A pair of Italian scagliola panels, mid-18th century, attributed to Enrico Hugford

A pair of Italian scagliola panels, mid-18th century, attributed to Enrico Hugford

of rectangular shape, each depicting a landscape by the sea with boats and figures at work, set in a giltwood frame

One (with boats below arch): 60x47cm (framed), 49.5x37cm (panel only);

1ft. 11 5/8in x 1ft. 6 1/2in (framed), 1ft. 7 1/2in x 1ft. 2 5/8in (panel only)

The other (with cliffs): 54x44cm (framed), 44x34cm (panel only);

1ft. 9 1/4in x 1ft. 5 1/3in (framed), 1ft. 5 1/3in x 1ft. 3/8in (panel only)
Catalogue note
RELATED LITERATURE

Anna Maria Massinelli, Scagliola, L’arte della pietra di luna, Rome, 1997, figs. 36 & 38, pp. 56-59.

John Fleming, ‘The Hugfords of Florence (Part I)’, The Connoisseur, Vol. 136, July-December 1955, pp.106-110.

These charming panels depicting architectural fantasies (‘capriccio’) are exemplary of the scagliola technique, mastered in Tuscany in the middle of the 18^th century by Enrico Hugford’s (1695-1771) to whom these panels can be attributed to. His known oeuvre, characterised by his use of pastel hues, highly polished surface, contrast of light and shadow and perspective draw the viewer into calming scenes enlivened by the activities of the local populace.

Though devoid of a signature, the present panels join a small group of larger panels signed by Hugford which all share similar characteristics:

-a signed pair depicting respectively the Castel Sant’Angelo and the Palazzo del Quirinale in Rome, sold Sotheby’s, London, Treasures, 6th July 2016, lot 38 (£100,000)

-and a signed pair with landscapes similar to the present, sold Sotheby’s London, From the Collection of Prince and Princess Henry de la Tour D’Auvergne Lauraguais, 3rd May 2012, lot 40 (£91,250).

Slightly smaller panels than the present are also recorded, a pair sold Sotheby’s London, From the Collection of Prince and Princess Henry de la Tour D’Auvergne Lauraguais, 3rd May 2012, lot 37 (£37,250) and 38 (£21,250).

The Art of Scagliola

Rendered from a plaster of powdered selenite, scagliola became known in Italy as l’arte della pietra di luna because of the way the mineral recalls the colour of the moon when held up to light. A technique dating back to Roman times (lapis specularis) it was developed in the late 16th century as an inexpensive substitute to marble. Two centres of excellence emerged for the production of scagliola towards the end of the 17th century; the court of Maximillian I, Prince Elector of Bavaria (1573-1651) and the monastic communities in Reggio Emilia. As the technique became honed by skilled artisans its fluidity and versatility allowed them to draw from a host of decorative arts, emulating pietre dure, embroidery, lace-work, inlaid ivory, pastiglia stucco and even oil paintings. Eventually, the medium came to be prized as much, if not more, than marble itself.

Scagliola reached its apogee under Hugford whose closely guarded method is described in an unpublished account of his pupil and prodigy, Lamberto Gori (1730–1801). ‘This material’, Gori writes ‘called scagliola or Specchio d’asino (selenite) is calcinated or reduced to a friable condition by heat, ground into a very fine powder and then made into a paste which can be rolled out into slabs of various shapes and sizes. When the slab of paste hardens the surface is indented according to the design or patterns to be depicted, and then inlaid with a fresh paste mixed with whatever colours are needed for the picture. Only with extreme application and patience can such painstaking work be brought to completion and perfection. The object of this technique is to emulate the art of painting by representing in coloured scagliola and with an equal degree of naturalism, landscapes, seascapes, flowers, fruits animals, etc., and even, which is to be most wondered at and admired, the human figure itself. When completed, the surface of the scagliola picture can be polished and all trace of the inlaying technique is thus concealed. Indeed, scagliola pictures have often been mistaken for paintings under glass. Scagliola is so hard that is can be used for floors and so durable that it is often used for tombs and church monuments. But its most attractive quality is the high polish which lends it so delicate and precious an appearance’.

Enrico Hugford, the Abbot of Vallombrosa (1695-1771)

The enigmatic Enrico Hugford and his brother, Ignazio (1703-1778), were eminent figures in the Florentine art-world of the mid-18th century. Born to English parents, their father Ignazio Hugford was a staunch Catholic and left London with his wife in circa 1686 to forge a new life in Papal Italy. A watchmaker by trade, Ignazio Hugford settled in Florence where he obtained the post of ‘Aiutante di Onore’ (Honorary Aide) in the court of Grand Duke Cosimo III de’ Medici (1642-1723). It seems the clement Tuscan climate suited him, for as late as 1756 we find Robert Adam (1728–1792) sending him his prized gold pocket watch for repair as ‘its disease was little known by the Roman watchmakers’ (Fleming, op. cit., p. 106). It was not the last time one of the Adam brothers would cross paths with a Hugford of Florence. Enrico’s brother Ignazio was a prolific if somewhat second rate painter, who distinguished himself as a connoisseur and collector. Several paintings from his collection now adorn the walls of the Ufizzi, Florence. In 1760, whilst staying in Florence with Ignazio, James Adam (1732–1794) reflected on the architectural uses of scagliola in his journal. ‘The scagliola is curious’ he writes ‘and could be made to answer different purposes; for instance, for columns resembling different marbles, for tables resembling mosaic work, and for most elegant floors for baths and low apartments, or for linings to any place damp, etc.; and likewise for imitating different marbles in cabinet work, and such like things’ (Fleming, op. cit., p. 106). It is conceivable that James Adams’ exposure to scagliola during his time with Ignazio had some bearing on its use in several of Robert Adams’ famous interiors.

Scagliola in the hands of Enrico Hugford was elevated to an altogether higher plane, though it was some time before he could devote himself entirely to perfecting the art-form. Born in Florence on 19th April 1695, he began his novitiate as a Benedictine monk at the age of fifteen and entered the Abbey Vallombrosa on 27th April 1711. Hugford was an exemplary novice. Described as ‘much addicted to solitude and manual labour’ he evidently had the requisite attributes to master the labour intensive art-form (Fleming, op. cit., p. 106). However, his artistic talents did not emerge until he transferred to the Abbey of Saint Reparata at Marradi in 1723, whose close proximity to nearby selenite quarries made it a centre of scagliola production. Following several years of training under the monks at Marradi, Hugford moved to Abbey of Vallombrosa where he spent twelve years as Novice Master before succeeding Padre Bruno Tozzi – the botanist responsible for introducing the potato to Italy - as Abbot in 1743. He lived out the rest of his days in solitude in the Romitotio delle Celle at Vallombrosa.
Additional Notices & Disclaimers
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