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Provenance, an Art Journey Provenance, an Art PROVENANCE, AN ART JOURNEY PROVENANCE, By Miguel Bermudez AN ART JOURNEY hether it is learning about, the rationale for commissioning a piece collecting or admiring art, or acquiring it from a given artist. By Miguel Bermudez provenance provides a Provenance tells us about the artist that Wfascinating aspect that greatly enhances produced the work and what he or she the significance of a piece. Examining was asked to or chose to create. Finally, hundreds of catalogs enables us to find provenance also tells us about everyone the most interesting pieces of information that temporarily owned the artwork. that describe the trajectory of the piece With this information, we can then try to through history. This is particularly construct a fascinating journey, full of relevant for those interested in works meaning that reflects the human spirit that have existed for hundreds of years. through history. To anyone wishing to Provenance can tell us about what was take this voyage, provenance greatly happening in society at a particular enhances the experience of art and makes point and can also provide insight into it come to life. 74 75 CRISTO VIVO Giovanni Battista Bissoni, Called the Veneziano (c. 1600-1610-Genoa-1657). Ivory. The cross in ebonized pearwood with silver terminals. The base in Sicilian jasper. Italy, Genoa, c. 1630 – 1640. Height 72.5 cm; 2 ft. 4 ½ in. Width 49.5 cm; 1 ft. 7 ½ in. PROVENANCE ▪ Elena of Montenegro, Queen Consort of Italy (1873-1952) ▪ Marquise Guglielmina Campello della Spina (born Boncomparni Ludovisi, (1881-1973), as gift from the Queen, c. 1920. Private collection Naples, Private collection, Rome. ▪ Currently offered by Mullany / Haute Epoque Fine Art his is a very important locks falling over his shoulders.” and incredibly rare ivory Mullany goes on to point out the Tcarved Christ that has been following about its provenance: o illustrate the incredible thoroughly researched by Mullany “This masterpiece belonged to adventure that one can Fine Arts. In order to establish our Elena Petrović (1873 – 1952), Thave by researching theory as to why or how this piece sixth daughter of Nicholas I of the historical provenance of come to be in the possession of Montenegro (1841 – 1921), who art, we have selected three Elena of Montenegro, let’s first look was married to Victor Emmanuel III pieces- a sculpture, a painting at a short description. of Italy (1869 – 1947) and crowned and a tapestry. The first two Queen of Italy in 1900. During the pieces were recently exhibited “The body of Christ of this exquisitely 1920s the work was gifted by the at The European Fine Art Fair, carved crucifix is made from one Queen to the Countess Wilhelmina TEFAF Maastricht 2018 by two large section of tusk allowing Boncompagni Ludovisi (1881 – of the most distinguished art the author to exploit expertly the 1973), courtier and wife of Count dealers in the world in their natural curvature of the material to Pompeo Campello della Spina respective categories. The third convey the anguish of the suffering (1874 – 1927). Although the precise piece, the tapestry, is in the Savior. The anatomy of the torso, circumstances remain unknown, collection of The J. Paul Getty the highlighted outline, and details there can be no doubt, given its Museum in Los Angeles. Each of the rib cage and contracted considerable size, the preciousness of these works has its unique abdomen, is extraordinary. The legs, of the materials used and the and fascinating historical arc. carved with equal skill, appear bent virtuosity of the carving, that the The theory that we propose by the weight of the body, the right present crucifix was created pursuant concerning some aspects of the protruding further forward than to a highly prestigious commission.” provenance for the sculpture the left, the finesse of the kneecaps and the painting is through our noteworthy. The perizonium, carved Princess Elena of Montenegro, one own research. There is no proof, separately, consists of soft folds of of the owners of this work was raised thus far, to corroborate what material, wrapped repeatedly on in the Eastern Orthodox church and we will describe. These theories a double rope tie terminating in had to convert to Catholicism to were also not developed two ruffled flourishes. The surface marry the Crown Prince, the heir to by the galleries. They are of the arms, hands, and feet is the Italian throne. Other princesses simply interesting premises, characterized by an extensive that were under consideration were perhaps even quite plausible network of veins and tendons not eligible since they were not explanations to demonstrate represented with great naturalism. willing to undergo conversion. how a little research can The head of Christ is tilted to the illuminate an