Finding aid for the Luigi Salerno research papers, 1948-1996

Finding aid prepared by Insley Julier

Descriptive Summary

Title: Luigi Salerno research papers

Date (inclusive): 1948-1996

Number: 2000.M.26

Creator/Collector: Salerno, Luigi, 1924-1992

Physical Description: 26.85 linear feet (61 boxes, 1 flatfile folder)

Repository:

The Getty Research Institute

Special Collections

1200 Getty Center Drive, Suite 1100

Los Angeles, California, 90049-1688

(310) 440-7390

Abstract: The collection is comprised of research notes, an extensive photograph archive and correspondence, which document the career and scholarly interests of Italian art historian Luigi Salerno. Active in Rome and prominent in the field of baroque studies, Salerno was a prolific author and an administrator involved with the preservation of artistic patrimony in Rome and Lazio.

Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy .

Language: Collection material is in Italian with some English

Biographical / Historical Note

Luigi Salerno was born on 3 September 1924, in Rome, Italy, to Aldo Salerno and Maria Santangelo, who was the sister of the art historian Antonino Santangelo. He attended the Università di Roma, "La Sapienza," where he graduated in 1946 with a laurea in Storia dell'arte moderna and a thesis on the Macchiaioli, written under Lionello Venturi.

Salerno's exemplary academic work garnered him a scholarship from the Istituto d'archeologia e storia dell'arte (1946-1949) and a fellowship to study at the Warburg Institute in London in 1948, where he worked closely with Rudolf Wittkower. His exposure to the work of Fritz Saxl, Ernst Gombrich, and Wittkower, and to their art historical methodologies, would be fundamental for the development of his research. While in London, Salerno met Denis Mahon, with whom he would develop a lasting friendship which resulted in numerous collaborations, including a major work on Guercino (1988). Mahon advised and critiqued early works authored or edited by Salerno including those on Giovanni Lanfranco and Giulio Mancini, and the two corresponded regularly throughout Salerno's career. Salerno and Mahon would later be involved together in the rediscovery of two Caravaggio paintings acquired by American museums in the 1970s: the Detroit Institute of Arts' Martha and Mary Magdalene and the Cleveland Museum of Art's The Crucifixion of Saint Andrew. Through Mahon, Salerno was introduced to Benedict Nicolson, the long-time editor of The Burlington Magazine. This fruitful relationship resulted in a friendship, as well as the appearance of a number of articles written by Salerno in the Burlington and other English language journals.

As a young man, Salerno lived for a time with Alessandro Marabottini, then assistant to Professor Salmi. The two shared a flat on the Aventino in Via Sant'Anselmo, until Salerno married Elda Campana in 1953. Elda Campana and Luigi Salerno had two sons, Pietro Paolo, born in 1955 and Carlo Stefano, born in 1960.

In 1947, Salerno joined the Antichità e belle arti del ministero della pubblica istruzione, and was assigned shortly thereafter to the Soprintendenza alle gallerie di Roma (1948). His 1958 appointment as director of the Soprintendenza ai monumenti del Lazio, an administration responsible for the care and preservation of historic monuments throughout Lazio, prompted Mahon to write: "Congratulations on your enormous new responsibilities - which would terrify me!" Salerno remained at the Soprintendenza until 1967, during which time he developed research on Rome's urban history. He prepared numerous publications on monuments and sites in Rome including, Altari barocchi (1959), the Palazzo Rondinini (1964), Piazza di Spagna (1967), Roma communis patria (1968) and with Luigi Spezzaferro and Manfredo Tafuri, Via Giulia: una utopia urbanistica del 500 (1973). The vast publication on Via del Corso (1961), prepared under Carlo Pietrangeli, and to which Salerno made numerous contributions, became a model for studies on urban history.

During this period, Salerno continued to be involved with exhibition organizing committees and to publish works on a variety of topics, such as Giovanni Lanfranco, Caravaggio, the Carraccis and the Mancini manuscripts. His scholarly interest in 17th century Italian painting would find fulfillment in the immensely popular and successful exhibition Il Seicento Europeo (1956), whose catalog Salerno wrote in collaboration with Alessandro Marabottini. In 1959, he was on the research committee of the important exhibition Il Settecento a Roma and was appointed research professor in art history at the Università di Roma. He firmly established himself as an assiduous scholar with his publication in three installments of the Burlington Magazine of the inventory of the collection of Vincenzo Giustiani (1960).

Salerno took on numerous editorial projects as co-director for visual arts for the journal Palatino, as founding co-editor of the journal Storia dell'arte, directed by Giulio Carlo Argan, and as a member of the editorial committee of the Enciclopedia universale dell'arte (1958-1967), also led by Argan. He taught briefly in the United States, accepting a visiting professorship at Pennsylvania State University during the fall of 1965. This sojourn sparked a friendship between Salerno and Robert and Catherine Enggass, who translated several of Salerno's works. In 1968-1969, Salerno won a Fulbright scholarship for the academic year which he spent as an affiliated fellow at the American Academy in Rome.

In addition to his administrative and teaching duties, Salerno pursued research on artists and topics in art history which he felt remained neglected in Italy, notably the painter Salvator Rosa, the so-called unacademic painters and Italian still life painting. He also wrote extensively on landscape and vedute. He was largely responsible for bringing Salvator Rosa to the fore among his contemporaries, preparing two monographs on the painter (1963, 1975). In a review in The Burlington Magazine, Francis Haskell, who considered Salerno's first monograph "excellent," noted it was the first major work devoted to the artist in over fifty years. As a result, Salerno's name became inexorably intertwined with that of the artist and he received numerous expertise requests from individuals who believed themselves to be in possession of a genuine work by Rosa. Salerno's interest in unacademic painters grew and dissent in art was a theme he would continue to explore throughout his career. He became a specialist on artists such as Filippo Napoletano, Jacques Callot, Angelo Caroselli, Giovanni Benedetto Castiglione, Pier Francesco Mola, Nicolas Poussin, Salvator Rosa and Pietro Testa.

