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| Series III. Research files, 1950-1992, undated
11.6 linear feet
(26 boxes)
|
| The research files cover artists and topics, as well as project files related to exhibitions, major publications and positions
of employment. Research areas with a particularly strong concentration of materials include: Caravaggio, Guercino, Salvator
Rosa, still-life painting, vedute and landscape painting. The wide-ranging nature of Salerno's scholarly interests is well
documented, albeit in less depth, in the final subseries on other artists and topics.
|
| Materials in this series include correspondence, extensive handwritten and typescript notes, a large number of offprints,
extracts and articles, and numerous images including black-and-white photographs, color photographs, transparencies, black-and-white
negatives and photomechanical reproductions of works of art, as well as publication drafts, proofs, essays and checklists.
|
| Arrangement |
| The series is arranged in seven subseries: Series III.A. Caravaggio, 1954-1992, bulk 1970-1985, undated; Series III.B. Guercino,
1952, 1980-1991, undated; Series III.C. Still-life painting, 1956-1990, bulk 1980-1990, undated; Series III.D. Rosa, Salvator,
1950-1991, undated; Series III.E. Landscapes and vedute, 1967-1991, undated; Series III.F.
Il Settecento a Roma, exhibition, 1957-1959, undated; Series III.G. Other artists and topics, 1950-1975, undated.
|
| In contrast to the photograph archive described in Series IV, whose organization is made evident by Salerno's clearly labeled
enclosures, Salerno's research files were not filed in strict order, making their arrangement challenging. Whenever possible,
the files were maintained in the order in which they were received. In other instances, files found in notable disarray have
been arranged by artist, topic, publication or exhibition in line with the loose organizational schema utilized by Salerno.
|
|
Series III.A. Caravaggio, 1954-1992, bulk 1970-1985, undated |
|
The subseries includes numerous images and extensive notes regarding Caravaggio and his followers. Also included are articles,
offprints and clippings related to the artist, a number of galleys from Benedict Nicolson's posthumously published volume
The International Caravaggesque Movement, exhibition object checklists, draft essays by Salerno and others, technical examinations, conference remarks and correspondence.
The bulk of the correspondence is from Denis Mahon.
|
|
In 1965 Salerno was invited to Pennsylvania State University to teach a graduate seminar on Caravaggio during the fall term.
The file on this seminar includes correspondence from students, bibliographies, notes and several sketches.
|
|
In the 1970s Salerno and Denis Mahon were heavily involved in the rediscovery of two works acquired by American museums. The
first of these,
Martha and Mary Magdalene (also known as the
Conversion of the Magdalene or the
Alzaga Caravaggio), was acquired by the Detroit Institute of Arts in 1973. Files on the Detroit Magdalene include photographs of the work,
an undated examination of the painting by Giovanni Corradini and drafts, in Italian, of Salerno's 1974 article entitled "The
Art-Historical Implications of the Detroit 'Magdalen'," which appeared in
The Burlington Magazine. The file also contains a technical examination of the painting by James L. Greaves and Meryl Johnson.
|
|
The second painting was the Cleveland Museum of Art's
The Cruxifixion of Saint Andrew. Files regarding the St. Andrew include numerous photographs, negatives and transparencies of the work, press releases from
the museum regarding the acquisition and a photocopied, annotated draft of the footnotes for Ann Tzeutschler Lurie's article
on the painting. The file also includes a galley of Lurie's article, 1977 newspaper clippings from "El Pais" regarding the
painting's export from Spain, a copy of a questionnaire filled out by conservator Jan Dik and a photocopied statement of facts
regarding the painting's sale.
|
|
In 1974 Salerno was invited to speak at the
Convegno internazionale di studi caravaggeschi in Bergamo and this subseries includes his remarks. It also includes research material and correspondence from Denis Mahon
and Mia Cinotti related to Salerno's 1984
Apollo article
"Caravaggio: A Reassessment." In addition, the papers contain material on the 1985 Metropolitan Museum of Art exhibition
The Age of Caravaggio.
|
| Box |
Folder |
| 5 |
7 |
|
Pennsylvania State University seminar |
|
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Includes 1965 correspondence with Mahon regarding a version of
David with the Head of Goliath, and correspondence with students.
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Caravaggio and related artists |
| Box |
Folder |
| 5 |
8 |
|
|
Papers |
| Box |
Folder |
| 56 |
9 |
|
|
Negative |
| Box |
Folder |
| 5 |
9-11 |
|
Notes |
|
|
|
|
|
Articles, offprints and readings |
| Box |
Folder |
| 5 |
12-15 |
|
|
Papers |
| Box |
Folder |
| 56 |
9 |
|
|
Color photograph |
| Box |
Folder |
| 5 |
16 |
|
Exhibition catalog
In the Light of Caravaggio (Trafalgar Galleries, 1976)
|
| 5 |
17 |
|
Galley and images |
|
|
|
Includes
Bulletin of the Metropolitan Museum of Art, October 1953.
|
| Box |
|
| 5-6 |
|
|
Images |
|
|
|
Includes a note from Giuseppe Pio fu Michele and a draft letter from the committee organizing the 1956-1957 exhibition
Il Seicento europeo: realismo, classicismo, barocco.
