DOMENICO BECCAFUMI

Domenico di Jacopo di Pace detto il Beccafumi

Monteaperti 1486 – Siena 1551

Olio su tela cm 85,5

Silvano Lodi Campione D’Italia.

Collezione Thyssen-Bornemisza Lugano.

Collocazione Attuale:

Museo Nacional Thyssen-Bornemisza, Madrid (Inv. N°. 33 (1981.34) Room 7

Domenico di Giacomo di Pace, Beccafumi, is one of the leading figures of Tuscan Mannerism. Vasari provides information on his life and work, noting that the artist was born of humble origins, a statement that may, however, be incorrect as an early document refers to Beccafumi as a landowner. His art is notably Sienese in style,

combined with Florentine and Roman elements. One of his first known commissions is the triptych for the chapel of the Madonna del Manto in the Ospedale di Santa Maria della Scala in Siena, now in the Pinacoteca Nazionale of that city. Its central panel of The Trinity is flanked by two pairs of saints with elegant, stylised bodies and delicate forms. Beccafumi travelled to Rome between 1510 and 1511, probably followed by a

second trip in 1519, the year in which he was commissioned to design mosaics for the

floor of Siena Cathedral.

The present tondo, a circular format widely used in the Renaissance, entered the Thyssen Bornemisza collection in 1981 from that of Silvano Lodi in Campione d’Italia.

Almost unknown prior to that date, the panel was the subject of a lengthy study by Fabio Bisogni in 1983, who dated it to between 1523 and 1525. Since that date it has been included in Beccafumi’s oeuvre and in monographs on the artist such as the ones by Piero Torriti and Pascale Dubus.

The central element of the composition is the triangular figure of the Virgin, seated in the foreground with the Christ Child. To either side of them, in a space that is not fully defined visually, are two figures: Saint Jerome on the left, holding his stone to his breast, and the Infant Saint John the Baptist on the right with a delicate cross and scroll, depicted with bright red hair. 

The colour and light are both notable elements and are used by Beccafumi to achieve striking rhythms. 

The tones selected for Mary are brilliant and intense, resulting in impressive juxtapositions such as the one between the blue of her cloak with its green lining, the pink of her dress and the vivid yellow of the cushion.

The composition, which Beccafumi used on various occasions throughout his career, is also to be found in an early work such as The Holy Family in the Alte Pinakothek, Munich, which has a landscape background. 

The model for the Infant Saint John is the putto that accompanies Venus in the panel in the Barber Institute of Fine Arts, Birmingham (UK), while the model for Christ is to be found in The Mystic Marriage of Saint Catherine in The Hermitage, St. Petersburg. Mar Borobia

https://www.museothyssen.org/en/collection/artists/beccafumi-domenico/virgin-and-child-

infant-saint-john-and-saint-jerome

Christian Berentz

Amburgo 1658 – Roma 1722

Vassoi in argento e cristalli con pesche, fichi, dolci, vini e gelsomini su una consolle.

Olio su tela, cm 40x51

Firmato e datato “CHRISTIAN BERENTZ FECIT ROMA 1693”

Provenienza:

Milano, collezione privata.

Galleria Silvano Lodi Jr. Milano.

Collocazione Attuale:

Collezione privata Milano.

Bibliografia:

A. Cottino, Una pittura sempre ‘moderna’, in Un battito d’ali. Ritrovamenti e conferme, Milano, Galleria Silvano Lodi & Due 2011, pp. 96 – 105.

 immagine ©Silvano Lodi

Christian Berentz

Amburgo 1658 – Roma 1722

Melagrane, gelsomini, susine, cesto con rose e grappoli d’uva su una pietra.

Olio su tela, cm 40x51

Firmato e datato “CHRISTIAN BERENTZ FECIT ROMA 1693”

Provenienza:

Milano, collezione privata.

Galleria Silvano Lodi Jr. Milano.

Collezione privata Milano.

Sotheby’s, London, Old Masters Day Sale, 08 July 2021, Lott. N° 177.

Sotheby’s, London,Old Masters Paintings, 06 April 2022, Lott. N° 134.

Bibliografia:

A. Cottino, Una pittura sempre ‘moderna’, in Un battito d’ali. Ritrovamenti e conferme, Milano, Galleria Silvano Lodi & Due 2011, pp. 96 – 105.

JAN BRUEGHEL, THE ELDER

Bruxelles 1568 – Antwerpen 1625

Christ in the Storm on the Sea of Galilee (1596)

Oil on copper. 

