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Lot 161: Luigi Ademollo (Milano,1764 – Firenze, 1849)  INGRESSO TR

Est: €4,000 EUR - €6,000 EURSold:
Pandolfini Casa d'AsteFlorence, ItalyOctober 01, 2019

Item Overview

Description

Luigi Ademollo
(Milano,1764 – Firenze, 1849) 
INGRESSO TRIONFALE DI ALESSANDRO MAGNO
matita nera, penna e inchiostro, pennello e inchiostro acquarellato, bianca, carta preparata, mm 545x925
firmato "Luigi Ademollo inven et delin etas 22" in basso a sinistra
 
THE TRIUMPHAL ENTRY OF ALEXANDER THE GREAT
black chalk, pen and ink, brush and wash, heightened with white, prepared paper, mm 545x925
signed "Luigi Ademollo inven et delin etas 22" lower left
 
Bibliografia di riferimento
G. L. Mellini, Apertura per Luigi Ademollo in “Arte Illustrata”, n.57,1974, pp. 58 - 71; F. Leone (a cura di), Luigi Ademollo (1764 – 1849). L’enfasi narrativa di un pittore neoclassico, olii disegni e tempere, catalogo della mostra della galleria Carlo
Virgilio (Roma, 27 febbraio – 12 aprile 2008), Roma 2008, pp. 5 - 69; E. Radogna, Luigi Ademollo, pittore in palazzo Pitti alla corte degli Asburgo-Lorena. Parte I, in Fonti per la storia dei dipinti nella Cappella Palatina in © amicidipalazzopitti.it – Bollettino 2016 (2017), pp. 42 – 55.
 
Straordinari e inediti esemplari del brillante estro di disegnatore di Luigi Ademollo, databili agli anni della sua affermazione sulla scena fiorentina.
Il suo peculiare linguaggio, espressivo, enfatico, moralizzante e antichizzante, costituisce un unicum nell’ambito del neoclassicismo toscano, facilmente riconoscibile ma difficilmente imitabile.
A Firenze e in altre grandi e piccole città di tutta la Toscana è facile imbattersi, all’interno di molte chiese e palazzi, in sue decorazioni ad affresco: esaurita la frequentazione dell’Accademia di Brera, il pittore si affermò infatti all’improvviso nell’ambiente artistico fiorentino di fine Settecento, in occasione del concorso per la decorazione del teatro della Pergola che lo vide trionfatore (1788-1789). La grande quantità di commissioni che si susseguirono a questo lavoro, lo costrinse a rimanere sempre più a lungo, e poi definitivamente, a Firenze.
Risale al 1790 l’impegnativo progetto decorativo nella villa Grazzini o del Pozzino, alle porte di Firenze, nella zona di Castello, con lo scenografico Trionfo di Alessandro Magno in Babilonia, affrescato in una delle gallerie, purtroppo scialbato ma documentato da un gruppo di fotografie già citate dalla critica (cfr. G. L. Mellini, Apertura per Luigi Ademollo in “Arte Illustrata”, n.57,1974, pp. 58 – 71) e conservate nella fototeca del Kunsthistorisches Institut di Firenze.
Oltre alla generale impostazione e al ritmo incalzante impresso al corteo che accompagna il carro di Alessandro ritroviamo altri dettagli compositivi che permettono di mettere in relazione il nostro cartone di analogo soggetto a tale impresa decorativa, quali le due figure che spargono incenso sul dorso dell’elefante o quelle elegantissime che danzano in girotondo sulla destra.
In più occasioni Ademollo pose a protagonista delle sue composizioni Alessandro Magno ma la notizia più interessante è senz’altro il suo coinvolgimento nell’allestimento scenografico dell’opera Alessandro nelle Indie, diretta da Pietro Metastasio e rappresentata nel 1787: se è corretta l’interpretazione della sue età che l’artista ha indicato a fianco della firma, 22 anni, ci sarebbe una coincidenza di date e la possibilità di ipotizzare che i fogli qui presentati siano i cartoni preparatori per questo importante lavoro teatrale, cartoni poi riutilizzati, rielaborandoli e arricchendoli di dettagli ornamentali, per i fastosi affreschi in villa Grazzini.
La scena con la battaglia evidentemente pendant della scena di trionfo, non solo per formato e tecnica ma anche per la medesima incisività del tratto a penna nel rendere il dinamismo dei corpi nudi in movimento, può essere conseguentemente interpretata quale La Battaglia di Gaugamela.
La coppia di disegni verrà pubblicata in un articolo di Egle Radogna intitolato L’espressione grafica in Luigi Ademollo. Idee e progetti su carta per la committenza toscana, inserito nel volume monografico dedicato al disegno in Italia nell’Ottocento della rivista Predella che sarà edito nell’autunno di quest’anno.
Si ringrazia vivamente la studiosa per i suggerimenti forniti durante la redazione di questa scheda.
 