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|
Followers of Caravaggio |
| Box |
Folder |
| 6 |
2-5 |
|
|
Papers |
| Box |
Folder |
| 56 |
9 |
|
|
Transparency |
| Box |
Folder |
| 6 |
6-7 |
|
Convegno internazionale di studi caravaggeschi, 1974
|
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|
File relates to the activities held on the 400th anniversary of the birth of Caravaggio and to Salerno's essay
"Caravaggio e la cultura nel suo tempo," in
Novità sul Caravaggio. Atti del Convegno internazionale di studi caravaggeschi di Bergamo. Includes drafts of Salerno's remarks, correspondence regarding the conference, conference programs and receipts and reimbursements.
|
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|
Martha and Mary Magdalene, Detroit Institute of Arts
|
| Box |
Folder |
| 6 |
8-15 |
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Papers |
| Box |
Folder |
| 56 |
9 |
|
|
Transparency |
|
|
|
|
|
|
Other Alzaga painting |
|
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|
After establishing contact with Salerno in relation to the Detroit Magdalen, it appears that Martin de Alzaga may have sent
images of another painting in the family collections seeking advice. This painting is not by Caravaggio, however, Salerno
filed these materials with those regarding the Detroit painting.
|
| Box |
Folder |
| 6 |
16 |
|
|
|
Papers |
| Box |
Folder |
| 56 |
10 |
|
|
|
Radiographs and transparencies |
|
|
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|
The Crucifixion of Saint Andrew, Cleveland Museum of Art
|
| Box |
|
| 6-7 |
|
|
|
Papers |
| Box |
Folder |
| 56 |
11 |
|
|
Negatives and transparencies |
| Box |
Folder |
| 7 |
6-10 |
|
"Caravaggio: A Reassessment"
|
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|
|
In a June 1984 article published in
Apollo titled
Caravaggio: A Reassessment Salerno reviews Mia Cinotti and G. A. Dell'Acqua's work on the artist which appeared in
I Pittori bergamaschi dal XIII al XIX secolo. In his review Salerno assesses the publication in juxtaposition to a book by Howard Hibbard released in the same year and
discusses the painting
Boy Paring a Bitter Fruit in detail.
|
| 7 |
11-13 |
|
The Age of Caravaggio (Metropolitan Museum of Art, 1985)
|
|
|
|
Includes preliminary object checklists, correspondence, and photocopies of catalog entries mailed to Salerno by Mina Gregori. |
| 7 |
14 |
|
Clippings and articles |
| Oversize-Box |
Folder |
| 61* |
1 |
|
Radiographs |
|
|
|
Contains four radiographs, 30 x 40 cm. The radiographs were housed in an envelope labeled, "Caravaggio," addressed to Salerno
from the Cassa di risparmio di Roma: Laboratorio scientifico di ricerche fisiche.
|
|
Series III.B. Guercino, 1952, 1980-1991, undated |
|
This subseries contains material Salerno amassed while researching the monograph
I dipinti del Guercino, which he published in conjunction with Denis Mahon in 1988. The files include a number of photographs of works attributed
to Guercino, annotated indices from the 1988 book, photocopies of articles and essays on the artist, Mahon's 1981
Apollo articles on Guercino, drafts of a letter regarding
La Sibilla Frigia, correspondence and invoices related to the conservation of the
Santa Barbara, extensive hand-written and typed notes, many on works included in the catalogue raisonné. Notes on particular paintings
are written and annotated by both Mahon and Salerno.
|
|
The subseries also includes correspondence, scattered throughout the research files. Correspondents include: Prisco Bagni,
Creighton Gilbert, Laurence B. Kanter, D. Stephen Pepper, Karin Rådström and Ksenija Rozman. A significant portion of the
correspondence is actually addressed to, or written by, Mahon, rather than Salerno. Additional materials include, preliminary
lists of works to be included in the catalog and their corresponding catalog numbers, notes from the Vatican archives and
a summary description of
Semiramis Receiving Word of the Revolt of Babylon, Museum of Fine Arts, Boston.
|
|
Finally, the subseries includes a number of photographic permissions, invoices and receipts related to the illustrations reproduced
in the 1988 volume. The folders of permissions are interspersed with additional correspondence which is not related to the
Guercino monograph, but appears to have been filed in this location because it was received by Salerno contemporaneously.
