Embedded Files
La Natura Morta ovvero VITA SILENTE
Mio padre era convinto che l’artista, attivo nelle committenze ecclesiastiche, era limitato dalle imposizioni della chiesa e non poteva dare libero sfogo alle sue idee ed emozioni.
Non gli rimaneva altro che cercare con lo studio dal vero , di rappresentare la vita attraverso la natura.
Mio padre preferiva in modo particolare la natura morta italiana, per la sua semplicità nel rappresentare soggetti di tutti i giorni come la frutta, le cipolle, le verze, le aringhe, cose povere e semplici ma rappresentate in un’aurea di silenzio riverente dove tutto traspare tranne che la morte. Infatti nella lingua anglosassone questa tecnica di pittura è descritta come Still Life, Still = Ancora e Life = Vita, ancora vivo, in tedesco Still Leben o Stillleben, Still= Tranquillo, Leben =Vita, vita tranquilla , in spagnolo Vita Silente, vita silenziosa.
Le nature morte spesso dipinte rappresentate su fondi di pietra, o semplici tavoli in legno avvolte da un riverente e religioso silenzio, evidenziato da forti contrasti di chiari e scuri che spesso colpiscono per quel senso di pace che ci avvolge nell’ osservarle.
La natura morta Italiana cosi come quella spagnola presentava influenze fiamminghe dovute ad un interscambio della conoscenza della lezione di Caravaggio sul realismo, ancora oggi avvolto comunque in un grande mistero.
Caravaggio era conosciuto per le sue nature morte con le quali iniziò a dipingere, tanto che il cardinale Borromeo gliene commissionò una,
il famoso Cesto dell’Ambrosiana, che , tra l’altro, è particolare il fatto che sia privo dei tipici chiaro scuri.
Il Cesto dell’Ambrosiana è a tutt’oggi l’unica natura morta certa di Caravaggio, e questo ha dell’incredibile.
Silvano Lodi jr.
AF01
1652-M51/1
Afro Basaldella
Afro Basaldella
4 marzo 1912 ; Zurigo, 24 luglio ; 1976
Natura Morta di Oggetti Composizione 1948
Seppia acquarello su carta, cm. 33,3 x 47,6
Firmato datato -948 basso a destra
Provenienza:
Collezione M. W. Rosenthal, New York.
New York, asta Sotheby's, 27 febbraio 1990, lotto 32;
Collezione Silvano Lodi Campione D’Italia dal 1990.
Christie’s Milano Asta Online 24/0572023- 07/06/2023,” Centuries of Beauty – A Refinned Privat Collection, Lott. N° 40
Esposizioni:
Giappone:
“Italian Still Life Paintings” The Silvano Lodi Collection, Seij Togo Memorial Sompo Japan Museum of Art , The Niigata Prefectual Museum of Modern Art-Nagaoka, Hakodate Museum of Art-Hokkaido, Toyama Prefectural Museum of Art and Design-Toyama, Ashikaga Museum of Art-Ashikaga, Yamagata Museum of Art – Yamagata, dal 28 Aprile 2001 al 5 maggio 2002, pubblicato nel catalgo con il n° 71.
Opera autenticata e registrata nel archivio Afro con il n° 691/1 Roma 19/06/1991
Immagine © Silvano Lodi
B01
Evaristo
Baschenis
Evaristo Baschenis
(Bergamo 1617 -1677)
“A Still Life with Musical Instruments”
Oil on canvas cm. 98 x 145
Signed “Evaristus Baschenis P” on the edge of the spinet.
Provenance:
Silvano Lodi Collection
Chriestie’s New York “Old Masters Paintings Paert I “ Tuesday, 17 October 2006, Loto n° 60.
Immagine © Silvano Lodi
In alcune opere , come ad esempio nella natura morta di strumenti musicali di Evaristo Baschenis, si ha la sensazione che qualcuno fosse stato li, ha sfiorato qualche strumento lasciando i segni delle dita sulla sottile polvere depositatasi da poco.
Un segno del passaggio della vita che è stata o che sarà.
Il bello dell’arte sta nel fatto che si possono ammirare le opere nel loro insieme regalandoci emozioni attraverso l’armonia della composizione, la luce ed i colori. Oppure possiamo concentrarci su un particolare e cercare di carpirne il significato, che per quanto mi riguarda, ognuno può interpretare come meglio crede. S.L. jr
LA raccolta di nature morte di mio padre, abbraccia un arco di tempo vastissimo, praticamente dal rinascimento ad oggi. LA ricerca e la scelta delle opere è stata quasi sempre impostata sulla particolarità del soggetto e la sua rappresentazione.
BER 01
(BE01-P32/10)
Gianni Bertini
Gianni Bertini
Pisa 1922 – Caen 2010
Natura Morta-Bicchieri Frutta 1965-76
Firmato e datato in basso a sinistra “bertini 65/76”
Olio su tela cm 81 x 116 ?
Provenienza:
Milano Galleria Annunciata di Sergio Grossetti.
Silvano Lodi Campione D’Italia.
Esposizioni :
Giappone: Italian Still Life Painting from the Silvano Lodi Collection, Seij Togo Memorial Sompo Japan Museum of Art , The Niigata Prefectual Museum of Modern Art-Nagaoka, Hakodate Museum of Art-Hokkaido, Toyama Prefectural Museum of Art and Design-Toyama, Ashikaga Museum of Art-Ashikaga, Yamagata Museum of Art – Yamagata, dal 28 Aprile 2001 al 5 maggio 2002, pubblicato nel catalgo con il n° 73.
Germania: Ravensburg, Italian Still Life Painting the Silvano Lodi Collection, Schloss Achberg 11 Aprile 2001 – 12 Ottobre 2003, in catalogo con il n° 97
Immagine © Silvano Lodi
CAV01
Emanuele Cavalli
Emanuele Cavalli
Lucera 1904 – Firenze 1981
Natura morta
olio su tela
49 x 52 cm.
Eseguito nel 1935 c.
Manuel Carrera, Associazione Emanuele Cavalli, Roma, per la cortese redazione della scheda
PROVENANCE:
Galleria Arco Farnese, Roma
Collezione Silvano Lodi Campione D’italia dal 1986
Christie’s, Milano, Cenuries of Beauty-A Refined Privat Collection 07 Jun 2023 Lott. N° 183
LITERATURE
G. Bonasegale, Catalogo generale della Galleria Comunale d’Arte Moderna e Contemporanea, Roma 1995, vol. I, p. 230, n. 15a (illustrato, con titolo 'Natura morta con la racchetta' e data errata)
AA. VV., Luoghi, figure, nature morte, Opere della Galleria d’Arte Moderna di Roma Capitale, Roma 2011, cat. mostra presso la Galleria d'Arte Moderna a Roma, p. 107
EXHIBITED
Verona, Galleria d'Arte Moderna Achille Forti, Le scuole romane, sviluppi e continuità, 1927-1988, 1988, cat., p. 59 (illustrato, con titolo 'Natura morta con la racchetta' e data errata)
Roma, Galleria Arco Farnese, Emanuele Cavalli "Il colore assoluto delle cose", nature morte 1923-1978, 1993, cat., pp. 18-19 (illustrato, con titolo 'Natura morta con la racchetta' e data errata)
Roma, Chiostro del Bramante, Roma 1918-1943, 1998, cat., p. 274 (parzialmente illustrato, con orientamento errato, con titolo 'Natura morta con squadra, racchetta da ping pong con palla' e data errata); p. 287 (in elenco, con titolo 'Natura morta con squadra, racchetta da ping pong con palla' e data errata)
Tokyo, Seiji Togo Memorial Yasuda Kasai Museum of Art, Italian Still Life Painting, 2001, cat., p. 102, n. 64 (illustrato, con titolo 'Still life with table tennis puddle' e data errata); poi Niigata, Niigata City Art Museum; Hokkaidō, Hakodate Museum of Art; Toyama, Toyama Shimin Plaza Art Gallery; Ashikaga, Ashikaga Museum of Art; Yamagata, Yamagata Museum of Art, 2002
Ravensburg, Schloss Achberg, Natura morta italiana, 2003, p. 71 (illustrato); p. 93 (illustrato, con titolo 'Stillleben mit Tischtennisschläger' e data errata)
Immagine © Silvano Lodi
CH01
Giorgio de Chirico
Giorgio de Chirico
Giorgio de Chirico
(Volo 1888- Roma 1978)
“Natura Morta su un Tavolo” 1915.
Oil on canvas
Signed and dated ‘G. de Chirico. 1915’ (upper right); with the inscription 'Chirico via Ripagrande 61 (Sra Bonsi)' (on the stretcher)
Provenance:
G. Gussoni, Milan
Silvano Lodi Collection.
Christie’s London “The Italian Sale 20th Century Art” Monday, October 15, 2007, Lot n° 202.
Exhibited:
Ferrara, Palazzo Massari, La Metafisica. Museo documentario, 1981, no. 123 (illustrated, p. 310).
Milan, Palazzo Reale, De Chirico: gli anni Venti, March-April 1987, (illustrated, p. 187).
Rome, Palazzo delle Esposizioni, Giorgio De Chirico, "Pictor Optimus". Pittura Disegno Teatro, December 1992-January 1993 (illustrated, p. 117). This exhibition later travelled to Genoa, Palazzo Ducale, March-May 1993.
Jerusalem, The Israel Museum, Natura morta Italiana: Italian Still Life Painting from Four Centuries The Silvano Lodi Collection, June-October 1994, no. 47 (illustrated, p. 109).
Brussels, Galerie Du Crédit Communal, L'Art Gourmand. Stilleben für Auge, Kochkunst und Gourmets von Aertsen bis Van Gogh, November 1996-February 1997 (illustrated,pp. 252-253). This exhibition later travelled to Darmstadt, Hessisches Landesmuseum, March-June 1997 and Cologne, Wallraf-Richartz-Museum, June-September 1997.
Acqui Terme, Palazzo Liceo Saracco, Vita Silente: Giorgio De Chirico dalla Metafisica al Barocco, July-September 1997, no. 1 (illustrated, p. 51 and on the cover).
Tokyo, Seiji Togo Memorial Yasuda Kasai Museum of Art, Italian Still Life Painting, April-May 2001 The Silvano Lodi Collection, no. 48 (illustrated, p. 86). This exhibition later travelled to Niigata City, Art Museum, June-July 2001; Hokkaido, Hakodate Museum of Art, July-September 2001; Toyama, Toyama Shimin Plaza Art Gallery, October 2001; Ashikaga, Museum of Art, November-December 2001 and Yamagata, Museum of Art, April-May 2002.
