Colnaghi Foundation Journal 02 - Page 32



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Soldani’s attempt to market Filippo Baldinucci’s collection of paintings
N OTES
49.
50.
51.
52.
53.
Tintoretto, The Finding of Moses, oil on canvas, 77.5 X
134 cm., 1550s, The Metropolitan Museum of Art,
inv. 39.55. See Hans Tietze, Tintoretto: The Paintings and
Drawings (London: Phaidon, 1948), p. 357, fig. 287, and
Rodolfo Palluchini and Paola Rossi, Tintoretto: Le opere
sacre e profane, I (Venice: Electa, 1982), pp. 241, 249, 251252, no. A74. The painting measures 77.5 x 134 cm,
as against Baldinucci’s attributed example. Described
as “unfinished” and “possibly form the 1550s”, it was
first recorded in the collections of the painters Richard
Westall, R.A. (before his death in 1836), and later of G.
D. Leslie, R.A., in London, who acquired it in 1856.
Tintoretto, The Finding of Moses, oil on canvas, 56 x
119 cm., ca. 1555, Museo Nacional del Prado inv.
no. P 396; see Miguel Falomir, ed., Tintoretto, exh. cat.
(Madrid: Museo Nacional del Prado, 2007), pp. 258265, no. 24. See also Carlo Ridolfi, La vita di Giacopo
Robusti, detto il Tintoretto, celebre pittore, cittadino veneziano,
II (Venice: Gugliemo Oddoni, 1642), p. 56.
Paolo Veronese, Mars and Venus with Cupid and a
Dog, ca. 1580, oil on canvas, 165 x 126.4 cm, The
National Galleries of Scotland, Edinburgh, inv. no.
NG339. See Giandomenico Romanelli and Claudio
Strinati, eds., Veronese: Miti, Ritratti, Allegorie, exh. cat.
(Venice: Museo Correr, 2005), pp. 138-139, no. 26.
Interestingly, in the present context of Soldani as
art-agent, the original big painting was in Britain by
1761, when it was published as being in the collection
of Sir Sampson Gideon (1699-1762), the financier
behind some of Sir Robert Walpole’s campaigns in
the Spanish War. It was recorded in Belvedere, his
elegant house near Erith in Kent, overlooking the
Thames Estuary (Robert and James Dodsley, London
and its Environs Described (London: R. & J. Dodsley,
1761), where it would have hung in the gallery, while
two of Soldani’s fabulous bronze reliefs of The Four
Seasons were mounted in the lobby. See Charles Avery,
“Soldani’s bronze reliefs of ‘Summer’ and ‘Autumn’:
New Documentation and Observations on their Date,
Patronage and Technique of Manufacture,” The
Register of The Spencer Museum of Art, University of Kansas,
7 (1995-1996): pp. 1-17.
See Appendix II (link to http://colnaghifoundation.
org/studies-journal.php.
Soldani also tried to help dispose of other collections:
one, belonging to Senator Tornaquinci, comprised
pictures by Bronzino, Pietro da Cortona, Livio Mehus,
Raphael and Andrea del Sarto, as well as maiolica
and antiquities (Soldani thought that the prices were
too high and that some might be copies). Another,
belonging to Signor Ambra, he tried to get the painter
Sagrestani to authenticate. The sculptor himself also
acquired a possible Annibale Carracci Holy Family in a
Landscape, with a view to selling it on, so he was more
than dabbling in the trade, in order to supplement
his income (as was normal for ambitious artists at the
time, and so was not frowned on). These will be the
subject of a further article.
Soldani’s attempt to market Filippo Baldinucci’s collection of paintings
33

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