Some of the letters request attribution advice while others grant permission for reproductions of works attributed to Salvator
Rosa and other artists. Typically, only a single letter is present from the correspondents listed below. Correspondents in
this section include: Andrzej S. Ciechanowiecki of the Heim Gallery, John Hand of the National Gallery of Art (U.S.), Richard
Herner of P. & D. Colnaghi & Co., David Kolch of the Art Institute of Chicago, T.D. Llewellyn of Sotheby's, Ann Tzeutschler
Lurie of the Cleveland Museum of Art, Lynn Federle Orr of the Fine Arts Museums of San Francisco, Wolfgang Prohaska of the
Kunsthistoriches Museum Wien, Pierre Rosenberg of the Musée du Louvre and William H. Wilson of the John and Mable Ringling
Museum of Art.
|
|
|
|
|
|
Images |
| Box |
|
| 7-8 |
|
|
|
Black-and-white photographs |
| Box |
Folder |
| 56 |
12 |
|
|
Color photograph and transparencies |
| Box |
Folder |
| 8 |
2 |
|
Indices, bibliography, reviews and other materials |
|
|
|
|
|
Correspondence, notes and images |
| Box |
Folder |
| 8 |
3-10 |
|
|
Papers |
| Box |
Folder |
| 56 |
13 |
|
|
Color photographs and transparencies |
| Box |
Folder |
| 8 |
11 |
|
Prints |
|
|
|
|
|
Papers and images |
| Box |
Folder |
| 8 |
12-14 |
|
|
Papers |
| Box |
Folder |
| 56 |
14 |
|
|
Color photographs, negative and transparencies |
| Box |
Folder |
| 9 |
1 |
|
Atlas, Museo Bardini
|
|
|
|
Includes correspondence and remarks from Mahon, Joyce Plesters of the National Gallery (Great Britain) and Raffaella Rossi
Manaresi of the Centro "Cesare Gnudi" per la conservazione delle sculture all'aperto.
|
|
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|
The Toilet of Venus, private collection, California
|
|
|
|
Includes 1986 correspondence with the painting's owner. |
| Box |
Folder |
| 9 |
2-3 |
|
|
Papers |
| Box |
Folder |
| 56 |
15 |
|
|
Transparency |
|
|
|
|
Transparency is actually a version of
La Maddalena che contempla i chiodi della Passione.
|
| Box |
Folder |
| 9 |
4-6 |
|
Photographic permissions |
|
Series III.C. Still-life painting, 1956-1990, bulk 1980-1990, undated |
|
In 1984, Ugo Bozzi Editore published Salerno's work
La natura morta italiana. The publication of this monograph resulted in a surge of correspondence with accompanying photographs, requesting attribution
advice. The influx of new information on the subject prompted Salerno to write a second volume
Nuovi studi su la natura morta italiana, which appeared in 1989.
|
|
In the course of researching these volumes Salerno amassed a huge number of images of still-life paintings or natura morta.
The subseries primarily consists of black-and-white photographs, but also includes photomechanical reproductions of paintings
affixed to large sheets of cardstock, possibly gleaned from auction catalogs. Frequently the cardstock is labeled and organized
by the artist's last name. Other photographic images in the subseries do not appear to be in a particular order. Many, but
not all, of the artists represented are those featured in Salerno's 1984 work. Additional images of still life painters may
be found in the photograph series, organized by artist name.
|
|
Papers include notes on particular artists, extracts, an exhibition catalog and correspondence from individuals and institutions
seeking Salerno's aid in attributing paintings or congratulating him on his publications. Some of the correspondence is not
related to still-life painting and appears to have been filed with this material because it was received by Salerno during
the time period when he was active in this research area.
|
|
|
|
|
|
Papers and images |
| Box |
Folder |
| 9 |
7-12 |
|
|
Papers |
| Box |
Folder |
| 56 |
16 |
|
|
Color photographs, negatives and transparencies |
| Box |
Folder |
| 9 |
13 |
|
Nuovi studi su la natura morta italiana - Review
|
|
|
|
Includes several drafts of a letter from Salerno to author Alessandro Morandotti of the
Giornale dell'Arte, for errors published in a September 1990 review of the volume.
|
|
|
|
|
|
Images |
| Box |
|
| 9-11 |
|
|
|
Black-and-white photographs |
| Box |
|
| 56-57 |
|
|
|
Color photographs, negatives and transparencies |
| Box |
Folder |
| 11 |
6 |
|
Arcimboldi, Giuseppe and followers |
|
|
|
|
|
Bocchi, Ulisse |
|
|
|
Contains images of still life paintings sent by Bocchi to Salerno. See also Series I. Correspondence, Bocchi, Ulisse file. |
| Box |
Folder |
| 11 |
7 |
|
|
Black-and-white photographs |
| Box |
Folder |
| 57 |
8 |
|
|
Color photographs |
| Box |
Folder |
| 11 |
8 |
|
Muratori, Alfredo |
|
|
|
Contains images of still life paintings sent by Muratori to Salerno. |
|
Series III.D. Rosa, Salvator, 1950-1991, undated |
|
Salerno authored two monographs on Salvator Rosa, one in 1963 and another in 1975. The subseries consists primarily of images
of works attributed to Rosa. Papers include research notes on Rosa, letters from Ronald Kutcha of the Santa Barbara Museum
of Art, exhibition catalogs from the Leger Galleries and the Central Art Gallery, Northampton, correspondence and a contract
from Rizzoli Editore, letters from the Matthiesen Gallery regarding the
Raising of Lazarus, notes on Baldinucci and brief notes on other landscape painters of the seventeenth century.
