Iconic Emanuele Luzzati “Chariots” Painting Sold
“Chariots”, a six panel, 26 foot long by 8.5 foot tall multi-media painting of an undersea chariot battle between mythical beasts, horses and Etruscan warriors by the late Genoa-based artist, Emanuele Luzzati, has been sold. The ensemble was purchased from the traders at Alang, India by MaritimeMatters co-editor Peter Knego in 2004 when he made his first visit to the shipbreaking beach and offered for sale on his MidShipCentury website.
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Emanuele Luzzati was in the cabal of Italian artists commissioned by the troika of designers (Gio Ponti, Gustavo Pulitzer-Finale and Nino Zoncada) who fashioned the modernist interiors of Italy’s most important post war liners.
Luzzati’s first sea-going commission was for the vastly rebuilt CONTE BIANCAMANO in 1949 and his work would grace dozens of subsequent liners and cruise ships, including ANDREA DORIA, LEONARDO DA VINCI, EUGENIO C, AUSONIA, FEDERICO C, STELLA MARIS II, STELLA OCEANIS and the last ship designed by Nino Zoncada (and Luzzati’s last, as well), the beautiful STELLA SOLARIS (2).
The panel was the centerpiece of a virtual floating museum of artwork by Luzzati and Roncole-based Enrico Paulucci found on board Sun Line’s STELLA SOLARIS, which wound up at Alang in 2004.
“With ten important liners and cruise ships on that beach at that time, I had to go to Alang and bid them farewell. It was such a sad but historic time and that first visit would change my life. ‘Chariots’ was sitting in the dirt under one of the traders’ awnings and I had no idea who had painted it but knew it was an important piece of art and had to be saved. I got into a bidding war with a cinema owner from a remote part of India before my agent let me know it was finally mine,” Knego recently recalled.
He added, “Later, I photographed the signature and did a search for ‘Luzzati’, then learned what I had acquired. Paolo Piccione, the great Italian ship historian, arranged for me to visit Luzzati at his museum in Genoa and I was able to show that kind, brilliant man photos of the things I had saved. He seemed quite happy and animated, although I don’t speak Italian and Paolo had to translate our conversation.”
It was the last interview Luzzati did before his passing in early 2007.
“It was such an honor having this beautiful piece of art in my possession for the past seven years. I think it is safe to say it is one of Emanuele Luzzati’s most spectacular works and I’m proud to have played a part in its transition from the high seas to its new home.”
“The sale of ‘Chariots’ will help pay off the debt I have acquired with my MidShipCentury venture. My accountant will finally stop shaking his head at me,” Knego joked, adding, “In the meantime, I still have quite a catalog of Luzzati and other artworks from the SOLARIS and other ships (EUGENIO C, VICTORIA, STELLA OCEANIS, STELLA MARIS II) in my inventory and have kept a number of his panels for my private collection, although many of them are too large for me to display in my home. I hope one day to be able to take these objects on tour — I don’t think the world realizes yet just how beautiful the art and fittings of the MidCentury liners and cruise ships were. Edwardian and Art Deco, yes, but MidCentury Modern — we’re not quite there with the majority of the shipping enthusiasts while designers rarely think ‘ship’ when they think Modern. These things were commissioned and designed specifically for each vessel whereas today, the artworks are largely ‘shopped’ from galleries by the designers. It’s not the same.”
The panel was sold for an undisclosed amount to a “buyer in the Caribbean” on Knego’s behalf by Los Angeles-based Off The Wall Antiques, a leading vendor of fine art and one-time sponsor of the annual Modernism Show held at the Santa Monica Civic Auditorium. In 2008, “Chariots” was featured on the cover of the program and was the centerpiece of the show, going on display with several other works of art and fittings from Knego’s MidShipCentury catalog, including glass panels from the EMPRESS OF CANADA, a Luzzati ceramic ensemble and a metal relief from Incres Line’s VICTORIA.
Special thanks to Peter Knego and Mike Masino.
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Hello Peter,
This what you call confident artwork. It is totally unlike the safe “corporate”, MIiami-driven work one sees aboard the ships of today!
Peter on the other side of the pond
I agree Peter (of other pond), amazing work indeed. I was fortunate to be in India with Peter on that first intense trip to Alang. So glad to see this artwork saved, treasured and credited.
Peter, you are, as always on the nail. However, I do give props to Celebrity for infusing their ships with some rather provocative works, even if they weren’t specifically designed for their ships.
Martin, that first trip to Alang with you was one of the great adventures of my life. A joyous nightmare if there ever was one and definitely the beginning of an entirely new chapter in my existence. Not for the squeamish…
I am not into arts, but this is really a nice and great piece. Luckily it is looking into a bright future now!
Sun Line is virtually unknown by many of todays cruise nuts. The three ships they sailed during the 70’s and 80′, into the early 90’s, were works of art indside, their public rooms were adorned with gilded statues and murals, as noted here, above. Of the three Stellas, the Solaris was the larger and often sailed during the winter from Galveston.
It is probably correct true that such splendid works of art – worthy of museums – may be lacking on many new ships today. If one really wants to have an art feast sail Holland America – with ships filled with beautiful art, and Cunard, with bronze toned releif and etched glass wall panels. I am confident that there are other notable ships today filled with qulity pieces of art, Does the main stream cruiser notice or even care?
In 1979 I made a cruise of the Greek islands aboard Stella Solaris and sat at a table in the dining room very close to this wonderful piece. As an Italian Line refugee I was astounded at how similar Stella Solaris’s fittings were to Leonardo Da Vinci. Only later did I come to realize that her owners had reached out beyond the Aegean to Zoncada and Luzzati to create their Greek vessel in the Italian style. Peter, it’s wonderful that you have been able to ensure the survival of this artwork. Will it be in a location accessible to the public or entirely in private hands? Did the article in The New York Times assist you in making this sale?
