Lot 43
43
Spanish School, 19th Century
PROPERTY FROM THE LODI COLLECTION
Spanish School, 19th Century

Studies of bread, a beet, sliced orange, an apple, grapes, walnuts and an egg in a crockery pan

Details
Spanish School, 19th Century
Studies of bread, a beet, sliced orange, an apple, grapes, walnuts and an egg in a crockery pan
oil on paper laid down on canvas
11¾ x 17¾ in. (29.8 x 45.2 cm.)
Literature
E. Tufts, Luis Meléndez: Eighteenth Century Master of the Spanish still life, with a Catalogue Raisonné, Missouri, 1985, p. 118, no. 113, under 'Questionable Attributions'.
L. Salerno, Nuovi studi sulla natura morte italiana, Rome, 1989, p. 2, no. 1, as 'Luis Meléndez'.
Italian still life painting, from The Silvano Lodi collection, exhibition catalogue, Jerusalem, 1994, no. 90, as 'Luis Meléndez'.
Italian still life painting, from The Silvano Lodi collection, exhibition catalogue, Tokyo, 2001, p. 72, no. 34, as 'Luis Meléndez'. S. Dathe, Natura morta italiana: Italienische stilleben aus vier Jahrhunderten, sammlung Silvano Lodi, exhibition catalogue, Ravensburg, 2003, pp. 28 and 57, as 'Luis Meléndez'.
Exhibited
Jerusalem, The Israel Museum of Art, Italian still life painting, from The Silvano Lodi collection, June 1994, no. 90, as 'Luis Meléndez'.
Tokyo, Seiji Togo Memorial Museum of Art, Italian still life painting, from The Silvano Lodi collection, 28 April-26 May 2001, no. 34, as 'Luis Meléndez'; and on tour in Japan.
Ravensburg, Schloss Achberg, Natura morta italiana: Italienische stilleben aus vier Jahrhunderten, Sammlung Silvano Lodi, 11 April- 12 October, 2003, as 'Luis Meléndez'.

Lot Essay

The facture of the paint, the palette, details such as the type of earthenware vessel and the combination of elegance and realism point to an artist who was familiar with the works of Melendez.

Tufts includes this sheet of studies with a group of other similar pictures, all studies, one in a private collection, London the other two formerly with Gilberto Algranti, Milan (op. cit., nos. 131, 142, 143). There is an understated stylistic connection with, at least, the London picture which has a comparable placement of similar fruits (op. cit., no. 131).

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