Salvadori was born in
Piacenza. He initially trained at the Academies of Fine Arts of
Lucca and
Naples, where he was a long-time resident, but worked most of his life in
Milan. Among his painted works, mainly depicting genre subjects, are:
In campo;
The Chestnut seller,
Note cupe (exhibited in 1898 at Turin), and
Miseria stabile. However, it is as illustrator of books, journals, and newspapers that Salvadori was best known. He contributed in Milan to the monthly and weekly segments of the
Corriere della Sera during the editorship of
Silvio Spaventa Filippi. From 1903, he contributed to the
Romanzo mensile (which published serials of the adventures of
Arsenio Lupin and
Sherlock Holmes). He also worked for the monthly
La Lettura and, starting in 1908, for the weekly
Corriere dei piccoli. In addition, Salvadori contributed to the weekly
Domenica del Corriere and illustrated a number of children's stories for the "Biblioteca dei ragazzi" series (including
Alice in Wonderland) of the Istituto Editoriale Italiano, founded and curated by Silvio Spaventa Filippi. In 1908, he illustrated ''Nel regno dell'amore. Bozzetti narrativi e drammatici
by Edmondo De Amicis for the Treves publishing house. Five years later, he illustrated the anthology La Milano del Porta'' edited by
Attilio Momigliano for Formiggini. After the First World War, he recruited
Vincenzo Morelli to Milan to collaborate with submissions for La Lettura. Salvadori was also hired by the
Ricordi publishing company to create model set designs (
bozzetti) for future performances of Ricordi's catalogue. At least three operas by
Giacomo Puccini received their definitive 'look' through Salvadori's agency:
Edgar (complete scenography, 1889),
La Bohème (alternative design for Act II, combining models by
Lucien Jusseaume and
Albert Dubosq, 1901), and
Tosca (alternative design for Act II, 1901). ==References==