Ludovico Cardi

Italy (15591613 ) - Artworks Wikipedia® - Ludovico Cardi
CARDI Ludovico The Deposition From The Cross

Skinner /Apr 11, 2012
304.62 - 456.93
152.32

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Variants on Artist's name :

Cigoli Lodovico

 

Artworks in Arcadja
75

Some works of Ludovico Cardi

Extracted between 75 works in the catalog of Arcadja
Ludovico Cardi - Venus And Adonis

Ludovico Cardi - Venus And Adonis

Original
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Lot number: 27
Other WORKS AT AUCTION
Description:
Provenance Private collection, Florence; With Giovanni Pratesi, from whom acquired by the present collector in 2001. Exhibited Rome, Palazzo Venezia, Caravaggio e il genio di Roma: 1592-1623, 10 May - 31 July 2001, no. 63; Fort Worth, Kimbell Art Museum, From the Private Collections of Texas, 22 November 2009 – 21 March 2010, no. 13. PROPERTY FROM THE COLLECTION OF ROBERT M. EDSEL Lodovico Cardi, called Cigoli CASTELLO DI CIGOLI 1559 - 1613 ROME VENUS AND ADONIS oil on copper 11 by 15 in.; 28.5 by 39.5 cm. The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com, an independent restorer who is not an employee of Sotheby's. This work has not been recently restored. The copper plate is flat and has a wooden reinforcement around the edges that is not attached to the copper. The paint layer is slightly dirty, and the restoration is not particularly good. Under ultraviolet light, one can see a few retouches in Venus' stomach and in a few tiny losses in the remainder of her body. There are restored losses in the darker colors to the immediate right of Venus's head, to the right of the putti in the lower left and to the right of Adonis. The texture of the work is quite rough, and there may be older restorations that are not visible under ultraviolet light. Much of the illuminated areas of the work are in very good condition. The restorations could be improved, or the work could be cleaned and completely re-approached. "This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."
Ludovico Cardi - Pen And Brown Ink And Red Chalk

Ludovico Cardi - Pen And Brown Ink And Red Chalk

Original -
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Lot number: 95
Other WORKS AT AUCTION
Description:
Lodovico Cigoli (Castelvecchio 1559-1613 Rome) A double page study sheet: A figure with a drapery seated on the recto; a reclining male figure in a landscape on the reverse, pen and brown ink and red chalk, on laid paper, 42,8 x 28 cm, browned, somewhat stained, mounted, unframed, (Sch) Provenance: Stamp Collection Sir Bruce S. Ingram (Lugt 1405a) on the recto; stamp Joseph van Haecken (Lugt 2516) on the reverse; private collection, France. The attribution of the present sheet to Lodovico Cigoli is based on a photograph and was confirmed by Prof. Miles Chappell who will list the drawing in his forthcoming catalogue raisonné of the artist. Prof. Chappell suggests a dating of the present sheet between 1604 and 1613 when Cigoli worked on significant commissions in Florence and Rome. One can connect the sheet with a group of drawings which are similarily executed in red chalk and in pen and brown ink and show a comparable figure type: "Male Nude" (chalk) and "Male nude, seen from behind and other figure studies“ (pen), Christies's London, December 12,1985, lot 194; "Study for a figure for the Stoning of Saint Stephen", 1597 (chalk) and "Figure with drapery " (pen), Christie's, New York, January 31, 2013, lot 92.
Ludovico Cardi -  A Standing Apostle

Ludovico Cardi - A Standing Apostle

Original
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Gross Price
Lot number: 92
Other WORKS AT AUCTION
Description:
Ludovico Cardi, il Cigoli (Cigoli 1559-1613 Rome) A standing apostle (recto), Study of an assailant in the Stoning of Saint Stephen (verso) with inscription 'Spagnoletto' and 'Passarotti' (verso) pen and brown ink, ink gall damage (recto), red chalk (verso) 15 1/8 x 10 7/8 in. (38.4 x 27.6 cm.) Hubert Marignane (his stamp recto and verso, not in Lugt). The study in red chalk on the verso is for a figure in the Martyrdom of Saint Stephen, 1597, now in the Galleria Palatina, Palazzo Pitti, Florence (F. Faranda, Ludovico Cardi detto il Cigoli, Rome, 1986, no. 23). The sketch compares with figure studies in the Accademia in Venice and relates to the man hurling stones in the squared composition drawing at the Istituto Nazionale per la Grafica, Rome (inv. F.C.124194r). Cigoli appears to have taken up the sheet later and used the other side for another purpose. The pen drawing of the robed man standing, turning left while looking appears to be an idea explored for the Apostles in the fresco for the dome of the Cappella Paolina in Santa Maria Maggiore, Rome, circa 1610 (F. Farando, op. cit., no. 83). We thank Professor Miles Chappell for having confirmed the attribution on the basis of a photograph and for his kind help in cataloguing this drawing. He will include it in his forthcoming catalogue of drawings by Cigoli.
Ludovico Cardi - The Deposition From The Cross