26.6 x 35 cm

Silvano Lodi Campione D’Italia. 

Collezione Thyssen-Bornemisza Lugano. 

Collocazione Attuale:

Museo Nacional Thyssen-Bornemisza, Madrid

Inv. no. 66 (1979.66)

ROOM 19

The present copper panel became known to scholars and the public when it was in the collection of Antonio Colombo. It was sold from that collection in Milan on the death of its owner in 1970 and was then with Silvano Lodi from whom it was acquired in 1979 for the Thyssen-Bornemisza collection. The panel was first published in 1979 in Ertz’s monograph on the artist, during which year it was included in an exhibition on Jan Brueghel held in London.

https://www.museothyssen.org/en/collection/artists/brueghel-jan-elder/christ-storm-sea-galilee 

DANIELE CRESPI

(Milano 1597/1598 – 1630)

L’Annunciazione 

Olio su tavola  cm. 47,3 x 62

Siglato in basso nel centro “D.C.F.”

Provenienza:

Amedeo del Pozzo ante 1634.

Collezione privata lombarda.

Il Ponte Aste Milano, 2010 lotto. 675.

Galleria Silvano Lodi Jr. Milano.

Daniel Katz Gallery, London 2011.

Sotheby’s New York, lott. N° 34,Master Paintings 

evening sale, 2019. 

Pubblicato:

Nancy Ward Neilson, “Appunti sui primi lavori di Daniele Crespi”, Un Battito D’Ali ritrovamenti e conferme, Galleria Silvano Lodi e Due , Tefaf  Maastricht, 2011, pag.4- pag7.

Franceso Frangi, “Le Iniziali (E Gli Inizi)  di Daniele Crespi, Un Battito D’Ali ritrovamenti e conferme, Galleria Silvano Lodi e Due , Tefaf  Maastricht, 2011, pag.13.

Frans Floris

Anversa 1516 - 1570

La Famiglia di Adamo ed Eva

La Morte di Abele

Olio su tavola cm. 161,1 x 205,3

Provenienza:

Collezione Gerolamo Balbi 1647.

Finarte Milano, Arredi e Dipinti Antichi Provenienti dalla Villa Stella Maris di Camogli, Lotto n° 404 e 405, 1995.

Galleria Silvano Lodi jr, Milano Tefaf Maastricht 1996.

Oggi KAMSKA (Koninlijk Museum voor Schone Kunsten Antwerpen), n° Inventario 5137

Inventario Archivio Balbi I-827, pag. 78. Pos. 26. Fonte, Getty Provenance Index

 https://kmska.be/nl/meesterwerk/adam-en-eva-met-hun-kinderen 

Giovanna Garzoni

Ascoli Piceno (1600 – 1670 Roma)

A Hedgehog in a Landscape

Tempera on vellum cm. 23,5 x 38

Provenance:

Silvano Lodi jr. Milano 1995.

Simon Dickinson, London.

Trinity Fine Arts, London.

Christi’s New York, Important Old Masters Paintings….. 19 Apr. 2007 Lott. 88.

https://www.christies.com/lot/lot-4892944?ldp_breadcrumb=back&intObjectID=4892944&from=salessummary&lid=1

The rediscovery of Giovanna Garzoni can be traced back to the great exhibition of Italian still life paintings held in Naples, Rotterdam and Zurich in 1964. Since that date, the research of many scholars has uncovered the well-documented life of an outstanding woman artist whose works were prized at the courts of Florence, Naples, Rome, Turin, and beyond the Alps to France. Born to a modest family of Venetians temporarily resident in Ascoli Piceno, Garzoni maintained her independence, moving restlessly between far flung cities until finally settling in 1651 in Rome, where, a successful painter of repute, she lived out her long life. She was greatly attached to the activities of the Accademia di San Luca to which she bequeathed her estate. In gratitude, the academicians erected a commemorative monument with her portrait in their church of SS. Luca e Martina.

Dottore Gerardo Casale has confirmed the attribution to Garzoni on the basis of a transparency (written communication, 20 February 2007). He remarks that it is a work of fine quality and dates it to Garzoni's Florentine period circa 1643-1651.

Jacob Jordaens

Antwepren 1593- 1678

Old Man and Young Women wity Parrot

1638 ca.