Ravensburg, Schloss Achberg, Natura morta italiana: Italienische Stilleben aus vier Jahrhunderten Sammlung Silvano Lodi , April-October 2003, no. 77.
Literature:
C. Bruni Sakraischik, Catalogo Generale, Giorgio de Chirico, opere dal 1908 al 1930, vol. VII, Milan 1974, no. 389 (illustrated, unpaged).
P. Baldacci & M. Fagiolo dell'Arco (eds.), Giorgio de Chirico. Parigi 1924-1929, dalla nascita del Surrealismo al crollo di Wall Street, Milan 1982 (illustrated, p. 60).
M. Fagiolo dell'Arco (ed.), L'opera completa di De Chirico 1908-1924, Milan 1984, no. 91, p. 97 (illustrated, p. 96).
M. Fagiolo dell'Arco, Giorgio de Chirico: Gli anni Trenta, Milan 1991 (illustrated, p. 82).
M. Fagiolo dell'Arco, I Bagni Misteriosi, De Chirico negli anni trenta: Parigi, Italia, New York, Milan 1991 (illustrated, p. 82).
P. Baldacci, De Chirico: 1888-1919, La metafisica, Milan 1997, no. 95 (illustrated, p. 305).
Immagine © Silvano Lodi
CL01
(01-P28/27)
Francesco Clemente
Francesco Clemente
(Napoli 1952)
STILL LIFE CANE 1979.
Gouache on paper laid down on canvas cm. 103 x 152,4
Provenance:
Finarte Milano 14 dicembre 1988.
Silvano Lodi Collection.
Exhibited:
New York, Annina Nosei Gallery, 1980-
Ferrara, Palazzo Massari, La Metafisica. Museo documentario, 1981, no. 123 (illustrated, p. 310).
Jerusalem, The Israel Museum, Natura morta Italiana: Italian Still Life Painting from Four Centuries, June-October 1994, no. 47 (illustrated, p. 109).
Tokyo, Seiji Togo Memorial Yasuda Kasai Museum of Art, Italian Still Life Painting, April-May 2001, no. 48 (illustrated, p. 86). This exhibition later travelled to Niigata City, Art Museum, June-July 2001; Hokkaido, Hakodate Museum of Art, July-September 2001; Toyama, Toyama Shimin Plaza Art Gallery, October 2001; Ashikaga, Museum of Art, November-December 2001 and Yamagata, Museum of Art, April-May 2002.
Ravensburg, Schloss Achberg, Natura morta italiana: Italienische Stilleben aus vier Jahrhunderten, April-October 2003 n° 101.
Immagine © Silvano Lodi
Una parola ed un’immagine, la scritta CANE ci fa ricordare immediatamente FAME.
Pane un nutrimento semplice ma essenziale ed universale, simboleggia, la famiglia , la fame, il ciclo della vita, la salute ed il benessere di uomini e animali.
FR01B
Luca
Forte
Luca Forte
Attivo a Napoli 1625-1655
Natura Morta Canesta di Frutta e Pesce
Olio su tela cm. 44,5 x 103
Provenienza:
Goethe Academy Renaissance Collection, Renaissance (CA) (California, Stati Uniti d'America)
Silvano Lodi Campione D’Italia 1974 .
Sotheby’s , London 2 June 1989, Lott N° 89.
Christie’s New York , Live Auction 3747 Old Master Paintings, 03.06.2015, lott. N° 23.
Esposizioni:
John T. Spike Italian Still Life Paintings from Three Centuries, National Academy of Design, New York February 2 – March 13, 1983. Philbrook Art Center, Tulsa, Oklahoma, April 9 – June 30.
Dayton Art Institute, Dayton, Ohio July 30 – September 11.
Luigi Salerno, Natura Morta Italiana, Tre Secoli di Natura Morta Italiana La raccolta Silvano Lodi, Bayerische Staatsgemäldesammlungen Alte Pinakothek, München 27.11. 1984 – 22.02.1985.
Pubblicazioni :
M. Marini, Io Michelangelo da Caravaggio, 1974, p. 326, fig. C55 come Luca Forte , Ugo Bozzi Editore Roma 1974.
John T. Spike Italian Still Life Paintings from Three Centuries, pag. 54-55, catalogo mostra, Centro Di, National Academy of Design, Old Masters Exhibition Society of New York, 1983.
Luigi Salerno, Natura Morta Italiana, Tre Secoli di Natura Morta Italiana La raccolta Silvano Lodi,pag. 42-43 come Maestro Caravaggesco, Bayerische Staatsgemäldesammlungen Alte Pinakothek, München, Centro Di 1984.
Fotografie Silvano Lodi jr.
Immagine © Silvano Lodi
GAL01
Fede Galizia
Fede Galizia
Milan (1578 – 1630)
“A Glass Compote with Peaches, Jasmine Flowers, Quinces and a Grasshoper”. Oil on panel cm. 30,5 x 42,5
Provenance:
Silvano Lodi Collection.
Christie’s New York “Important Old Masters Paintings Part I” Thursday 6 April 2006, Lot n° 55.
Property of a West Coast Collector
Sotheby's New York, Master Paintings - Evening Sale, 30 January 2019- Lot 42. (https://www.sothebys.com/en/auctions/ecatalogue/2019/master-paintings-evening-n10007/lot.42.html )
Exhibited:
Israel Museum, Jerusalem, “Italian still life painting, from the three centuries, The Silvano Lodi collection”, June 1994.
Sieji Togo Memorial Museum of Art, Tokyo, “Italian still life painting, from the three centuries, The Silvano Lodi collection”, 28 April – 26 May 2001, n° 12; and on tour in Japan.
Kunsthalle der Hypo – Kulturstiftung, Munich, “Natura morta italiana tra Cinquecento a Settecento”, 6 December 2002 – 23 February 2003.
Palazzo Strozzi, Flocence, “La natura morta Italiana, da Caravaggio al settecento”, June 2003.
Museo Civico , Cremona, “Pittori della realtà. Le Ragioni di una Rivoluzione. Da Foppa e Leonardo a Caravaggio e Cerutti”, 14 February – 2 May, 2004.
The Metropolitan Museum of Art, New York, “Painters of Reality, The Legacy of Leonardo and Caravaggio in Italy”, 27 May – 15 August 2004, n° 79.
Literature :
F.Caroli, “Fede Galizia”, 2nd edition, 1991, fig,2.
“Italian still life painting, from the three centuries, The Silvano Lodi collection”, Jerusalem 1994, p.42.
S.Segal, “An Early still life by Fede Galizia”, Burlington Magazine, CXL, March 1998,
pp. 164 -7, fig. 6, illustrated (with incorrect dimensions).
“Italian still life painting, from the three centuries, The Silvano Lodi collection”, Tokyo, 2001, p. 49, n° 12.
M.Gregori, et al.,”Natura morta Italiana tra Cinquecento e Settecento”, exhibition catalogue, Munich, 2003, p. 95.
M.Gregori, et al.,”Natura morta Italiana tra Cinquecento e Settecento”, exhibition catalogue, Milan, 2003, p. 97-8.
M. Gregori, et al., “Pittori della realtà. Le Ragioni di una Rivoluzione. Da Foppa e Leonardo a Caravaggio e Cerutti”, exhibition catalogue, Cremona, 2004, pp. 230-1.
A. Bayer, ed., “Painters of reality: The legacy of Leonardo and Caravaggio in Lombaty”, exhibition catalogue, New Haven, 2004, p.186, n° 79.
Immagine © Silvano Lodi
GAL02
Fede Galizia
Fede Galizia
Milan (1578 – 1630)
“ACherries in a Silver Compote with Crabapples on a Stone Ledge and a Fritillary Butterfly”
Oil on panel cm. 28,2 x 42,2
Provenance:
Silvano Lodi Collection.
Christie’s New York “ Old Masters Paintings Part I” Tuesday, 17 October 2006, Lot n° 37.
Private collection.
Exhibited:
Israel Museum, Jerusalem, “Italian still life painting, from the three centuries, The Silvano Lodi collection”, June 1994.
Sieji Togo Memorial Museum of Art, Tokyo, “Italian still life painting, from the three centuries, The Silvano Lodi collection”, 28 April – 26 May 2001, n° 12; and on tour in Japan.
Kunsthalle der Hypo – Kulturstiftung, Munich, “Natura morta italiana tra Cinquecento a Settecento”, 6 December 2002 – 23 February 2003.
Palazzo Strozzi, Flocence, “La natura morta Italiana, da Caravaggio al settecento”, June 2003.
Museo Civico , Cremona, “Pittori della realtà. Le Ragioni di una Rivoluzione. Da Foppa e Leonardo a Caravaggio e Cerutti”, 14 February – 2 May, 2004.
The Metropolitan Museum of Art, New York, “Painters of Reality, The Legacy of Leonardo and Caravaggio in Italy”, 27 May – 15 August 2004, n° 79.
Literature :
F.Caroli, “Fede Galizia”, 2nd edition, 1991, fig,2.
“Italian still life painting, from the three centuries, The Silvano Lodi collection”, Jerusalem 1994, p.42.
S.Segal, “An Early still life by Fede Galizia”, Burlington Magazine, CXL, March 1998,
pp. 164 -7, fig. 6, illustrated (with incorrect dimensions).
“Italian still life painting, from the three centuries, The Silvano Lodi collection”, Tokyo, 2001, p. 49, n° 12.
M.Gregori, et al.,”Natura morta Italiana tra Cinquecento e Settecento”, exhibition catalogue, Munich, 2003, p. 95.
M.Gregori, et al.,”Natura morta Italiana tra Cinquecento e Settecento”, exhibition catalogue, Milan, 2003, p. 97-8.
M. Gregori, et al., “Pittori della realtà. Le Ragioni di una Rivoluzione. Da Foppa e Leonardo a Caravaggio e Cerutti”, exhibition catalogue, Cremona, 2004, pp. 230-1.
A. Bayer, ed., “Painters of reality: The legacy of Leonardo and Caravaggio in Lombaty”, exhibition catalogue, New Haven, 2004, p.186, n° 79.
