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signed l.r., oil on canvas 119 by 102 cm;, 47 by 40 in. PROVENANCE Fassini Collection, Rome. EXHIBITED Paris, Salon of the Societe Nationale of Paris, 1904; Paris, Galerie Charpentier, Boldini, 1931, no.17; Florence, Galleria Bellini, Boldini, 1937. LITERATURE Carlo L, Ragghianti and Ettore Camesasca, L'Opera Completa di Boldini, Rizzoli, Milan 1970, no.367a; Dario Cecchi, Boldini, Utet, Turin 1962, pp.165, 178-179, 192, 187 (sitter mentioned); Vito Doria, Boldini, UUnpublished work, Grafis, Bologna, 1982, pp.26, 105, 145 (sitter mentioned). Dora Victor-Hugo, nee Dorian, (1875-1951) was first married to Jean Ajalbert in 1895. He was a prominent member of the prestigious Academic Goncourt, curator of Malmaison and manager of the Manufacture Nationale des Tapisseries de Beauvais. In 1901 she married Georges Victor-Hugo was the grandson of the famous poet, writer and artist, Victor Hugo. As a tribute to his grandfather, he obtained by decree in 1902 the right to use Victor-Hugo as a surname. They had one son. Madame Georges Victor-Hugo was one of Boldini's favourite sitters and featured in several of his paintings and pastels. There are also two known preparatory sketches in pastel for this oil: the one formerly in the Piiceni Collection presents her facing the artist; in the other, whose present location is unknown. she is in profile but her left arm is pointing straight out towards the artist. These demonstrate Boldini's remarkable approach to the portrayal of Madame Victor-Hugo, and it is interesting that he decided upon the present composition. She appears as well in Interno con Signora seduta e specchio (Megret Collection, Paris) and in Signora blonda seduta con cappellino a tricorno, whiich sold at auction in Milan in 1967, bearing the name Marthe letellier. There was some dispute and diplomatic entanglement over the price of this portrait. In a letter to Count Robert de Montesquiou dated 21 February 1899 (Bibliotheque Nationale N.A. Fr.15247), Boldini asks his old friend to testify that the price agreed on was 25,000 francs, a sum that seems to have been argued over by the sitter. It would seem that thsi price was eventually paid. Boldni depicted Madame Victor-Hugo in this pose perhaps in order to accentuate her sharp features. It is slightly unorthodox to portray society ladies in this full profile rather than the more habitual threequarters face. The preparatory sketches would indicate that Boldini pondered long and hard over how to portray one of his favourite sitters.