MARIA MELA-MUTER | Potrait of Roger Fry

Collection of Philip Rieff, New York
Thence by descent to the present owner

Frances Spalding, Roger Fry: Art and Life, Volume I, 1980, pl. 88, illustrated on the cover

Surface in overall good condition. Canvas mounted to board; slightly undulating along lower right side; scattered cracks, appear secure, primarily in upper left corner; a few small scattered losses visible upon very close inspection (sitter's right arm, above matchbox, sitter's left shoulder). Under UV several small scattered fluorescing repairs.
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.

Mela-Muter and Fry had a turbulent relationship when they met in St Tropez in the early 1920s, at first romantic and affectionate, but ultimately discontented. The portraits were painted against this backdrop and completed in the spring of 1922.  "Fry disliked Mela's capable style, finding it too Germanic for his taste. Yet he had to admit that, from the point of view of likeness, she had been successful; the natural pose, relaxed yet alert, thoughtful yet affectionate, expresses far more of his character than he was able to reveal of hers. He chose to present her as a cross between an athlete and one of Picasso's heavy neo-classical nudes, a monument of sensuality." (Frances Spalding, Roger Fry: Art and Life, p. 239)