Vittorio Matteo Corcos

Vittorio Matteo Corcos (Livorno 1859–1933 Florence) Full Length Portrait of a Gentleman, inscribed, signed and dated Al carissimo amico Formelli (?) V. Corcos Maggio (18)90, oil on canvas, 90 x 47 cm, framed, (W) Vittorio Matteo Corcos studied in Florence at the Accademia di Belle Arti and in Naples under Morelli. From 1880 to 1886 he worked in Paris for the art dealer Goupil. After returning to Florence he began to portray authors and orators. He became particularly well known for his portraits of young women. In Lisbon he painted the portrait of Queen Amelia, and in 1932 executed a portrait of the Princess of Piemont. His paintings often depict scenes taken from everyday middle class life in the 19th century.

Vittorio Matteo Corcos (Livorno 1859–1933 Florence) Young Lady in White Dress with Flowers (Ritratto di giovane donna in abito bianco con fiori), signed, dated V. Corcos X5, oil on canvas, 199.5 x 60.5 cm, framed, (W) Exhibited: Boldini e gli Italiani a Parigi - Tra realtá impressione, Chiostro del Bramante, November 2009/April 2010, p.187 (Ill.); Private European Collection Vittorio Matteo Corcos After attending free drawing courses at the Accademia delle Belle Arti, he studied with Domenico Morelli in Naples in 1878 and 1879, and with Léon Bonnat in Paris from 1880 onwards. His participation in the Paris salon of 1881 brought him a contract with the renowned art dealers Goupil & Cie. Sojourns in Edinburgh, Paris and Florence are documented. In Florence Corcos made a name for himself as a portraitist, receiving commissions from amongst aristocratic circles and high society from this time onwards. Amongst others, he executed the portrait of Emperor Wilhelm II and Empress Auguste Viktoria in Potsdam, and the portrait of Queen Amelia in Portugal. Vittorio Matteo Corcos probably achieved particular importance as the result of his representation of young ladies of the Belle Epoque. “Young ladies, gazing dreamily and lost in thought” would become the defining characteristic of his work (Saur, Künstlerlexikon, Vol. 21, Leipzig 1999, p. 167).

Vittorio Matteo Corcos (Italian, 1859-1933) Neapolitan Beauties signed and dated 'V. Corcos 85.' (lower right) oil on canvas 114.7 x 61cm (45 3/16 x 24in). Footnote: PROVENANCE: with Thomas McLean, London Private collection, UK Neapolitan Beauties was painted in 1885, during Vittorio Matteo Corcos' crucial years in Paris from 1880-1886. The artist had been encouraged to travel to Paris by his tutor in Naples, Domenico Morelli, with whom he had studied for the previous two years. Upon his arrival in the French capital he worked exclusively with the prominent art dealer Adolphe Goupil, who also represented Corcos' close Italian contemporaries, Giovanni Boldini and Giuseppe de Nittis. Corcos was also influenced by Leon Bonnat, portrait painter to the Parisian bourgeoisie and he quickly established himself as part of the elite art circle. It was the works painted and exhibited at the Paris Salon during this period which gained him a reputation as the 'peintres des jolies femmes' a soubriquet given to him by The Times correspondent Henri De Blowitz, which remained with him throughout his career. These works featured graceful ladies immersed in the height of fashionable Parisian life; at the Opera, or along the boulevards. His sharp observation and accomplished technique, together with a strong sense of composition, rendered these works some of the most sought after of the time. Neapolitan Beauties is no exception. It is a striking depiction of two elegantly dressed Neapolitan ladies posed with their dog on the promenade; the flawlessly painted surface, devoid of any evidence of the artist's brush, perfectly displays the subject's porcelain skin and beauty. All attention is focused on the elegant subjects and the omission of a narrative focuses the viewers attention on the beauties within a frieze-like arrangement leading the viewer's eye from one to the other. Corcos returned to Italy in 1886 with his reputation established. In 1887 married Emma Ciabatti, the widow of James Rotigliano. It was through this marriage that Corcos came into contact with intellectuals such as Carducci and Gabriele D'Annunzio. His portraiture was especially well received in Florentine cultural and aristocratic circles, which were the source of many commissions. By the turn of the 20th century he was one of Italy's and indeed Europe's pre-eminent portrait painters. In 1904 he painted portraits of Wilhelm II, the Empress, and latterly portraits of Queen Amelia of Portugal and Margherita of Savoy. In 1912 Corrado Ricci, previous director of the Galleria degli Uffizi, requested a self-portrait for the gallery's collection. Corcos completed this in 1913, and the work remains in the Uffizi's collection today.

VITTORIO MATTEO CORCOS ITALIAN, 1859 - 1933 MEZZOGIORNO AL MARE 250,000—350,000 USD 34 by 26 in. 86.4 by 66 cm signed V. Corcos and dated 84 (lower right) oil on canvas Ross-Lawson Galleries, London (in 1968)Private CollectionThence by descent (and sold: Sotheby's, New York, February 12,1997, lot 118, illustrated)Acquired at the above sale by the present owner Livorno, Museo Civico G. Fattori; Florence, Galleria d'artemoderna, Palazzo Pitti, Vittorio Corcos: il fantasma e il fiore,June 26-October 12, 1997 Mezzogiorno al Mare was painted during Corcos' pivotalyears in Paris, where he worked exclusively with the prominent artdealer Adolphe Goupil, who also represented the artist's closeItalian contemporaries, Giovanni Boldini and Giuseppe de Nittis.Corcos is known to have painted several beach scenes at Biarritz in1884, the year in which this work was executed. Mezzogiorno alMare is an important example from this period, with itsstriking depiction of three exquisitely dressed Parisianélégantes , impeccably coiffed and styled, gazing intently atsome unknown attraction further along the beach. The flawlesslypainted surface, devoid of evidence of the artist's brushstroke,perfectly suits the ladies' porcelain-like physical beauty. Corcosclearly intends the viewer to focus solely on the women, therelatively empty background and their frieze-like arrangementleading the eye from one to the next. Corcos also omits the actionwhich has piqued their attention, another device to furthershowcase the women's comely appearances. The inclusion of the beachchair with its Arts & Crafts design is a stylish addition tothe scene and an interesting foil to the more traditional textilesof the ladies' dresses.Corcos traveled to Paris in 1880 at the encouragement of histeacher in Naples, Domenico Morelli, with whom he had studied in1878 and 1879. The works which Corcos painted for Goupil andexhibited at the Paris Salon in the 1880s gained him areputation as the "peintres des jolies femmes." His subjects weregraceful ladies immersed in the height of fashionable Parisianlife, at the Opera, along the boulevards, or at the beach. Hissharp observations and accomplished technique, together with hisstrong sense of composition, rendered his works some of the mostsought after of his time. Upon returning to Italy in 1886 with hisreputation established and a successful relationship with Goupil inParis, Corcos became one of the pre-eminent Italians portraitists,traveling frequently and painting members of the Italian nobility,monarchs and leaders throughout Europe, and his contemporarywriters and artists.

Vittorio Matteo Corcos (Italian, 1859-1933) Lady in blue signed and dated 'V. Corcos/84.' (lower left) oil on canvas 25 x 16¼ in. (63.5 x 41.2 cm.) Painted in 1884. Special Notice No VAT will be charged on the hammer price, but VAT at 15% will be added to the buyer's premium which is invoiced on a VAT inclusive basis. Pre-Lot Text VARIOUS PROPERTIES