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Lot 15: Giovanni Camillo Sagrestani (Firenze 1660 – 1731) SAN LUIGI DI FRANCIA olio su tela,

Est: €12,000 EUR - €18,000 EURSold:
Pandolfini Casa d'AsteFlorence, ItalyMay 14, 2019

Item Overview

Description

Giovanni Camillo Sagrestani
(Firenze 1660 – 1731)
SAN LUIGI DI FRANCIA
olio su tela, cm 156x120
 
SAINT LOUIS OF FRANCE
oil on canvas, cm 156x120
 
Provenienza
Poggio alla Scaglia (Firenze), villa Tempi, cappella; Roma, Finarte, asta del 20 novembre 1984; Roma, Galleria Gasparrini
 
Esposizioni
70 Pitture e sculture del 600 e 700 Fiorentino, Firenze, Palazzo Strozzi, ottobre 1965, n. 38; Visioni e estasi. Capolavori dell’arte europea tra Seicento e Settecento, Città del Vaticano, 2003.
 
Bibliografia
70 Pitture e Sculture del 600 e 700 Fiorentino, catalogo della mostra, a cura di Mina Gregori, Firenze 1965, p- 59, n. 38, fig. 38; Visioni e Estasi. Capolavori dell’arte europea tra Seicento e Settecento, catalogo della mostra, a cura di G. Morello, Milano 2003, pp. 101 e 196, n. 9; S. Bellesi, Catalogo dei Pittori Fiorentini del 600 e 700. Biografie e Opere, Firenze 2009, III, p. 247; M. C. Fabbri, “Sagrestani Giovanni Camillo” in Dizionario Biografico degli Italiani, 89, Roma 2017.
 
Restituita al Sagrestani da Mina Gregori in occasione della mostra che nel 1965 inaugurava gli studi sul Sei e Settecento fiorentino, la piccola pala qui offerta proviene dalla cappella privata di villa Tempi decorata dall’artista fiorentino e dalla sua équipe, tra cui Ranieri del Pace e Giovanni Moriani, nel primo decennio del Settecento, con pagamenti al Sagrestani nel 1712.
La scelta di effigiare San Luigi di Francia, ovvero il re capetingio Luigi IX (1214 – 1270), il cui nome è latinizzato in Ludovicus, ne lega la committenza al marchese Ludovico Tempi.
Sagrestani lavorò ripetutamente per la famiglia Tempi: oltre alla villa citata, i suoi affreschi decorarono il palazzo urbano di Santa Maria Soprarno (poi Bargagli Petrucci) e la villa detta “del Barone”.
Capofila della corrente antiaccademica che segna a Firenze il passaggio dal tardo barocco al rococò, Giovanni Camillo Sagrestani non può contare ancora su uno studio sistematico della sua produzione artistica.
Nonostante le testimonianze settecentesche di cui disponiamo non forniscano elementi sostanziali per ricostruirne cronologia e catalogo pittorico, gli studi dedicatigli, a partire dalla mostra del 1965 già citata, sono riusciti a metterne a fuoco l’iter professionale: preziosi si sono rivelati i molteplici riferimenti a sé stesso che il pittore inserì nelle Vite di artisti da lui redatte in forma manoscritta a partire dal 1716.
Veniamo pertanto a conoscenza delle precoci frequentazioni a Firenze con Simone Pignoni e più tardi con Sebastiano Ricci a Parma, incontro quest’ultimo che porterebbe a presupporre anche una tappa del giovane Sagrestani a Venezia – oltre che a Roma e a Bologna - per studiare, fra le altre, anche le pitture lasciate nella città lagunare da Luca Giordano.
Le ulteriori riflessioni a Firenze sulle opere del Giordano, come quelle eseguite per i Corsini, i Riccardi e nella chiesa di Santa Maria Maddalena de’ Pazzi in San Frediano, hanno quindi guidato l’artista verso una pittura caratterizzata da una maggiore velocità e brio portandolo a mettere a punto uno stile rocaille, scintillante e festoso, più tardi avversato dal filone classicista di Antonio Gaburri.
Il San Luigi di Francia presentato rivela proprio la sua acquisita maturità artistica, in grado di coniugare i modi corretti e definiti di Carlo Cignani e l’equilibrata eleganza fiorentina del tardo Pignoni, a nuove e più moderne suggestioni concretizzatesi in vibranti stesure “a macchia” e suggestive soluzioni luministiche.
 
Opera dichiarata di interesse culturale particolarmente importante dal Ministero per i Beni Culturali, Soprintendenza di Firenze, decreto del 21 giugno 1979 - Modulario 12175 - 313269 Prot. 2904.
 
The Italian Soprintendenza considers this lot to be a work of national importance and requires it to remain in Italy; it cannot therefore be exported from Italy.
 
 

Payment & Shipping

Payment

Accepted forms of payment: MasterCard, Visa, Wire Transfer

Shipping

BUYER'S PREMIUM: All sales will be subject to a Buyer's Premium of 20% (23% on-line) that will be added to the purchase price of any lot. Any taxes will be applied to the aggregate amount of Bid Price and Buyer's Premium.

Auction Details

DIPINTI ANTICHI

by
Pandolfini Casa d'Aste
May 14, 2019, 03:30 PM CET

Borgo Albizi, 26, Florence, 50122, IT

Terms

Buyer's Premium

22.5%

Bidding Increments

From:To:Increment:
€0€99€20
€100€499€50
€500€999€100
€1,000€4,999€500
€5,000€9,999€1,000
€10,000€49,999€2,500
€50,000€99,999€5,000
€100,000€199,999€10,000
€200,000€499,999€25,000
€500,000+€50,000

PAYMENT

Buying
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The lots are usually sold in numerical order as listed in the catalogue. Approximately 90-100 lots are sold per hour, but this figure can vary depending on the nature of the objects.

Absentee bids and telephone bids
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IBAN: IT 25 D 01030 02827 000006496795,Swift BIC - PASCITM1W40

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As concerning attributions, please note that:
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2. ATTRIBUTED TO ANDREA DEL SARTO: in our opinion the work was executed by the artist, but with a degree of uncertainty.
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aforementioned artist. He may be a pupil.
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Resale right
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Value Added Tax
The purchaser will pay 22% V.A.T. on the hammer price. The final price is therefore composed of the hammer price plus a total of 25% on the first €100.000 and 22% on any amount exceeding €100.000.

Lots with symbol
Lots with the symbol (*) have been entrusted by Consignors subject to V.A.T. and are therefore subject to V.A.T. as follows:
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Shipping Terms

BUYER'S PREMIUM: All sales will be subject to a Buyer's Premium of 20% (23% on-line) that will be added to the purchase price of any lot. Any taxes will be applied to the aggregate amount of Bid Price and Buyer's Premium.

Shipping Terms

BUYER'S PREMIUM: All sales will be subject to a Buyer's Premium of 20% (23% on-line) that will be added to the purchase price of any lot. Any taxes will be applied to the aggregate amount of Bid Price and Buyer's Premium.