Lot 164
  • 164

Simone Peterzano

Estimate
25,000 - 35,000 GBP
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Description

  • Simone Peterzano
  • Madonna and child
  • oil on panel

Condition

"The following condition report has been provided by Henry Gentle, an independent restorer who is not an employee of Sotheby's. The strengthened poplar panel has had worm infestation in the past. The panel is flat but the paint surface is unstable in places with obvious paint loss and recent restoration to replace this. Some of the worm damage has found its way through to the paint surface and these holes have been filled and restored. Shrinkage of the paint to the Madonna's blue robe has resulted in pale cracking. Old rebate damage to the paint surface in the lower left and right edges has resulted in retouching here. Generally, the paint surface is well preserved and there are areas of good original quality. The varnish has discoloured and its removal would improve the tonality. Offered in a gilt wood frame with some damages."
"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."

Catalogue Note

Simone Peterzano is perhaps best known for being the first master of the young Caravaggio, who was apprenticed to him for four years after being orphaned by the death of his mother in 1584. Peterzano was a talent in his own right and he claimed to have been a pupil of Titian's; although there is no contemporary documentary evidence to support this he was to sign his Deposition (1583-4) in the Church of S. Fidele in Milan 'S Peterzanus Titiani Al[umnus]', and the claim is  further supported by the document dating from 1596 regarding a payment from the Fabrica dell Duomo to 'Simone Peterzano de'Tiziani pittore' for the Annunciation of the Church of Rogorbella (now the Oratorio di S. Matteo alla Banchette, Milan).1

The same model would appear to have been used by Peterzano for his Annunciations in the Seminario Dioscesano, Venegono Inferiore, and the Chiesa de S. Maria della Passione.2 Both are considered to have been painted circa 1590 and a similar dating for the present work should be considered.

 

1. E. Baccheschi and M. Calvesi in I Pittori Bergamaschi. Il Cinquecento, vol. IV, Bergamo 1978, p. 473.
2. Idem., p. 529, cat. no. 8, reproduced and p.532, cat. no. 18, reproduced.