In 1967 Salerno assumed the position of director at the Calcografia nazionale. During his tenure Salerno headed major initiatives to inventory, photograph and catalog printing plates in the collection. By the late 1960s Salerno was director of the Ufficio esportazione, also known as the Dogana, an office responsible for monitoring and issuing licenses for the exportation of works of art. In 1973 he was transferred from his position in Rome to the Soprintendenza dell'Aquila, where he stayed only a few months. Taking advantage of new legislation which allowed for the early retirement of high-level administrators, Salerno chose to devote himself more fully to his research interests. This enabled him to publish an essay and catalog entries for the Metropolitan Museum of Art's exhibition, The Age of Caravaggio (1985), and a number of important volumes including: L'opera completa di Salvator Rosa (1975), Pittori di paesaggio del Seicento a Roma (1977-1980), La natura morta italiana, 1560-1805 (1984), I dipinti del Guercino (1988), and his last major work I pittori di vedute in Italia (1991). After a long convalescence, Salerno died on 22 July 1992.

Administrative Information

Access

Open for use by qualified researchers except for one letter in Box 3, folder 17, which contains a student record and is SEALED per Family Educational Rights and Privacy Act (FERPA) legislation and institutional policy until 2045.

Publication Rights

Contact Library Reproductions and Permissions .

Preferred Citation

Luigi Salerno research papers, 1948-1996, The Getty Research Institute, Los Angeles, Accession no. 2000.M.26.

http://hdl.handle.net/10020/cifa2000m26

Acquisition Information

Acquired as partial donation from Pietro Paolo Salerno, son of Luigi Salerno, in 2000.

Processing History

Registered by Richard Zwies in 2000. The collection was processed and the finding aid was prepared by Insley Julier under the supervision of Karen Meyer-Roux from September 2011 to May 2012.

Luigi Salerno filed the photographs in Series IV in envelopes that he labeled, but did not maintain a strict arrangement of his research papers or house them in folders labeled by him. Due to this fact, titles of files in Series III have been supplied by the cataloger.

Separated Materials

Two publications, an exhibition catalog and several serials were transferred to the library. A note in the provenance field of the library record identifies their source as the Luigi Salerno Collection.

Scope and Content of Collection

The collection, dated 1948-1996, is comprised of research notes, an extensive fototeca or photograph archive and correspondence, which document the career and research interests of Italian art historian Luigi Salerno (1924-1992). With particular emphasis on the Italian baroque, major areas of interest documented in this collection include: Giovanni Lanfranco, Gaspard Dughet, Salvator Rosa, Guercino, Caravaggio and Italian still life, view and landscape painting, as well as materials related to the preservation of artistic patrimony in Rome and Lazio. Lanfranco, Rosa, Guercino and Caravaggio constitute major portions of the research files, while still life, view and landscape painters, particularly minor masters, comprise the bulk of the images in the fototeca. Together, the correspondence, expert opinions, research files and photograph files, revolve largely around questions of attribution and connoisseurship.

The types of materials found in the collection include photographs, transparencies, research notes, correspondence, clippings, offprints, and photocopies. Salerno gathered most of these materials as he conducted research for his numerous publications. With some exceptions, these materials tend to focus on the geographical area of Rome, Italy and its surrounds. Salerno also received a large number of letters and photographs from colleagues and collectors, who sought his opinion regarding attribution.

Salerno's research notes demonstrate his methodical work habits, with numerous archival references, object checklists, citations, biographical information on artists and a vast number of images, often stamped or annotated. These notes and Salerno's immense fototeca were used when planning exhibitions, drafting catalog entries and authoring articles or monographs. The papers also contain releases for images, bulletins, galleys, proofs, etchings, postcards, periodicals, receipts, radiographs, sketches, press releases, inventories, affidavits, business cards, appraisals, loan forms and auction catalogs, as well as a small number of technical examinations, insurance records, slides, floor plans and one piece of paper money.

Arrangement

The collection is arranged in four series: Series I. Correspondence, 1948-1996, undated; Series II. Expert opinions, 1975-1984, undated; Series III. Research files, 1950-1992, undated; Series IV. Photographs, undated.

Indexing Terms

Subjects - Names

Caravaggio, Michelangelo Merisi da, 1573-1610

Guercino, 1591-1666

Rosa, Salvatore, 1615-1673

Subjects - Topics

Architecture, Baroque--Italy--Rome

Architecture--Conservation and restoration

Art dealers--Correspondence

Art historians--Correspondence

Art--Collectors and collecting

Art--Expertising

City planning--Italy--Rome

Landscape painting, Italian

Painting, Baroque--Italy

Painting, Italian--Attribution

Still-life painting, Italian

Subjects - Places

Rome (Italy)--Buildings, structures, etc.

Genres and Forms of Material

Black-and-white photographs

Color photographs

Color transparencies

Correspondence--20th century

Offprints

Photographic prints

Photomechanical prints

Contributors

Mahon, Denis

Bibliography

Fusconi, Giulia. Luigi Salerno. In Dizionario biografico dei soprintendenti storici dell'arte, 1904-1975. Bologna: Bononia University Press, 2007.

Series I. Correspondence, Bulk, 1955-1992 1948-1996, undated

Physical Description: 2.3 linear feet (6 boxes)

Scope and Content Note

Series I consists primarily of letters from collectors and dealers seeking attribution advice, but also includes professional and personal correspondence from other art historians and colleagues. The most substantive correspondence is with Eugenio Battisti, Robert Enggass and, particularly, Denis Mahon. Correspondence in the miscellaneous folders, filed by letter of the alphabet, typically consists of one to three letters per individual or institution.

Arrangement

Correspondence is filed alphabetically by surname or corporate name, either in its own file or in one labelled by letter of the alphabet, e.g. "A" miscellanous. Unidentified materials, one file of material addressed to Salerno's son, Pietro Paolo, and one file of images labelled "Luigi Salerno Collection," are located at the end of the series. The original order of the papers has been maintained whenever possible. As a result, some correspondence is not filed in this series, but may instead be found amongst the Series III. Research files or Series IV. Photographs according to topic, exhibition or artist. These letters have been left in situ, in the order in which they were made or received and set aside by Luigi Salerno.

A, 1955-1992

Scope and Content Note

Includes correspondence with James S. Ackerman, Giulio Carlo Argan and Ferdinando Arisi.

