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Faking It Symposium: Return of the Suppressed

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[Portrait in a White Dress]

Pierre-Louis Pierson (French, 1822–1913)

Artist:
Painted and retouched by Aquilin Schad (Austrian, 1817–1866)
Date:
1856–57, printed 1861–66
Medium:
Salted paper print from glass negative
Dimensions:
Image: 32.5 x 27 cm (12 13/16 x 10 5/8 in.) Mount: 39.1 x 29.7 cm (15 3/8 x 11 11/16 in.) Mat: 61 x 50.8 cm (24 x 20 in.)
Classification:
Photographs
Credit Line:
Gilman Collection, Gift of The Howard Gilman Foundation, 2005
Accession Number:
2005.100.196
  • Signatures, Inscriptions, and Markings

    Inscription: Inscribed in pencil on print, recto BL: "V. Verasis"; inscribed in red paint on print, recto BL: "A Schad"; inscribed in brown ink on mount, recto BC: "La Contessa di Castiglione"

  • Provenance

    Marquis Emanuele Tapparelli d'Azeglio; Duke Augusto Torlonia; [Michele Falzone del Barbaro], Gilman Paper Company Collection, New York, August 31, 1985

  • Notes

    This portrait and the "Portrait in a Black Dress" are undoubtedly among the earliest made by Pierson. The Countess is still childish, her coiffure "à la Ceres" is demure and her evening gown unostentatious: the white dress with double skirt and heart-shaped neckline is half-hidden under a long veil "à la vestale" which is pinned to her hair and falls low over her skirt.

    The Countess had the photograph painted by Aquilin Schad, one of the best painters working for the firm of Mayer & Pierson, in all probability sometime after her return to Paris in 1861. Another early portrait, "Milan", dating from July 1856, was to undergo the same treatment. The two painted portraits, facing each other, were photographed on a single negative, now lost. They are known through a modern print in the Mayer & Pierson archive. [PA; "La Divine Comtesse", p. 166-7]

    Other photographs from the same provenance are now in the Alinari Collection, Florence. [Alteveer/IFA]

  • See also
    Who
    What
    Where
    When
    In the Museum
    Heilbrunn Timeline of Art History
285607

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