Immagine © Silvano Lodi
GAL03
Fede Galizia
Fede Galizia
Milan (1578 – 1630)
Peaches in a pierced white faience basket
Oil on panel cm. 30 x 41,5
Provenance:
Silvano Lodi Collection.
Christie’s London “ Important Old Masters Pictures” 06 July 2006, Lot n° 31.
https://www.christies.com/lot/lot-4752093
Private collection.
Exhibited:
Zurich, Seedamm-Kulturzentrum, Pfäffikon; and Geneva, Musée d'art et d'histoire, Venezianische Kunst in der Schweitz und in Lichtenstein, 18 June-27 August 1978; and 8 September-5 November 1978, no. 91.
Münster, Westfälisches Landesmuseum für Kunst und Kulturgeschichte; and Baden-Baden, Staatliche Kunsthall, Stilleben in Europa, 25 November 1979-24 February 1980; and 15 March-15 June 1980, no. 99.
New York, National Academy of Design; Tulsa, Philbrook Art Institute; and Dayton, Dayton Art Institute, Italian still life paintings from three centuries, 2 February-13 March 1983; 9 April-30 June 1983; and 30 July-11 September 1983, no. 5.
Munich, Bayerische Staatsgemäldesammlungen, Alte Pinakothek; and Berlin, Gemäldegalerie Staatliche Museen-Preussicher Kulturbesitz, Italian still life painting from three centuries, The Silvano Lodi collection, 27 November 1984-22 February 1985; and 6 September-27 October 1985, no. 15.
Jerusalem, Israel Museum, Italian still life painting, The Silvano Lodi collection, June 1994.
Tokyo, Seiji Togo Memorial Yasuda Kasai Museum of Art; and on tour in Japan, Italian still life painting, from the Silvano Lodi collection, 28 April-26 May 2001, no. 25.
Ravensburg, Schloss Achberg, Natura morta italiana: Italienische stilleben aus vier Jahrhunderten, Sammlung Silvano Lodi, 11 April-12 October 2003.
Literature :
M. Natale, in the exhibition catalogue, Venezianische Kunst in der Schweitz und in Lichtenstein, Zurich, 1978, p. 128, no. 91.
G. Langemeyer, et. al., in the exhibition catalogue, Stilleben in Europa, Münster, 1979, pp. 177-8, no. 99.
J.T. Spike, in the exhbition catalogue, Italian still life painting from three centuries, Florence, 1983, pp. 30-1, no. 5.
A.E. Pérez Sánchez, in the exhibition catalogue, Pintura española de Bodegas y Floreros de 1600 a Goya, Madrid, 1983, p. 25.
L. Salerno, in the exhibition catalogue, Natura morta italiana: Italian still life painting from three centuries, The Silvano Lodi collection, Florence, 1984, pp. 50-1, no. 15.
L. Salerno, La natura morta italiana 1560 - 1805, Rome, 1984, pp. 58 and 61, no. 15.6.
W.B. Jordan, in the exhibition catalogue, Spanish Still Life in the Golden Age 1600-1650, Kimbell Art Museum, Fort Worth, 1985, p. 6, fig. 7.
P. Lorenzelli, et al., Forma Vera. Contributi a una storia della natura morta italiana, Bergamo, 1985, p. 134, no. 40.
F. Caroli, Fede Galizia, Turin, 1989, p. 87, no. 25.
N. Bryson, Looking at the Overlooked, Four Essays on Still Life Painting, Cambridge, 1990, p. 165, fig. 72.
M. Levey, The Later Italian Pictures in the Collection of Her Majesty the Queen, Cambridge, 1991, 2nd edition, p. 85, fig. 29.
Italian still life painting, The Silvano Lodi collection, exhibition catalogue, Jerusalem, 1994.
C. Grimm, Stilleben, Die italienischen, spanischen und französischen Meister, Stuttgart, 1995, p. 91, fig. 35.
S. Koslow, Frans Snyders - The Noble Estate. Seventeenth Century Still Life and Animal Painting in the Southern Netherlands, Antwerp, 1995, pp. 33-4, fig. 26.
S. Segal, 'An Early Still Life by Fede Galizia', The Burlington Magazine, CXL, March 1998, pp. 164-71, fig. 9.
Italian still life painting, from The Silvano Lodi collection, exhibition catalogue, Tokyo, 2001, p. 48, no. 11.
S. Dathe, in the exhibition catalogue, Natura morta italiana: Italienisches stilleben aus vier Jahrhunderten, Sammlung Silvano Lodi, Ravensburg, 2003, p. 21 and 35.
Aoife Cosgrove - The “talented hands” of Giovanna Garzoni: Calligraphy’s Significance to the Work of a Seventeenth-Century Woman Artist ,Early Modern Women: An Interdisciplinary Journal Volume 18, Number 1 Fall 2023 p. 52 N° 10. (www.journals.uchicago.edu/doi/epdf/10.1086/727485 )
Immagine © Silvano Lodi
GA01
Giovanna Garzoni
Giovanna Garzoni
Ascoli Piceno (1600 – 1670 Roma)
“A Plate of Figs”
Bodycolor on vellum laid on board, cm. 25 x 35,4
Provenance:
Silvano Lodi Collection.
Christie’s New York “ Old Masters Paintings Part I” Tuesday, 17 October
2006, Lot n° 56.
Private collection.
Exhibited:
Westfälisches Landesmuseum für Kunstund Kulturgeschichte, Münster, Still Leben in Europa, 25 November 1979- 24 February 1980, no. 152; Staatliche Kunsthalle, Baden-Baden, 15 March - 15 June 1980.
Bayerische Staatsgemäldesammlungen, Alte Pinokothek, Munich, Italian still life painting from three centuries, The Silvano Lodi collection, 27 November 1984 - 22 February 1985, no.41; Gemäldegalerie Staatliche Museen-Preussildagalerie Kulturbesitz , Berlin, 6 September - 27 October 1985.
Israel Museum, Jerusalem, Italian still life painting, The Silvano Lodi collection, June
1994.
Seiji Togo Memorial Kasai Museum of Art, Tokyo, Italian still life painting, The
Silvano Lodi collection, 28 April - 26 May 2001, no. 16. Schloss Achberg, Ravensburg, Natura morte italian: Italienische stilleben aus vier Jahrhunderten, Sammlung Silvano Lodi, 11 April- 12 October 2003.
Literature :
Still- Leben in Europa, exhibition catalogue, Miinster, 1980, p. 285, no. 152.
L. Salerno, Italian still life painting from
three centuries, The Silvano Lodi Collection,
exhibition catalogue, Florence, 1984,
pp. 103-4, no. 41.
L. Salerno, La natura morta italiana 1560-1805, Rome, 1984, p. 137, fig. 33.7. G. Casale, Giovanna Garzoni: ‘insigne miniatrice’, 1600- 1670, Milan, 1991, no. A34.
Italian still life painting, The Silvano Lodi
collection, Jerusalem, 1994.
Italian still life painting, from The Silvano
Lodi collection, exhibition catalogue,
Tokyo, 2001, p. $3, no. 16. S. Dathe, Natura morte italian: Italienisches stilleben aus vier Jahrhunderten, Sammlung Silvano Lodi, exhibition catalogue, Ravensburg, 2003, p. 37.
Immagine © Silvano Lodi
GA02
Giovanna
Garzoni
Giovanna Garzoni
Ascoli Piceno (1600 – 1670 Roma)
Piatto in Ceramica con Mele Cotogne, Convolvoli, Fichi una Noce ed un Topolino.
Tempera su Pergamana
Ceramic Bowl with Quinces, Morning Glories, Figs, Hazelnuts and a Mouse.
Tempera on Vellum mm. 230 x 370
Provenienza:
Collection Silvano Lodi, Campione D’Italia
Collection Silvano Lodi jr. Como.
Esposizioni :
Mina Gragori e Johann Georg Prinz von-Hohenzollern “Natura Morta Italiana tra Cinquecento e Settecento”, 06 dicembre 2002 – 23 febbraio 2003, Kunsthalle del Hypo-Kulturstiftung, München 2003.
Pubblicazioni :
Mina Gragori e Johann Georg Prinz von-Hohenzollern (direttore della Kunsthalle del Hypo-Kulturstiftung, München), “Natura Morta Italiana tra Cinquecento e Settecento”, pag. 178-279, catalogo Electa 2002.
Immagine © Silvano Lodi
GE01
(P40/42)
Franco Gentilini
Franco Gentilini
Faenza 1909 – Roma 1981
Tazza con Ciliegie 1932
Olio su tela cm. 29 x 35
Firmata e datata in basso centro.
Provenienza:
Finarte Roma lotto n° 443, 29 aprile 1987
Collezione Silvano Lodi Campione D’Italia.
Christie’s Milano, Centuries of Beauty – A Refined Private Collection, 24 May – 7 June 2023, online lott. N° 152.
Esposizioni:
“La Natura Morta nell’Arte Italiana del Novecento” Castello Estense 02.08 – 15.10, 1987, n° 78 Mesola.
“Gentilini”, Museo Nazionale S.Vitale, 06.05 – 30.09. 1989, n° 17, Ravenna.
“Franco Gentilini” Staatliche Galerie I.D. Moritzburg, 1991, n° 4, Halle.
Kunstverein, 12.10 – 20.11. 1991, n° 4, Ludwigshafen. Staatliche Galerie, 1991, n° 4, Oberhausen.
Galleria Internazionale d’Arte Moderna di Cà Pesaro, 06.12- 31.01, 1992, n° 4, Venezia.
Fruttiere di Palazzo Te, 15.03 – 31.05. 1992,n° 6, Mantova.
Pubblicazioni:
A. Basquet pag. 3 TAV. 3, 1979.
N.Micieli 1989 pag 45.
G.Viroli 1989, pag 88.
Erich Steingràber- Franco Gentilini, Ludwigshafen – Oberhausen – Venezia 1991, p. 60 n° 4 .
Appella.G “Gentilini”, catalogo generale 1923 – 1981.pag 43 TAv. XVI-a colori e pag. 146 n° 96 Edizioni De Luca 04.12.2000.
Autentica su fotografia di Franco Gentilini datata Roma 25 novembre 1971.
Immagine © Silvano Lodi
"La mia ricerca sulla natura morta mi ha spinto a continuare a raccogliere anche dipinti più recenti sino ai giorni nostri. Spero che la gioia che ho provato io nello scoprire questi piccoli capolavori d'arte sia provata da tutti coloro che avranno modo diammirarli e che essi diano a tutti la mia stessa emozione." Silvano Lodi Campione D'Italia, 25 aprile 1994.
