Auction 319 MODERN AND CONTEMPORARY ART: 19th, 20th, 21th CENTURY Including a selection of 20th Century Ceramics
By Bertolami Fine Art
Dec 5, 2024
Bertolami Fine Arts srl Piazza Lovatelli, 1 00186 Roma Italia, Italy

The auction will be held on December 5th 2024 at 15:00 CET in Bertolami Fine Art headquarters in Piazza Lovatelli, 1 – Rome.

1. How to participate

The auction will be held on Thursday 5th December at 15:00 CET in Bertolami Fine Art headquarters in Piazza Lovatelli, 1 – Rome.

The following methods of participation are available: in person; by telephone; online upon registration on our website www.bertolamifineart.com, or on our partner portals (see list below); by a written absentee bid to be received by 12:00 CET on Thursday 5th December 2024.

a. Attendance in the auction room

Unacquainted customers who have not already registered must provide a valid identity document.

b. Telephone bidding

You can place your bids during the auction by telephone, with the assistance of one of our operators. In order to take part in the telephone bidding, you must make a reservation by 12:00 CET on Thursday 5th December, specifying the lots you wish to bid for and your telephone number. Customers who have booked this way will be called at the number they have indicated a few lots before those for which they have expressed interest.

A telephone bid reservation has the value of a written absentee bid at the starting price as indicated in the catalogue.

To book your phone bidding: fill out the bid form

Info tel.: 0632609795

Mails: info@bertolamifineart.com

c. Live participation via our website or our partner portals

You can place your bids during the auction by logging on to our website www.bertolamifineart.com or on the following partner portals:

d. Written absentee bid

You can submit your bids in writing by filling out the bid form or by means of an e-mail, or a letter. Written absentee bids may be sent by e-mail at info@bertolamifineart.com, by post, or must be delivered to our headquarters in Piazza Lovatelli, 1 – 00186 Roma. All offers must be received by Bertolami Fine Art no later than 12:00 CET on Thursday 5th December.

Written absentee bid shall authorize the auctioneer to make offers on behalf of the signatory.

2. Exhibition

The lots will be on display from 2 to 4 December in Rome at Palazzo Caetani Lovatelli, Piazza Lovatelli n. 1. at the following opening hours:

- 10:30-13:30 / 15:00-18:30 CET

3. Auction pre-bids

As from the date of publication of the online catalogue until 12:00 CET on Thursday 5th December it will be possible to:

- start placing bids on our website www.bertolamifineart.com, or on the partner portals as listed in point c of paragraph 1

- book a phone bidding as described in point b of paragraph 1

- submit written absentee bids as described in point d of paragraph 1

In the event of:

- One single auction pre-bid on a lot

In the absence of bids during the auction, the lot will be awarded at the starting bid even if the sole bid received is higher (the amount of the pre-auction bid indicates the maximum bid the bidder is willing to place.

Example: Starting bid € 1,000 – Single pre-sale bid € 1,500 – Award at € 1,000

- Multiple auction pre-bids of the same amount on the same lot

If no bids are raised during the auction, the lot will be awarded to the earlier bidder.

- Multiple auction pre-bids of different amounts on the same lot

If there are no bids during the auction, the lot will be awarded to the highest bidder. The hammer price is calculated by adding to the amount of the next lowest bid an increment set out in the table below.

Example: customer A bid € 1,270 - customer B bid € 1,800. Customer B does not win at the award price of € 1,800 but at € 1,370. In other words, the automatic increase of € 100 provided for in the table is applied to the amount of the next lowest bid when the bids are within the € 1,000-1,999 bracket.

4. Payment methods

The purchasers of the winning lots will be able to choose between the following payment options:

- a bank cheque or a non-transferable cashier’s cheque made payable to Bertolami Fine Art s.r.l.

(in the event of payment by foreign cheque, please add € 10 to the invoiced amount);

- credit card (Visa, MasterCard, and American Express);

- Paypal

- Bank transfer payable to Bertolami Fine Art S.r.l.

Please note:

invoices paid by cheque, cash or bank transfer are exempt from paying administrative fees otherwise due for payments made by credit card (+ 2.5%) or Paypal (+2,5%).

