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Giovanni Pratesi: The Florentine Eye

View full screen - View 1 of Lot 48. Lot and his daughters fleeing the destruction of Sodom.

Lorenzo Lippi

Lot and his daughters fleeing the destruction of Sodom

Auction Closed

March 22, 07:15 PM GMT

Estimate

12,000 - 18,000 EUR

Lot Details

Description

Lorenzo Lippi

Florence 1606 - 1665

Lot and his daughters fleeing the destruction of Sodom


oil on canvas

unframed: 66.2 x 87.7 cm; 26 x 34½ in.

framed: 89 x 109.5 cm.; 35 x 43⅛ in.

This lot has an artistic export license. Please refer to the specialist department for further information about export procedures and shipping costs.
Possibly Niccolò Guiducci, Florence, by 1737;
Possibly Cavalier Carlo Alessandri, Florence, by 1767 (this and the above according to Borroni Salvadori 1764);
Private collection;
Where acquired by the present owner by 2002.
Possibly F. Borroni Salvadori, 'Le esposizioni d'Arte a Firenze dal 1674 al 1767', in Mitteilungen des Kunsthistorischen Institutes in Florenz, 18, 1974, p. 98 (as Lot coll'angelo, N. Guiducci and L'Angelo che conduce Lot e la famiglia fuori Sodoma, cav. C. degli Alessandri);
C. d’Affitto, Lorenzo Lippi, Florence 2002, p. 269, reproduced;
S. Bellesi, Catalogo dei pittori fiorentini del '600 e '700. Biografie e opere, Florence 2009, vol. I, p. 180;
F. Baldassari, La pittura del Seicento a Firenze: indice degli artisti e delle loro opere, Milan 2009, p. 448.

This work depicts Lot and his daughters fleeing the destruction of the sinful city of Sodom after being forewarned of its demise by God. This biblical episode is recounted in the book of Genesis (19: 1–38). Here an angel guides Lot, his daughters following behind. In the distance, Lot's wife is depicted as a pillar of salt as she was punished for disobeying the angels command to not look back onto the burning city.


This may be the work exhibited twice at the Accademia del Disegno in Florence, first in 1734 when in the collection of Niccolò Guiducci, and then in 1767 when in the collection of Cavalier Carlo Alessandri.1 In the absence of further details this cannot be stated with certainty, however no other versions of the subject by the artist are recorded. According to Chiara d’Affitto the broad handling and schematic finish suggest the work was executed towards the end of Lippi's career in the mid-17th century.2


1 Borroni Salvadori 1974, p. 98.

2 D'Affitto 2002, p. 269.


This lot has an artistic export license. Please refer to the specialist department for further information about export procedures and shipping costs.