The DESSINART COLLECTION
Description
Title
Arabo seduto
Attribution
Domenico Morelli
Medium
Pen and ink
Dimensions
Sheet: L. 42,50 cm. | W. 31,50 cm.
Inscriptions
Signed “D. Morelli” at bottom, in pen and ink
Documentation
Provenance
- Previously offered at Maison Bibelot Casa d’Aste (Florence / Milan, Italy) — Domenico Morelli (1823–1901), Oriental figure, ink on paper laid on cardboard, signed, framed, cm 42.5 × 31.5. Auction: Maison Bibelot Casa d’Aste, Lot 253 (https://www.maisonbibelot.com/uk/auction-0210/orietal-figure-domenico-morelli-dipinti-arte-m-133295) - Previously offered at Galleria Pananti Casa d’Aste (Florence, Italy) — Domenico Morelli (1823–1901), Arabo, ink on paper laid on cardboard, signed at lower center, cm 42.5 × 31.5. Auction: Galleria Pananti Casa d’Aste, Lot 179 (https://www.pananti.com/uk/auction-0155-1/arabo-72829-74592 ). - Italian private collection, Florence (most recent). - Asian private collection, acquired directly from above.
Exhibition
Literature
Digital Archives
Technical Imaging
Visible Light
Visible Light imaging records the artwork under normal white light, corresponding to what the human eye can see. It is used to document the current visual appearance of the object, including colour, surface condition, losses, cracks, retouching, inscriptions, and other visible details.
Ultraviolet
Ultraviolet examination uses UV radiation to observe fluorescence on the surface of an artwork. It is commonly used to identify varnish layers, later retouching, restorations, overpaint, adhesives, and certain surface materials that may fluoresce differently from the original paint or support.
Infrared
Infrared imaging uses infrared radiation to penetrate certain paint layers and reveal features not visible in normal light. It is often used to study underdrawings, compositional changes, hidden inscriptions, earlier restorations, or carbon-based drawing materials beneath the surface.
X-Radiography
X-Radiography uses X-rays to examine the internal structure of an artwork. It can reveal the construction of the support, canvas weave, panel joins, nails, damages, previous repairs, dense pigments, hidden compositions, and changes made during the painting process.