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Carlo Magini

Italy (1720 -  1806 ) Wikipedia® : Carlo Magini
MAGINI Carlo A Still Life With A Candle, Cherries In A Stoneware Bowl, A Wine Glass, A Porcelain Plate, An Apple, An Orange, A Copper Kettle And A White Table Cloth All On A Stone Ledge, Together With A Sprouting Onion, A Saucepan And A Jug

Sotheby's
Dec 6, 2007
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Artworks in Arcadja
45

Some works of Carlo Magini

Extracted between 45 works in the catalog of Arcadja
Carlo Magini - Ham On A Plate

Carlo Magini - Ham On A Plate

Original 1748
Estimate:

Price:

Lot number: 652
Other WORKS AT AUCTION
Description:
Carlo Magini
(Fano 1720–1806)

Ham on a Plate, Bread, Fruit, an Extinguished Candle and Earthenware Jug;

Salami on a Plate, Wine, an Orange and Earthenware Vessel on a white Tablecloth,

oil on canvas, each 48 x 64 cm, framed (2)

The present work demonstrates Carlo Magini\’\’\’\’s characteristic style of painting still lifes depicting apparently randomly arranged, ordinary, simple kitchen utensils and food. Magini\’\’\’\’s oeuvre was first subjected to comprehensive analysis by Roberto Longhi and Zauli Naldi in the 1950s (see R. Longhi, L. Zauli, Carlo Magini, pittore di nature morte del sec. XVIII, in: Paragone, 1954, book 5). Since then the artist has counted amongst the most important, leading Italian still life painters of the 18th century. Together with his Spanish contemporary, Luis Meléndez, he raised the depiction of simple kitchen utensils and food to a level previously achieved by only few artists.

In all his works the artist places the objects and foods cleverly and carefully in relation to each other, equally accentuating the diversity of the surfaces and textures, and the play of light on the different articles. As in the present painting, in Magini\’\’\’\’s works the light is frequently sufficiently clear and bright to define the individual objects distinctly, yet avoids being too intense, ensuring that none of their three-dimensional quality is lost.

Many elements in the present still life also appear in other works by Magini, leading us to assume that the artist kept certain articles in his studio, rearranging and reordering them in a variety of combinations for his compositions.

His repertoire of objects was not particularly extensive, but by combining them he had at his disposal an almost limitless number of possible compositions. Magini was born in Fano and travelled throughout the whole of Italy during the course of his artistic career; stays in Perugia, Rome, Bologna, Venice, Florence, Pesaro and Urbino are documented. His works are held today by collections in cities including Forli, Bergamo, Faenza and Munich.
Carlo Magini - A Kitchen Still Life With Hung Meat, A Bunch Of Turnips, Oil Lamp, An Earthenware Jug, Brass Pans, A Glass Decanter Sealed With Half An Orange, A Key, And Pork (guanciale) Resting On A Piece Of Paper, All Upon A Table-top

Carlo Magini - A Kitchen Still Life With Hung Meat, A Bunch Of Turnips, Oil Lamp, An Earthenware Jug, Brass Pans, A Glass Decanter Sealed With Half An Orange, A Key, And Pork (guanciale) Resting On A Piece Of Paper, All Upon A Table-top

Original
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Price:

Lot number: 19
Other WORKS AT AUCTION
Description:
LOT 19
CARLO MAGINI

FANO 1720-1806
A KITCHEN STILL LIFE WITH HUNG MEAT, A BUNCH OF TURNIPS, OIL LAMP, AN EARTHENWARE JUG, BRASS PANS, A GLASS DECANTER SEALED WITH HALF AN ORANGE, A KEY, AND PORK (GUANCIALE) RESTING ON A PIECE OF PAPER, ALL UPON A TABLE-TOP
signed and inscribed on the piece of paper lower centre: Carlo Magini pittore in Fano
oil on canvas
30 5/8 by 23 3/8 in.; 77.7 by 59.4 cm.
Carlo Magini - An Oil Lamp, Ceramics, Brass Lantern, Knife, Onion And Calf'shead