MA01
Mario Mafai
Mario Mafai
Roma 1902 - 1965
Natura morta con manichino, maschera e abito rosso (recto); donna in abito da sera (verso). 1940
Olio su tela cm. 94,2 x 53,6
Firmato e datato in basso a destra “Mafai 40”
Provenienza:
Galleria Bonino, Buenos Aires.
Galleria La Gradiva, Rome.
Galleria Russo, Rome.
Anon. sale, Finarte Milan, 20 October 1987, lot 154.
Silvano Lodi Campione D’Italia 1987.
Christie’s London, The Italian Sale 20th Century Art, 15 October 2007, Lott N° 206
( https://www.christies.com/lot/lot-4972814 )
Esposizioni:
Santiago, Chile, Arte Contemporaneo Italiano, April-May 1946 (illustrated).
Milan, Palazzo Reale, Scuola Romana, April-June 1988, no. 140 (illustrated, p. 173).
Rome, Galleria Netta Vespignani, I fiori di Mafai, November 1989, no. 28.
This exhibition later travelled to Verona, Galleria dello Scudo, December 1989-January 1990.
Madrid, Centro de Arte Reina Sofía, Memoria del futuro, Arte Italiano desde las primeras vanguardias a la posguerra, October 1990 (illustrated, p. 311).
Turin, Palazzo Bricherasio, Torino-Roma, Le Capitali d'Italia, 1911-1946, December 1997-March 1998 (illustrated, p. 239).
Tokyo, Seiji Togo Memorial Yasuda Kasai Museum of Art, Italian Still Life PaintingFfrom the Silvano Lodi collection , April-May 2001, no. 63 (illustrated, p. 101). This exhibition later travelled to Niigata City, Art Museum, June-July 2001; Hokkaido, Hakodate Museum of Art, July-September 2001; Toyama, Toyama Shimin Plaza Art Gallery, October 2001; Ashikaga, Museum of Art, November-December 2001 and Yamagata, Museum of Art, April-May 2002.
Turin, Palazzo Cavour, Officina del Mago: L'artista nel suo atelier, 1900-1950, October 2003-February 2004, no. 34.
Rome, Palazzo Venezia, Mario Mafai, 1902-1965, Una calma febbre di colore, December 2004-February 2005 (illustrated, p. 83).
Pubblicazioni:
M. Fagiolo dell'Arco & V. Rivosecchi, Mafai, Rome 1986 (illustrated, pl. I, and on the title page).
M. Fagiolo dell'Arco, Scuola Romana, Rome 1986, p. 46.
Tokyo, Seiji Togo Memorial Yasuda Kasai Museum of Art, Italian Still Life PaintingFfrom the Silvano Lodi collection , April-May 2001, no. 63 (illustrated, p. 101)
Immagine © Silvano Lodi
M01
Alberto Magnelli
Alberto Magnelli
Firenze 1888 – Meudon 1971
Natura Morta con grande Ciotola e Bottiglia. 1914
Olio su tela cm. 70 x 55
Firmato e datato basso a sinistra.
Provenienza:
Collezione Silvano Lodi Campione D’Italia
Esposizioni:
Israel Museum, Jerusalem, “Italian still life painting, from the three centuries, The Silvano Lodi collection”, June 1994.
Pubblicazioni:
Anne Meissonier; “Alberto Magnelli”, l’opera completa, Parigi 1975, cat. N° 104.
Israel Museum, Jerusalem, “Italian still life painting, from the three centuries, The Silvano Lodi collection”, June 199, pag. 110-111.
Immagine © Silvano Lodi
M02
Alberto Magnelli
Alberto Magnelli
Firenze 1888 – Meudon 1971
Nature Morte à la Fleur.1914
Olio su tela cm. 70,8 x 55,5
Firmato e datato basso adestra “Magnelli 914”.
Provenienza:
The Artist Collection.
Collezione Silvano Lodi Campione D’Italia 1987.
Christie’s London, The Italian Sale 20th Century Art 15 October 2007, Lott. N° 201
( https://www.christies.com/lot/lot-4972809 )
Esposizioni:
Brussels, Palais des Beaux-Arts, Magnelli, peintures, 1909-1918, November-December 1972. This exhibition later travelled to Paris, Musée d'Art Moderne de la ville de Paris, January-March 1973.
Rapallo, Castello, Sguardo sul Novecento, April-May 1985, no. 48.
Ferrara, Castello di Mesola, La natura morta nell'arte italiana del Novecento, August-October 1987, no. 28. This exhibition later travelled to Bari, Pinacoteca Provinciale, October-November 1987.
Tokyo, Seiji Togo Memorial Yasuda Kasai Museum of Art, Italian Still Life Painting From the Silvano Lodi Collection, April-May 2001, no. 50 (illustrated, p. 89).
This exhibition later travelled to Niigata City, Art Museum, June-July 2001; Hokkaido, Hakodate Museum of Art, July-September 2001; Toyama, Toyama Shimin Plaza Art Gallery, October 2001; Ashikaga, Museum of Art, November-December 2001 and Yamagata, Museum of Art, April-May 2002.
Pubblicazioni:
A. Maisonnier, Alberto Magnelli, L'oeuvre peint, catalogue raisonné, Paris 1975, no. 113 (illustrated, p. 67).
Tokyo, Seiji Togo Memorial Yasuda Kasai Museum of Art, Italian Still Life Painting From the Silvano Lodi Collection, April-May 2001, no. 50 (illustrated, p. 89).
Immagine © Silvano Lodi
Secondo il Caravaggio l'Unico criterio di valutazione per un dipinto sarebbe se sia stato ripreso "dal vero" e se è fedele alla natura; tutto il resto sarebbero "bagatelle, fanciullaggini o baggianate" (vita del Caravaggio dalle testimonianze del suo tempo, Milano 1956. p. 27)
MAS 01
Master Of Lombard Fruit Bowle
The Master of the Lombard Fruit Bowl (active c. 1600)
A bowl of fruit with two artichokes
oil on canvas
26 3/8 x 44 5/8 in. (67 x 111.5 cm.)
PROVENANCE
Victor D. Spark, New York, by 1971.
Anonymous sale, Sotheby's, New York, 3 June 1988, lot 140, as 'Attributed to Fray Juan Sánchez Cotán' (for $396,000).
Silvano Lodi Collection Campione D’Italia.
Christie’s New York, Important Old Masters Paintings, Part I, 06 April 2006, Lott. N° 58. https://www.christies.com/zh/lot/lot-4684714?&lid=1&sc_lang=en
LITERATURE
R. Torres Martín, La naturaleza muerta en la pintura española, Barcelona, 1971, p. 49, no. 50 and p. 110, no. 10, as Juan Sánchez Cotán', illustrated.
L. Salerno, Still life painting in Italy, 1560-1805, Rome, c. 1984, pp. 18-9, fig. 5.2, illustrated and erroneously referred to as fig. 5.3 in the text.
L. Salerno, Italian still life painting from three centuries, The Silvano Lodi collection, exhibition catalogue, Florence, 1984, p. 35.
M. Natale, et al., 'La natura morta in Lombardia', in La natura morta in Italia, Milan, 1989, I, pp. 196-7.
F. Zeri, a natura morta in Italia, Milan, 1989, I, p. 202, no. 222, illustrated.
C. Grimm, Stilleben: die italienischen, spanischen und französischen Meister, Stuttgart, 1995, p. 92, fig. 36, illustrated.
W.B. Jordan, et al., Spanish still life painting from Velázquez to Goya, exhibition catalogue, London, 1995.
A. Cottino, et al., La natura morta al tempo di Caravaggio, exhibition catalogue, Naples, 1995, p. 192-3, no. 60.
L'Art Gourmand, exhibition catalogue, Brussels, 1996, p. 226-7, no. 6.
Italian still life painting, from The Silvano Lodi collection, exhibition catalogue, Tokyo, 2001, p. 43, no. 6.
S. Dathe, Natura morte italian: Italienische stilleben aus vier Jahrhunderten, Sammlung Silvano Lodi, exhibition catalogue, Ravensburg, 2003, p. 38.
M. Gregori, 'Le botteghe romane e l'accademia di Giovanni Battista Crescenzi', in La natura morta italiana, da Caravaggio al settecento, Milan, 2003, p. 52, fig. 6, illustrated, as 'Maestro spagnolo (Pseudo Hiepes or Maestro della fruttiera lombarda)'.
EXHIBITED
Israel Museum, Jerusalem, Italian still life painting, from The Silvano Lodi collection, June 1994.
Musei Capitolini, Rome, La natura morta al tempo di Caravaggio, 15 December 1995 - 14 April 1996, no. 60.
La Galerie du Crédit Communal, Brussels, L'Art Gourmand, 19 November 1996 - 23 February 1997, no. 6; Hessisches Landesmuseum, Darmstadt, 5 March - 1 June 1997; and Wallraf-Richartz-Museum, Cologne 19 June - 14 September 1997.
Seiji Togo Memorial Kasai Museum of Art, Tokyo, Italian still life painting, from The Silvano Lodi collection, 28 April - 26 May 2001, no. 6; and on tour in Japan.
Schloss Achberg, Ravensburg, Natura morte italian: Italienische stilleben aus vier Jahrhunderten, Sammlung Silvano Lodi, 11 April - 12 October 2003.
NOTE:
The artist was named by Professor Luigi Salerno (Still Life Painting in Italy, 1984, pp. 18-21) after a group of still lifes with bowls of fruit, two of which had been published by Dr John T. Spike (in the catalogue of the exhibition, Italian Still Life Paintings from Three Centuries, New York, Tulsa and Dayton, 1983, nos. 3-4). According to Spike, 'The motif of a single raised salver, or tazza, filled with fruit is typically Lombard: all additional observations about the anonymous painter of this pair of still lifes [then in the Lodi collection] must remain hypothetical pending the discovery of signed or otherwise dated documented works by this artist.' The ensuing discussion by scholars has focussed in particular as to whether the 'Master of the Lombard Fruit Bowl' was Italian or Spanish.
The present painting is the most important of the still lifes assigned to the artist by Salerno. Formerly owned by Victor Spark in New York, this impressive Bowl of Fruit with two Artichokes had been previously published as the work of Sánchez Cotán by Ramon Torres Martín (1971). It was sold at Sotheby's, New York, 3 June 1988, with a tentative attribution to that artist. Another still life clearly by the same hand, repeating the two prominent artichokes and with the same undecorated pedestal, was sold at Christie's, London, 29 May 1992, lot 324.
