Biennale Internazionale Dell'Antiquariato Di Firenze 2013

From the 5th to the 13th October the annual Antiques Biennale took place in the Palazzo Corsini.  This is an important and much anticipated event in the art world, demonstrating a variety of objets d’art from all over Italy and other parts of Europe and America.  Not only does this event provide an almost unparalleled opportunity to get up close and personal with works spanning from the Etruscan period to the 20th century, it also allows access to a Palazzo scarcely open to public viewing.

The Palazzo Corsini staircase with a sculpture of
Pope Clementi XII in the central niche.

The second floor of the exhibition.

Having been lucky enough to watch a performance of Romeo and Juliet in the Corsini gardens last summer (which runs every May!) I was itching to get inside and see what the Biennale had to offer.  Whilst most of the stunning objects on display were a little out of my price range, the exhibition proved to be consistently stimulating, appealing as much to the potential buyer as it did to the art history student!

This studded leather case with four blown glass bottles is
attributed to late eighteenth century Venice and valued
at $8,000!

To observe an interior space usually off limits added an exciting dimension to the Biennale, creating a sense of adventure and making the experience additionally stimulating for the viewer.  The grand frescoed ceilings and baroque décor of the Palazzo Corsini acted as a spectacle in its own right.  Presented in union rather than competition with the antiques fair below, it would be unjust to label the Palazzo’s decorative features a simple backdrop.

The Palazzo Corsini grotto.  At the centre of this image is a fountain

surrounded by allegorical figures and ethereal frescoes.

Separated between two floors with a half way balcony café overlooking the Arno, the exhibition compiled an extensive collection of antiques.  These were displayed in individual rooms divided by company, operating much like an art historical maze and never failing to incite intrigue!  The Palazzo is not small and neither were the quantity of objects on display, yet little stamina is required to appreciate the superb quality of each and every one of them.  

This tiny sculpture was fashioned from the
bone of a rhinoceros.  It was certainly one of the more
unusual objects I encountered!

Many of the antiques were objects of historical and cultural importance and were selected by a panel of experts.  By the time you reach the last room you will be disappointed it's all over! 

One of the many open rooms in the Palazzo Corsini.

The following images represent some of the works I found most interesting at the Antiques Biennale, but these are only a few examples of the art, objects and furniture on display.

This marble sculpture entitled 'Madonna dolente' or 'Sorrowful Madonna' dates to the eighth or ninth decade of the 14th century and is of Lombardian origin.  The sculptor is Bonino da Campione (born in 1357 and died in 1392/93).  What is immediately striking about this sculpture is the aged, almost grotesque features of the Madonna, such as the deep wrinkles on the forehead and the drooping skin around the cheeks.  Whilst this enhances the emotional intensity of the Madonna, it also contrasts to idyllic depictions regularly seen in fresco and egg tempera works.  Eternal youth appears not, however, to be the central focus of this prayer-piece but rather the suffering of Christ - the cause of the Madonna's lamentation.  The viewer is, in turn, encouraged to participate in this mourning and contemplate the reality of Christ's sacrifice.

A detail of the sculpture and how it connects to the 
simplistic wooden niche.  One of the perks of the 
exhibition was the potential to view objects from 
specific angles.

The most unique aspect of the Biennale experience was the opportunity to observe art works in minute detail without the restriction of ropes or perspex cases.  Viewing pieces from such a close distance is certainly a revealing exercise.  It draws emphasis on features and techniques impossible to acknowledge from afar, encouraging a greater understanding of the artist, the style and the subject. 

Filippo Vitale, Sisara e Giaele, 1589/1590-1650, oil on canvas, Naples from

an exhibition room entitled 'Napule è... mille culure' curated by Nicola Spinosa.

A detail of Giaele's gruesome end.

A detail from Jacomart, The Crucifixion, 1411/1412-1461, tempera on panel,
Valencia.  The intricate stamps on the gold leaf can be clearly identified on
the halo's as well as the distraught expressions of the figures.

A detail from 'The Crucifixion' showing the lilies sprouting from
the pools of blood which fell after the death of Christ.  The
significance of these lilies relate to the Florentine fleur-de-lis.

The staff members and experts working at the Biennale were also extremely friendly and informative.  They were more than happy to answer my questions and direct me to helpful bibliographical sources whilst letting me take as many photographs as I pleased!

The rare object displayed above is a cornice made of wood and bone from around 500 AD.  It is attributed to an Italian workshop and, according to the current owner, is potentially of Etruscan origin.  The central roundel of the cornice would have once contained a cameo.  It is valued at around $3,000. 

Francesco Bertos, The Expulsion from Paradise, early 18th 

century,  marble, Italy.  This innovative sculpture is part of 

a group of 'Expulsions'.  Another similar object by the same 

sculptor can be found in the Victoria and Albert museum, 

London.

A detail from 'The Expulsion from Paradise'.

There were art objects to satisfy all tastes and preferences with traditional functions ranging from decorative to religious.  Below are some examples of the eclectic mix and diversity of works on display.

Two Bronze Candelabra's, 1825, chased, gilded and
carved, mother of pearl, Vienna.

Jewellery by Jasmine Carbone from l'Oreficeria Contemporanea a Firenze.

Inkstand, 19th century, mother of pearl, engraved and gilded
bronze, France.

Whilst they variate stylistically, each object possesses an individual history having journeyed from the hands of the maker(s) to those of the connoisseur.  It is rewarding to acknowledge our position as 21st century extras in the continuing storyline of these works simply through our observations and willingness to appreciate!

It costs $10 euros to visit the Biennale on weekends and during weekdays students at the British Institute receive a 50% discount.  

Specialist art publications by Art&Libri were also on sale at the Biennale.  This book store is located close to the British Institute library on Via dei Fossi and is certainly worth a visit!

Overall the Antiques Biennale was an inspiring and memorable occasion.  It is the ideal event for both art lovers and historians, as well as those hoping to make a unique investment.

- Ellie Porter HOA intern