Carlo Magini - An Oil Lamp, Ceramics, Brass Lantern, Knife, Onion And Calf'shead

Original
Estimate:

Price:

Lot number: 156
Other WORKS AT AUCTION
Description:
Carlo Magini (Fano 1720-1806)
An oil lamp, ceramics, brass lantern, knife, onion and calf'shead
oil on canvas
23¾ x 30 in. (60.3 x 76.2 cm.)
Literature
E. Malagutti, 'Aggiunte a Carlo Magini', Arte illustrata, I, no.2, 1968, p. 38. P. Zampetti, ed., Carlo Magini, Milan, 1990, p. 142, no.100.
Lot Notes
Carlo Magini's paintings were little known during his lifetimeand in the nineteenth century. It was not until a 1922 exhibitionand a 1952 publication that the artist began to receive therecognition he deserved as one of the most skillful and poeticstill life painters of the eighteenth century. Magini spent virtually his entire life in his native Fano in theMarche with the exception of some time in Perugia (1736) and Rome(1738-1743) where he worked as an assistant to his uncle SebastianoCeccarini and Francesco Mancini. Upon his return to Fano, Maginiseems to have toiled in relative obscurity for the rest of hislife, producing portraits of local citizenry as well as manyvariations of the rustic still life compositions for which he isnow best known. About one hundred of these still life compositionsexist which for the most part use the same repertoire of studioprops -- earthenware jugs, glass bottles, a brass candlestick,copper pots and utentils, fruits, vegetables, pieces of meat andanimal carcasses -- in seemingly endless variations. The objectsare arranged on a simple table or ledge, sometimes with a shelf,such as the present lot. The present lot also includes a calf'shead, a motif occasionally used by the artist (see Zampetti, op.cit., nos. 56, 89, 99, 111, 130-132, 140). A few of his paintingsseem to have been conceived as pairs (see Christie's, London, 7December 2006, lot 58). Contemporary records are silent about Magini's patrons, and not allof his works are signed. His artistic identity only began to emergewith the inclusion of three paintings in the exhibition, La PitturaItaliana del seicento e del settecento, held at the Palazzo Pittiin Florence in 1922. The paintings were incorrectly identified asby the 'Pseudo Barbieri', thought to be Guercino's younger brother;however a distinct hand had been identified. Charles Sterling inhis 1952 publication Still life painting from Antiquity to theTwentieth Century attributed the paintings to a northern Italianartist at the end of the eighteenth century. A year later, RobertLonghi published in Paragone his findings on the artist whichincluded a painting signed and inscribed by Carlo Magini, 'painterof Fano'. In 1957 documents unearthed from the Library of Fanoestablished Magini's birth date of 1720 and confirmed that heresided in Fano for most of his life. The body of work by Magini that has subsequently emerged shows anartist whose compositions were deceptively simple yet artfullycomposed. Through the careful choreography of the same objects inmultiple compositions, Magini subtly and continually explored therelationships between form, color, light, shadow and textures. Hiswork is placed within a tradition that begins with Caravaggio, haspredecedents in his Vèlasquez, near-contemporaries with Melèndezand Chardin, and extends to Giorgio Morandi in the twentiethcentury.
Carlo Magini - A Still Life With A Candle, Cherries In A Stoneware Bowl, A Wine Glass, A Porcelain Plate, An Apple, An Orange, A Copper Kettle And A White Table Cloth All On A Stone Ledge, Together With A Sprouting Onion, A Saucepan And A Jug

Carlo Magini - A Still Life With A Candle, Cherries In A Stoneware Bowl, A Wine Glass, A Porcelain Plate, An Apple, An Orange, A Copper Kettle And A White Table Cloth All On A Stone Ledge, Together With A Sprouting Onion, A Saucepan And A Jug

Original
Estimate:

Price:

Lot number: 293
Other WORKS AT AUCTION
Description:
LITERATURE AND REFERENCES

D. Benati and L. Peruzzi,
La natura morta in Emilia e in Romagna
, Milan 2000, p. 289, cat. no. 326, reproduced.

CATALOGUE NOTE

Carlo Magini was seemingly forgotten until some signed still lifes by his hand were published by Zauli Naldi in 1954. Born in Fano in the Marches in 1720, he grew up in the workshop of his maternal uncle Sebastiano, who was also his master. Little is known of his artistic formation for none of his uncle's still lifes survive. It is thought that his entire life was spent in his home town, apart from a few visits to Rome and Farfa in the Sabine hills.

Though he painted some portraits and
trompe l'oeils
, Magini's oeuvre focuses primarily on kitchen still lifes which are normally seen from a slightly raised viewpoint. Certain elements in the present painting recur in other works by Magini, namely the copper kettle and china plate.
1

1. For the kettle see, for example, the still life offered London, Sotheby's, 13 December 2001, lot 60. For various elements from the porcelain set in the artist's oeuvre see, for example, P. Zampetti,
Carlo Magini
, Milan 1990, p 114, cat. no. 141, reproduced.
Carlo Magini - A Glass Bottle, A Blue And White Porcelain Platter, A Copper Coffeepot, A Flask, A Covered Jar, A Tumbler Of Wine, A Knife, Bread,onions And An Orange On A Partially-draped Table, With A Ham Andpans Suspended From The Wall

Carlo Magini - A Glass Bottle, A Blue And White Porcelain Platter, A Copper Coffeepot, A Flask, A Covered Jar, A Tumbler Of Wine, A Knife, Bread,onions And An Orange On A Partially-draped Table, With A Ham Andpans Suspended From The Wall

Original
Estimate:

Price:

Gross Price
Lot number: 50
Other WORKS AT AUCTION
Description:
Carlo Magini (Fano 1720-1806)
A glass bottle, a blue and white porcelain platter, a copper coffeepot, a flask, a covered jar, a tumbler of wine, a knife, bread,onions and an orange on a partially-draped table, with a ham andpans suspended from the wall
oil on canvas
30¼ x 23 in. (76.9 x 58.4 cm.)
Provenance
Anonymous sale [The property of a gentleman]; Christie's,London, 13 December 1991, lot 95.
A native of Fano, Carlo Magini was completely forgotten untilsigned still lifes by him were published in 1954. He has since beenrecognised as one of the greatest Italian still-life painters ofthe eighteenth century. A pupil of his uncle, Sebastiano Ceccarini,by whom no still lifes are known, Magini's stylistic formation hasnot been satisfactorily explained. A contemporary of Melendez andonly a generation younger than Chardin, he shares with them a loveof the simple forms of humble, everyday objects. His oeuvreconsists entirely of kitchen still lifes, but within thislimitation the intensity of his vision creates endless variety inthe arrangement of the objects and the play of light upon them. AsProfessor Luigi Salerno wrote: 'In Magini's works one finds asimplicity that achieves an objective rendering of the model withthe same detatchment of feeling that the camera has toward theimage before it. The poetry of his art is entrusted precisely tothis extreme simplicity, to this apparent stripping away of allsubjective participation' (L. Salerno, Nuovi Studi su la NaturaMorta in Italia, Rome, 1989, p. 164).
Three particularly closely related still lifes, of identical sizeto the present picture, are in the Museum at Morshansk (V.E.Markov, Pictures of Italian Masters XIV-XVIII Centuries in Museumsof the USSR, 1986, pp. 232-7, nos. 94-6) and another is in thecollection of the Cassa di Risparmio of Fano (La natura morta inItalia, ed. F. Zeri, Milan, 1989, II, p. 643, fig. 759). In all ofthese the foreground ledge recedes slightly to the right, afrequent feature of Magini's work also evident in the presentpicture.
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