These still lifes are characterized by their concentration on a selected few elements isolated on stone plinths or tables and illuminated by a raking light, descending from the upper left, that reveals the Master's knowledge not only of Lombard still lifes, but also Caravaggio's. The composition is organized by the finely orchestrated use of strong contrasts of light and shade. The artist's original contribution consists of a certain decorative exuberance in the arrangement of the leaves and of the cherries that tumble over the side of the bowl, dangling by their stems.
The branch of fruit standing in a bowl of different fruits is a motif that occurs in several other pictures that have come to light, including the still lifes sold at Christies, London, 8 July 1994, lot 11 (£40,000) and the Sweetmeats and pastries in a wicker basket with cherries on the branch sold Christie's, London, 25 April 2001, lot 103 (£49,350). The depiction of a Mexican terracotta vase in the latter picture, and of wicker baskets and cabinets in Spanish style in others, have resulted in a broadening consensus to view the Master as a Spanish artist, whose oeuvre contains a formative Caravaggesque phase exemplified by the present picture. These overlapping characteristics are readily explained by the political ties between Spain and Milan at this time.
In the catalogue of the exhibition, Spanish Still Life from Velázquez to Goya, The National Gallery, London, 1995, pp. 124-8 and 197-8, notes 14-31, Dr. William Jordan and Dr. Peter Cherry persuasively argued that the painter was Spanish and probably active around the middle of the seventeenth century somewhere in the region extending from Valencia, in the south, northwards to the region of Zaragoza. In keeping with the traditional attribution to Tomás Hiepes in a private collection, Madrid (ibid., pp. 125-6, fig. 48), they suggested the artist should be referred to as 'The Pseudo-Hiepes'.
To date about forty still lifes have been assigned to this 'still life painter of major importance in the history of Spanish art' (Professor William B. Jordan, private communication of 25 March 1992), as yet unidentified and generally known as 'The Master of the Lombard Fruitbowl'.
Dr. John Spike the above catalogue entry.
Immagine © Silvano Lodi jr.
MU 01
Cristoforo Munari
Cristoforo Munari
Reggio Emilia 1667 – Pisa 1720
Three shells and two ceramic bowls oil on canvas
Three shells and two ceramic bowls oil on canvas
8¾ x 11¾ in. (22.2 x 29.9 cm.)
8¾ x 11¾ in. (22.2 x 29.9 cm.)
PROVENANCE:
Silvano Lodi Collection Campione D’Italia
Christie’s New York, Old Masters Paintings, 17 October 2006, lot n° 35.
EXHIBITED :
Munich, Bayerische Staatsgemäldesammlungen, Alte Pinakothek, Italian still life painting from three centuries, The Silvano Lodi collection, 27 November 1984-22 February 1985, no. 62; Berlin, Gemäldegalerie Staatliche Museen-Preussicher Kulturbesitz, 6 September-27 October 1985.
Milan, X Internazionale Antiquariato, La curiosità dipinta, 30 March-8 April 1990; and Torino, 18 April-5 May 1990, no. 23.
Jerusalem, The Israel Museum of Art, Italian still life painting, from The Silvano Lodi collection, June 1994.
Tokyo, Seiji Togo Memorial Museum of Art, Italian still life painting, from The Silvano Lodi collection, 28 April-26 May 2001, no. 31; and on tour in Japan.
Brussels, La Galerie du Crédit Communal, L'Art Gourmand, 19 November 1996-23 February 1997, 68; Darmstadt, Hessisches Landesmuseum, 5 March-1 June 1997; and Cologne, Wallraf-Richartz Museum, 19 June-14 September 1997.
Ravensburg, Schloss Achberg, Natura morta italiana: Italienische stilleben aus vier Jahrhunderten, sammlung Silvano Lodi, 11 April-12 October, 2003.
LITERATURE :
L. Salerno, Italian still life painting from three centuries, The Silvano Lodi collection, exhibition catalogue, Florence, 1984, pp. 137-8, no. 62.
G. Anedi, et al., La curiosità dipinta, exhibition catalogue, Milan, 1990, p. 45.
Italian still life painting, from The Silvano Lodi collection, exhibition catalogue, Jerusalem, 1994.
Italian still life painting, from The Silvano Lodi collection, exhibition catalogue, Tokyo, 2001, p. 70, no. 31.
N. Schneier et al., L'Art Gourmand, exhibition catalogue, Brussels, 1996, pp. 232-3, no. 68.
F. Baldassari, Cristoforo Munari, Milan, 1998, pp. 164-5, no. 55.
S. Dathe, Natura morta italiana: Italienische stilleben aus vier Jahrhunderten, sammlung Silvano Lodi, exhibition catalogue, Ravensburg, 2003, pp. 23, 27 and 56.
Described by the eighteenth-century Florentine biographer Francesco Maria Niccolo Gaburri as 'an excellent painter in the depiction of kitchens, instruments, rugs, vases, fruit and flowers', Cristoforo Munari was one of many Italian still life painters whose reputation languished until a monographic exhibition in 1964 drew attention to his work (Galleria Nazionale di Parma). Born in Reggio Emilia, he was a protégé of Rinaldo d'Este, Duke of Modena (reg. 1694-1737) but in 1703 moved to Rome 'where he served the Very Eminent Cardinal Imperiali and other princes and lords' (Gaburri, Vite de' pittori) he moved to Florence some time after 1706 where he worked for, among others, Cosimo III and Cardinal Francesco Maria de'Medici, for whom he decorated the Villa Lampeggi with trompe l'oeil still lifes. Almost exclusively a painter of still lifes (there is a self-portrait in the Corridoio Vasariano), Munari may well have met artists such as Christian Berentz in Rome who would have introduced him to the illusionistic effects perfected by the Dutch still-life painters of the seventeenth century, most notably Jan Davidz. de Heem. Munari's realistic treatment of detail and his interest in capturing the subtle play of reflections and transparency, between hard and soft surfaces, are suggestive of artists like de Heem and Kalf (both of whom were collected by the Medici), while his architectonic compositions, often constructed around musical instruments, echo works by Baschenis. He also painted a number of kitchen still lifes whose earthy realism anticipates the manner of Carlo Magini. Munari moved to Pisa in 1715 where he worked also as a restorer. He is buried in the Camposanto.
This charming and still life with shells has been dated by Baldassari to circa 1705-10, placing it within the same date as the Uffizi Still life with a book, fruits and porcelain bowl, that was painted for Francesco Maria de'Medici and is signed and dated 1709. Although painted on a small scale, the composition has a monumentality which makes it clear that this is not a study but a finished work. Shells, which appear frequently in both Neapolitan and Dutch still lives of the seventeenth century, appear in a number of Munari's compositions of around this date, notably in his depiction of a vitrine that is clearly part of a wunderkammer cabinet in a painting in the Städtisches Museum, Wiesbaden and in an upright still life, formerly with the Lorenzelli gallery (Baldassari, op. cit. no. 52) which has an understated simplicity similar to that of this picture.
PROPERTY FROM THE LODI COLLECTION 'It was to come to pass that this faith and confidence in empirical truth would be proven under the light of a later philosophy; but if the art on which that faith rested managed to convince the masses of spectators by its fictions, one could also say that this illusionism - that of realism - thence received its credentials.' (R. Longhi ed., I Pittori della realtà in Lombardia, 1953, ii). The re-evaluation of Italian still life painting is a relatively recent phenomenon and can be traced to the efforts of such remarkable art historians as de Logu, Bologna and Salerno who were among the first to explore the rich tradition from the early 1960s onwards. John Spike played a crucial role in the more recent awakening of interest in the field with the groundbreaking exhibition Italian Still-Life Paintings from Three Centuries (National Academy of Design, New York) that brought the genre to the notice of Americans for the first time in 1983. But perhaps the most significant intellectual advances that created the climate in which subsequent interest would flourish were those made by Roberto Longhi in the early 1950s. It was his work on Caravaggio and his insistence on the importance of Lombardy as the region from which Italian realism originated (as demonstrated in the spectacular exhibition I Pittori della realtà in Lombardia, 1953) that instigated a fascination with Italian genre painting that has only recently begun to take a hold on the public imagination outside Italy. It is a remarkable fact that to this day neither the Metropolitan Museum of Art in New York nor the National Gallery in London owns a single securely dated seventeenth-century Italian still life. Longhi's work promoted a particular interest in 'realist' painters, especially the early exponents, those who were contemporaries of Caravaggio and who, in a sense, sparked this line of enquiry centuries ago. Longhi also drew attention to the surprising riches of the independent Italian regions beyond the traditional cultural centers, Florence, Venice and Rome. Silvano Lodi was a true pioneer, and his importance as a collector of still lifes is evident not only from the remarkable quality of the paintings that are being sold through Christie's over the course of four sales in 2006 but also by the fact that so many have been lent to the numerous exhibitions devoted to this subject in the last twenty years. Ten of the forty-six paintings in the 1983 New York exhibition came from the Lodi collection, and a year later the whole collection was exhibited at no less of a museum than the Alte Pinakothek in Munich. Lodi's interests in many respects follow the pattern established by Longhi. He was especially drawn to early still lifes, owning three examples by the extremely rare Lombard painter Fede Galizia, whose combination of careful observation and monumental forms recalls her famous Lombard compatriot, Caravaggio. A beautiful example, the Cherries in a silver compote, is included in this sale (lot 37); a related painting was owned by King Charles I and is now at Hampton Court. The fascination with the close observation of reality and the importance of Italy's regional artistic centers, both of which informed Lodi's purchase of such masterpieces as the Baschenis (sold in New York in April) and the Ceruti (sold in London in July), lie behind his acquisition of two exquisite compositions by Cristoforo Munari and the magnificent Kitchen still life by the Marchigian artist Carlo Magini, a painter whose work was totally unstudied until his rediscovery in 1954 (lot 42). Caravaggio's influence was nowhere more deeply felt than in Naples where he went after his flight from Rome in 1606. Caravaggio's increasingly tenebrist palette was to profoundly influence two generations of Neapolitan painters, and into this orbit was also drawn a school of still-life painting that developed an immediately recognizable character of its own. One of the greatest practitioners in this field was Giovanni Battista Recco, who is represented here by a superb Shellfish in a basket (lot 39). From the same culture came Paolo Porpora, known for his crepuscular scenes with vegetation, toads and lizards. The two examples to be included in this sale show different sides of Porpora's work: the Irises with a lizard is dark and highly refined, the Lilac, roses, irises and other flowers on a stone ledge more Roman in its florid exuberance (lots 40 and 38).
