- 49
Valentin Alexandrovich Serov
Estimate
80,000 - 120,000 GBP
bidding is closed
Description
- Valentin Alexandrovich Serov
- Portrait of Pope Innocent X after Velázquez
- signed in Cyrillic and dated 89 l.l.; further inscribed in Cyrillic and dated 89 by another hand on the reverse
- oil on canvas
- 49 by 40.5cm, 19 1/4 by 16in.
Provenance
In the same family since before the First World War
Exhibited
Probably Moscow, IX Periodical Exhibition of the Moscow Society of Art Lovers, 1889, listed on p.8 as no.131, Kopiya s Velaskesa
Literature
I.Zilbershtein, V.Samkov, Valentin Serov v vospominaniyakh, dnevnikakh i perepiske sovremennikov, vol.2, referenced on pp.146 and 189
Condition
Original canvas which has been restretched so that the original right-hand tacking edge is visible, but hidden by the frame. There is a small hole to the upper right edge of the canvas. There are frame abrasions with associated paint loss along all four edges. There is craquelure throughout the composition which is slightly lifting in places but is currently stable. Vertical and horizontal cracks are particularly notable on the sitter's face. There are two small areas of paint loss to the cap and one to the background to the right of the sitter's forehead, all of which have been retouched but are visible to the naked eye. There are some further scattered flecks of paint loss in places. The work is covered in a layer of glossy varnish. Inspection under UV light reveals retouching made at different stages, including to the edges, the left side of the face, to the aforementioned losses, the initial V of the signature as well as some minor scattered retouching. Held in a gold coloured wooden frame with red velvet slip. Unexamined out of frame.
"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
In a letter dated 6 May 1889 Serov writes to the collector Ilya Ostroukhov about the progress on a copy of a portrait of Pope Innocent X by Velázquez at the Hermitage (quoted in Valentin Serov v perepiske, interv’yu I dokumentakh, Leningrad, 1985, p.154). The work Serov was copying was among those acquired by Catherine the Great from Sir Robert Walpole’s estate Houghton Hall in 1778. It was later sold by the Soviet Government and is now at the National Gallery of Art in Washington with the attribution Circle of Velásquez.
In his memoirs, Alexander Golovin also refers to this episode and recalls the persistence with which he copied the portrait (Valentin Serov v vospominaniyakh, dnevnikakh i perepiske sovremennikov, Leningrad, 1971, vol.1, p.225). Golovin was particularly struck by the faithfulness of Serov’s version and the fact that even the dimensions are identical suggests that this may have primarily been a technical exercise. It is however interesting to note that Serov thought the work important enough to be included in the IX Periodical Exhibition of the Moscow Society of Art Lovers. The reviews spoke highly of it with one critic referring to it as a ‘superb copy’ and another calling the artist the ‘Moscow Velázquez’ (Valentin Serov v perepiske, interv’yu I dokumentakh, Leningrad, 1985, p.155). While the work is not thought to have been shown in public since, the editors of Valentin Serov v vospominaniyakh, dnevnikakh i perepiske sovremennikov, Ilya Zilbershtein and Vladimir Samkov, were aware of its existence in a private collection in Paris (1971, vol.2, p.189).
In his memoirs, Alexander Golovin also refers to this episode and recalls the persistence with which he copied the portrait (Valentin Serov v vospominaniyakh, dnevnikakh i perepiske sovremennikov, Leningrad, 1971, vol.1, p.225). Golovin was particularly struck by the faithfulness of Serov’s version and the fact that even the dimensions are identical suggests that this may have primarily been a technical exercise. It is however interesting to note that Serov thought the work important enough to be included in the IX Periodical Exhibition of the Moscow Society of Art Lovers. The reviews spoke highly of it with one critic referring to it as a ‘superb copy’ and another calling the artist the ‘Moscow Velázquez’ (Valentin Serov v perepiske, interv’yu I dokumentakh, Leningrad, 1985, p.155). While the work is not thought to have been shown in public since, the editors of Valentin Serov v vospominaniyakh, dnevnikakh i perepiske sovremennikov, Ilya Zilbershtein and Vladimir Samkov, were aware of its existence in a private collection in Paris (1971, vol.2, p.189).