5. Auction fees

The purchaser agrees to pay Bertolami Fine Art a buyer’s premium on the hammer price of each lot sold. The buyer’s premium shall be calculated as follows:

28% of the hammer price up to and including € 10.000;

26% of that part of the hammer price over € 10.000 and up to and including € 400.000;

24% of that part of the hammer price above € 400.000.

An additional commission shall be applied to lots purchased via online participation on our website www.bertolamifineart.com, which is calculated as follows:

Bidspirit + 1,5 % of the hammer price

6. Additional costs

Shipping costs, additional customs duties, as well as costs related to the procedure for the release of the certificate of Free Movement or of any prior ministerial authorization required for the export of the awarded lots, are to be borne by the buyer.

In the event that, due to unjustified complaints, the goods should be returned to Bertolami Fine Art, the customs duties and shipping costs shall be incurred by the customer.

7. Issuance of the certificate of Free Movement or of any other ministerial authorization required for the exportation of the awarded goods

The delivery of lots outside the Italian borders may be subject to the provisions set out in the Codice dei Beni Culturali (Dlgs. 42/2004 e ss.mm.ii.) concerning the export of goods of cultural interest. Therefore, in the event that the acquired property has characteristics such as requiring any form of ministerial authorization for its definitive exit from the territory of the Italian Republic, the timeframe required to issue such authorization will be regulated by the Office for the Export of Antiquities and Works of Art of the Ministry of Culture. The time average is estimated at 60-90 days from the day the procedure for the issuance of a Certificate of Free Movement is initiated (art. 68 of the Cultural Heritage and Landscape Code) and 30 days for a Self-Certification. Bertolami Fine Art declines any responsibility for any delay. The procedure will be initiated only upon payment of the goods and with the purchaser’s explicit authorization.

8. Conditions of Sale

The conditions of sale that govern the relationship between Bertolami Fine Art and the customers taking part in our auctions are displayed in each catalogue. As these conditions are automatically accepted from the moment you participate in the auction, please read them carefully. In the event of a discrepancy between the conditions of sale published in the printed catalogue and the version that appears in the online catalogue, the online version shall prevail.

9. Publication of auction results

The winning bids list will be published by Bertolami Fine Art on the website www.bertolamifineart.com, for information purposes only, within ten days of the closing date

TABLE A

AUTOMATIC INCREMENTS

BID AMOUNT € AUTOMATIC PRE-SET INCREMENTS €

0-99 5

100-199 10

200-499 20

500-999 50

1.000-1.999 100

2.000-4.999 200

5.000-9.999 500

10.000-19.999 1.000

20.000-49.999 2.000

50.000+ 5.000


More details
The auction has ended

LOT 63:

ANTONIO MANCINI (Roma 1852-1930)
Autobiographical self-portrait, 1929

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Sold for: €44,000
Start price:
38,000
Estimated price :
€40,000 - €60,000
Buyer's Premium: 28% More details
Auction took place on Dec 5, 2024 at Bertolami Fine Art
tags:

Autobiographical self-portrait, 1929
ANTONIO MANCINI (Roma 1852-1930)
Autobiographical self-portrait
1929
Oil on canvas
80 x 70 cm
Signed upper left: Antonio Mancini di Roma 1852, dated lower left 1929. On the back: Figura femminile (1929).

From the left: Antonio Mancini di Roma / 1852 / Napoli Morelli Palizzi Mancinelli Lista / Gemito Michetti Esposito / Mesdag Aja Paris Gerome De Nittis / Degas pastelli veduti al suo atelier / Ballerine / Paolo Bourget già a Napoli veduto / De Amicis a Napoli / Londra Sargent Dublino / Laine direttore / Lady Gregory Ponsonby / Messinger Monaco Berlino / Du Chéne Frascati cittadino / Famiglia/ Studi Story sala Venezia Napoli cittadino / a Minori; in the middle: Baca Flor pittore / amico/ peruviano / Casciaro Vetri Sartorio / amici; lower left: Accademia d’Italia 1929. 

The painting is subjected to exportation ban outside Italy issued by the Italian Cultural Heritage Ministry.