|
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|
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|
L'opera completa di Salvator Rosa
|
|
|
|
Includes photographs of the works reproduced in the volume, which are marked with illustration numbers on the verso. See also
Series I. Correspondence, Rizzoli file.
|
| Box |
Folder |
| 11 |
9-13 |
|
|
Black-and-white photographs |
| Box |
Folder |
| 57 |
9 |
|
|
Negatives and transparencies |
| Box |
Folder |
| 12 |
1-4 |
|
Works on paper |
|
|
|
Contains black-and-white photographs of drawings, sketches, watercolors and prints of works attributed to Rosa. |
| 12 |
5-6 |
|
Papers |
|
|
|
|
|
Images |
|
|
|
Image files are occasionally interspersed with correspondence or notes. |
| Box |
|
| 12-13 |
|
|
|
Black-and-white photographs |
|
|
|
|
Also includes a large number of photocopies from the Witt Library. |
| Box |
Folder |
| 57 |
10-12 |
|
|
Color photographs, negatives and transparencies |
| Box |
Folder |
| 13 |
2 |
|
Correspondence and notes |
| 13 |
9 |
|
Notes on Salvator Rosa and other painters |
|
|
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|
Witchcraft scenes |
|
|
|
Contains images. Salerno published "Four Witchcraft Scenes by Salvator Rosa" in
The Bulletin of the Cleveland Museum of Art, 1978.
|
| Box |
Folder |
| 13 |
10 |
|
|
Black-and-white photographs |
| Box |
Folder |
| 57 |
13 |
|
|
Color photographs and transparencies |
|
|
|
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|
Papers and images |
| Box |
|
| 13-14 |
|
|
|
Papers |
| Box |
Folder |
| 57 |
14 |
|
|
Color photographs and transparency |
| 14 |
2 |
|
Offprint of
"Due opere tarde di Salvator Rosa"
|
|
|
|
|
|
Grabski (IRSA) |
|
|
|
Includes drafts of Salerno's article
"Due momenti singolari di Salvator Rosa," in Italian and English, and a portion of a corrected essay entitled
"Il trattamento della notte nella pittura di paesaggio italiana." The article on Rosa had been rejected by
Apollo before being accepted by
Artibus et Historiae. See also Series I. Correspondence, IRSA Verlag file.
|
| Box |
Folder |
| 14 |
3 |
|
|
Papers |
| Box |
Folder |
| 57 |
15 |
|
|
Color photographs |
|
Series III.E. Landscapes and vedute, 1967-1991, undated |
|
A significant portion of the subseries relates to the planning of an unrealized 1971 show
Paesaggio e veduta a Roma dal Seicento all'Ottocento. Materials related to the exhibition include annotated object checklists, notes, loan forms, institutional correspondence
approving and rejecting loans and correspondence from the municipal government of Rome, as well as personal correspondence
with Denis Mahon, Helen Mullaly and Terence Mullaly. The file also includes an object checklist from the Victoria and Albert
Museum's 1968 exhibition
Englishmen in Italy. "Post exhibition" material contains several drafts of an outline of complaints addressed to the mayor of Rome regarding the
show's cancellation and a version signed by Andrea Busiri Vici, Salerno and Giuliano Briganti.
|
|
Repurposing his research from this aborted exhibition, Salerno published a three-volume, bilingual edition on Roman landscape
painting entitled
Pittori di paesaggio del Seicento a Roma, or,
Landscape Painters of the 17th Century in Rome (1977-1980). Salerno's last major publication
I pittori di vedute in Italia: (1580-1830), appeared in 1991. Although Salerno published separate works on landscape painting and view painting, images and notes regarding
artists are frequently intermingled. This subseries includes many black-and-white photographs and photomechanical images of
landscapes, view paintings and prints. It also contains notes on individual artists.
|
|
Images of various landscape and vedute artists include painters such as: Francesco Albotto, Nicolaas Pietersz Berchem, Canaletto,
Gaspard Dughet, Adam Elsheimer, Jean-François Millet, Thomas Patch, Cornelius van Poelenburgh, Adam Pynacker, Salvator Rosa,
Herman Saftleven, Willem Schellinks, Israël Silvestre and Thomas Wyck. Notes on individual artists include: Robert Adam, Paolo
Anesi, Bernardo Bellotto, Nicolas-Didier Boguet, Charles-Louis Clérisseau, Alexander Cozens, John Robert Cozens, Louis Ducros,
Philothée-François Duflos, Jean-Honoré Fragonard, Pier Leone Ghezzi, Hans de Jode, Antonio Joli, Joseph Anton Koch, Hendrik
Frans van Lint, Andrea Locatelli, Adrien Manglard, William Marlow, Hubert Robert, Carle Vernet and Claude-Joseph Vernet.