Ludovico Cardi - The Deposition From The Cross

Original
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Gross Price
Lot number: 126
Other WORKS AT AUCTION
Description:
Lot 126 Italian School, 18th/19th Century The Deposition from the Cross. Initialed "CA" in an oval l.l., inscribed in pencil "Lodovico Ciardi [ sic ] detto Il Cigoli/Déposition de la croise" l.l. and "...Claudio Argentieri" l.r. Ink and wash with whiting on paper, 13 3/4 x 9 1/2 in., trimmed to an arched format, framed. Condition: Sheet affixed to wove backing paper, scattered holes u.c. and paper loss u.c. edge, toning, wear to edges. Provenance: Purchased November 2, 1962, at a Rhode Island School of Design exhibition. Estimate $400-600 Approximately six small holes or weakened areas, the largest measuring 1/8 in., scattered in an area measuring 3 1/2 x 3 in. upper center. Paper loss at center top margin measuring 1/4 x 3/8 in. Sheet mounted to mat with cellophane tape. Inscribed on the frame backing "Artist possibly Paola Caliari called Veronese...Art Institute of Chicago has his studies for Descent from the Cross. Style similar to this" Paper trimmed and laid on on blue backing paper. Backing paper inscribed "Daniello da Volteria."
Ludovico Cardi - The Penitent Magdalene

