Giovanni Stanchi Dei Fiori

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Italy ( Roma 1608 - 1672 ) - Artworks

STANCHI DEI FIORI Giovanni Still Life Of Fruit

Auction House:
Palais Dorotheum / Oct 12, 2011
Estimate:€200,000.00 - €300,000.00
Price:Not Sold

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Stanchi Giovanni

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Artworks in Arcadja

Some works of Giovanni Stanchi Dei Fiori

Extracted between 69 works in the catalog of Arcadja

Giovanni Stanchi Dei Fiori - An Iris

Original 1659

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Auction: Bonhams - Apr 10, 2013- London

Lot number: 202
Other WORKS AT AUCTIONDescription:

Giovanni Stanchi (Rome 1608-circa 1673) An iris, a peony, love-in-a-mist, tulips, pinks and other flowers in a silver urn inscribed '59 F:B:S: Wilder' (on the reverse) oil on canvas 67.7 x 50cm (26 5/8 x 19 11/16in). The inscription on the reverse, presumably transcribed from an earlier canvas, may refer to Francis Boyle Shannon Wilder (born 1785) of Busbridge Hall, near Godalming, Surrey. An identical silver urn appears in other compositions by Giovanni Stanchi, as can be seen in the group of four flower still lifes illustrated in L. Ravelli, Stanchi dei Fiori (Bergamo, 2005), nos. 10-13, p. 53. He also repeated the same flowers in other compositions (see op cit. no. 13, p. 53).

Giovanni Stanchi Dei Fiori - An Iris, A Peony, Love-in-a-mist, Tulips, Pinks And Other Flowers In A Silver Urn

Original 1659

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Auction: Bonhams - Jul 4, 2012- London

Lot number: 48
Other WORKS AT AUCTIONDescription:

Giovanni Stanchi (Rome 1608-circa 1673) An iris, a peony, love-in-a-mist, tulips, pinks and other flowers in a silver urn inscribed '59 F:B:S: Wilder' (on the reverse) oil on canvas 67.7 x 50cm (26 5/8 x 19 11/16in). The inscription on the reverse, presumably transcribed from an earlier canvas, may refer to Francis Boyle Shannon Wilder (born 1785) of Busbridge Hall, near Godalming, Surrey. The identical silver urn appears in other compositions by Giovanni Stanchi, as can be seen in the group of four flower still lifes illustrated in L. Ravelli, Stanchi dei Fiori (Bergamo, 2005), nos. 10-13, p. 53. He also repeated the same flowers in other compositions (see op cit. no. 13, p. 53).

Giovanni Stanchi Dei Fiori - A Still Life Of Flowers In A Sculpted Stone Vase

Original

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Auction: Palais Dorotheum - Dec 12, 2011- Vienne

Lot number: 41
Other WORKS AT AUCTIONDescription:

Giovanni Stanchi (Rome 1608 – c. 1673) A still life of flowers in a sculpted stone vase, oil on canvas, 117 x 83 cm, framed For numerous comparative examples, see G. Bocchi and U. Bocchi, Pittori di Natura Morta a Roma, Viadana 2005, pp. 205– 307. Specialist: Dr. Alexander Strasoldo

Giovanni Stanchi Dei Fiori - Still Life Of Fruit

Original

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Auction: Palais Dorotheum - Oct 12, 2011- Vienne

Lot number: 442
Other WORKS AT AUCTIONDescription:

Giovanni Stanchi (Rome 1608 -after 1673) Still life of fruit in a metal dish bearing the Rospigliosi coat of arms and framed by a carpet; Still life of fruit and flowers in a bowl framed by a carpet, oil on canvas, 99 x 153 cm, framed, a pair (2) Maria Silvia Proni states that the two present paintings, which were hitherto only known from photographs, almost certainly are cited in the Rospigliosi family inventory dating from 1713 (Inventario della guardarobba, e palazzo dell’’’’ Ecc.mo S. Duca Gio: Batta Rospigliosi dall’’’’26 giugno 1713): “Due sovrapporti di p. 4 e 2 ½ con frutti, e fiori con tappeto dipinto che gli fà cornice opera dello Stanchi” (no. 222; two overdoors measuring 4 by 2 feet, with fruit and flowers framed by a carpet, works by Stanchi); “Due soprafinestre p. traverso di p. 5 e 2 ½ che rappresentano frutti, e fiori con tappeto che finge da cornice opera dello Stanchi” (no. 318; two paintings above the windows … with fruit and flowers, and with a carpet as a frame, works by Stanchi) (A. Negro, La Collezione Rospigliosi. La quadreria e la committenza artistica di una famiglia patrizia a Roma nel Sei e Settecento, 1999, pp. 315 and 317). The authorship of the two paintings is not only confirmed by the precise description in the inventories of this aristocratic Roman collection, but also by the Rospigliosi coat of arms, which is also known from other works where it appears on bands, stools, or vessels. Silvia Proni has previously pointed out the presence of the coat of arms in works by the Stanchi family of painters (M. S. Proni, “La famiglia Stanchi”, in: Pittori di natura morta a Roma, artisti italiani 1630-1750, ed. by Gianluca and Ulisse Bocchi, 2005, pp. 244–329, figs. FS. 13, 14, 15, p. 256, figs. FS. 16, 17, p. 258, figs. FS. 18, 19, p. 259). Particularly a still life with flowers in a metal vase and a bouquet of flowers on a metal plate (Proni, op. cit., 2005, p. 258, fig. FS. 17) dsiplaying a metal vessel with the lozenge-shaped coat of arms that is entirely comparable to that in the present Still Life with Fruit in a Metal Dish Bearing the Rospigliosi Coat of Arms and Framed by a Carpet. In an entry of 26 November 1644 in the documents of the Rospigliosi family, Giovanni Stanchi is mentioned as the author of “most flower pictures…” (Negro, op. cit. 1999, p. 71, n. 87), whereas the family’’ ’’s later inventories, despite the wealth of information they contain, no longer list any first names. In the context of the delicate problem of distinguishing between the three brothers’’’’ hands, Proni refers to her previous publication (Proni, op. cit., 2005) and states that only the compositions showing a Flemish touch, which should not be dated beyond the 1640s, can clearly be attributed to Giovanni. For stylistic reasons, the two present paintings can only be assigned to Giovanni’’’’s mature period, when the collaboration with Niccolò, his younger brother, had already begun. The uncommonly rigid spatial organization resulting from an overlapping of horizontal planes and the post-Caravaggesque atmosphere informed by the Baroque of the present compositions clearly point to the eldest brother, Giovanni. One must remember that the art of the Stanchi was understandably determined by Giovanni’’’’s convictions; it was based on the accomplishments of artists like Seghers and of the Crescenzi’’’’s Academy, and, unlike the painting of such Roman contemporaries as Nuzzi or Cerquozzi, showing a stronger inclination towards Flemish art and Caravaggio’’’’s legacy. In this Baroque drama, the precise botanical documentation takes on a new significance, turning it into a “luxurious realism” (Proni, op. cit., 2005, p. 280); as in Stanchi’’’’s best works, decorative objects of daily use are transformed into objects from a cabinet of curiosities. The precious carpets, a unique element in the painterly production of the Stanchi family, lend the fruit and flowers they surround the status of prominent protagonists on a glamorous, elegant stage. The extraordinary realism characterizing both of the paintings turns household utensils and vegetal objects into precious stage props the spectator is not only supposed to admire, but also to touch and smell. Considering the high quality of the present two paintings and the original commission, it becomes clear that they constitute important reference points for further research on the Stanchi family and their oeuvre. We are extremely grateful to Dottoressa Maria Silvia Proni for confirming the attribution of the two paintings and for her help in the catalogue entry. We are also grateful to Dottor Andrea G. de Marchi, for independently confirming the attribution. Specialist: Mark MacDonnell

Giovanni Stanchi Dei Fiori - Still Life With Fruit Piled High On A Plate Beside A Bronze Urnfilled With Flowers

Original

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Auction: Sotheby's - Jul 10, 2008- London

Lot number: 199
Other WORKS AT AUCTIONDescription:

DESCRIPTION oil on canvas PROVENANCE Alvarò de Figueroa y Torres, 1st Conde de Romanones(1863-1950);Thence by descent in the family to the present owner. CATALOGUE NOTE We are grateful to both Dottoressa Maria Silva Proni and Dott.Alberto Crispo for independently endorsing the attribution to theStanchi family on the basis of photographs. Dottssa. Proni hascompared the arrangement of the fruit to a similar work by Stanchiin a private collection,1 and the composition as a wholemay be compared with the Still life with citrus fruits, flowers andartichokes in an unknown location, in which a vase of flowers sitson a tabletop to the left of a basket of lemons and otherfruit.2The Stanchi family of painters, comprising Giovanni, Niccolò andAngelo, were working very closely together in Rome in the middle ofthe 17th century and their style is rooted in the Caravaggesquetradition prevalent in that city throughout the first half of thecentury. Given their close association it has proved immenselydifficult for scholars in the field of 17th century Roman stilllife painting to identify each particular hand, although severalattempts have been made: all of Laura Laureati,1 ItaloFaldi2 and Alberto Cottino3 have pronounced adistinction between the separate hands extremely difficult orimpossible to establish, while more recently LanfrancoRavelli4 has attempted to separate the two brothers,Giovanni and Niccolò, respectively defined as 'Hand A' and ' HandB', giving Hand B, or Niccolò, a primary role in the worksconsidered collaborations. It seems more likely however, given that he was fifteen yearsolder than Niccolò and eighteen older than Angelo, and in light ofthe many prestigious commissions that he is documented as havingreceived, that Giovanni was the leader of the workshop and it isthus that most works are tentatively attributed to him, rather thanthe lesser documented brothers.1. See M.S. Proni in G. & U. Bocchi, Pittori di Natura Morta aRoma. Artisti Italiani, Viadana 2005, p. 299, reproduced p. 301,fig. FS.66.2. ibid, p. 299, reproduced p. 301, fig. FS.67.1. I. Faldi, "Giovanni Stanchi", in La Natura Morta Italiana,exhibition catalogue, Milan 1964, p. 69.2. L. Laureati, "Giovanni Stanchi, Niccolò Stanchi and AngeloStanchi", in La Natura Morta in Italia, vol. II, Milan 1989, p.771.3. A. Cottino, "Le origini e lo sviluppo della natura morta baroccaa Roma", in Natura Morta italiana tra Cinquecento e Settecento,exhibition catalogue, Milan 2002-03, p. 355.4. L. Ravelli, Stanchi dei Fiori, Bergamo 2005.