Box 1, Folder 1

Papers

Box 55, Folder 1

Color photographs

Box 1, Folder 2

Accademia italiana (London), 1990

Box 1, Folder 3

Alabaster, James, 1990-1991

Box 1, Folder 4

Albrecht-Bott, Marianne, 1980

Altomani & Co., 1988-1989

Box 1, Folder 5

Papers

Box 55, Folder 2

Color photographs and transparencies

B, 1957-1992

Scope and Content Note

Includes correspondence with Ingvar Bergström, Carlo Bertelli, Anthony Blunt, Stefano Bottari and Arnauld Brejon de Lavergnée.

Box 1, Folder 6

Papers

Box 55, Folder 3

Color photographs and transparencies

Box 1, Folder 7

Bartoli (Modena), 1989

Box 1, Folder 8

Battisti, Eugenio, 1965-1966, undated

Scope and Content Note

Letters date from Battisti's time at Pennsylvania State University and relate to his experiences there.

Box 1, Folder 9

Bissell, R. Ward, 1964

Scope and Content Note

Bissell sent Salerno his essay on Orazio Gentileschi's paintings at Farfa for translation.

Bocchi, Ulisse, 1988-1991

Scope and Content Note

The majority of the correspondence is written on behalf of the Galleria d'Orlane. See also Series III. Research files on still-life painting.

Box 1, Folder 10

Papers

Box 55, Folder 4

Color photographs

Box 1, Folder 11

Brugnoli, Giorgio, 1990-1991, undated

Box 1, Folder 12

Busiri Vici, Carlo, undated

Scope and Content Note

See also Fiumicelli.

Box 2, Folder 18

Papers

Box 55, Folder 16

Color photograph

Galli, Gherardo, 1980, 1988

Box 2, Folder 19

Papers

Box 55, Folder 17

Color photographs

Box 2, Folder 20

Giulio Einaudi editore, 1954, 1976, 1982

Gregori, Mina, 1990, 1992

Scope and Content Note

See also Series III. Research files on The Age of Caravaggio exhibition.

Box 2, Folder 21

Papers

Box 55, Folder 18

Color photographs and transparencies

Box 2, Folder 22

H, 1957-1983

Scope and Content Note

Includes correspondence with Heim Gallery (Andrzej S. Ciechanowiecki) and Ann Sutherland Harris.

Box 2, Folder 23

Hess, Jacob, 1969

Scope and Content Note

Contains an offprint of an article by Hess.

Box 2, Folder 24

Hoermann, Kristin, 1988

Scope and Content Note

Hoermann was Conservator of Paintings at the Fine Arts Museums of San Francisco.

Box 2, Folder 25

I, 1957-1969

Box 2, Folder 26

IRSA Verlag, 1992

Scope and Content Note

See also correspondence with Józef Grabski of IRSA Verlag in Series III. Research files on Salvator Rosa. IRSA Verlag produced the journal Artibus et Historiae in which Salerno published an article on Rosa in 1991.

Box 2, Folder 27

Istituto della Enciclopedia italiana, 1969-1970

Box 2, Folder 28

J, 1976, 1989

Scope and Content Note

Includes correspondence with Axel Janeck.

Box 2, Folder 29

K, 1967-1990

Scope and Content Note

Includes correspondence with Richard Krautheimer.

Box 2, Folder 30

K.G. Saur Verlag, 1988, 1991

Scope and Content Note

Includes material relating to the Allgemeines Künstlerlexikon.

L, 1968-1991

Scope and Content Note

Includes correspondence with Silvano Lodi, Stéphane Loire and Wolfgang Lotz.

Box 2, Folder 31

Papers

Box 55, Folder 19

Color photograph and transparency

Lajoie, Frédéric, 1981-1990

Box 2, Folder 32

Papers

Box 55, Folder 20

Color photographs

Lipp, Peter A., 1986-1992

Scope and Content Note

See also Series IV. Photographs, Bimbi, Bartolomeo file.

Box 2, Folder 33

Papers

Box 55, Folder 21

Color photographs and transparencies

López, Manuel González, 1984

Box 3, Folder 1

Papers

Box 55, Folder 22

Transparencies

Box 3, Folder 2

Lurie, Ann Tzeutschler, 1977

Scope and Content Note

Ann Tzeutschler Lurie was Associate Curator of Paintings at the Cleveland Museum of Art. See also Series III. Research files on Caravaggio and The Crucifixion of St. Andrew.

M, 1953-1992

Scope and Content Note

Includes correspondence with M. Roy Fisher Fine Arts Inc., Valentino Martinelli, Alfred Moir and Terence Mullaly.

Box 3, Folder 3

Papers

Box 55, Folder 23

Color photographs

Box 3, Folder 4-6

Mahon, Denis, 1948-1968

Scope and Content Note

Includes Mahon's detailed comments on the Mancini manuscript. Correspondence from Mahon is also interspersed throughout the Series III. Research files, see in particular materials on Caravaggio, Guercino and Lanfranco.

Box 3, Folder 7

Matthiesen, Patrick, 1976-1991

Scope and Content Note

Patrick Matthiesen worked for P. & D. Colnaghi & Co. before opening the Matthiesen Gallery, London. See also Series IV. Photograph, Spadarino (Galli, Giovanni Antonio) file.

Box 3, Folder 8

Mainetti, Walter, 1991

Box 3, Folder 9

Ministero della pubblica istruzione (antichità e belle arti), 1957-1967

Box 3, Folder 10

Museums (France), 1956, 1976-1990

N, 1975-1992, undated

Box 3, Folder 11

Papers

Box 55, Folder 24

Color photograph

Box 3, Folder 12

Nicolson, Benedict and Luisa Vertova (Nicolson), 1957, 1966-1978

Scope and Content Note

File includes correspondence with Benedict Nicolson, former editor of The Burlington Magazine and several of Nicolson's obituaries. Also includes a letter from Salerno to Luisa Vertova, Nicolson's ex-wife.

Box 3, Folder 13

Norton Simon Museum, 1980

O, 1987, 1990, undated

Box 3, Folder 14

Papers

Box 55, Folder 25

Color photographs and transparencies

P, 1964-1989

Box 3, Folder 15

Papers

Box 55, Folder 26

Color photographs

Pasini, Pier Giorgio, 1992

Scope and Content Note

Materials relate to the artist Guido Cagnacci.

