Carlo Magini Fano 1720-1806

D. Benati and L. Peruzzi, La natura morta in Emilia e in Romagna, Milan 2000, p. 289, cat. no. 326, reproduced.

"The following condition report has been provided by Henry Gentle, an independent restorer who is not an employee of Sotheby's. The original canvas is lined and the paint layer is stable. There is a small scattering of retouchings across the paint surface e.g. to the napkin, to a small paint loss on the copper kettle, to the shadows under the ledge and the niche and the stone wall. The surface of the cherries has been slightly compromised. The removal of the moderately discoloured varnish would improve the tonality."
"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."

Carlo Magini was seemingly forgotten until some signed still lifes by his hand were published by Zauli Naldi in 1954. Born in Fano in the Marches in 1720, he grew up in the workshop of his maternal uncle Sebastiano, who was also his master. Little is known of his artistic formation for none of his uncle's still lifes survive. It is thought that his entire life was spent in his home town, apart from a few visits to Rome and Farfa in the Sabine hills. 

Though he painted some portraits and trompe l'oeils, Magini's oeuvre focuses primarily on kitchen still lifes which are normally seen from a slightly raised viewpoint. Certain elements in the present painting recur in other works by Magini, namely the copper kettle and china plate.¹

1. For the kettle see, for example, the still life offered London, Sotheby's, 13 December 2001, lot 60. For various elements from the porcelain set in the artist's oeuvre see, for example, P. Zampetti, Carlo Magini, Milan 1990, p 114, cat. no. 141, reproduced.