Karl Pavlovich Briullov

Sotheby’s London, Russian Pictures, 22 May 2002, lot 7

The support has discoloured. The lower left and right corners are slightly splitting. There is some minor foxing in places and dark spots to all four corners. There are some surface scratches in places, particularly along the left edge and across the sitter's left knee. There are some minor losses to the red of the cloak. There is a layer of surface dirt. The support is attached to the mount in two places at the top edge. There is adhesive tape along all edges on the reverse. There are remains of glue and paper on the reverse. Held in a gold painted wooden frame with plaster mouldings behind glass. 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."

This superb portrait is among the earliest recorded from the period Briullov spent in Italy between 1823 and 1835. He grew immensely popular with members of both the Russian and Italian aristocracy and in his correspondence with the Society for the Encouragement of the Arts, which initially sponsored his trip, Briullov reports that he is so inundated with commissions that he is unable to fulfil all of them.

Watercolour portraits gained popularity during the 1820s and 1830s, but Briullov's exceptionally fine examples 'stand out from the work of his contemporaries with the complexity of the composition and palette' (E.Petrova (ed.), K.P.Briullov, St Petersburg, p.30). Unafraid to use dark tones, he would build up layers of paint to model the features of his sitters; the saturated colours of the garments of the present sitter and the surrounding vegetation are characteristic of his Roman watercolours. As Petrova points out, his treatment of watercolour is not so very different to his use of oil and the resulting portraits often feel as though they are painted on miniature canvases.

The dome of St Peter’s seen in the distance of the present portrait appears as a backdrop in his Portrait of Countess Saltykova (fig.1) and in Portrait of Mr and Mrs Olenin (fig.2). As a rule, the settings of Briullov’s watercolour portraits are imaginary, but he would integrate classical elements copied diligently in the Vatican museums or the Roman Forum. In the present lot the balustrade on the left and the vista beyond suggest that Passeggiata del Pincio on the Pincian Hill may have been the inspiration at least for the setting, a public space which was created the year Briullov arrived in Italy.