Box 3, Folder 16

Papers

Box 55, Folder 27

Color photographs

Box 3, Folder 17 SEALED

Pennsylvania State University, 1965-1970

Scope and Content Note

Salerno spent the 1965 fall semester teaching at Pennsylvania State University and file includes letters from his students. One letter which contains a student record is SEALED per Family Educational Rights and Privacy Act (FERPA) legislation and institutional policy until 2045. See also Robert Enggass.

Box 3, Folder 18

Pennsylvania State University Press, 1967

Petrella Antichità, 1991

Box 3, Folder 19

Papers

Box 55, Folder 28

Color photographs

Pisani, Arnolfo, 1991

Box 3, Folder 20

Papers

Box 55, Folder 29

Color photograph

Poletti-Galimberti, Huberto, 1991

Box 3, Folder 21

Papers

Box 55, Folder 30

Transparency

Box 3, Folder 22

Q, 1980, 1985

R, 1960-1993

Scope and Content Note

Includes correspondence with Marcel Roethlisberger, Pierre Rosenberg and Herwarth Röttgen.

Box 3, Folder 23

Papers

Box 55, Folder 31

Color photographs and transparencies

Box 3, Folder 24

Rizzoli editore, 1974-1981, 1991

Scope and Content Note

Includes correspondence related to the 1975 volume L'opera completa di Salvator Rosa, part of the Classici dell'arte series.

Rotolo, Gianfranco, 1991, undated

Scope and Content Note

See also Series IV. Photographs, Ghisolfi, Giovanni file.

Box 3, Folder 25

Papers

Box 55, Folder 32

Color photographs and transparencies

Rusconi, Rudiano, 1987-1992

Box 3, Folder 26

Papers

Box 55, Folder 33

Color photographs and transparencies

S, 1954-1992

Scope and Content Note

Includes correspondence with Mario Salmi, Fiorenza Scalia, Giuseppe Scavizzi, John T. Spike and Servizio beni culturali di Genova (Laura Tagliaferro).

Box 4, Folder 1

Papers

Box 55, Folder 34

Color photographs

Box 4, Folder 2

Salati, Daniele Lucchese, 1984, 1989

Box 4, Folder 3

Santangelo, Antonino, 1965

Scope and Content Note

Contains two obituaries for Santangelo.

Box 4, Folder 4

Schleier, Erich, 1965-1966, 1985-1990

Scope and Content Note

See also Gerta Beaucamp, in the B miscellaneous file and Series IV. Photographs, Lanfranco, Giovanni file.

Box 4, Folder 5

Sellin, David, 1955-1960

Box 4, Folder 6

Spear, Richard E., 1970

Box 4, Folder 7

Staatliche Museen zu Berlin, Gemäldegalerie, undated

Scope and Content Note

Contains only one black-and-white photograph. See also Schleier, Erich.

Box 4, Folder 8

T, 1966-1974, 1991-1992, 1996

Scope and Content Note

Includes correspondence with Ludovica Trezzani.

Trafalgar Galleries, 1985-1992, undated

Scope and Content Note

Virtually all of the correspondence is from the director, Ronald Cohen, with one letter from Alfred Cohen. See also Series IV. Photographs, Snyders, Frans file and Battaglioli, Francesco file.

Box 4, Folder 9

Papers

Box 55, Folder 35

Color photographs, slides and transparencies

Box 4, Folder 10

Università degli studi di Roma "La Sapienza," 1964

Box 4, Folder 11

Ugo Bozzi editore, circa 1976, 1992

Scope and Content Note

See also Busiri Vici and Series IV. Photographs, Robert, Hubert file and Lingelbach, Johannes file.

Box 4, Folder 12

Ulmann (Nogent-sur-Marne, France), 1990

V, 1955, 1968, 1984-1995

Scope and Content Note

Includes correspondence with Francesco Valcanover and Lionello Venturi.

Box 4, Folder 13

Papers

Box 55, Folder 36

Color photographs

Valentini, Roberto, undated

Box 4, Folder 14

Papers

Box 55, Folder 37

Color photographs

Box 4, Folder 15

Violani (Rome), undated

W, 1966-1968, 1986-1992

Scope and Content Note

Includes correspondence with George Wachter and Harold E. Wethey.

Box 4, Folder 16

Papers

Box 56, Folder 1

Color photographs

Whitfield, Clovis, 1976-1992, undated

Scope and Content Note

Clovis Whitfield was employed by P. & D. Colnaghi & Co., Thomas Agnew & Sons and the Walpole Gallery before opening Whitfield Fine Art. Whitfield translated a portion of Salerno's work Pittori di paesaggio del Seicento a Roma.

Box 4, Folder 17

Papers

Box 56, Folder 2

Color photograph

Box 4, Folder 18

Winnipeg Art Gallery, 1993

Box 4, Folder 19

Yale University, 1967

Box 4, Folder 20

Z, 1964, 1976

Scope and Content Note

Includes correspondence with Federico Zeri and An Zwollo.

Zamboni, Massimo, 1964, 1991-1992, undated

Box 4, Folder 21

Papers

Box 56, Folder 3

Transparency

Unidentified attribution requestors, 1976-1992, undated

Box 4, Folder 22

Papers

Box 56, Folder 4

Color photographs and transparency

Box 4, Folder 23

Unidentified correspondents, 1963-1970, 1990

Salerno, Pietro Paolo, 1992, undated

Scope and Content Note

File contains an attribution request addressed to Luigi Salerno's son, Pietro Paolo.

Box 4, Folder 24

Papers

Box 56, Folder 5

Color photographs

Box 4, Folder 25

Luigi Salerno collection, undated

Scope and Content Note

Contains two black-and-white photographs and one photocopy of a work entitled Veduta di Sorrento, attributed to Vanvitelli. Written on the verso of one of the photographs: "Coll. L. Salerno, Roma."

Miscellaneous, undated

Images

Box 4, Folder 26-28

Black-and-white photographs

Box 56, Folder 6-8

Color photographs and transparencies

Box 4, Folder 29

Notes

Series II. Expert opinions, 1975-1984, undated

Physical Description: 0.1 linear feet (1 box)

Scope and Content Note

Series II contains documents in which Salerno states his expert opinion regarding works of art, primarily in an official capacity. The series includes a bound inventory, printed in 1980, of the collection of Saverio Pugliese entitled "Collezioni di quadri," and Salerno's undated appraisal of these works. It also includes copies of records related to the Tribunale di Roma, for which Salerno served as an expert witness.

