagià, father of the sitter (commissioned from the artist); thence by descent to the present owner, granddaughter of the sitter

Rome, Palazzo dell'Augusteo, sale di 'Fiamma', Mostra delle Opere di Antonio Mancini, 1927, no. 5
Houston, Museum of Fine Arts (on loan from 1994-2013)

Dario Cecchi, Mancini, Turin, 1966, pp. 163-4, 218, cited

The canvas has not been lined. Ultraviolet light reveals only minimal retouching, notably a small stroke in the figure's forehead, and although in some areas the old varnish fluoresces quite opaquely this does not appear to conceal any notable retouching. This painting is in very good, virtually original condition, with beautifully preserved impasto, and is clean and ready to hang. Held in a decorative black and gilt painted frame, probably the original, with punchwork and foliate motifs.
"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."

Commissioned by Edoardo Almagià, the sitter's father, circa 1898-9, this ravishing painting of Virginia Almagià was no doubt intended as her coming out portrait. Dressed in a pink satin ball gown, white gloves, and a pearl choker, the beautiful young debutante gazes out at the viewer, dreamy yet alluring.

Edoardo Almagià, a construction magnate from Ancona who was involved, among other projects, with the expansion of the port of Alexandria, moved to Rome at the turn of the century, along with his wife, Eleonora Baruch, and children. While Virginia was encouraged by her parents in her love of music and studied the piano, her sister Amelia pursued her talent as an artist. Falling under the influence of Mancini who gave her lessons, she did portraits of family members, friends and nobility, and became known in the art world by her married name Amelia Ambron.

The painting remained in the Almagià home until Virginia's marriage on 11 July 1900 to Professor Vito Volterra (the noted Italian mathematician, invited to speak in Houston at the inauguration of Rice University), when the painting entered the newlyweds' home as a gift from her parents. Virginia passed away in 1968 in Rome at the age of 93. The painting was inherited by her son who brought it to Texas, where it has remained ever since.

At the forefront of the Verismo movement in Italy, Mancini set out to introduce French Realist principles to Italian painting. While in Paris in the 1870s, Mancini met Edgar Degas and Edouard Manet, and became friends with John Singer Sargent, who famously pronounced him to be the greatest living painter. Through his contact with these artists, his palette brightened and he developed the striking impasto technique for which he is now best known. With its elegant subject and exceptional provenance, Before the Ball is an excellent example of Mancini's glamorous portraits.

Sold with a letter from the artist to Edoardo Almagià dated 3 November 1900, requesting that the family's butler drive the painting to the Palazzo Borghese for a lady to see, perhaps in order for Mancini to show her the quality of his work in the hope of receiving a commission.