Vittorio Reggianini

Sale: Christie's, New York, October 25, 1989, lot 197, illustrated
MacConnal-Mason, Ltd., London
Acquired from the above

This painting has been lined . The paint layer is even and the colors are clean and bright. Under UV, small strokes of inpainting fluroesce in the sitting figures' gowns, and the dog's coat.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

After moving to Florence in 1885, following years as both a student and teacher at the art academy of Modena, Reggianini turned from historical and peasant subjects to scenes of the life of les elégantes, usually harkening back to the eighteenth century.  With the support of his influential dealer, Louis Pisani, Reggianini’s name soon became known throughout Europe and the United States, with many wealthy travelers to Italy bringing back a freshly completed canvas along with other souvenirs.  The wide and lasting appeal of Reggianini’s compositions comes from his sharp eye for detail, combined with subtle romantic narratives, to create lively, often humorous and theatrical scenes such as The Poetry Reading.   The gentleman’s oration is the perfect opportunity for the ladies to strike a graceful pose as they listen, the trio so absorbed in flirtation that only the dog looks out at the viewer, its glossy coat as luxurious as the silks and satins of his human companions.  The artist’s delightful narrative is further enhanced by the room’s well-appointed décor — the majority of the parcel-gilt and white painted objects from the Neoclassical period of the late 1700 and early 1800s, while the giltwood stool is of the late Baroque, circa 1740.