Arrangement

Files are arranged alphabetically. These documents were originally interfiled with the correspondence. They have been separated into their own series based upon their distinct form and function. They were not filed with any accompanying correspondence.

Box 5, Folder 1

Pugliese appraisal and inventory, 1980, undated

Tribunale di Roma

Box 5, Folder 2

Armati, Giancarlo (judge), 1984

Box 5, Folder 3

Cuppini, Lina and Aldo Nucci, 1975-1976

Box 5, Folder 4-5

Finarte, 1981-1982, undated

Box 5, Folder 6

Guglielmo, Giorgio vs. Galleria di Arte Esedra, 1975

Series III. Research files, 1950-1992, undated

Physical Description: 11.6 linear feet (26 boxes)

Scope and Content Note

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, Bulk, 1970-1985 1954-1992, bulk 1970-1985, undated

Scope and Content Note

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 5, Folder 7

Pennsylvania State University seminar

Scope and Content Note

Includes 1965 correspondence with Mahon regarding a version of David with the Head of Goliath, and correspondence with students.

Caravaggio and related artists

Box 5, Folder 8

Papers

Box 56, Folder 9

Negative

Box 5, Folder 9-11

Notes

Articles, offprints and readings

Box 5, Folder 12-15

Papers

Box 56, Folder 9

Color photograph

Box 5, Folder 16

Exhibition catalog In the Light of Caravaggio (Trafalgar Galleries, 1976)

Box 5, Folder 17

Galley and images

Scope and Content Note

Includes Bulletin of the Metropolitan Museum of Art, October 1953.

Box 5-6

Images

Scope and Content Note

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.

Followers of Caravaggio

Box 6, Folder 2-5

Papers

Box 56, Folder 9

Transparency

Box 6, Folder 6-7

Convegno internazionale di studi caravaggeschi, 1974

Scope and Content Note

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.

Martha and Mary Magdalene, Detroit Institute of Arts

Box 6, Folder 8-15

Papers

Box 56, Folder 9

Transparency

Other Alzaga painting

Scope and Content Note

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 6, Folder 16

Papers

Box 56, Folder 10

Radiographs and transparencies

The Crucifixion of Saint Andrew, Cleveland Museum of Art

Box 6-7

Papers

Box 56, Folder 11

Negatives and transparencies

Box 7, Folder 6-10

Caravaggio: A Reassessment

Scope and Content Note

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.

Box 7, Folder 11-13

The Age of Caravaggio (Metropolitan Museum of Art, 1985)

Scope and Content Note

Includes preliminary object checklists, correspondence, and photocopies of catalog entries mailed to Salerno by Mina Gregori.

Box 7, Folder 14

Clippings and articles

Oversize-Box 61*, Folder 1

Radiographs

Scope and Content Note

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

Scope and Content Note

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 56, Folder 12

Color photograph and transparencies

Box 8, Folder 2

Indices, bibliography, reviews and other materials

Correspondence, notes and images

Box 8, Folder 3-10

Papers

Box 56, Folder 13

Color photographs and transparencies

Box 8, Folder 11

Prints

Papers and images

Box 8, Folder 12-14

Papers

Box 56, Folder 14

Color photographs, negative and transparencies

Box 9, Folder 1

Atlas, Museo Bardini

Scope and Content Note

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.

The Toilet of Venus, private collection, California

Scope and Content Note

Includes 1986 correspondence with the painting's owner.

Box 9, Folder 2-3

Papers

Box 56, Folder 15

Transparency

Scope and Content Note

Transparency is actually a version of La Maddalena che contempla i chiodi della Passione.

Box 9, Folder 4-6

Photographic permissions

Series III.C. Still-life painting, Bulk, 1980-1990 1956-1990, bulk 1980-1990, undated

Scope and Content Note

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 9, Folder 7-12

Papers

Box 56, Folder 16

Color photographs, negatives and transparencies

Box 9, Folder 13

Nuovi studi su la natura morta italiana - Review

Scope and Content Note

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 11, Folder 6

Arcimboldi, Giuseppe and followers

Bocchi, Ulisse

Scope and Content Note

Contains images of still life paintings sent by Bocchi to Salerno. See also Series I. Correspondence, Bocchi, Ulisse file.

Box 11, Folder 7

Black-and-white photographs

Box 57, Folder 8

Color photographs

Box 11, Folder 8

Muratori, Alfredo

Scope and Content Note

Contains images of still life paintings sent by Muratori to Salerno.

Series III.D. Rosa, Salvator, 1950-1991, undated

Scope and Content Note

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.

L'opera completa di Salvator Rosa

Scope and Content Note

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 11, Folder 9-13

Black-and-white photographs

Box 57, Folder 9

Negatives and transparencies

Box 12, Folder 1-4

Works on paper

Scope and Content Note

Contains black-and-white photographs of drawings, sketches, watercolors and prints of works attributed to Rosa.

Box 12, Folder 5-6

Papers

Images

Scope and Content Note

Image files are occasionally interspersed with correspondence or notes.

Box 12-13

Black-and-white photographs

Scope and Content Note

Also includes a large number of photocopies from the Witt Library.

Box 57, Folder 10-12

Color photographs, negatives and transparencies

Box 13, Folder 2

Correspondence and notes

Box 13, Folder 9

Notes on Salvator Rosa and other painters

Witchcraft scenes

Scope and Content Note

Contains images. Salerno published "Four Witchcraft Scenes by Salvator Rosa" in The Bulletin of the Cleveland Museum of Art, 1978.

Box 13, Folder 10

Black-and-white photographs

Box 57, Folder 13

Color photographs and transparencies

Papers and images

Box 13-14

Papers

Box 57, Folder 14

Color photographs and transparency

Box 14, Folder 2

Offprint of Due opere tarde di Salvator Rosa

Grabski (IRSA)

Scope and Content Note

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 14, Folder 3

Papers

Box 57, Folder 15

Color photographs

Series III.E. Landscapes and vedute, 1967-1991, undated

Scope and Content Note

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.