Immagine © Silvano Lodi
NU 01
Mario Nuzzi
Mario Nuzzi, called Mario dei Fiori
(Rome 1603-1673)
Lilies, peonies, narcissi, morning glory and other flowers in a blue and white vase on a stone ledge
oil on canvas 60.3 x 44.8 cm.
Signed lower right. “Mario”
PROVENANCE:
Silvano Lodi Collection, Campione D’Italia.
Christie’s London, Important Old Masters Pictures, 06 Jul 2006, lot. N° 24. https://www.christies.com/lot/lot-4752086
EXHIBITED
Jerusalem, Israel Museum, Italian still life painting, The Silvano Lodi collection, June 1994.
Tokyo, Seiji Togo Memorial Yasuda Kasai Museum of Art; and on tour in Japan, Italian still life painting, from the Silvano Lodi collection, 28 April-26 May 2001, no. 19.
Ravensburg, Schloss Achberg, Natura morta italiana: Italienische stilleben aus vier Jahrhunderten, Sammlung Silvano Lodi, 11 April-12 October 2003.
LITERATURE
C. Grimm, Stilleben, Die italiensichen, spanischen und französischen Meister, Stuttgart, 1995, p. 100, fig. 44.
Italian still life painting, The Silvano Lodi collection, exhibition catalogue, Jerusalem, 1994.
Italian still life painting, from the Silvano Lodi collection, exhibition catalogue, Tokyo, 2001, p. 57, no. 19.
S. Dathe, in the exhibition catalogue, Natura morta italiana: Italienische stilleben aus vier Jahrhunderten, Sammlung Silvano Lodi, Ravensburg, 2003, p. 16 and 46.
Mario Nuzzi was the painter par excellence of the baroque bouquet of flowers, achieving such fame that the street where he lived in central Rome still bears his name. Mario's reputation was reflected as well by his legion of imitators and the multitude of paintings incorrectly assigned to him. The recent rediscovery of the inventory of the possessions of Tommaso Salini at his death in 1625 has confirmed the tradition that Mario was the nephew and pupil of this early Caravaggio follower.
To his lasting credit, Mario dei Fiori was able to reconcile Salini's 'direct and hearty naturalism' (Charles Sterling) with the stylistic innovations of baroque painting. His brushwork combines, almost inimitably, a punctilious touch with a rich impasto. His renditions of floral varieties were engraved and studied by natural scientists. The biographer Leone Pascoli writes in 1730 of collectors competing for his flowerpieces 'almost as avidly as for a Raphael'. Even allowing for hyperbole, these canvases have always delighted for their colours as scintillating as fireworks.
The present bouquet by Mario dei Fiori stands out for its masterful orchestration of the artist's favourite repertory of striped tulips, red-and-white anemones, narcissi and morning glories into a red-white-and-blue extravaganza and features a superb blue-and-white majolica vase.
We are grateful to Dr. John Spike for the above catalogue entry.
The works presented here from the Lodi collection represent two centuries of Italian still life painting. From Fede Galizia's Still life with peaches in a pierced white faience basket (lot 31) to Giacomo Ceruti's Still life with fish, a lobster, and shellfish (lot 25), they chart the development of the genre in Italy during its most innovative period. The first still lifes in Italy appeared shortly before 1600, but their production increased dramatically around the turn of the seventeenth century and the genre became firmly established within a few years. Several factors contributed to the emergence of still life at this time, among them an increasing interest in the scientific study of the natural world, the influence of Northern artists via collectors such as Cardinal Federico Borromeo, and the appearance of single works such as Caravaggio's revolutionary Basket of Fruit (fig. 1). The confluence of these elements, nourished in the humanistic milieu of Lombardy, produced artists, as Roberto Longhi has described them, who worked 'with an approachable simplicity, a penetrating attention, a certain calm faith in their ability to express the 'reality' around them, without stylistic mediation'. An interest in naturalism is central to the genre of still life, and the paintings in the Lodi collection present two very different manifestations of it; the early, more restrained works of Fede Galizia and the later, more visceral market scenes and butcher stalls of Bartholomeo Passarotti and Giacomo Ceruti. The distinction between art and nature and the degree to which they should be combined was central to sixteenth- and seventeenth-century art theory, and two artists that featured prominently in this discussion were Leonardo da Vinci and Caravaggio. Leonardo's faith in the direct observation of nature, together with his interest in optical studies and light effects, was hugely influential on painters in succeeding generations, while Caravaggio's particular brand of naturalism brought the issue into sharp focus. Indeed, Caravaggio's seemingly deliberate upturning of the hierarchy of genres is revealed in his famous comment that it is as difficult to make a good painting of flowers as it is to make one of figures. This equation of still life and figure painting, together with his intense focus on still-life elements in his religious paintings, went a long way to putting the genre of still life on the art theoretical map. While the first autonomous still lifes did not appear in Europe until the second half of the sixteenth century, the tradition of depicting elements of the natural world in a naturalistic manner was well established. Images of fruit, vegetables, fish and fowl appeared in wall paintings and mosaics uncovered in Pompeii and Herculaneum (fig. 2) and are often discussed in the context of Pliny's story of Zeuxis and Parrhasios and their famous rivalry in the imitation of nature. Naturalistic studies of plants and flowers appeared along the borders of illuminated manuscripts in the fourteenth and fifteenth centuries and attention to still life elements within larger religious compositions are often seen as important steps towards autonomous still life. The first depictions of inanimate objects separate from figures appeared on the backs or outsides of shutters that protected portable painted diptychs. Hans Memling's majolica vase with flowers in the Museo Thyssen-Bornemisza, Madrid (fig. 3) is an example of this new kind of independent still life, separated from a depiction of the Virgin but not from obvious religious symbolism. The earliest known example of Italian still life painting is Ambrogio Figino's Plate with Peaches (fig. 4; private collection), painted in Milan sometime between 1591 and 1594. Figino's isolation of the still-life elements from any narrative context and his attention to the colour and texture of the fruit represented a new kind of painting. A madrigal written on the reverse of the panel relates it to the concept of synesthesia, in which one sense acts upon another. In this way, Figino's painting has been seen as embodying a sort of contest between painting and poetry, in which the painter outdoes his literary counterpart by suggesting, in addition to the visual, the tactile, olfactory, and gustatory aspects of the scene. This artistic conceit would explain the emergence of his still life seemingly out of the blue as it is this kind of dialogue that took place in the humanist circles in which Figino moved. Indeed, many of the earliest developments in the genre took place in Milan's humanist circles, which included Giovan Paolo Lomazzo, Figino's teacher, and Simone Peterzano, in whose studio Caravaggio worked. Both painters owned drawings by Leonardo, among them a remarkable study of peapods (fig. 5) that has been given a central role in the emergence of the genre. Other factors that may relate to the emergence of still life at this particular time and place are the ecclesiastical reforms that accompanied the Counter Reformation. Among them was the requirement that art be simple and universally comprehensible. Lomazzo's treatises on painting of 1584 and 1590 reflected this new doctrine and combined it with a call to his fellow artists to pay close attention to the natural world. Fede Galizia's Still life with peaches in a pierced white faience basket (lot 31) belongs to this group of early still lifes produced in Milan. It is a beautiful example of her approach to the subject: the composition is simple, limited to only one kind of fruit seen from a frontal and slightly raised viewpoint. Her use of carefully applied glazes and a range of painting techniques enhances the impression of nature directly observed while her placement of the bowl within the picture plane gives the subject a monumentality that exceeds its thematic scope. One of Galizia's earliest still lifes (now lost; ex-Anholt collection, Amsterdam; see S. Bottari, 'Fede Galizia pittrice' in Collana Artisti Trentini, 1965, p. 361, fig. 6), signed and dated 1602, is the first dated Italian still life known and documents her essential role in the emergence of this new genre. Jacopo Ligozzi's Two red terracotta vases (lot 30) presents the viewer with a similarly frontal and symmetrical composition. Two carefully spaced vases of flowers are pushed right up to the edge of the picture plane. The stems, petals, and leaves of each flower are described in detail and, like a botanical study, each blossom is given its own space within the composition without detracting from the aestheticized arrangement of the whole. The careful observation of the flowers and their unembellished, somewhat stark presentation reflects Ligozzi's years of work as a scientific draughtsman at the court of Grand Duke Francesco I de' Medici in Florence from 1577-91. Bartolomeo Passarotti's An old couple selling fish represents a very different, but no less important strain of naturalism in Italian still life painting. In these market and kitchen scenes, figures appear alongside still-life elements and the detached observation that characterizes Galizia's and Ligozzi's works is replaced with an element of narrative, often including, as in An old couple selling fish, an interaction between the figures and the viewer. These kinds of still lifes tend to be painted more broadly than those produced in Milan and, while they cannot be characterized as southern in origin, they were popular in the court culture of Rome and Naples. This less refined, less abstracted, and more visceral approach to still life relates to the market and kitchen scenes of Netherlandish artists such as Joachim Beuckelaer, whose paintings were in the collection of the Farnese family in Parma as early as 1580. The Cremonese artist Vincenzo Campi took up the new genre as did Passarotti, who was documented in Rome in 1551 and had established a studio in Bologna by 1560. Passarotti was known as a prestigious portraitist of popes and Roman cardinals and was also praised as a draughtsman and naturalist. Much of his painting, particularly with respect to genre scenes, is based on the Flemish tradition and he could have had contact with artists such as Marten de Vos, who was active in Rome in the 1550s, or Denys Calvaert, who founded a painting school in Bologna in 1565. While not as obviously based on the close study of nature, still life paintings such as An old couple selling fish relied no less than their Milanese counterparts on the observation of everyday life. In paintings such as the Butcher Shop, of around 1580 (fig. 6; Galleria Nazionale, Palazzo Barberini, Rome), for example, Passarotti combined the observation of contemporary gestures and dress with exaggerated comic types from the lower classes to convey the lasciviousness so prominent in Beuckelaer's market scenes. Conspicuously absent from Campi and Passarotti's works, however, are the religious references common in the Netherlandish examples. In Italy, market and kitchen scenes were more often associated with the cycle of the seasons or the four elements. Giuseppe Recco painted market scenes in Naples in a grandiose, monumental style fitting for the country estates of the Neapolitan aristocracy. Still life painting in Florence was encouraged, particularly in the 1620s and 1630s, at the court of Cosimo II de' Medici, who collected northern paintings and patronized artists such as Astolfo Petrazzi, who produced still lifes on banqueting tables with a figure on one side. The flower piece also flourished in Rome with the work of Mario Nuzzi, known as Mario dei Fiori. He was the first and most famous Roman painter to specialize in flower pieces and, as in the Vase of Flowers presented here (lot 24), he often placed his bouquets against a dark background in order to showcase the beauty of the individual blossoms and the complexity of his compositions. Nuzzi worked for important Roman families such as the Colonna, the Pamphili, and the Borghese, satisfying their taste for court art, and collaborated with narrative painters who added figures to his bouquets and garlands. Nuzzi's earliest dated work, a garland with a scene of the dream of Jacob, is from 1650 and only five paintings can be associated with him through documents. This selection of paintings from the Lodi collection emphasizes the variation and innovation of the genre of still life in Italy. It is a tradition that encompassed a whole range of influences, styles and themes. While the earliest collectors defined the new subject matter in terms of theology or an interest in natural history, still lifes ultimately seem to have been appreciated for their beauty and successful imitation of nature.