Expertise by Prof. Cinzia Virno: "This very well-known self-portrait of Mancini is one of his last works and it is among the most important and emblematic paintings of his entire work. It is known as the “Biographical Self-Portrait” because the canvas is partly filled by the figure of the painter and partly filled by a long, bright red inscription, made by brush, which through names and events narrates his life. This is one of the the work in which he combines image and writing in the better way, two closely related components throughout his career. The painter made it in his studio at the Aventino in Rome at the end of 1929, exactly a year before his death. The artist depicts himself as an old man, sitting in the lower right corner. His face is three-quarter-length, his gaze pointed toward the viewer, while with his left hand he points to the inscription, inviting us to read it. The light focuses on the face contrasting the dark shadow that envelops the evanescent figure delimiting its shape. Most of the surface, on the entire left side and up to the center, is filled by the words or phrases with a concise, essential and haphazard calligraphy, like that one we find in the diaries, writings and letters in his archive. These are quick notes, names and events given without any explanation, only listed in a minimal chronological order. The painter emphasizes that he is “from Rome, ” born in 1852, and therefore not from Naples as he likes to reiterate in other works as well. However, he recalls the studies he made in the Neapolitan city, the teachers: Morelli, in primis, and Filippo Palizzi, Mancinelli, Lista; friends and fellow students: Gemito, Michetti, Esposito. Trips to Paris where he frequented Gérôme, De Nittis, and Degas-whose pastels he saw for sale in his studio-the critic and novelist Paul Bourget, a great admirer of his, whom he had already met in Naples. He mentions, still in Naples, meeting the writer Edmondo De Amicis, the author of the famous book “Cuore.”  He then mentions his Anglo-American acquaintances and travels to England and Ireland, recalling his friendships with: John Singer Sargent, who has been considered by him “the greatest living painter, ” his friendship with the Irishman Hugh Lane, founder and director of the Dublin Gallery of Modern Art, now has been named after him, and with the latter's aunt, the writer and playwright, Lady Augusta Gregory. He also mentiones the antiquarian Claude Ponsonby. He still remembers the Roman studios of the American artists family Story: his father, the sculptor William Wetmore and his sons Thomas Waldo, also a sculptor, and Julian Russel, a painter. He then mentions his patron and main purchaser the Dutch marine painter Hendrik Willem Mesdag, who had bought many of his works, several of which appear today in the eponymous Museum “De Mesdag collectie, ” in The Hague. German antiquarian Otto Messinger, has also been mentioned, with whom he had traveled to Munich and Berlin. Frenchman Fernand Du Chéne de Vère, for whom he had worked in Frascati from 1911 to 1917. He then mentions younger artists: Giuseppe Casciaro, Paolo Vetri, Giulio Aristide Sartorio, and Peruvian student Carlos Baca Flor. Then he points to the events of his existence that he considers the most important: his solo exhibition at the 1920 Venice Biennale where all his works were sold, the honorary citizenship awarded to him by Frascati, Naples, and Minori. At the end he talks about the most recent event he was proud of: the appointment as “Accademico d’Italia” which he had just obtained. Stylistically and conceptually, the work is absolutely modern considering that Mancini was trained in an academic environment and in the midst of the nineteenth century. The half-lenght female figure sketched on the verso, in a low-cut dress, is his niece Domenica, the youngest daughter of his brother Giovanni, who posed for him, like his other nieces and nephews, from 1918.”