Paesaggio e veduta a Roma dal Seicento all'Ottocento, exhibition

Box 14, Folder 4

Checklists and loan forms

Box 14, Folder 5-6

Post exhibition

Box 14, Folder 7

Notes

Various artists - Images

Box 14, Folder 8

Photomechanical prints

Scope and Content Note

Majority of images are taken from auction catalogs, however, file also includes a few black-and-white photographs.

Box 14, Folder 9

Black-and-white photographs

Box 57, Folder 16

Color photograph and transparency

Marine painters and others

Box 14, Folder 10

Papers and images

Box 57, Folder 17

Color photograph

Box 14, Folder 11

Notes

Images

Scope and Content Note

File also includes an extract on Giambattista Bassi and a few images of figural works.

Box 14-15

Black-and-white photographs

Box 57, Folder 18

Transparency

Pittori di paesaggio del Seicento a Roma - Appendix

Scope and Content Note

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 15, Folder 4-6

Papers and proofs

Box 57, Folder 19

Transparencies

Various photographs (landscapes, vedute and attributions)

Scope and Content Note

Images are primarily organized by artist name.

Box 15, Folder 7-11

Black-and-white photographs

Box 57, Folder 20

Color photographs and transparency

Vedute - Foreign artists

Scope and Content Note

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 57, Folder 21

Transparencies

Box 16, Folder 4

Vedute - Miscellaneous artists

Vedute - Foreign artists and Italian painters

Scope and Content Note

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 16, Folder 5-7

Papers and images

Box 57, Folder 22

Transparencies

Box 16, Folder 8

Research on view painting, the Grand Tour and other topics

Scope and Content Note

Includes notes from the Vicariato.

Box 16, Folder 9

Research notes on Manglard, Adrien and several others

Box 16-17

Italian Landscape Painting, exhibition

Scope and Content Note

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

Scope and Content Note

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 17, Folder 2

Offprints

Scope and Content Note

Includes two unrelated 1972 letters from Edward Morris, Keeper of Foreign Art, at the Walker Art Gallery in Liverpool.

Box 17, Folder 3, 5

Various images

Scope and Content Note

Images may also related to Salerno's work with the Soprintendenza.

Box 17, Folder 4

Image checklists and other materials

Box 17, Folder 6-8

Papers

Scope and Content Note

Includes a few black-and-white photographs.

Box 17-18

Eighteenth century and related artists

Scope and Content Note

Artists organized alphabetically by last name.

Series III.G. Other artists and topics, 1950-1975, undated

Scope and Content Note

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 18, Folder 15

Research on collecting and the rococo style

Box 18, Folder 16

Daniel Webb Plagiario di Raffaelo Mengs

Scope and Content Note

This essay was published in 1951 in the periodical English Miscellany. File includes research notes and a draft.

Box 18, Folder 17

Il Vasari in Inghilterra

Scope and Content Note

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 .

Box 18, Folder 18

Notes on cross-cultural exchange between Italy and foreign countries

Lanfranco, Giovanni

Box 19, Folder 1

L'opera romana di Giovanni Lanfranco

Scope and Content Note

Includes an essay, a few black-and-white photographs and other reprints.

Box 19, Folder 2-3, 5

Images

Box 19, Folder 4

Lanfranco and related artists

Box 19, Folder 6

Papers

Box 19, Folder 7

Brandi, Giacinto

Scope and Content Note

Contains papers related to the artist.

Box 19, Folder 8-9

Lanfranco and Sisto Badalocchio

Box 19, Folder 10

La giovinezza di Giovanni Lanfranco

Scope and Content Note

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.

Box 19, Folder 11, 13

Photographs

Box 19, Folder 12

Publications from Schleier

Box 20, Folder 1

Il profeta Isaia di Raffaello e il putto della Accademia di S. Luca and other materials

Scope and Content Note

Contains an offprint of Salerno's article, an extract and an auction catalog.

Box 20, Folder 2

A Study of Some Frescoes in the Villa Lante Bagnaia: Cavaliere d'Arpino, Tassi, Gentileschi and their Assistants

Scope and Content Note

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.

Box 20, Folder 3

Galleria Ruffo

Scope and Content Note

Contains brief notes and a photocopied 1916 essay from Bollettino d'arte regarding the Ruffo collection.

Box 20, Folder 4

The Picture Gallery of Vincenzo Giustiniani

Scope and Content Note

Contains a reprint.

Box 20, Folder 5

Arte, scienza e collezioni nel manierismo

Scope and Content Note

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.

Box 20, Folder 6-7

Museums (Pallavicini, Colonna, Barberini)

Scope and Content Note

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.

Box 20, Folder 8

La Calcografia nazionale

Scope and Content Note

Contains a 1969 extract from Musei e gallerie d'Italia on the Calcografia, authored by Salerno.

Box 20, Folder 9

Il dissenso nella pittura: Intorno a Filippo Napoletano, Caroselli, Salvator Rosa e altri

Box 20, Folder 10

Exportation and thefts of works of art

Scope and Content Note

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

Scope and Content Note

File titles devised by Luigi Salerno. In some instances, additional information has been provided for the purposes of disambiguation.

Box 20, Folder 11

Palazzo di Zagarolo

Box 20, Folder 12-13

Palazzo Farnese di Caprarola

Box 20, Folder 14

Santa Maria della Quercia, Viterbo

Box 20, Folder 15

Oratorio di Santa Caterina, Viterbo

Box 21, Folder 1

Valmontone

Box 21, Folder 2-3

Trevi nel Lazio

Box 21, Folder 4

Trevignano

Box 21, Folder 5

Roccasecca dei Volsci

Box 21, Folder 6

Subiaco

Box 21, Folder 7

Poli

Box 21, Folder 8

Pofi

Box 21, Folder 9-11

Palazzo Barberini, Palestrina

Box 21, Folder 12

Palazzo del Drago, Bolsena

Box 21, Folder 13

Santa Cristina, Bolsena

Box 21, Folder 14

Capradosso, Rieti

Box 21, Folder 15

San Lorenzo a Cave

Box 21, Folder 16

Santa Maria della Filetta, Amatrice, Rieti

Box 21, Folder 17

Corchiano, Viterbo

Box 21, Folder 18

Farfa Badia

Box 21, Folder 19

Grottaferrata

Box 21, Folder 20

Magliano Romano

Box 21, Folder 21

Montefiascone, San Flaviano

San Marcello

Box 21, Folder 22

Black-and-white photographs

Box 57, Folder 23

Transparencies

Box 21, Folder 23

San Giovanni Decollato

Box 21, Folder 24

Palazzo Spada

Box 21, Folder 25

San Stefano del Cacco

Box 21, Folder 26

Roma

Images

Scope and Content Note

Contains black-and-white images of assorted sites including Castel Sant'Angelo, Palazzo Mattei, Palazzo Spada, San Pietro in Montorio and others.