The use of art aboard passenger ships has changed over the intervening years. A number of factors have played into this. Gone are the “Ships of State” which were meant to display a national culture of art to the world. Governments did not hesitate to endow ships with commissioned works of their finest artists. Nowadays, the art aboard a cruise ship may be a picture hung on a wall but on ships like Stella Solaris, and notably the Italian and French ships, the art was the entire wall itself. Things began to change with the introduction of QE2 which was almost bereft of any significant art. Color and architectural form was an end onto itself, and much cheaper to execute. QM2 has revived some interest in more significant pieces on board. I’m thinking particularly of the reverse painted glass panels and resinous bas reliefs but these are recreations of art deco works, more inspired by Normandie than the original Queens and certainly are not representative of a 21st century style. Pity. One art ship worthy of mention, and perhaps the last to have significant contemporary art, is Costa Victoria which has public rooms with art walls. It’s also interesting to see how art on many vessels has been placed on the floors where carpeting, once monochromatic, has become the principle form of decoration in many public rooms. Peter, you have documented this in many of your totally “random” photos of carpeting aboard the vessels on which you report. I think this trend has reached its apotheosis aboard the new Queen Elizabeth!
Carl Ilardi
“……….photos of carpeting aboard the vessels on which you report. I think this trend has reached its apotheosis aboard the new Queen Elizabeth!”
Hello Carl,
The apotheosis for carpeting was in fact reached in 1935 and 1936 with Orient Line’s ORION and ORCADES. The carpets/rugs designed by Marion Dorn (an American living over here) wrere very stylish. Sadly, there are few colour photos of the interiors of these ships.
Peter
The proud Sun Line was founded in the 1950’s, and was a joy to sail, a sharp contrast between Sun Line, Greek elegance, very upsacle , and Greek Line, more homey and traditionally Greek. I miss these two cruises lines. There is nothing around that can even come close to what they offered.
Thanks for the commissioned art and all interiors for Sun Line must be made to Mrs. Isabella Keusseoglou, co-founder of Sun Lines with her husband, Charalambos Keusseoglou. Together, his demand for a tight-run ship, hers for elagnt interiors, made the line such a delight.
You guys made a great sacrifice to rescue a fine piece of art and I’m sure Mr. Luzzati smiles down upon you. I wish I had known that Sun Cruise line was going to tear apart Meridian’s stained glass chapel, I would have hauled it away. It ended up in a dumpster according to a former crewman.
Martin: This is a wonderful article about an important and wonderful artist that I was not familiar with. I love that we can still find lost treasures. Best, Lewin
I too sat near some heavy, major art in the MDR on the STELLA SOLARIS< and through my old prints and slides, plus a ratty old ship brochure, and of course, the lovely pictures here, can revisit the SOLARIS, and have my fond memories of Sun Line. Thank you guys for caring.
Incidently, private ownership of many such artifacts is fine, I have many, not on this scale, to be sure, but I do have a couple of major pieces bought years ago.
Museuams are surely the place for many such items, however, if it is not specifically for marine displays, be it tug, liner or cruise ship, these important things may well be lost on the general public. How many actually have seen and knew what they saw with the doors from first class dining room of the NORMANDIE in Florence? Worn and uncared for in the outside elments, they are sadly shabby to see, but I take umbrage in their existance each tine I see them in Florence.
I wonder what became of the plethora of lovley art and chandeliers that bejeweled Home Lines SS OCEANIC, talk about beauty. And all that has faded from liners of purpose, of beauty.
PS Hi Carl!
Hi Kenneth!
First of all, many thanks for your contributions here. Please tell more about the NORMANDIE doors in Florence. I’d written Florence off from future visits as the crowds are just too confounding but if I knew there was a bit of NORMANDIE in use there, I could be enticed to return. Sadly, the OCEANIC’s interior fittings and artwork were basically stripped and trashed during her Premier conversion. Some of the art panels and ceramics were dug from the trash and now grace a few private collections.
All the best,
Peter
Hi Carl!
SO sorry I missed your post until now. Mea culpa.
“Chariots” went to a private buyer. I don’t believe the NYT article had an impact on its sale as it was consigned to a dealer in California who was unaware of the story. Unfortunately, their confidentiality agreement prevents me from knowing where it went other than to a nice place on a Caribbean island. If I could have kept it, I would, but this has been a very costly enterprise and bills needed to be paid. Also, it is too large for my home and would not fare well in storage. The resin coating is actually quite delicate.
However, I content myself knowing that I have probably what is the most magnificent collection of Luzzati artworks in the world. I have stunning ceramics, hammered panels and two paintings similar to but smaller than “Chariots” that will stay in my collection (from STELLA SOLARIS, STELLA MARIS II, STELLA OCEANIS, AUSONIA, Incres VICTORIA and EUGENIO C) and hopefully be displayed or taken on “tour” at some point. I just need to find a person with the same vision and a few art world contacts willing to cooperate.
All my best,
Peter
Dear Glenn,
Actually, it was the then Chandris-owned Celebrity Cruises that must have disposed of the GALILEO’s chapel. Heartbreaking stuff. I never understand why people can’t just step in and claim these things before they are lost forever. A similar thing is happening now with the woodwork from FUNCHAL. In ten years, people will ask “why didn’t anyone save that?” Of course, there are practical considerations like space (and unwitting spouses) but most people have enough space to accommodate one or two large things.
All my best,
Peter, apparently catching up on posts today…