|
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Paesaggio e veduta a Roma dal Seicento all'Ottocento, exhibition
|
| Box |
Folder |
| 14 |
4 |
|
|
Checklists and loan forms |
| 14 |
5-6 |
|
|
Post exhibition |
| 14 |
7 |
|
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Notes |
|
|
|
|
|
Various artists - Images |
| Box |
Folder |
| 14 |
8 |
|
|
Photomechanical prints |
|
|
|
|
Majority of images are taken from auction catalogs, however, file also includes a few black-and-white photographs. |
| 14 |
9 |
|
|
Black-and-white photographs |
| Box |
Folder |
| 57 |
16 |
|
|
Color photograph and transparency |
|
|
|
|
|
Marine painters and others |
| Box |
Folder |
| 14 |
10 |
|
|
Papers and images |
| Box |
Folder |
| 57 |
17 |
|
|
Color photograph |
| Box |
Folder |
| 14 |
11 |
|
Notes |
|
|
|
|
|
Images |
|
|
|
File also includes an extract on Giambattista Bassi and a few images of figural works. |
| Box |
|
| 14-15 |
|
|
|
Black-and-white photographs |
| Box |
Folder |
| 57 |
18 |
|
|
Transparency |
|
|
|
|
|
Pittori di paesaggio del Seicento a Roma - Appendix
|
|
|
|
Includes correspondence from Clovis Whitfield, Daan Cevat, the Germanisches Nationalmuseum and the Toledo Museum of Art, as
well as black-and-white photographs, illustration proofs and annotated text proofs for several of the entries. Materials on
vedute, which are divided into the categories of foreign artists (artisti stranieri) and Italian painters (pittori italiani),
are organized alphabetically by the artist's last name and consist of images, usually one or two per artist, publications
and brief notes. Some of the images are the same as those published in the 1991 volume. Illustration proofs are photomechanical,
AM halftones in blue ink. Also includes one letter from Benedict Nicolson, which is entirely unrelated and concerns his publication
on Caravaggesque pictures.
|
| Box |
Folder |
| 15 |
4-6 |
|
|
Papers and proofs |
| Box |
Folder |
| 57 |
19 |
|
|
Transparencies |
|
|
|
|
|
Various photographs (landscapes, vedute and attributions) |
|
|
|
Images are primarily organized by artist name. |
| Box |
Folder |
| 15 |
7-11 |
|
|
Black-and-white photographs |
| Box |
Folder |
| 57 |
20 |
|
|
Color photographs and transparency |
|
|
|
|
|
Vedute - Foreign artists |
|
|
|
Organized alphabetically by artist's last name. See page 383 in
I pittori di vedute in Italia (1580-1830), for the "Artisti Stranieri - Indice."
|
| Box |
|
| 15-16 |
|
|
|
Papers and images |
| Box |
Folder |
| 57 |
21 |
|
|
Transparencies |
| Box |
Folder |
| 16 |
4 |
|
Vedute - Miscellaneous artists |
|
|
|
|
|
Vedute - Foreign artists and Italian painters |
|
|
|
Salerno divided artists published in his monograph on view painting into these two categories. File includes artists represented
in
I pittori di vedute in Italia (1580-1830).
|
| Box |
Folder |
| 16 |
5-7 |
|
|
Papers and images |
| Box |
Folder |
| 57 |
22 |
|
|
Transparencies |
| Box |
Folder |
| 16 |
8 |
|
Research on view painting, the Grand Tour and other topics |
|
|
|
Includes notes from the Vicariato. |
| 16 |
9 |
|
Research notes on Manglard, Adrien and several others |
| Box |
|
| 16-17 |
|
|
Italian Landscape Painting, exhibition
|
|
|
|
Includes 1986-1988 correspondence from Lynn Federle Orr, curator at the Fine Arts Museums of San Francisco. Orr was planning
a show and sent Salerno a list of artists which she intended to include to ask for his comments. Much of the file consists
of photocopies of works of art by these artists. The show was unrealized.
|
|
Series III.F.
Il Settecento a Roma, exhibition, 1957-1959, undated |
|
Salerno served on the organizing committee of the exhibition
Il Settecento a Roma, which took place in 1959. He also contributed entries to the catalog
Il Settecento a Roma: Mostra promossa dall'Associazione amici dei musei di Roma, realizzata sotto gli auspici del Ministero
della pubblica istruzione e del Comune di Roma: 19 marzo-31 maggio 1959, published by De Luca editore. This subseries contains materials related to the planning of the show. Papers include object
checklists, research notes, offprints, correspondence and comments from other exhibition committee members on works being
considered for inclusion, in particular, the opinions of Brinsley Ford, Corrado Maltese and Ellis Kirkham Waterhouse appear.