Box 21, Folder 27-28

Black-and-white photographs

Box 57, Folder 24

Color photograph

Box 22, Folder 1

Images of Viterbo, Rome and others

Via Giulia

Scope and Content Note

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 22, Folder 2

Images and other locations

Box 22, Folder 3

Images and notes

Box 22, Folder 4

Photographic permissions

Box 22, Folder 5-9

L'Accademia nazionale di San Luca

Scope and Content Note

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

Scope and Content Note

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 22, Folder 10-11

Carraccis and Bartolomeo Passarotti

Box 22, Folder 12

Carracci and his followers

Box 22, Folder 13

Essays and notes

Box 23, Folder 1

Images

Box 23, Folder 2-3

Carracci, Annibale

Dughet, Gaspard

Box 23, Folder 4

La cronologia di Gaspard Dughet

Box 23, Folder 5

Etchings

Box 23, Folder 6

Notes

Images

Box 23, Folder 7-12

Black-and-white photographs

Box 57, Folder 25

Transparency

Box 23, Folder 13

Frescoes

Box 24, Folder 1

Palazzo Colonna

Scope and Content Note

A number of the images are labelled Palazzo Colonna on the verso, however, some may be from other sites.

Box 24, Folder 2

Images of prints and other works

Colonna Inventory

Scope and Content Note

Contains photographic prints of the Colonna inventory and negatives from which the prints were derived.

Box 24, Folder 3-4

Black-and-white photographs

Box 57, Folder 26

Negatives

Box 24, Folder 5-7

Gentileschi, Orazio and Artemisia Gentileschi

Scope and Content Note

Includes Longhi's 1916 article on the Gentileschis and a number of black-and-white photographs of works attributed to the artists.

Battle scenes

Scope and Content Note

Primarily consists of images grouped by artist last name.

Box 24-25

Images and notes

Box 57, Folder 27

Color photographs and transparencies

Box 25, Folder 3

History of collecting, mannerism and other materials

Box 25, Folder 4

Notes and correspondence on various topics

Box 25, Folder 5

Notes on English literature and the history of collecting

Box 25, Folder 6

Archives - L'Accademia nazionale di San Luca

Miscellaneous,

Scope and Content Note

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 57, Folder 28-33

Color photographs, negatives and transparencies

Introduction

Scope and Content Note

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 26, Folder 9

Images

Box 58, Folder 1

Color photographs, slide and transparencies

Box 26, Folder 10

Photograph requests

Box 26, Folder 11

Images - Vedute

Box 26, Folder 12

Images ( Storia dell'arte, 6)

Scope and Content Note

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).

Series IV. Photographs, circa 1948-1992, undated

Physical Description: 12.85 linear feet (28 boxes, 1 flatfile)

Scope and Content Note

Series IV consists of photographs and other documents organized by artist or topic. These materials are largely undated. The vast majority of the files contain black-and-white photographs of works of art. These photographs were gathered by Salerno from a variety of sources including museums, archives, commercial photographers, auction houses, dealers and private collectors. The series also includes scattered sales catalog pages, journals, articles, offprints, extracts, correspondence, handwritten and typescript notes, color photographs, transparencies, black-and-white negatives, photograph receipts and other documents. Although most letters regarding attribution may be found in Series I. Correspondence, Salerno filed some of these letters and their accompanying photographs with his photograph archive. In instances where this has occurred, the correspondence has been left in situ and a file-level note has been created in the finding aid to alert users to its existence.

Arrangement

The series is arranged in two subseries: Series IV.A. Artists, undated; Series IV.B. Topics, undated.

Folders in this series are arranged alphabetically, largely in the order in which they were maintained by Luigi Salerno. In cases of obvious misfilings, alphabetical order has been restored. The contents of individual folders have not been arranged and remain in the order in which they were received.

Salerno originally stored the images in his photograph archive in eight filing cabinet drawers. He maintained his photograph files in individual envelopes or four-flap enclosures labeled with the last name of a single artist, multiple artists or rarely, a topic, such as "Arti minori" or decorative arts. Groupings of more than one artist in a single enclosure have been maintained, as the groupings appear to be intentional and relate to questions of attribution. These groupings are filed under the artist appearing first in the alphabet. For example, the grouping of Baschenis and Bettera is filed under "Baschenis." Frequently, Salerno labeled the envelopes and folders in this series with only the last name of an artist. Whenever possible, the processor has endeavored to identify the artist's full name for the purposes of clarification and disambiguation. Several folders, without content, have been left as found, where they were filed, as they document Salerno's research, but they are not listed here.

Series IV.A. Artists, undated

Scope and Content Note

Many of the artists represented in this series were featured in Salerno's publications, particularly La natura morta italiana, 1560-1805, I pittori di vedute in Italia (1580-1830) and Pittori di paesaggio del Seicento a Roma. Files concerning artists covered in Salerno's publications often include bibliographical references, brief biographical notes and annotated chronologies of works in the artist's œuvre. It is important to note, however, that the depth of coverage of each artist varies. A number of the artist files contain only a single photograph or auction catalog clipping, while others span several file folders and include a number of photographs, notes and articles. When coverage of an artist is minimal, this has been noted at the file level.

Arrangement

Arranged alphabetically by artist's last name.

Box 27, Folder 1

Adam, Robert

Box 27, Folder 2

Aglio, Agostino

Box 27, Folder 3

Agricola, Christoph Ludwig

Box 27, Folder 4

Albani, Francesco

Box 27, Folder 5

Algardi, Alessandro

Scope and Content Note

Contains a publication from the Minneapolis Museum on Algardi bozzetti.

