May 11, 2016
Some works of Felice CasoratiExtracted between 593 works in the catalog of Arcadja
Other WORKS AT AUCTION
Other WORKS AT AUCTION
(Novara 1883–1963 Turin)
Uova e limoni, 1962, signed F. Casorati, oil on paper laid down on board, 45 x 35 cm, framed, (AR)
Archivio Felice Casorati, Turin, 10 February 2011, archive no. 181
Galleria La Bussola, Turin, 1965 (label on the reverse)
Galleria La Loggia, Bologna (label on the reverse)
Walter Fontana Collection
European Private Collection
L. Carluccio, Casorati, Turin 1964, p. 354, no. 642 with ill.
G. Bertolino, F. Poli, Felice Casorati. Catalogo generale. I dipinti, U. Allemandi, Turin, 2004, vol. I, p. 465, no. 1306 with ill.
Other WORKS AT AUCTION
Signed lower left F. CASORATI
Galleria Rotta, Genova (label and stamp on the back)
Centro d'arte La Barcaccia, Roma (stamp on the back)
Casa d'arte La Gradiva, Firenze (stamp on the back)
Collezione Antonio Russo, Roma (signed on the back)
Venezia, XIX Esposizione Biennale Internazionale d'Arte di Venezia, 1934 (label on the back)
Roma, Ministero per gli affari esteri (label on the back)
Genova, Galleria Rotta, 24 maggio - 3 giugno 1941 (label on the back)
66 x 61,5 cm
Artist or Maker:
FELICE CASORATI (1883 1963)
Oil on canvas
Other WORKS AT AUCTION
1946' (lower left) oil on panel 23 3/8 x 16 5/8 in. (59.4 x 42.3 cm.) Painted in 1945-1946
Dr Antonio Mazzotta, Milan. Valdameri collection, Milan. Galleria Gian Ferrari, Milan (no. 2754). Private collection, Italy, by whom acquired form the above in June 1991, and thence by descent to the present owners.
S. Solmi, Visita allo studio di Casorati, in 'Lettere ed Arti', March 1946, pp. 20-21 (illustrated). L. Carluccio, Casorati, Turin, 1964, no. 152, p. 131 (illustrated). G. Bertolimo & F. Poli, Felice Casorati, catalogo generale, I dipinti, vol. I, Turin, 1995, no. 782 (illustrated vol. II, no. 782).
Lausanne, Musée Central des Beaux Arts, Quarante ans d'art italien, February - March 1947; this exhibition later travelled to Lucerne, Kunstmuseum. Barcelona, Museu d'Art Moderne, Pintura contemporánea italiana en España, March - May 1955 (titled 'Composizione'). Turin, Galleria civica d'arte moderna, Casorati, April - June 1964, no. 152 (illustrated p. 131; catalogued as 'oil on canvas' and titled 'Natura morta con testa di statua e libre'). Turin, Palazzo Bricherasio, Felice Casorati, dagli anni Venti agli anni Quaranta, April - June 1996, no. 91 (illustrated p. 150). Ravenna, Loggetta Lombardesca, Felice Casorati, dipingere il silenzio, April - September 2007 (illustrated p. 138); this exhibition later travelled to Trieste, Museo Revoltella.
Other WORKS AT AUCTION
signed 'F. CASORATI' (lower right)
oil on canvas
43 1/2 x 24 1/2 in. (110.5 x 62.2 cm.)
Painted in 1937
Galleria Rotta, Genova. Galleria Nuova Gissi, Turin. Anonymous sale, Finarte, Milan, 26 October 1995, lot 188. Private collection, Italy, and thence by descent to the present owners.