Materials on eighteenth century and related artists contain images and notes organized alphabetically by artist last name,
typically with one or two photographs and one page of notes enclosed in a paper wrapper. Some, but not all, of these artists
appear in the exhibition catalog. It seems that Salerno continued adding to these files in the decades following the show,
as they also include a few of the neoclassical artists featured in the 1972 exhibition
The Age of Neo-Classicism.
|
| Box |
Folder |
| 17 |
2 |
|
Offprints |
|
|
|
Includes two unrelated 1972 letters from Edward Morris, Keeper of Foreign Art, at the Walker Art Gallery in Liverpool. |
| 17 |
3, 5 |
|
Various images |
|
|
|
Images may also related to Salerno's work with the Soprintendenza. |
| 17 |
4 |
|
Image checklists and other materials |
| 17 |
6-8 |
|
Papers |
|
|
|
Includes a few black-and-white photographs. |
| Box |
|
| 17-18 |
|
|
Eighteenth century and related artists |
|
|
|
Artists organized alphabetically by last name. |
|
Series III.G. Other artists and topics, 1950-1975, undated |
|
This subseries includes research materials on other artists and topics in which Salerno was interested. Many of the files
contain only a single essay draft, photocopy, reprint or offprint. Files on Lanfranco, the Soprintendenza ai monumenti del
Lazio, the Carracci family and Gaspard Dughet are among the more substantial.
|
|
Early in his career, Salerno published several articles on Lanfranco. Materials related to Lanfranco include extensive research
notes, essays, article drafts, images, offprints and correspondence, primarily from Mahon.
|
|
Files related to the Soprintendenza primarily contain black-and-white photographs of sites before and after restoration. The
bulk of the files contain between two and 15 images. Many of the photographs document damage to buildings prior to treatment,
including cracking, flaking and loss. Some illustrate preliminary in-fill treatments or samples of cleaned or treated areas,
while others document the final results of restoration work. The majority of the photographs in this section were found in
envelopes and folders labeled by Salerno with abbreviated site names. These original containers have been retained. Some of
the images in these files may have been gathered in relation to an exhibition of work undertaken by the soprintendenze in
Rome and Lazio and a small number are reproduced in the exhibition catalog
Tutela e valorizzazione del patrimonio artistico di Roma e del Lazio: Mostra documentaria dell'attività di tutela, restauro,
sistemazione museografica e incremento patrimoniale svolta dal 1. gennaio 1963 al 30 marzo 1964 dalle Soprintendenze e dagli
Instituti di Roma dipendenti dalla Direzione generale delle antichità e belle arti: Roma, Palazzo Venezia: 12-19 aprile 1964. A few of the files also include Salerno's hand-written notes, sketched floor plans, restoration proposals, typed site summaries,
clippings and other research materials.
|
|
Materials concerning Gaspard Dughet include a significant number of images of works attributed to the artist, a draft of Salerno's
essay
"La cronologia di Gaspard Dughet" and extensive research notes and checklists of works attributed to Dughet.
|
|
Additional information on other artists and topics that received less coverage are described in greater detail at the file
level. Miscellaneous materials which could not be identified are filed at the end of the subseries. It seems that these papers
and images may have been gathered by Salerno with the intention of filing them with other related materials; however, they
remained unfiled.
|
| Box |
Folder |
| 18 |
15 |
|
Research on collecting and the rococo style |
| 18 |
16 |
|
"Daniel Webb Plagiario di Raffaelo Mengs"
|
|
|
|
This essay was published in 1951 in the periodical
English Miscellany. File includes research notes and a draft.
|
| 18 |
17 |
|
"Il Vasari in Inghilterra"
|
|
|
|
This essay was published in 1952 in a compilation of conference proceedings entitled
Studi vasariani: Atti del convegno internazionale per il IV. centenario della prima edizione delle "Vite" del Vasari. Firenze,
Palazzo Strozzi, 16-19 settembre 1950.
|
| 18 |
18 |
|
Notes on cross-cultural exchange between Italy and foreign countries |
|
|
|
|
|
Lanfranco, Giovanni |
| Box |
Folder |
| 19 |
1 |
|
|
"L'opera romana di Giovanni Lanfranco"
|
|
|
|
|
Includes an essay, a few black-and-white photographs and other reprints. |
| 19 |
2-3, 5 |
|
|
Images |
| 19 |
4 |
|
|
Lanfranco and related artists |
| 19 |
6 |
|
|
Papers |
| 19 |
7 |
|
|
Brandi, Giacinto |
|
|
|
|
Contains papers related to the artist. |
| 19 |
8-9 |
|
|
Lanfranco and Sisto Badalocchio |
| 19 |
10 |
|
|
"La giovinezza di Giovanni Lanfranco"
|
|
|
|
|
Includes a 1951 letter from Mahon in which he offers suggestions on Salerno's article. The article in question is likely a
1952 publication on
"The Early Work of Giovanni Lanfranco," however no drafts of the article are in the file.
|
| 19 |
11, 13 |
|
|
Photographs |
| 19 |
12 |
|
|
Publications from Schleier |
| Box |
Folder |
| 20 |
1 |
|
"Il profeta Isaia di Raffaello e il putto della Accademia di S. Luca" and other materials
|
|
|
|
Contains an offprint of Salerno's article, an extract and an auction catalog. |
| 20 |
2 |
|
"A Study of Some Frescoes in the Villa Lante Bagnaia: Cavaliere d'Arpino, Tassi, Gentileschi and their Assistants"
|
|
|
|
Contains a copy, wanting first page, of Salerno's 1960
Connoisseur article and a 5 lire note. See also Series IV. Photographs, Bagnaia, Villa Lante file.