Antonio Mancini, Galleria Dedalo, catalogo della mostra, Milano, dal 14 dicembre 1939 , n. 22; Antonio Mancini e Vincenzo Gemito, Roma, Galleria d’Arte San Marco, 30 novembre-30 dicembre 1941, n. 22 ( Autoritratto con scritture); M. Biancale, Antonio Mancini / La vita, Fratelli Palombi editori, s.d. (ma 1952), pp. 7-8, 150, ripr. tav. f.t.; F. Sossi, Un grande dell’ultimo Ottocento / Antonio Mancini “ uno due e tre”, in “Il Meridionale”, Brindisi, 16 giugno 1956; Mostra di Antonio Mancini, introduzione di C. Lorenzetti, presentazione di F. Bellonzi, Milano, Villa Comunale, ottobre-novembre 1962, Colombi, Milano, 1962, p. 40, n. 71; D. Cecchi, Antonio Mancini, Torino, Utet, 1966, pp. 281-283, 330, ripr. tav. 50; V. Guzzi, Critica e Storia / a Valle Giulia, in “Il Tempo”, 4 maggio 1968; H. Pennock, Antonio Mancini en Nederland, Dordrecht, Dordrechts Museum, catalogo della mostra (In het licht van Mancini), Joh. Enschedé en Zonen, Haarlem 1987, pp. 62 ripr., 86, n. 60; Foto di gruppo / Antonio Mancini ed amici a Minori nell’estate del 1922, Catalogo della mostra a cura di M. Bignardi, Minori Aula Consiliare Agosto- 20 Settembre 1992, Ravello, Edizioni Il Punto, 1992, p. 9; V. Greene, F. Licht, S. Richardson, I. Wardropper, A Chisel and a Brush / Vincenzo Gemito 1852-1929 / Antonio Mancini 1852-1930 / From the Gilgore Collection italian Art 1850 - 1925, Catalogo della mostra, Naples (Florida), dicembre 2000, Elizabeth Franzen and Rachel Shuman Editors, p. 78, nota 45; Antonio Mancini / Nineteenth - Century / Italian Master / Celebrating the Vance N. Jordan Collection / at the Philadelphia Museum of Art, Catalogo a cura di U. W. Hiesinger, pubblicato in occasione della mostra al Philadelphia Museum of Art, 20 ottobre 2007 - 20 gennaio 2008, New Haven, CT: Yale University Press, 2007, p. 98, ripr. tav. 45; R. Smith, Tumultuous Mind, Spread Across Canvas, week end Arts, Fine Arts Leisure, in “The New York Times” 4 gennaio 2008., ripr. a p. 29; S. Bosi, C. Zanga in Antonio Mancini / Genio ribelle, Milano, Bottegantica, 21 ottobre-18 dicembre 2016, catalogo della mostra a cura di E. Savoia e S. Bosi; traduzione di A. Granato, Antiga Edizioni, Crocetta del Montello (TV) 2016, p. 155 n. 39 ripr. tav. 39 Alle pp. 118 – 119; C.Virno in Gemito, Mancini e il loro ambiente. Opere giovanili, GOMP, Roma, Palazzo Antonelli 19 maggio-16 giugno 2017, catalogo della mostra a cura di C. Virno e Manuel Carrera, Giacometti Old Master Paintings 2017, p. 24 C. Virno, Antonio Mancini / Catalogo ragionato dell’opere, La pittura a olio su tela, tavola, carta e specchio, De Luca editori d’arte, Roma 2019, vol. I, p. 28, fig. 37, tav. 85 a p. 98, p. 500, n. 1003 ripr.; vol. II, p. 527; Adrienne Quarles van Ufford, Mesdag & Mancini, Catalogo della mostra “Mancini. Eccentric & Extravagant” L’Aja, The Mesdag Collectiem 3giugno – 20 settembre 2020, ed. De Mesdag Collectie, L’Aja, 2020, pp. 35- 36, n. 11 ripr, pp. 88- 89, ripr.; A. Sferrazza, in M. Carrera, F. Mazzocca, C. Sisi, I. Valente ( a cura di), Antonio Mancini / Vincenzo Gemito, Pescara, Museo dell’Ottocento, Fondazione Di Persio – Pallotta, 14 ottobre 2023 – 11 marzo 2024, catalogo della mostra, Silvana Editoriale, Cinisello Balsamo, 2023, p. 324, n. 139 ripr. ( non esposto); Champion, Bellezza della materia da Mancini a Burri, in J- L. CS. Bellenger ( a cura di), Napoli Ottocento, Roma, Scuderie del Quirinale, 27 marzo – 16 giugno 2024, catalogo della mostra, Electa, Milano, 2024, pp. 349, p. 358, n. 224 ripr. e regesto delle opere, scheda di A. Sferrazza, ivi, p. 373. 

Mancini's heirs
Excellent conditions, framed without glass

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