Null RODIER
Short dress in ivory elastane viscose, with striped effect, round ne…
Description

RODIER Short dress in ivory elastane viscose, with striped effect, round neckline, small sleeves, slightly flared skirt. Size shown 38

385 

RODIER Short dress in ivory elastane viscose, with striped effect, round neckline, small sleeves, slightly flared skirt. Size shown 38

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French school; first third of the eighteenth century. "Portrait of a lady". Oil on canvas. Relined. It presents faults and losses in the pictorial surface and in the frame. Needs consolidation. Measurements: 116 x 95.5 cm; 134 x 113 cm (frame). Female portrait in which the author portrays a middle-aged lady, who wears a sumptuous dress with a wide neckline adorned with white lace in the upper part of the corset. The smooth qualities of the skin and the slight flush of the cheeks harmonize with the rest, leaving no room for detail with precise pictorial touches. The dark background enhances the figure and the elegance of her attire, the large drapery usual in this type of compositions adds sumptuousness to the scene while adding depth and three-dimensionality to the space in which the protagonist stands. The lady looks directly at the viewer with a faint smile, but without losing a regal and haughty attitude, even though she is smiling slightly. In an apparently spontaneous gesture, she flirtatiously holds one of the gold ornaments of her dress. This attitude shows the artist's interest in capturing the personality of the sitter. The portrait genre was especially popular during the Rococo period. French painters such as Fragonard, Vigée Lebrun, Boucher, Watteau? gave the genre refined cadences with their iridescent touches of color. This female portrait is ascribed to the rococo taste for extracting the right qualities from the garments and endowing the flesh tones with an ivory delicacy. The lady rests her right arm on a velvet cushion. The painter skillfully captures the materials and the garments: the navy blue velvet of the dress, the pink of the satin, the lace and trimmings, the powdered headdress in the aristocratic fashion of the time and the pearl and gold appliqués hanging from her dress. It presents faults and losses in the pictorial surface and in the frame. Needs consolidation.

Italian coins BOLOGNA Annibale II Bentivoglio (1511-1512) Duchy - CNI 250 AU (g 3.46) RRRR Annibale Bentivoglio, son of John II, succeeded in seizing, with his partisans, Bologna, which he ruled for a year. He certainly knew he was unable to maintain that position unless he convinced Julius II to recognize it, so after an initial fasedi open rebellion, he sought an agreement with the pontiff. Despite his efforts, Julius II had no intention of coming to terms with him and, with the military help of the King of Naples, managed to drive him out as he had done his father. It is likely that Hannibal, unable to issue coins in Julius II's name without his permission, issued some independently. The punch used to imprint St. Peter was changed significantly after the arrival in Bologna of the new cardinal legate Giovanni Medici. While previously the robe was depicted as long to the point of hiding the feet, it was later shown shorter, with the ankles uncovered. Since it is unlikely that Giovanni Bentivoglio II issued anonymous ducats without his own coat of arms or that of the pontiff at the end of his rule, it is believed that this golden bolognino must be attributed to Hannibal II. And those with the short robe without any armlet are assignable to the Vacant Sees following the pontificate of Leo X. A coin of great rarity and superb quality, especially the D/, which has reliefs practically intact and perfectly impressed. The only specimen, other than this one, that we have been able to find , turns out to be the one in the Künker auction of 2022, mis-catalogued under Clement VII and which, in BB+ conservation, realized 3200 euros + fees. - qFDC/ M.of SPL