pastel Durerea ("Pain"), which had been reproduced in a 1914 issue of Seara, and by the paintings De Nămezi ("Lunchtime") and Lica, fetița cu portocala ("Lica, the Girl with the Orange"). Among the works in the series were two portraits of Bogdan-Pitești: an ink drawing, copies of which were circulated with Bogdan-Pitești's election manifesto of 1899, and a since-lost oil painting. Bogdan-Pitești was the subject of several anonymous sketches, including two 1896 vignettes, published in Adevărul, and a 1917 drawing signed Correggio. He is also depicted in an affectionate cartoon published in 1914 by Petrescu Găină. Domnica Bogdan herself sat as a model for various artists, and was notably depicted in works by Camil Ressu, Pallady and the Bulgarian-born painter Pascin. In 1920, Bogdan-Pitești commissioned Paciurea to complete a portrait bust of Domnica. The same year, Dimitrescu painted her an oil-on-cardboard portrait in dominant shades of brown (with touches of red and gray). Artists who illustrated works by Bogdan-Pitești include, in addition to himself, George Demetrescu Mirea, Ion Georgescu and Satmari. The Colonești manor and its art fund fell victim to neglect. According to T. Vianu, the collection was "blown over by the wind of devastation" even during the interwar years. In 1924, in defiance of its owner's final request, it was subject to a hasty public auction. This drew protests from literary figures such as Cezar Petrescu, Perpessicius and Victor Eftimiu. As a result of the auction, many works passed into the collections of Zambaccian, Alexandru G. Florescu, Iosif Dona and several others. Of them, Zambaccian attributed the incident to the National Liberal government's unwillingness to accept donations from "a compromised person". He and several other commentators place responsibility for the sales on Finance Minister Ion Lapedatu, who is believed to have either hesitated in assessing the collection or to have plotted with businessmen who wanted it sold cheaply. Zambaccian was to be the eventual owner of Lăutul. It became a feature of his own Bucharest museum, and appears with Zambaccian in an oil portrait by Pallady. Under the communist regime, the Vlaici building was transformed into a branch for the state-owned producer of agricultural machinery, and, in 2004, belonged to its successor, Agromec (although still largely unused). Beldie recounts that, under communism, the destitute Domnica Bogdan worked as a hygienist at Bucharest Central Hospital. Notes References Lucian Boia, "Germanofilii". Elita intelectuală românească în anii Primului Război Mondial, Humanitas,