Box 27, Folder 6

Allegrain, Étienne

Box 27, Folder 7

Amidano

Box 27, Folder 8

Anesi, Paolo

Box 27, Folder 9-12

Angeli, Filippo (Filippo Napoletano)

Scope and Content Note

Includes 18 etchings from the Skeletons of Animals series, printed on modern paper, notes, an incomplete, annotated, draft of Salerno's article Il vero Filippo Napoletano e il vero Tassi, and an entire, annotated issue of Paragone. Salerno also published other articles on Angeli including: Il dissenso nella pittura: Intorno a Filippo Napoletano, Caroselli, Salvator Rosa e altri, in 1970; Precisazioni su Filippo Napoletano e i suoi 'affini,' in 1974; and Inediti di Filippo Angeli e di Scipione Compagno, in the 1984 festschriften Scritti di storia dell'arte in onore di Federico Zeri.

Box 27, Folder 13

Angeluccio

Box 27, Folder 14

Annoni/Lanfranchi

Scope and Content Note

Annoni, Felice and Carlo Lanfranchi.

Box 27, Folder 15

Anonymous

Scope and Content Note

Mostly images of vedute paintings.

Anonymous still-life painters

Box 27, Folder 16-17

Black-and-white photographs

Box 58, Folder 2

Color photographs and transparencies

Box 28, Folder 1

Ansaldo, Andrea

Box 28, Folder 2

Antoniani, Pietro

Scope and Content Note

See also Barra, Didier, as material was originally filed together.

Box 28, Folder 3

Antoniazzo Romano

Scope and Content Note

Includes a paper, dated 1961 and 1962, by Biagio Cascone of the Vatican Museums on the restoration of the frescoes in the Chiesa di San Nicola in Carcere and related photographs.

Box 28, Folder 4

Appelman, Barend

Arbotori/Crespi

Scope and Content Note

Arbotori, Bartolomeo and Antonio Crespi. Also includes notes on Giuseppe Maria Crespi.

Box 28, Folder 5

Black-and-white photographs

Box 58, Folder 3

Transparency

Box 28, Folder 6

Arcimboldi, Giuseppe

Box 28, Folder 7

Arellano, Juan de

Box 28, Folder 8

Arthois, Jacques d'

Box 28, Folder 9

Ascione, Aniello

Box 28, Folder 10

Asselyn, Jan

Box 28, Folder 11

Assereto, Gioacchino

Box 28, Folder 12

Baburen, Dirck van

Box 28, Folder 13

Baciccio (Gaulli, Giovanni Battista)

Scope and Content Note

Mostly photographs of the Chiesa del Gesú.

Box 28, Folder 14

Badalocchio, Sisto

Box 28, Folder 15

Bagetti, Giuseppe Pietro

Baglione, Giovanni

Scope and Content Note

Also includes notes on Orazio Borgianni.

Box 28, Folder 16

Black-and-white photographs

Box 58, Folder 4

Color photograph

Box 28, Folder 17

Baldi, Lazzaro

Box 28, Folder 18

Balestra, Antonio [?]

Box 28, Folder 19

Barbazza, Antonio Giuseppe

Box 28, Folder 20

Barbieri, Paolo Antonio

Box 28, Folder 21-22

Barocci, Federico

Barra, Didier

Box 28, Folder 23

Black-and-white photographs

Box 58, Folder 5

Transparency

Baschenis/Bettera

Scope and Content Note

Baschenis, Evaristo and Bartolomeo Bettera. See also Bettera, Bartolomeo.

Box 28, Folder 24

Black-and-white photographs

Box 58, Folder 6

Transparencies

Box 29, Folder 1

Basiletti, Luigi

Box 29, Folder 2

Bassano, Leandro da Ponte

Box 29, Folder 3

Bassante, Bartolomeo

Scope and Content Note

Also known as, Passante, Bartolomeo. See also Bassante (Passante)/Quinsa.

Bassante (Passante)/Quinsa

Scope and Content Note

Bassante, Bartolomeo and Giovanni Quinsa. See also Bassante, Bartolomeo.

Box 29, Folder 4

Black-and-white photographs

Box 58, Folder 7

Transparency

Box 29, Folder 5

Bastianino (Filippi, Sebastiano)

Box 29, Folder 6

Batoni, Pompeo

Box 29, Folder 7

Battaglioli, Francesco

Scope and Content Note

Includes a letter from Ronald Cohen of Trafalgar Galleries regarding photographs and transparencies and Salerno's attribution of Lobster, Chestnuts, Pomegranates and Other Items on a Ledge to Frans Snyders.

Box 29, Folder 8-9

Battistello (Caracciolo, Giovanni Battista)

Baudesson, Nicolas (Bodesson)

Box 29, Folder 10-11

Black-and-white photographs

Box 58, Folder 8

Transparency

Box 29, Folder 12

Baur, Johann Wilhelm

Box 29, Folder 13

Begeyn, Abraham

Box 29, Folder 14

Beich, Joachim Franz

Box 29, Folder 15

Bella, Gabriele

Box 29, Folder 16

Bellotto, Bernardo

Box 29, Folder 17

Beltrano, Agostino

Belvedere, Andrea

Box 29, Folder 18

Black-and-white photographs

Box 58, Folder 9

Color photograph and transparencies

Benedetti, Andrea and four others

Scope and Content Note

Benedetti, Andrea, Pier Francesco Cittadini, Alessandro Gori, Gilardo da Lodi and Ursula-Magdelena Caccia.

Box 29, Folder 19

Black-and-white photographs

Box 58, Folder 10

Color photographs and transparencies

Box 29, Folder 20

Berchem, Nicolaas Pietersz

Berentz, Christian

Box 29, Folder 21

Black-and-white photographs

Box 58, Folder 11

Color photograph and transparency

Box 29, Folder 22

Bergen, Dirk van

Box 29, Folder 23-24

Bernini, Gian Lorenzo

Scope and Content Note

Almost exclusively publications about Bernini by other authors.

Berti, Camillo and five others

Scope and Content Note

Berti, Camillo, Carlo Coppola, Domenico Grosso, Giovanni Pini, Maestro della Floridiana and A. San Giovanni.

Box 30, Folder 1

Black-and-white photographs

Box 58, Folder 12

Transparencies

Box 30, Folder 2

Bertuzzi, Nicola

Bettera, Bartolomeo

Scope and Content Note