Oil on canvas cm. 83,8 x 78,7

Signed on the top in the middle “J.Jordaens Fecit”

Provenance:

G. Copius; the Society of Painters, The Hague, 1763.

Duc de Choiseul sale, Paris, 1772.

Prince de Conti sales, Paris, 1777, 1779.

Earl of Darnley sale, London 1925.

Thomas Agnew, London, 1929.

William Randolph Hearst, New York (until 1941)

Collection Mrs. George Kaufman, New York.

Silvano Lodi Munich 1970.

Harari & Johns, London 1989.

Prince Hans-Adam II von und zu Liechtenstein since 1989.

https://www.liechtensteincollections.at/en/collections-online/a-bearded-man-with-a-woman-feeding-cherries-to-a-parrot

Exibitions:

British Institution, 1815, 132; and 1852, n° 49, Manchester, 1857, n° 611.

London Royal Academy of Arts, 1876,N° 253; and 1895, n° 55.

Antwerpen, 1905, n° 56.

London Royal Academy of Arts, 1906, n° 103.

Brussels, 1910, n° 247.

Loan Exhibition of Flemish and Belgian Art, London, 1927, n° 156.

New York, 1940, n° 7.

William Randolph Hearts Collection, New York, 1941, n° 64-1.

Jacob Jordaens, National Gallery of Canada, Ottawa, 1968-1969, n° 62.

Literature:

Engraved by S.Couzeau, 1771, in P.F. Basan, Recuell d’Estampes gravèes d’après les tableaux du Cabinet de M. le Duc de Choiseul, n°. 80.

Dr. Waagen, Treasures of Art of Great Britain, 1854, Vol. III, p. 24.

Rooses, 1908, pp. 77, 112.

A. Bredius, Ould Holland, XIX,p.72.

A.C. Sewter, Burlington Magazine, 1940, p. 100.

Julius Held, “Jordaen’s Portraits of his Family, Art Bulletin, XXII 1940, pp. 70-82.

Leo Van Puyvelde, Jordaens, Brussels, 1953,p.33.

 Ausst.-Kat. Jacob Jordaens, 1593-1678, Michael Jaffé (Hg.), erschienen Ottawa 1968, S. 106-107, Nr. 62, Abb. 62
Ausst.-Kat. Geschichte des Alters in ihren Zeugnissen von der Antike bis zur Gegenwart, Gerd Biegel (Hg.), 1. Bd., erschienen Braunschweig 1993, S. 271–272, Kat.-Nr. IX.22
Ausst.-Kat. Jordaens 1593–1678, Alexis Merle du Bourg, Petit Palais (Hg.), erschienen Paris 2013, S. 241, Kat. IV-04
Memorial Volume. Exhibition of Flemish and Belgian Art. 1300-1900, London 1927, S. 68-69
Harari & Johns, Six Centuries of Old Master Paintings. An Exhibition, London 1989, Kat. 25
D. Eksordjian, The Burlington Magazine 132 1990, S. 50, Abb. 38 O. Le Bihan, L'Objet d'Art 254 1992, S. 59
\Genremalerei 1600-1650, in: Von Bruegel bis Rubens. Das goldenen Jahrhundert der flämischen Malerei, Köln 1992, S. 426, Kat. 75.2
Ausst.-Kat. De Bruegel à Rubens. L’école de peinture anversoise 1550-1650, erschienen Gent 1992, S. 200-201, Kat. 88
M. Vandenven, Ausst.-Kat. Jacob Jordaens (1593-1678), Antwerpen 1993, S. 176, Abb. A54b
Ausst.-Kat. Der Fürst als Sammler. Neuerwerbungen unter Hans-Adam II. von und zu Liechtenstein, Johann Kräftner (Hg.), Liechtenstein Museum, Wien 12.2.2010–24.8.2010, erschienen Wien 2010, Abb. S. 204, S. 205
Ausst.-Kat. I Tesori del Principe / Princely Treasures / Les Tresors du Prince. Capolavori delle Collezioni del Principe del Liechtenstein, Johann Kräftner, Gabriele Accornero (Hg.), Forte di Bard, Bard 9.12.2011–31.5.2012, erschienen Bard 2011, S. 66, Abb. 67
Ausst.-Kat. Rubens, Van Dyck, Jordaens... Meisterwerke der Flämischen Malerei aus den Sammlungen des Fürsten von und zu Liechtenstein, Staatliches Museum für Bildende Künste A. S. Puschkin, Moskau 19.6.2014–19.10.2014, erschienen Wien–Moskau 2014, S. 176-179, Abb. 177, 179, Kat. 19
Ausst.-Kat. Rubens and Other Masters. Paintings, Sculptures and Objects of the Prince of Liechtenstein, National Museum of Korea, Seoul 12.12.2015–10.4.2016, erschienen Seoul 2015, S. 241, Kat.-Nr. 78

Nicolas Mignard

Troyes 1606 – Parigi 1668

Ratto di Proserpina

Olio su tela cm. 116 x 141.