entirely new world. right, his hair parted, flowing wavy 76 77 rincess Elena’s baptism was not Pwithout controversy. Her own mother Milena Vukoctiç, Queen Consort of Montenegro was so distressed by her daughter’s conversion, that she refused to attend the ceremony. The baptism had to take place on a ship, on the Adriatic Sea, between Montenegro and Italy. We can appreciate the significance of this important step taken by Princess Elena, despite appreciation for having accepted in Italy. There is no doubt that Boncompagni-Ludovisi and her mother’s opposition. and completed the required the original commission of this her family built the Palazzo We can think of no better conversion. This could explain sculpture came from a very high Margherita on Via Veneto occasion, apart from her how this magnificent piece came member of the nobility probably which today houses the U.S. own wedding ceremony, to be in the possession of the for private use in one of the Embassy in Rome. One of on which an appropriate future Queen Consort of Italy. many palace chapels in Italy. her relatives was the second and important gift would governor of Rome from 1928 have been given to the We suggest this theory since It remains a mystery as to why to 1935. A grateful queen newly baptized Princess. the possibility of this Cristo Queen Elena subsequently must have held Wilhelmina We propose that it is likely Vivo being in possession of the gifted the piece to her Lady in high regard to justify such that Queen Margherita House of Savoy prior to being -in -Waiting, Wilhelmina a splendid gift. Additional (Elena’s future mother in gifted to Princess Elena, makes Boncompagni Ludovisi who research could provide clues as law) would have given the a lot more sense than the piece came from a very old and to how Wilhelmina became the crucifix to Princess Elena being already in Princess Elena’s aristocratic family, related to subsequent owner. as an important gift of possession prior to her arrival Popes. She was born Princess 78 79 View of the Interior of the Basilica View of the Interior of the Basilica of St. Peter’s, Rome. his impressive and becomes all the more of St. Peter’s, Rome. striking painting of evident once we consider By Wilhelm Schubert van TSt. Peter’s Basilica its provenance, recorded as Ehrenberg (c. 1630 – c. 1676) recently exhibited at early as the second half of TEFAF Maastricht 2018 by the eighteenth century as Oil on canvas Tomasso Brothers is another Pope Pius VII. The pontiff 166.4cm (65 ½ in.) high incredible piece of art that then gifted it to the Belgian 136,5 cm (53 ¾ in.) wide we have chosen to help Colonel Bernard Eugène illustrate the intriguing Rottiers, whose collection world of Provenance. Let’s of antiquities is now part provide some detail as to of the Rijksmuseum van the possible rationale of Oudheden, from whom it Pope Pius VII in gifting this then entered the collection painting to Colonel Rottiers. of Lord Charles Townshend, which included paintings by The Gallery explains that other Flemish masters such PROVENANCE ▪ Pope Pius VII “The present canvas, signed as Rubens and Van Dyck.” and dated 1665, perfectly (1742-1823), Rome, by embodies van Ehrenberg’s Colonel Rottiers was an whom gifted to, painterly vocabulary and interesting military man. He ▪ Colonel Bernard exemplifies his tremendous had made a career with the Eugène Rottiers skill as an artist. The central Austrian and Dutch armies, (1771-1857), Belgium nave of St Peter’s Basilica, he was a prisoner in Paris for ▪ Lord Charles looking towards Gian three years, released by King Townshend (1785-1853), Lorenzo Bernini’s famous Louis Napoleon, he served by 1853 Baldacchino, is rendered in the Czar of Russia, lived in its every detail, yet its sheer Tbilisi, Georgia, and ended ▪ Dr. Anderson ▪ H.L. Bischoffsheim; his scale is heightened by the his military career as a full painter’s choice of viewpoint Colonel of the Russian Army. sale, Christie's, London, and by his dramatic 7 May 1926, lot 32 depiction of light, with the He then traveled through (65 gns. to Goldschmidt) foreground darker and the Turkey, Greece, Italy, ▪ Anonymous sale background diaphanously France, and England. He [Ralph Vicars]; Christie's, illuminated. The almost began collecting antiquities London, 25 February minuscule figures also while still in Russia and 1949, lot 111 (30 gns. to highlight the church’s participated in many Arcade Galleries) grand size, yet also make excavations in Turkey, ▪ Anonymous sale it accessible to the viewer Greece, and possibly Italy. in a way that a cold, empty He subsequently sold his [Miss D.E. Brahmall]; interior could never be. The collection to the Leiden Christie's, London, 15 name of Charles Emmanuel Museum. It is plausible that June 1956, lot 147 Biset (1633-1710), who given the great interest of (190 gns.
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