Circle of Raffaello Sanzio, called Raphael

G. Ajmone Marsan, Biella (according to the Bombelli archive, see Literature, 1991);
On the London art market, 1930s;
Private collection.

R. Longhi, 'Quadri italiani di Berlino a Sciaffusa (1951)', in Paragone, vol. III, no. 33, September 1952, p. 46, reproduced plate 23b (as by Raphael);
W. Angelelli & A.G. De Marchi, Pittura dal Duecento al primo Cinquecento nelle fotografie di Girolamo Bombelli, Milan 1991, p. 247, no. 517, reproduced (as "Raffaello?");
J. Meyer zur Capellen, Raphael. A Critical Catalogue of His Paintings. Vol. I. The Beginnings in Umbria and Florence ca. 1500-1508, Münster 2001, p. 115, under cat. no. 4, as copy no. 4/II.1.

55.2 by 41 cm.; 21 3/4 by 16 1/4 in.

This panel is an almost contemporary version of Raphael's famous painting, "The Solly Madonna", today in the Staatliche Museen Preußischer Kulturbesitz, Gemäldegalerie, Berlin (inv. no. 141; see Meyer zur Capellen, under Literature, pp. 112-114, cat. no. 4, reproduced). The Berlin original is datable to circa 1501-2 and shows the direct influence of Raphael's master Pietro Perugino in the figures' facial types. The pose of the Christ Child finds direct parallels in Perugino's works, in particular in the latter's altarpiece of 1493 in the Gallerie degli Uffizi, Florence, and Raphael's strong dependence on Perugino for the type adopted for the Madonna and for the landscape further support an early dating in the artist's career. Though not mentioned in any documents or early sources, Passavant informs us that the picture today in Berlin was at one time in a collection in Modena, after which it went to Milan in the 19th century, and subsequently entered the Solly collection (from which it takes its name). The present work, which faithfully reproduces the composition of the Berlin picture, was at one time considered to be an autograph version by Raphael himself (see Longhi, under Literature). Though this attribution can no longer be endorsed today, the painting is extremely interesting for being an early, near-contemporary copy and therefore extremely rare. Recent technical analysis of the panel has revealed some very faint underdrawing, probably executed in silverpoint, which would support a likely date of execution for this picture at the very beginning of the 16th century.

The goldfinch held by the Christ Child symbolises the soul and, in particular, refers to the Passion of Christ: legend has it that a goldfinch plucked a thorn from Christ's brow while he was carrying the cross and, according to tradition, the feathers around his neck were stained red by Christ's blood.

This painting is accompanied by a photostat expertise by Roberto Longhi, dated Florence 28 December 1959, in which the panel is attributed to Raphael himself.