Immagine © Silvano Lodi jr.
NV01
Panfilo Nuvolone
Panfilo Nuvolone
Creomona 1581 – Milano 1651
Panfilo Nuvolone (Cremona 1581-?1651 ?Milan)
Peaches and grapes in a glass bowl on a stone ledge with a wasp
oil on panel
13¾ x 16¾ (34.9 x 42.6 cm.)
PROVENANCE:
Collection Silvano Lodi campione D’Italia 1982.
Christie’s London Important Old Master Pictures evening Sale, 07 December 2006, Lot n° 56. ( https://www.christies.com/en/lot/lot-4838204 )
EXHIBITED:
Munich, Bayerische Staatsgemäldesammlungen Alte Pinakothek, Natura Morta Italiana, 27 November 1984-22 February 1985, no. 17; Berlin, Gemäldegalerie Staatliche Museen-Preussischer Kulturbesitz, 6 September-27 October 1985.
Saitama, The Museum of Modern Art, Italian Still life from three centuries, 8 August-21 September 1986, no. 13; Darumaya, The Yomiuri Shimbun Museum of Art, 31 October-5 November 1986; and Shimoseki, City Art Museum, 6 January-1 February 1987.
Jerusalem, The Israel Museum of Art, Italian Still life painting, from the Silvano Lodi collection, June 1994, no. 46.
Tokyo, Seiji Togo Memorial Museum of Art, Italian Still life painting, from the Silvano Lodi Collection, 28 April-26 May 2001, no. 14; and on tour in Japan.
Ravensburg, Schloss Achberg, Natura Morta italiana: Italienische stilleben aus vier Jahrhunderten, sammlung Silvano Lodi, 11 April-12 October, 2003.
LITERATURE :
L. Salerno, La natura morta italiana: tre secoli di natura morta italiana: la raccolta Silvano Lodi, exhibition catalogue, Florence, 1984, p. 55, fig. 17.
L. Salerno, La natura morta italiana 1560-1805, Rome, 1984, p. 64, fig. 16.5.
P. Lorenzelli and A. Veca, eds., Forma Vera. Contributi a una storia della natura morta italiana, Bergamo, 1985, p. 144, fig. 46.
F. Caroli, Fede Galizia, Turin, 1989, p. 92, no. 50.
Italian still life painting from three centuries, the Silvano Lodi collection, exhibition catalogue, Jerusalem, 1994, no. 46.
S. Segal, 'An early still life by Fede Galizia', in The Burlington Magazine, March 1998, pp. 168-9, fig. 8.
Italian still life painting, from the Silvano Lodi collection, exhibition catalogue, Tokyo, 2001, p. 51.
S. Dathe, Natura morte italian: Italienische stilleben aus vier Jahrunderten, Sammlung Silvano Lodi, exhibition catalogue, Ravensburg, 2003, no. 36.
Immagine © Silvano Lodi jr.
REC 03
Giovan Battista Recco
Giovan Battista Recco
( Naples (c.1615-c. 1660)
Sardines suspended from twine and onions on a stone ledge
oil on paper laid down on canvas
11 5/8 x 16¼ in. (29.6 x 41.3 cm.)
PROVENANCE :
The Silvano Lodi Collection, Campione D’Italia.
Christie’s Londono, Important Old Master Picture Day Sale, 08 December2006, Lott N° 253.
LITERATURE :
L. Salerno, La natura morta italiana: tre secoli di natura morta italiana: la raccolta Silvano Lodi, exhibition catalogue, Florence, 1984, p. 121, fig. 54, as Giovanni Battista Ruoppolo.
L. Salerno, La natura morta italiana 1506-1805, Rome 1984, p. 18, no. 29.4.
Italian still life painting, from the Silvano Lodi collection, exhibition catalogue, Jerusalem, 1994, no. 33, as Giovanni Battista Ruoppolo.
Italian still life painting, from the Silvano Lodi collection, exhibition catalogue, Toyko, 2001, p. 67, as Giovanni Battista Ruoppolo.
S. Dathe, Natura morte italiana: Italienische stilleben aus vier Jahrhunderten, Sammlung Silvano Lodi, exhibition catalogue, Ravensburg, 2003, no. 52.
EXHIBITED :
Munich, Bayerische Staatsgemäldesammlungen, Alte Pinakothek, Italian still life painting from three centuries, the Silvano Lodi collection, 27 November 1984-22 February 1985, no. 54; and Berlin, Gemäldegalerie Staatliche Museen-Preussischer Kulturbesitz, 6 September-27 October 1985.
Saitama, The Museum of Art, Italian still life from three centuries, 8 August-21 September 1986, no. 48; Tokyo, The Seibu Museum of Art, 26 September-21 October 1986; Darumaya, The Yomiuri Shimbun Museum of Art, 31 October-5 November; and Shimoseki, City Art Museum, 6 January-1 February 1987.
Jerusalem, The Israel Museum of Art, Italian still life painting, from the Silvano Lodi collection, June 1994, no. 33.
Tokyo, Seiji Togo Memorial Museum of Art, Italian still life painting, from the Silvano Lodi collection, 28 April-26 May 2001, no. 29; and on tour in Japan.
Ravensburg, Schloss Achberg, Natura Morta Italiana: Italienische stilleben aus vier Jahrhundereten, Sammlung Silvano Lodi, 11 April-12 October 2003, no. 53.
NOTE.
Giovan Battista Recco is the rarest of the major Neapolitan painters of still life, and also the most enigmatic. Apart from a handful of signed or monogrammed works, this scion of the Recco dynasty of painters left few documentary traces. Giovan Battista enters art history in 1653 with a dated still life of oysters and fishes (Stockholm, Royal Palace) of remarkable individuality. He is usually credited with the invention of the maritime still lifes that would bring fame to Giuseppe Recco, his nephew.
Although seventeenth- and eighteenth-century inventories regularly cite Giovan Battista under his colloquial nick-name, 'Titta Recco', fewer than twenty works have been identified to date. He must have been well-established by 1656, as Raffaello Causa points out (Storia di Napoli, 1972, p. 1042), when his two large still lifes were hanging in the Ruffo villa at Portici alongside masterpieces by Mattia Preti, Salvator Rosa, and Jusepe de Ribera. The sole contemporary documents of his life are bank payments received for paintings in November 1655 and May 1656. Neapolitan artists were decimated that year by the plague; the fallen may have included one of the most promising and inventive among them.
Scholars therefore place Recco's birth around 1615, a generation younger than Luca Forte, whom he succeeded as the most influential still life specialist by the middle of the seventeenth century. His works stand out for their concentration, equilibrium and meditative spirit. Naples was under the political dominion of Spain and it is not surprising to find a master of Recco's gifts responsive to the best qualities of Spanish still lifes of the Siglo de oro. As a case in point, his great Kitchen Table with Poultry and Eggs in the Rijksmuseum, Amsterdam, was long attributed to Velázquez. Another Recco still life was once ascribed by H.J. Hoogewerff to Sánchez Cotán. Recco painted larders and other interior themes associated with the early seventeenth-century bodegones by Alejandro de Loarte and Juan van der Hamen, but it is not known if he visited Spain.
This outstanding Larder with Onions and Dried Fish was first published by Luigi Salerno, who commented sensitively on its 'emblematic simplicity, transforming the humblest objects into a pictorial motif of great abstraction and purity.' These qualities in a Spanish key are more pertinent, in fact, for Giovan Battista Recco, than for Giambattista Ruoppolo, to whom the picture was initially attributed. It is far more likely, given our present knowledge, that Recco would have desired and also been capable of composing a still life that constitutes a touching homage to the great Sánchez Cotán.
In contradistinction to Ruoppolo and to other younger colleagues, Giovan Battista Recco never allows his brushwork to take precedence over the thought in his mind. Painstakingly, he insists upon the integrity of every onion and every fish. This is a legacy of Caravaggio, whose influence, the present picture underscores, survived longest and most tenaciously in Naples, a city he visited twice. The crystalline clarity of the light reinforces the structure and the individuality of each motif. These humble elements -- sardines drying in a cool, dry place, onions sprouting for being left too long -- are raised to the level of our eyes as if they were the actors in a history painting. Professor Salerno rightly noted the 'emblematic simplicity' of this superb still life, for there is an unmistakable comparison between the suspended fish, which cease to be and yet become food, and the green onion shoots, a symbol of regeneration as old as the Egyptians.
Immagine © Silvano Lodi jr.
SAV01
Alberto Savinio
Alberto Savinio
Atene 1891 – Roma 1952
Natura Morta Zucca, Peperoni, Uva e Drappo. 1931
Olio su tela cm. 60 x 70.
Firmato in basso a destra.
Provenienza:
Collezione Leonce Rosenberg, 1963.
Galerie de L’Ile de France Paris.
Galleria Sianesi Milano.
Galleria Gissi Torino.
Casa D’Aste Sant Agostino, Torino 21 Marzo 1988, Lotto n° 44.
Collezione Silvano Lodi Campione D’Italia .