PROPERTY FROM A DISTINGUISHED ITALIAN COLLECTION There is a considerable difference between a group of paintings put together as a form of investment and an art collection in its most authentic meaning. The next six lots belong to the latter: a sophisticated collection of works of art, assembled by a passionate, discerning art lover and his wife. The late owner started collecting in the 1960s and continued through the 1990s. Some key elements were in his favour: he was gifted with strong entrepreneurial skills, elegant taste and intellectual curiosity, but he also had an excellent guide in Claudia Gian Ferrari. Claudia Gian Ferrari (Milan, 1945-2010) was an important protagonist of the Italian art scene. In the gallery she ran in Milan for almost thirty years, after the death of her father Ettore in 1982, she contributed to the reappraisal of the Italian art between the wars through her exhibitions and as an art historian, compiling catalogues on Sironi, Casorati and Martini among others. Also known as a collector herself, Claudia acquired significant works from the 20th Century, including paintings by the major names in contemporary Italian Art, such as Morandi, Fontana, De Chirico as well as pieces by emerging artists. In 1996 she founded the \“Studio di consulenza per il Novecento Italiano\”, a consultancy studio conceived as an exhibition space as well as a centre for documentation. Every important art collector in Italy would at some point gravitate towards one of her venues, (her two galleries and the Studio), as all three played a key role in nourishing a circle of sophisticated art lovers who, following her advice in sourcing and lending their works of art, forged some of the most respected collections of \‘Moderno Italiano\’\’\’\’. The owner of the paintings displayed in the next pages, (and in a section of this week\’\’\’\’s Impressionist and Modern Art South Kensington on 5 February), soon became one of them. Although not every work in the collection was sourced directly through the Gian Ferrari Gallery, most of them were chosen with Claudia\’\’\’\’s advice. The result is a group of important, historical works by some of the most renowned names of the Italian art scene between the wars: De Chirico, Morandi, Casorati and Sironi among others. When looking at the selection of works we have from this collection this season, one easily perceives a sense of cohesion, knowledge and consistency behind each choice - the only non-Italian name included in the group being Raoul Dufy, here represented at lot 373 later in this sale, a beautiful example of one of his all-time preferred subjects, Le Havre. Almost none of the lots have ever been seen before at auction, and those that have, have not appeared on the market for over twenty years. Many of the paintings boast extensive exhibition histories, having been lent by the owner to major Italian and international museums, who would always turn to Claudia Gian Ferrari knowing they would find in her a supporter, willing to push her collectors to grant them the loan of their works of art. Some of these museums (like Museo del Novecento and Villa Necchi Campiglio in Milan, or MAXXI and MACRO in Rome) are now proud to display many works of art once belonging to the Gian Ferrari family, who very generously donated them, in line with their nature as enlightened patrons of Italian Modern Art.
L. Carluccio, Casorati, Turin, 1964, no. 135, p. 119 (illustrated). G. Bertolmo & F. Poli, Felice Casorati, Catalogo generale, I dipinti, vol. I, Turin, 1995, no. 605, p. 362 (illustrated vol. II, fig. 605).
Venezia, Giardini della Biennale, XXIII Esposizione internazionale d'arte, 1942, no. 26. Genova, Galleria Rotta, Mostra d'arte contemporanea, July 1953, no. 13 (illustrated). Genova, La Rinascente, Felice Casorati nelle collezioni genovesi, October - November 1963. Turin, Galleria Civica d'arte moderna, Casorati, April - June 1964, no. 152 (illustrated). Turin, Galleria Gissi, I protagonisti italiani del XX secolo, mostra collettiva, June 1983, no. 7 (illustrated). Turin, Galleria Gissi, Felice Casorati, opere scelte 1928-1960, November - December 1993, no. 4 (illustrated, n.p.) Turin, Palazzo Bricherasio, Felice Casorati, dagli anni Venti agli anni Quaranta, April - June 1996, no. 70, p. 129 (illustrated). Acqui Terme, Palazzo Liceo Saracco, Felice Casorati, Il nudo, July - September 1999, no. 24, p. 66 (illustrated p. 67). Ravenna, Loggetta Lombardesca, Felice Casorati, dipingere il silenzio, April - July 2007, p. 124 (illustrated); this exhibition later travelled to Trieste, Museo Revoltella, September - November 2007.
LA BIOGRAFIA DI Felice Casorati
Novara, 4 dicembre 1883 - Torino, 4 marzo 1963 Inizia a dipingere durante un periodo di riposo trascorso a Praglia, sui Colli Euganei.
La sua prima opera nota è un paesaggio padovano datato 1902.
Nel 1906 si laurea in Legge all'Università di Padova, decidendo tuttavia di dedicarsi all'attività artistica.
Allievo di G.
Vianello, si segnala nel 1907 alla Biennale di Venezia con Ritratto di Signora, un'elegante immagine della sorella Elvira.
Nel 1917, alla morte del padre, si trasferisce a Torino, diventando una figura centrale della vita artistica e intellettuale della città, favorendo mostre audaci e controcorrente.
I lavori dei primi anni Dieci risentono da un lato dello stile simbolico e decorativo della Secessione Viennese, in particolare G.
Klimt, dall'altro della lezione costruttiva di P.
Durante gli ultimi anni del decennio si avvicina agli artisti di Ca' Pesaro (Arturo Martini, G.
Semeghini), indirizzandosi verso una più decisa stilizzazione simbolica, evidente in particolare nella grafica.
Negli anni Venti, a contatto anche con la pittura metafisica, approfondisce la meditazione sulla forma essenziale, recuperando le costruzioni spaziali matematiche della pittura quattrocentesca e, in particolare, l'atmosfera di immobilità tipica di Piero della Francesca.
Dal 1945 il suo linguaggio pittorico segna un ulteriore scarto verso toni più accesi e contorni più accentuati e continui.
E' stato attivo come scenografo e costumista per il Teatro dell'Opera di Roma e la Scala di Milano e ha eseguito anche alcune sculture in bronzo e terracotta.