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Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM A PRIVATE COLLECTION, ITALY

Busto di donna in riposo

Busto di donna in riposo
signed 'g. de Chirico' (upper right)
oil on canvas
18 1/8 x 15 in. (46.2 x 38.2 cm.)
Painted in 1935
Isa de Chirico, (the artist's wife), by descent from the artist.
A gift from the above to the father of the present owners.
C. Bruni Sakraischik, Catalogo Generale Giorgio de Chirico, vol. I, Opere dal 1931 al 1950, Milan, 1971, no. 20 (illustrated).
Special notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

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Annie Wallington
Annie Wallington Head of Core Sales

Lot Essay

As attested by the close resemblance to Ritratto di Isabella Far, painted by De Chirico the same year he completed the present lot, and recorded under number 21 of the same volume of the catalalogue raisonné published by Claudio Bruni Sakraischik in 1971, it is likely that Busto di donna a riposo also depicts a portrait of the artist’s second wife Isabella Pakszwer Far.
De Chirico had met Isabella, ‘Isa’, in Paris in 1930 and would remain with her for the rest of his life. Together they moved to Italy in 1932, and to the United States in 1936, finally settling in Rome in 1944. Isa was of Russian origins and would appear in several portraits which De Chirico completed during the years they spent together.
In Busto di donna a riposo the sitter is shown while resting in what appears to be a hot summer's day, within a domestic interior which suggests a certain intimacy between her and the painter.
The history of the present lot, which was gifted directly by the artist's widow to the father of the present owners, also seems to confirm that the model of the painting may be Isabella herself.

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