Christie’s Milano, Centuries of Beauty – A Refined Private Collection, 24 May – 7 June 2023, online lott. N° 223.
Esposizioni:
Torino, Galleria Gissi, Savinio, 1967, cat., n. 26 (illustrato, con tecnica e data errate)
Gerusalemme, The Israel Museum, Natura morta italiana, 1994, cat., pp. 116-117 (illustrato, con data errata)
Acqui Terme, Palazzo Liceo Saracco, Vita Silente, Giorgio de Chirico, dalla Metafisica al Barocco, 1997, cat., pp. 90-91 (illustrato, con titolo 'Natura morta [uva, ortaggi]' , tecnica e data errate)
Tokyo, Seiji Togo Memorial Yasuda Kasai Museum of Art, Italian Still Life Painting, 2001, cat., p. 87, n. 55 (illustrato, con titolo 'Pumpkin, peppers, grapes and cloth' e data errata); poi Niigata, Niigata City Art Museum; Hokkaidō, Hakodate Museum of Art; Toyama, Toyama Shimin Plaza Art Gallery; Ashikaga, Ashikaga Museum of Art; Yamagata, Yamagata Museum of Art, 2002
Ravensburg, Schloss Achberg, Natura morta italiana, 2003, cat., p. 67 (illustrato); p. 78 (illustrato, con titolo 'Stillleben mit Zucchini, Paprika und Trauben', con data errata)
Bibliografia:
Leonce Rosenberg Galerie de L’Effort, nel catalogo con il n° 8984, Parigi 1963.
Galerie Ille De France Parigi.
Galleria Sianesi , nel catalogo con il n° 3881, Milano.
Mostra antologica Galleria Gissi, riprodotto nel catalogo con il n° 26, Torino 1967.
AA. VV., Bolaffi, Catalogo dell'arte moderna italiana, Torino 1982, p. 373
AA. VV., Catalogo dell'arte moderna italiana, numero 24, Milano 1988, p. 135 (illustrato, con data errata)
M. Fagiolo dell'Arco, Savinio, Milano 1989, p. 178, n. 85 (illustrato, con titolo 'Natura morta (uva, ortaggi)', tecnica e data errate)
M. Fagiolo dell'Arco, I Bagni Misteriosi, de Chirico negli anni trenta: Parigi, Italia, New York, Milano 1991, p. 84, n. 10 (illustrato, con data errata)
P. Vivarelli, Alberto Savinio catalogo generale, Milano 1996, p. 127, n. 1931 34 (illustrato)
Palazzo Liceo Saracco,“Giorgio de Chirico Vita Silente”, 20.07 – 14.09 - 1997 Acqui Terme, catalogo pag. 90-91.
“Natura Morta Italiana, Italian Still Life Painting, Silvano Lodi Collection” , Quattro Secoli di Natura Morta Italiana , La Raccolta Silvano Lodi , Israeli Museum, Gerusalemme Giugno-Ottobre 1994, n° 108.
Giappone, “Italian Still Life Painting from the Silvano Lodi Collection”, Seij Togo Memorial Sompo Japan Museum of Art.
The Niigata Prefectual Museum of Modern Art-Nagaoka, Hakodate Museum of Art-Hokkaido. Toyama Prefectural Museum of Art and Design-Toyama.
Ashikaga Museum of Art-Ashikaga.
Yamagata Museum of Art – Yamagata, dal 28 Aprile 2001 al 5 maggio 2002, pubblicato nel catalogo con il n° 55.
L'operazione artistica è, come dichiara Savinio, «tentare il generoso abbraccio della Natura nella sua pienezza [...] conoscere la ragione che governa il tutto penetrando il tutto […]. Stabilita questa linea unica - prosegue Savinio - si colmano le zone neutre che, nel comune, separano il reale dall'irreale, il fatto dal supposto, il fisico dal metafisico».
The artistic operation is, as Savinio declares, 'to attempt the generous embrace of Nature in its fullness [...] to know the reason that governs the whole by penetrating the whole [...]. Having established this unique line' Savinio continues 'one fills the neutral zones that, in the common, separate the real from the unreal, the fact from the supposed, the physical from the metaphysical'.
PIA VIVARELLI
Immagine © Silvano Lodi jr.
TA01
(TA 01-P27/85)
Parmeggiani Tancredi
Parmeggiani Teancredi
(Feltre 1927 – Roma 1964))
Still-life “Fenaroli” 1961.
Tempera and collage paper and news paper on canvas cm. 98 x 146.
Tempera, tecnica mista collage e giornali su tela cm. 98 x 146
Signed and dated lower right “Tancredi 61” .
On the back stamp of Studio Grossetti Milano n° 16960
Provenance:
Studio Grossetti, Milano.
Finarte Milano Dicembre 1988, Lotto 155.
Silvano Lodi Collection since 1988.
Christie’s Milano, Centuries of Beauty – A Refined Private Collection, 24 May – 7 June 2023, online lott. N° 225.
Exhibited:
Tokyo, Seiji Togo Memorial Yasuda Kasai Museum of Art, Italian Still Life Painting, April-May 2001, no. 48 (illustrated, p. 86).
This exhibition later travelled to Niigata City, Art Museum, June-July 2001; Hokkaido, Hakodate Museum of Art, July-September 2001; Toyama, Toyama Shimin Plaza Art Gallery, October 2001; Ashikaga, Museum of Art, November-December 2001 and Yamagata, Museum of Art, April-May 2002.
Ravensburg, Schloss Achberg, Natura morta italiana: Italienische Stilleben aus vier Jahrhunderten, April-October 2003 n° 75.
Literature:
M. Dalai Emiliani, „Tancredi, i dipinti e gli scritti”, Torino 1997. Vol 1. P. 293, n° 1084 in elenco, vol II n° 1084 Illustrato.
Immagine © Silvano Lodi jr.
TU01
Giulio Turcato
Giulio Turcato
Giulio Turcato
(Mantua 1912 – Rome 1995)
“Still-life” 1945.
Leaf, Apple, Pipe
Oil on canvas cm. 31 x 46
Signed lower right ‘Turcato’
Immagine © Silvano Lodi jr.
Provenance:
Silvano Lodi Collection since 1987.
Exhibited:
Italian Still Life Painting, April-May 2001, no. 48 (illustrated, p. 86). This exhibition later travelled to Niigata City, Art Museum, June-July 2001; Hokkaido, Hakodate Museum of Art, July-September 2001; Toyama, Toyama Shimin Plaza Art Gallery, October 2001; Ashikaga, Museum of Art, November-December 2001 and Yamagata, Museum of Art, April-May 2002.
REC01
Giovan Battista Recco
Giovan Battista Recco
( Naples (c.1615-c. 1660)
“Apples in a Wicker Basket, with a Cabbage, Parsnip, Lettuce and a Apple on a Stone Ledge”.
Oil on canvas cm. 87 x 109,9
Provenance:
Silvano Lodi Collection.
Christie’s London “Important Old Masters Pictures” Thursday 6 July 2006, Lot n° 27.
Private collection.
Exhibited:
Tokyo, Seiji Togo Memorial Yasuda Kasai Museum of Art; and on tour in Japan, Italian still life painting, from The Silvano Lodi collection, 28 April-26 May 2001, no. 21.
Munich, Kunsthalle der Hypo-Kulturstiftung; and Florence, Palazzo Strozzi, La natura morta italiana: da Caravaggio al Settecento, 6 December 2002-23 February 2003; and 26 June-12 October 2003.
Literature:
Italian still life painting, from the Silvano Lodi collection, exhibition catalogue, Tokyo, 2001, p. 60, no. 21.
M. Gregori, in the exhibition catalogue, Natura morta italiana tra Cinquecento e Settecento, Kunsthalle der Hypo-Kulturstiftung, Munich, 2002, p. 199, illustrated (note by Roberto Middione); 2nd ed., Florence, Palazzo Strozzi, 2003.
Immagine © Silvano Lodi jr
REC02
Giovan Battista Recco
Giovan Battista Recco
( Naples (c.1615-c. 1660)
“A Shellfish in a basket, a lobster in a bowl and shells, a crayfish and a crab on a stone ledge”.
Oil on canvas cm. 50.5 x63.2
Provenance:
Silvano Lodi Collection.
Christie’s New York “ Old Masters Paintings” Thursday 17 October 2006, Lot n° 39.
Private collection.
Exhibited:
Munich, Bayerische Staatsgemäldesammlungen, Alte Pinakothek, Italian still life painting from three centuries, The Silvano Lodi collection, 27 November 1984-22 February 1985, no. 50; Berlin, Gemäldegalerie Staatliche Museen-Preussicher Kulturbesitz, 6 September-27 October 1985.
Jerusalem, The Israel Museum of Art, Italian still life painting, from The Silvano Lodi collection, June 1994.
Tokyo, Seiji Togo Memorial Museum of Art, Italian still life painting, from The Silvano Lodi collection, 28 April-26 May 2001, no. 22; and on tour in Japan.
Brussels, La Galerie du Crédit Communal, L'Art Gourmand, 19 November 1996-23 February 1997, 48; Darmstadt, Hessisches Landesmuseum, 5 March-1 June 1997; and Cologne, Wallraf-Richartz Museum, 19 June-14 September 1997.
Ravensburg, Schloss Achberg, Natura morta italiana: Italienische stilleben aus vier Jahrhunderten, sammlung Silvano Lodi, 11 April-12 October, 2003.
Literature:
L. Salerno, Italian still life painting from three centuries, The Silvano Lodi collection, exhibition catalogue, Florence, 1984, pp. 113-4, no. 50.
L. Salerno, La natura morta italiana 1560-1805, Rome, 1984, pp. 115 and 121, no. 29.10.
F. Zeri, La natura morta in Italia, Milan, 1989, p. 862, no. 1029. Italian still life painting, from The Silvano Lodi collection, exhibition catalogue, Jerusalem, 1994.
Italian still life painting, from The Silvano Lodi collection, exhibition catalogue, Tokyo, 2001, p. 61, no. 22.
N. Schneider et al., L'Art Gourmand, exhibition catalogue, Brussels, 1996, pp. 194-5, no. 48.
S. Dathe, Natura morta italiana: Italienische stilleben aus vier Jahrhunderten, sammlung Silvano Lodi, exhibition catalogue, Ravensburg, 2003, pp. 25 and 54
Immagine © Silvano Lodi jr.
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