Nicolò Rondinelli

Cendra, Rome, by 1913;
Elia Volpi, Villa Pia, Florence;
His sale, New York, American Art Association, 27 November 1916, lot 1000;
There purchased by J.E. Aldred, New York;
With E. and A. Silberman Galleries, New York;
Gift of a Friend to the High Museum of Art in 1951 (Inv. no. 1951.21).

Dayton, Ohio, Dayton Art Institute, circa 1951.

C. Ricci, "Uno scolaro di Giovanni Bellini, Nicolò Rondinelli," in Venezia, 1, Milan 1920, pp. 8, 28;
A.G. Hess, Italian Renaissance Paintings with Musical Subjects: A Corpus of Such Works in American Collections with Detailed Descriptions of the Musical Features, New York 1955, cat. no. XCIb, reproduced;
B. Berenson, Italian Pictures of the Renaissance, Venetian School, New York 1957, vol. I, p. 151, reproduced plate 394 (as "Homeless");
E.M. Zafran, European Art in the High Museum, Atlanta 1984, p. 49, reproduced;
A. Tempestini, Bellini e Belliniani in Romagna, Florence 1998, pp. 180, 184 no. 2 (as a late work);
P.L. Roberts, Corpus of Early Italian Paintings in North American Public Collections: The South, Athens, Ga. 2009, Vol. I, pp. 66-67, reproduced.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com, an independent restorer who is not an employee of Sotheby's. This work is painted on a panel that has been thinned and cradled on the reverse. The panel is flat and the paint layer is stable. There is a noticeable yellowness to the paint layer at present. The original palette would become more apparent if the work were cleaned, but restorations would be removed during the process. Some of these restorations are clearly visible to the naked eye in and around the still life of the apples on the ledge below the figures. Within the figures, the clothing of the Madonna seems to be very healthy. Although the green curtain and the sky are restored, they are healthy and retain a good deal of their strength and color. The faces and figure of Christ have developed some cracks. Most of these are not restored, but there are a few spots of retouching in the legs of Christ. There are also some retouches on the bridge of the nose of the Madonna and in her neck. The paint layer seems healthy and not unduly damaged or compromised on close examination, and it is recommended that this work be cleaned and retouched as necessary. The right restoration would make a significant difference to the picture.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Rondinelli was one of the leading painters in Ravenna in the late 15^th century.  He is thought to have been born in that city, but is first documented in circa 1490 in Venice where he worked in the studio of Giovanni Bellini.  Even after his return to Ravenna shortly after 1495, his style continued to be strongly influenced by that of his master.

Tempestini (see Literature) dates this work to late in Rondinelli's career, well after his departure from Venice.  It typifies his compositions of the Madonna and Child in which the principal figures are placed behind a ledge and set against a background of a partially drawn curtain.  While often times a view of a distant landscape was depicted at the right or left side, here the artist has included the figure of a musical angel.  The still life of apples resting on the ledge allude to original sin and serve as a reminder of Christ’s sacrifice that redeems mankind.¹  A very similar work, though with the figure of Saint Jerome in prayer at the left side, is in the collection of the Accademia, Venice.

1.  See P.L. Roberts, op.cit., p. 66.