Neapolitan School, first half of the 17th century, attributed to Giacomo Recco (Naples 1603 - before 1653)

Turin, Fondazione Accorsi, L'incantesimo dei sensi: una collezione di nature morte del Seicento per il Museo Accorsi, 30 November 2005 - 1 May 2006, no. 11.

G. De Vito, "Un diverso avvio per il primo tempo della natura morta a Napoli," in Ricerche sul '600 napoletano. Saggi e documenti per la storia dell'arte, Milan 1990, pp. 123-124, reproduced fig. 38 (as Attributed to Giacomo Recco);
A. Cottino, L'Incantesimo dei sensi, Una collezione di nature morte del Seicento per il Museo Accorsi, exhibition catalogue, Turin 2005, pp. 62-65, 105, cat. no. 11, reproduced.

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 been restored, but perhaps not recently. The canvas has a good lining, which is nicely presenting the surface and paint layer. The painting seems to be slightly dirty. There is a long drip mark beneath the big copper basin, and another small drip mark in the small copper bowl on the table. The paint layer itself is in very good state. Some broad retouches are visible under ultraviolet light on top of an old varnish in the large leaf around the glass jug in the center, in a few spots along the bottom edge, around the right profile of the large copper bowl and in a few other isolated spots. If the work were cleaned, other retouches may become apparent in the darker colors, but there is no suggestion that there is significant weakness to the original paint layer. The flowers and fruit and objects in the still life are clearly very well preserved.
"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."

The attribution of this beautifully arranged still life, combining flowers, fruit, and various objects, has so far eluded scholars. It is clearly by an accomplished hand and diplays masterful touches, particularly the sheen of the copper basin and cup, and the reflection of an open window warped by the convex shape of the glass vase and floating glass bottle.  Also reflected, is a self-portrait of the unknown artist himself (see detail).  The circular objects seen on the table at far right are taralli, a type of biscuit, traditional in southern Italy.Giuseppe de Vito (see Literature) suggested a tentative attribution of this painting to Giacomo Recco (1603-before 1653).  Giacomo, the eldest member of a family of painters, was one of the first Neapolitan still life painters to specialize in floral subjects, though few certain works by him are known.  Examples include a signed and dated (1626) Vase of Flowers in the Rivet collection, Paris; a Vase of Flowers with the coat-of-arms of Cardinal Voli in a private collection, Bergamo; and a Vase of Flowers with the coat-of-arms of the Spada Family in the Galleria Lorenzelli, Bergamo.¹

 

1.  See A. della Ragione, La Natura Morta Napoletana del Seicento, Naples 2016, reproduced p. 8, fig. 9 and plates 41 and 42, respectively.