|
| 20 |
3 |
|
Galleria Ruffo |
|
|
|
Contains brief notes and a photocopied 1916 essay from
Bollettino d'arte regarding the Ruffo collection.
|
| 20 |
4 |
|
"The Picture Gallery of Vincenzo Giustiniani"
|
|
|
|
Contains a reprint. |
| 20 |
5 |
|
"Arte, scienza e collezioni nel manierismo"
|
|
|
|
Contains images from the essay Salerno contributed to a 1963 publication edited by Alessandro Marabottini, entitled
Scritti di storia dell'arte in onore di Mario Salmi.
|
| 20 |
6-7 |
|
Museums (Pallavicini, Colonna, Barberini) |
|
|
|
File includes what appears to be a review of the 1966 exhibition catalog
Il mobile e l'artigianato romano del '600 e '700, which was held at the Palazzo ducale di Zagarolo under the auspices of the Associazione artistica culturale G. Pallavicini.
File also contains notes on a publication by Evelina Borea and photographs of different palazzi, frescoes undergoing restoration
and neoclassical furniture.
|
| 20 |
8 |
|
"La Calcografia nazionale"
|
|
|
|
Contains a 1969 extract from
Musei e gallerie d'Italia on the Calcografia, authored by Salerno.
|
| 20 |
9 |
|
"Il dissenso nella pittura: Intorno a Filippo Napoletano, Caroselli, Salvator Rosa e altri"
|
| 20 |
10 |
|
Exportation and thefts of works of art |
|
|
|
Contains clippings related to art exportation and art thefts, which may be related to Salerno's work for the Ufficio esportazione. |
|
|
|
|
|
Soprintendenza ai monumenti del Lazio |
|
|
|
File titles devised by Luigi Salerno. In some instances, additional information has been provided for the purposes of disambiguation. |
| Box |
Folder |
| 20 |
11 |
|
|
Palazzo di Zagarolo |
| 20 |
12-13 |
|
|
Palazzo Farnese di Caprarola |
| 20 |
14 |
|
|
Santa Maria della Quercia, Viterbo |
| 20 |
15 |
|
|
Oratorio di Santa Caterina, Viterbo |
| Box |
Folder |
| 21 |
1 |
|
|
Valmontone |
| 21 |
2-3 |
|
|
Trevi nel Lazio |
| 21 |
4 |
|
|
Trevignano |
| 21 |
5 |
|
|
Roccasecca dei Volsci |
| 21 |
6 |
|
|
Subiaco |
| 21 |
7 |
|
|
Poli |
| 21 |
8 |
|
|
Pofi |
| 21 |
9-11 |
|
|
Palazzo Barberini, Palestrina |
| 21 |
12 |
|
|
Palazzo del Drago, Bolsena |
| 21 |
13 |
|
|
Santa Cristina, Bolsena |
| 21 |
14 |
|
|
Capradosso, Rieti |
| 21 |
15 |
|
|
San Lorenzo a Cave |
| 21 |
16 |
|
|
Santa Maria della Filetta, Amatrice, Rieti |
| 21 |
17 |
|
|
Corchiano, Viterbo |
| 21 |
18 |
|
|
Farfa Badia |
| 21 |
19 |
|
|
Grottaferrata |
| 21 |
20 |
|
|
Magliano Romano |
| 21 |
21 |
|
|
Montefiascone, San Flaviano |
|
|
|
|
|
|
San Marcello |
| Box |
Folder |
| 21 |
22 |
|
|
|
Black-and-white photographs |
| Box |
Folder |
| 57 |
23 |
|
|
|
Transparencies |
| Box |
Folder |
| 21 |
23 |
|
|
San Giovanni Decollato |
| 21 |
24 |
|
|
Palazzo Spada |
| 21 |
25 |
|
|
San Stefano del Cacco |
| 21 |
26 |
|
|
Roma |
|
|
|
|
|
|
Images |
|
|
|
|
Contains black-and-white images of assorted sites including Castel Sant'Angelo, Palazzo Mattei, Palazzo Spada, San Pietro
in Montorio and others.
|
| Box |
Folder |
| 21 |
27-28 |
|
|
|
Black-and-white photographs |
| Box |
Folder |
| 57 |
24 |
|
|
|
Color photograph |
| Box |
Folder |
| 22 |
1 |
|
Images of Viterbo, Rome and others |
|
|
|
|
|
Via Giulia |
|
|
|
In 1973, Salerno co-authored a monograph with Luigi Spezzaferro and Manfredo Tafuri entitled
Via Giulia: una utopia urbanistica del 500. File contains images of buildings featured in the volume such as the Palazzo Spada, San Giovanni dei Fiorentini and the Oratorio
del Gonfalone. Some of the photographs, however, do not appear to relate to this street.
