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Gino Severini (1883-1966)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION, MILAN
Gino Severini (1883-1966)

Arlequin, Polichinelle, Colombine

Details
Gino Severini (1883-1966)
Arlequin, Polichinelle, Colombine
signed 'G. Severini' (lower right)
gouache and gold paint on paper
image: 14 x 10 1/4 in. (35.5 x 26.3 cm.)
sheet: 21 1/2 x 16 3/4 in. (54.5 x 42.5 cm.)
Executed in 1923
Provenance
Galerie de l'Effort Moderne [Léonce Rosenberg], Paris (no. 7947), by whom acquired in February 1923.
Kunsthandel Huinck & Scherjon, Amsterdam (no. 377), by 1932.
Private collection, The Netherlands; sale; Christie's, Amsterdam, 31 May 1994, lot 280.
Acquired at the above sale by the present owner.
Literature
D. Fonti, Gino Severini: Catalogo ragionato, Milan, 1988, no. 400, p. 359 (illustrated with an old additional border).
Exhibited
Amsterdam, Kunsthandel Huinck & Scherjon, Gino Severini: Exposition rétrospective, December 1931, no. 32, p. 30.
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.

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Ottavia Marchitelli, Specialist Head of Works on Paper Sale
Ottavia Marchitelli, Specialist Head of Works on Paper Sale

Lot Essay

During the 1920s, the Pierrot or Pulcinella became a recurring theme in Severini's work. Next to the religious work executed in this decade, the allegory of the mask develops. Instead of depicting a specific person, the Pierrot now personifies the pure and simple man. As Maurizio Fagiolo dell'Arco wrote, 'A long path of proportional and harmonical research lies behind the apparent simplicity of every painting. It is most interesting to observe that the imagery at the boundaries of naivety [...] corresponds to an elaborate numeric and proportional preparation, of musical scales and algebraic schemes, accompanying the preliminary drawings. Therefore the Pulcinella and the Colombina are the simple images of complex processes' (M. Fagiolo dell'Arco, quoted in D. Fonti, Gino Severini: Catalogo ragionato, Milan 1988, p. 349).

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