Ludovico Cardi - The Penitent Magdalene

Original 1598
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Gross Price
Lot number: 261
Other WORKS AT AUCTION
Description:
LOT 261 SOLD BY THE J. PAUL GETTY MUSEUM TO BENEFIT FUTURE PAINTINGACQUISITIONS LODOVICO CARDI, CALLED IL CIGOLI CASTELLO DI CIGOLI, NR SAN MINIATO 1559 - 1613 ROME THE PENITENT MAGDALENE signed and dated on the rock lower right: LC [in ligature] /1598 . oil on canvas 30,000—40,000 USD 59 by 45 1/4 in.; 149.9 by 114.9 cm. Description signed and dated on the rock lower right: LC [in ligature] /1598 . oil on canvas Painted for Carlo Guidocci, Florence, along with a pendant, aSaint Francis of Assisi in Prayer (according to the artist'sbiographer and nephew [see Literature and note below]);Possibly Senatore Carlo di Raffaele Torrigiani, Florence;Alfred S. Karlsen, Beverly Hills, California, by 1966;Dr. William P. Garred, Onawa, Iowa;By whom donated to The J. Paul Getty Museum, 1971. Northridge, California, Fine Arts Gallery of California StateUniversity, Baroque Masters from The J. Paul Getty Museum, 26February - 20 March 1973, no. 9 (where listed as dated 1595). G.B. Cardi, Vita di Lodovico Cardi Cigoli (1628), G. Battelliand K. Busse, eds., San Miniato 1913, pp. 22-23;Baroque Masters from the J. Paul Getty Museum, exh. cat.,Northridge 1973, p. 5;B. Fredericksen, 'Recent Gifts of Paintings', in The J. Paul GettyMuseum Journal, vol. III, 1976, pp. 105-108, reproduced p. 106,fig. 3;Possibly A. Matteoli, Lodovico Cardi-Cigoli, pittore e architetto,Pisa 1980, p. 206, cat. no. 78, where listed as lost;M. Chappell, Appunti; 'Missing Pictures by Lodovico Cigoli. SomeProblematic Works and Some Proposals in Preparation for aCatalogue", in Paragone, XXXIII, 373, March 1981, p. 87;F. Faranda, Ludovico Cardi detto il Cigoli, Rome 1986, p. 136, no.28, reproduced;M. Chiarini, et al., Lodovico Cigoli 1559 - 1613: Tra Manierismo eBarocco, Dipinti, Florence 1992, exh. cat., pp. 97, 102, under nos.15 and 19;D. Jaffé, Summary Catalogue of European Paintings in the J. PaulGetty Museum, Los Angeles 1997, p. 21, reproduced, (as Workshop ofCigoli);F. Baldassari, La Pittura del Seicento a Firenze, Indice degliartisti e delle loro opere, Turin 2009, p. 182;S. Bellesi, Pittori fiorentini del '600 e '700, Biografie e Opere,Florence 2009, vol. I, p. 99;G. Cantelli, Repertorio della pittura fiorentina del seicento,Addendum, Pontedera 2009, p. 40. Ludovico Cardi was the leading artist in Florence at the turn ofthe seventeenth century and was pivotal in the transition from thelate Mannerism of his master Alessandro Allori to the Baroque stylethat was soon to pervade Florentine painting. Full-length and setagainst a dark background from which her warm, pale flesh tonesstand out so effectively, the devotion of the present PenitentMagdalene , shown here after her conversion, perfectly capturesthe piety of the Counter-Reformation aesthetic, both in its choiceof subject matter and in its naturalistic and direct portrayal. Thepresent painting was conceived with an untraced pendant of SaintFrancis of Assisi and is the prototype of a composition which theartist was to repeat on at least one other occasion, as he oftendid with his most successful designs, including that of SaintFrancis.1 A preparatory drawing in the Uffizi (fig. 1)is indisputably related to the figure, though its subject is notspecified.The present painting was executed by Cigoli in 1598 and, accordingto his biographer and nephew Giovan Battista Cardi (see Literature)was painted specifically for his friend Carlo Guidocci. The workallows us to understand Cigoli's artistic development as it differsin its approach to a slightly smaller canvas of the same design inthe Galleria Palatina in Florence which is dated 1605 and isrecorded as being painted for Francesco Maria Ricasoli, latercoming into the possession of Cardinal Carlo de'Medici.2 Both works stand out for the beauty of thestill-life elements and differ compositionally only in details: thebackground of the present painting provides depth by h Ludovico Cardi was the leading artist in Florence at the turn ofthe seventeenth century and was pivotal in the transition from thelate Mannerism of his master Alessandro Allori to the Baroque stylethat was soon to pervade Florentine painting. Full-length and setagainst a dark background from which her warm, pale flesh tonesstand out so effectively, the devotion of the present PenitentMagdalene , shown here after her conversion, perfectly capturesthe piety of the Counter-Reformation aesthetic, both in its choiceof subject matter and in its naturalistic and direct portrayal. Thepresent painting was conceived with an untraced pendant of SaintFrancis of Assisi and is the prototype of a composition which theartist was to repeat on at least one other occasion, as he oftendid with his most successful designs, including that of SaintFrancis.1 A preparatory drawing in the Uffizi (fig. 1)is indisputably related to the figure, though its subject is notspecified.The present painting was executed by Cigoli in 1598 and, accordingto his biographer and nephew Giovan Battista Cardi (see Literature)was painted specifically for his friend Carlo Guidocci. The workallows us to understand Cigoli's artistic development as it differsin its approach to a slightly smaller canvas of the same design inthe Galleria Palatina in Florence which is dated 1605 and isrecorded as being painted for Francesco Maria Ricasoli, latercoming into the possession of Cardinal Carlo de'Medici.2 Both works stand out for the beauty of thestill-life elements and differ compositionally only in details: thebackground of the present painting provides depth by highlightingcertain elements of the foliage, whereas the later version inFlorence relies on a miniaturist's approach to landscape in itsmeticulous description of the background, a technique which theartist had assimilated from Northern European artists working inRome such as Paul Bril. The colouring of the Florentine versionalso points to a later date stylistically: a red velvet mantle isplaced under the skull at right which reaches behind the Magdalene,providing a piercing ray of colour of which the artist could notyet have conceived in 1598.1. Scholars are unanimous in their support of the present work,save for Jaffé (see Literature) who downgraded the painting to aworkshop copy, despite the date and signature.2. A third variant of the composition, also in the GalleriaPalatina in Florence, and long thought to be a workshop copy, hasrecently been reattributed to Cigoli and dated 1600 (see Chiariniet al. under Literature, p. 97, cat. no. 15, reproducedplate 15). Records suggest that another variant was in thecollection of Cardinal Maffeo Barberini in Rome, though its sizeand support remain unknown. According to the Getty's files there isanother otherwise unrecorded version, signed and dated, in a Frenchprivate collection.
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