Giovanni Bernardino Azzolino

The Fundacion Gabriel d'Annunzio;
By whom sold, New York, Christie's, October 7, 1993, lot 82.

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 painting does not appear to have been restored, enthusiastically at any rate, for quite a long time. There is an old lining to the canvas which is not sufficient anymore. The picture may have been rolled more recently and as a result, there are losses which are un-restored and situated around the edges, in the waist of Christ and in his shoulders, in the angels on the left and through the figures in the center left. Across the bottom edge a good deal of paint loss has occurred. For a picture of this period and scale, these losses are not unexpected and the likelihood is that there are no other restorations that are not currently visible. There is an original join to the canvas running through the right side which is still stable and not active. This painting needs a fresh lining, a complete cleaning and some retouching to address the above-mentioned losses. Nonetheless, as hard as it may be to grasp whilst looking at the picture in its current state, the painting is actually in very respectable and good condition.
"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."

Azzolino, a native of Sicily, was trained as both a painter and sculptor.  He is recorded in Naples from 1594 where he received commissions for the decoration of numerous local churches.  Though surely aware of the innovative work of Caravaggio and other artists in his circle, such as Jusepe de Ribera (who married Azzolino's daughter), his style was more strongly influenced by such contemporary Neapolitan artists as Belisario Corenzio and, particularly, Fabrizio Santafede.

This impressive altarpiece is closest in style to another work by Azzolino, the Madonna and Child with Saints, of circa 1610, in the church of Gesù Nuovo, Naples.  The figures of the two apostles in the foreground and the one at far right are similar to those in the Pentecost in the church of S. Francesco at Caiazzo, near Caserta, his only signed work.