Vittorio Reggianini

Hammer Galleries, New York
Private Collection (acquired from the above in 1955)
Thence by descent

Unlined. Small reinforcement on verso (but does not address a tear). Under UV: Old varnish flouresce in some areas. Some old restoration to blue patterned area of the floor with additional dots and dashes in composition. Inpainting to address frame abrasion.
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 harking 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 Coquettes’ Adventure.

In the present work, a trio of ladies, each dressed in distinct gowns of harmonizing pinks, creams, and whites, is set before an open window, likely spying an admirer. Each coquette bears an expression which hints at her personality: the seated, widely smiling brunette boldly looking out the window; the raven-haired beauty slightly shy, hidden behind a heavy drape; the third holds her finger to her chin, bonnet in hand, anticipating a meeting with the unseen suitor outside, perhaps for a promenade in the great gardens visible through the room’s glass doors. Reggianini's delightful narrative is further enhanced by the room’s well-appointed period décor — including the Directoire style daybed, or récamier, circa 1800, and the Empire klismos-form chair, circa 1815.  Moreover, the plasterwork angels, painted female bust set in gilded boiserie, and two frolicking nymphs painted on an inset panel all mark the chamber as a feminine space — while also slyly suggesting the scene's frivolity.