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Joyous skipping, exuberant dancing and cheerful models are ever present in Sorbi’s high spirted scenes of Easter processions and harvest dances. These were idealised interpretations of country life sought after by the artist's many admirers and collectors. Such high spirits are translated into a classical setting in the present lot. Ladies skip with tambourines and cymbals, and make merry music whilst the bacchanalia ritual gets underway. A garlanded impish Bacchus takes his place a little further back, riding a donkey in the midst of the procession. The raised Thyrsus symbolise hedonism, prosperity and pleasure. Sorbi's mastery of colour is illustrated here in the reds, whites and blues which show the toga dresses in flowing motion against the greens of the vines. His talent had been rewarded earlier in his career when the celebrated Parisian art dealer Goupil signed a contract with him in 1872 for all his works. His fame culminated when he won the prestigious Commendatore del Regno, the highest Italian distinction. After his representation by Goupil in France, his work was brought to the attention of a wider European audience with representation by Heinemann in Munich, by Arthur Tooth & Sons in London, and by Schulte in Berlin.
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Condition report
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The condition of lots can vary widely and the nature of the lots sold means that they are unlikely to be in a perfect condition. Lots are sold in the condition they are in at the time of sale.
PLEASE NOTE THAT THIS CONDITION REPORT WAS PREPARED BY HAMISH DEWAR, AN INDEPENDENT PAINTINGS CONSERVATOR UNCONDITIONAL AND WITHOUT PREJUDICE Structural Condition The canvas is unlined and is evenly and securely attached to what is evidently the artist's original keyed wooden stretcher. This is ensuring a sound and secure support and it is obviously most encouraging to find the canvas in it's original unlined state. The overall structural condition is very good. Paint Surface The paint surface has a rather dull and uneven varnish layer and would undoubtedly respond well to cleaning and revarnishing if required. There are a few very fine lines of drying craquelure within some of the darker draperies which are entirely stable but could be retouched with minimal inpainting if required. I could find no evidence of retouchings under ultraviolet light. Summary The painting would therefore appear to be in very good and stable condition and while no work is required for reasons of of conservation, should benefit considerably from cleaning and revarnishing if required.