 

Artist or Maker

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

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
Auctions are open to the public without any obligation to bid.
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
If it's not possible for the bidder to attend the auction in person, Pandolfini CASA D'ASTE S.r.l. will execute the bid on your behalf.
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In the event of bids of equal amount, the first one to be placed will have the priority. Pandolfini CASA D'ASTE S.r.l. offers its clients the possibility to be contacted by telephone during the auction toparticipate in the sale. You will need to send a written request before 12 p.m. of the day of the sale.
This service is guaranteed depending on the lines available at the time, and according to the order of arrival of the requests.

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BANCA MONTE DEI PASCHI DI SIENAFiliale 1874 - Sede di Firenze Via Sassetti
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For any other information please see General Conditions of Sale.

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Catalogue
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Please request a condition report of the lot you are interested in from the specialist in charge.
Lots sold in our auctions will rarely be in perfect condition and may show, due to their nature and age, signs of wear, damage, restoration or repair and other imperfections. Any reference to the condition of the object in the catalogue is not equivalent to a complete description of its condition. Condition reports are usually available on request and complete the catalogue entries. In the description of the lots, our staff judges the condition of the object in accordance with its estimate and the kind of auction in which it has been included. Any statement in the catalogue, in the condition report or elsewhere, regarding the physical nature of the lot and its condition, is given honestly and scrupulously. The staff of Pandolfini however does not have the professional training of a restorer: any statement therefore should not be considered exhaustive. Potential purchasers are always advised to inspect the object in person and, in the case of lots of particular value, to ask the opinion of a restorer or of a trusted consultant before placing a bid.
Any statement regarding the author, the attribution of the work, dating, origin, provenance and condition is to be considered a simple opinion and not an actual fact.
As concerning attributions, please note that:
1. ANDREA DEL SARTO: in our opinion a work by the artist.
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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9. The terms signed and/or dated and/or initialled means that it was done by the artist himself.
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15. Lots with the symbol • are subjected to the "resale right".

Resale right
The Legislative Decree n. 118 dated 13th February 2006 introduced the right for authors of works of art and manuscripts, and for their heirs, to receive a remuneration from the price of any sale after the first, of the original work: this is the so-called "resale right".
This payment is due for selling prices over €3.000 and is determined as follows:
a) 4 % for the portion of the selling price between € 3.000 and € 50.000;
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c) 1 % for the portion of the selling price between € 200.000,01 and € 350.000;
d) 0,5 % for the portion of the selling price between € 350.000,01 and € 500.000;
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Pandolfini CASA D'ASTE S.r.l. is liable to pay the "resale right" on the sellers' behalf to the Società Italiana degli Autori ed Editori (SIAE).
Should the lot be subjected to the "resale right" in accordance with the art. 144 of the law 633/41, the purchaser will pay, in addition to the hammer price, to the commission and to other possible expenses, the amount that would be due to the Seller in accordance with the art. 152 of the law 633/41, that Pandolfini will pay to the subject authorized to collect it.

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:
22% on the hammer price and
22% on the final price.
In this case the percentage will be 47% on the first €100.000 and 44% on any amount exceeding €100.000.


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.