|
| Box |
Folder |
| 22 |
2 |
|
|
Images and other locations |
| 22 |
3 |
|
|
Images and notes |
| 22 |
4 |
|
|
Photographic permissions |
| 22 |
5-9 |
|
L'Accademia nazionale di San Luca |
|
|
|
Salerno contributed an essay to a 1974 volume on the Accademia entitled
"L'Ambiente di Palazzo Carpegna." The file includes extensive research notes, a bibliography and correspondence from the Accademia.
|
|
|
|
|
|
Carracci family |
|
|
|
Materials on the Carracci family include black-and-white photographs, checklists of works and research notes. A typescript
note and a draft bear the titles
"I Carracci" and
"De i Caraccioli da Bologna," respectively.
|
| Box |
Folder |
| 22 |
10-11 |
|
|
Carraccis and Bartolomeo Passarotti |
| 22 |
12 |
|
|
Carracci and his followers |
| 22 |
13 |
|
|
Essays and notes |
| Box |
Folder |
| 23 |
1 |
|
|
Images |
| 23 |
2-3 |
|
|
Carracci, Annibale |
|
|
|
|
|
Dughet, Gaspard |
| Box |
Folder |
| 23 |
4 |
|
|
"La cronologia di Gaspard Dughet"
|
| 23 |
5 |
|
|
Etchings |
| 23 |
6 |
|
|
Notes |
|
|
|
|
|
|
Images |
| Box |
Folder |
| 23 |
7-12 |
|
|
|
Black-and-white photographs |
| Box |
Folder |
| 57 |
25 |
|
|
|
Transparency |
| Box |
Folder |
| 23 |
13 |
|
|
Frescoes |
| Box |
Folder |
| 24 |
1 |
|
|
Palazzo Colonna |
|
|
|
|
A number of the images are labelled Palazzo Colonna on the verso, however, some may be from other sites. |
| 24 |
2 |
|
|
Images of prints and other works |
|
|
|
|
|
Colonna Inventory |
|
|
|
Contains photographic prints of the Colonna inventory and negatives from which the prints were derived. |
| Box |
Folder |
| 24 |
3-4 |
|
|
Black-and-white photographs |
| Box |
Folder |
| 57 |
26 |
|
|
Negatives |
| Box |
Folder |
| 24 |
5-7 |
|
Gentileschi, Orazio and Artemisia Gentileschi |
|
|
|
Includes Longhi's 1916 article on the Gentileschis and a number of black-and-white photographs of works attributed to the
artists.
|
|
|
|
|
|
Battle scenes |
|
|
|
Primarily consists of images grouped by artist last name. |
| Box |
|
| 24-25 |
|
|
|
Images and notes |
| Box |
Folder |
| 57 |
27 |
|
|
Color photographs and transparencies |
| Box |
Folder |
| 25 |
3 |
|
History of collecting, mannerism and other materials |
| 25 |
4 |
|
Notes and correspondence on various topics |
| 25 |
5 |
|
Notes on English literature and the history of collecting |
| 25 |
6 |
|
Archives - L'Accademia nazionale di San Luca |
|
|
|
|
|
Miscellaneous, |
|
|
|
Miscellaneous materials include: correspondence from dealers, restoration photographs (similar to those found in the Soprintendenza
files), materials on the Palazzo Doria Pamphilj and Palazzo Spada, images of works attributed to Guercino, Polidoro da Caravaggio,
Caravaggesque copies and a 1987 letter from Ferdinando Arisi addressed to one of the Busiri-Vicis of Ugo Bozzi Editore, expressing
interest in collaborating with Salerno on a work on battle scene painters. Also includes a letter from Clovis Whitfield.
|
| Box |
|
| 25-26 |
|
|
|
Images and papers |
| Box |
Folder |
| 57 |
28-33 |
|
|
Color photographs, negatives and transparencies |
|
|
|
|
|
|
Introduction |
|
|
|
|
Although Salerno labeled this file
"Introduction" there is no apparent artist, topic or theme uniting the majority of these materials. The last folder is an exception, being
comprised almost entirely of images of view paintings.
|
| Box |
Folder |
| 26 |
9 |
|
|
|
Images |
| Box |
Folder |
| 58 |
1 |
|
|
|
Color photographs, slide and transparencies |
| Box |
Folder |
| 26 |
10 |
|
|
|
Photograph requests |
| 26 |
11 |
|
|
|
Images - Vedute |
| 26 |
12 |
|
|
Images (
Storia dell'arte, 6)
|
|
|
|
|
Images are a mixture of religious, mythological and historical works, portraiture, nocturnal landscapes, landscapes, trompe
l'œil, battle scenes and view paintings. As most of these bear the annotation, "Storia dell'arte, vol. 6" on their verso,
the research file may be related to Salerno's essay entitled
"Immobilismo politico e accademia," in
Storia dell'arte italiana: Dal Cinquecento all'Ottocento: Cinquecento e Seicento (Giulio Einaudi editore, 1981).
|