Firmato e datato basso a destra  in caratteri capitali:

“N. MIGNARD-INVENIEBAT/ET-PINGERA AVENIONE .- 1651”

Provenienza:

Collezione privata lombarda.

Silvano Lodi jr. Milano 2009.

Collezione privata Parigi.

Pubblicazioni:

Jean-Claude Byer, “L’Enlevement de Proserpina” , “Il Ratto di Proserpina di Nicolas Mignard “ e altri dipinti, Tefaf 2009, Galleria Silvano Lodi e Due, pag.6. 

http://www.iconos.it/le-metamorfosi-di-ovidio/libro-v/ratto-di-proserpina/immagini/69-ratto-di-proserpina/ 

Sebastiano Ricci

Belluno 1659 – Venezia 1734

Nettuno e Anfitrite

Bacco e Arianna

 Entrambi olio su tela cm. 94 x 75

Provenienza:

Collezione W.Suida, New York.

Collezione Bertina Suida New York.

Collezione Silvano Lodi Campione D’Italia.

Collezione Thyssen Bornemisza Lugano.

Oggi Museo Nacional Thyssen-Bornemisza, Madrid, Inv. N° 340, (1982.33) Room 16, n° 341, (1982-34) Room 16.

Pubblicazioni:

G.Borghero, 1986,pp. 268-269.

T.Pignatti, 1987, nn. 1-2.

C.de Watteville, 1989, pp. 276-277.

J.M.Pitta Andrade-M del Mar Borobia Guerrero, 1992, p.698, fig.pp. 358 -359.

Annalisa Scarpa Sebastiano Ricci, pag. 236, cat. N° 265-266, pag. 437 n° 162 -163, Bruno Alfieri Editore-Milano 2006.

https://www.museothyssen.org/en/collection/artists/ricci-sebastiano/neptune-and-amphitrite

https://www.museothyssen.org/en/collection/artists/ricci-sebastiano/bacchus-and-ariadne

Jusepe de Ribera  

(Xàttiva 1591 – Napoli 1652)

Pietà(1633)

Olio su tela  cm. 157 x 210

Firmato e datato “Jusepe de Ribera espanol/1633”

Provenienza :

Collezione Marchese de Hereda ante 1640.

Collezione Silvano Lodi Campione D’Italia 1984.

Collezione Thyssen-Bormenisza, Villa Favorita Lugano dal 1992. Museo Nacional Thyssen-Bormenisza, Madrid. (http://www.museothyssen.org/thyssen/ficha_obra/180 ) 

Pubblicazioni:

Spinosa in Napoli1984-1985, pp. 412-413; Madrid 1987, p. 132, n° 45;  Del Bravo 1988, pp. 169 e 174; Benito Doménech 1991, p. 91, Finaldi in Madrid 2003, pp. 104 – 107; Spinosa 2003, p. 289, n° A127; Buondonno in Valencia-Sevilla 2005, pp. 140 – 143, n° 33. 

Nicola Spinosa “Ribera” l’opera completa, pag. 93, pag 316, n° A150, Electa Napoli 2006. 

Esposizioni:

Gallerie Silvano Lodi, Austellung Alter Meister, vom 6. Nov. Bis 24. Nov. 1969, Wittelsbacherpl. 1, München, catalogo della mostra n° 23.

Pubblicazioni:

Rolf Kultzen,Michael Sweerts, XV. Cat. 51,  Devaco Publisshers, Doornspuk, the Neederlands, 1996.

Michael Sweerts  

(Bruxelles 1616 – Goa 1664)

Ministering to Prisoners. (1646-1649)

Olio su tela cm. 73,7 x 96,5.

From a cycle of Seven Works of Mercy. 

Provenienza:

Silvano Lodi Monaco di Baviera. 

Pubblicazioni:

Rolf Kultzen,Michael Sweerts, XVI. Cat. 53,  Devaco Publisshers, Doornspuk, the Neederlands, 1996.