Signed and dated

Seals of authenticity and of stylistic evolution

Still life with fruit, flower pots a fountain and a maid (1686) by Nicola Massa ReccoBiennale Internazionale dell'Antiquariato di Firenze

The signature: history and evolution

The signature of an artwork finds its origin in Renaissance times. When the figures of artists started to specialise within large workshops and Corporations, some artisans stood out for their creativity and skill, to the point of claiming and certifying the authorship of their work

Elisha resurrects the son of the Sunamite (1637) by Jacopo VignaliBiennale Internazionale dell'Antiquariato di Firenze

In order to not interfere with the reading of an artwork, many artists concealed their initials and often even the production date within the composition.

SignatureBiennale Internazionale dell'Antiquariato di Firenze

In this big painting, the artist Jacopo Vignali signed and dated the artwork in an almost imperceivable way.

Still life with fruit, flower pots a fountain and a maid (1686) by Nicola Massa ReccoBiennale Internazionale dell'Antiquariato di Firenze

Sometimes, a signature was used as an element to balance the composition as long as it matched the colours used in the scene.

This is the case in the still life of Nicola Massa.
 

Often, an artist did not had a single way to sign its works. These two paintings by Geronimo Cenatempo are a fine example.

Secol - Art di Masoero Secol - Art di Masoero, From the collection of: Biennale Internazionale dell'Antiquariato di Firenze
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Hie Cenatempo F, From the collection of: Biennale Internazionale dell'Antiquariato di Firenze
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Secol - Art di Masoero Secol - Art di Masoero, From the collection of: Biennale Internazionale dell'Antiquariato di Firenze
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Hieronimus Cenatempo F 1713, From the collection of: Biennale Internazionale dell'Antiquariato di Firenze
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Female Profile (1887 ca.) by Silvestro LegaBiennale Internazionale dell'Antiquariato di Firenze

From signature to brand

In the 19th century, the artistic production grown independently form the demand. In a context now free from the market logics, it was through signatures that the attention moved from the artwork to its author. 
 

In 1898, Plinio Nomellini was at the peak of his formation and begun to exhibit in the Torino Exhibition and then in the Venice Biennale: on his works, his name had to be readable and eye-catching.

Symphony of the moon (Sketch), Plinio Nomellini, 1898/1898, From the collection of: Biennale Internazionale dell'Antiquariato di Firenze
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In 1905, although being at the top of his carrer, Boldini diligently signed this double portrait.

Double Portrait Woman wearing an hat (recto), Giovanni Boldini, 1905 ca., From the collection of: Biennale Internazionale dell'Antiquariato di Firenze
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Double Portrait Nude woman seated (verso), Giovanni Boldini, 1905 ca., From the collection of: Biennale Internazionale dell'Antiquariato di Firenze
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Portrait of Elvira, the painter's sister (1934) by Felice CasoratiBiennale Internazionale dell'Antiquariato di Firenze

In the 20th century, signatures almost hinted the artistic movement of their author. As a faithful tribute to Renaissance portraits, Felice Casorati signs the portrait of his sister Elvira with his initial and in capital letters.

The signature of the Cuban painter Wafredo Lam seems to imitate and complete the surrealistic composition.

L'Oisean blanc, Wilfredo Lam, 1968, From the collection of: Biennale Internazionale dell'Antiquariato di Firenze
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In line with the Fauves movement, whose aim was to simplify shapes, Van Dongen's signature seems only suggesting the letters in it.

Plumes blanches, Kees Van Dongen, 1911, From the collection of: Biennale Internazionale dell'Antiquariato di Firenze
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Credits: Story

We would like to thank: Salamon gallery, Michele Gargiulo Antiquario, Giorgio Baratti, Secol - Art, Società di Belle Arti, Galleria Berardi, Antonacci Lapiccirella Fine Art, Bottegantica and Dickinson Gallery.

We are grateful to Luigi de Benedetto for curating the contents.

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.

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