Martino Piazza da Lodi

Private Collection, Brussels.

F. Moro, 'Pittura a Lodi. 1487 e oltre', in M. Gregori (ed.), Pittura tra Adda e Serio: Lodi, Treviglio, Caravaggio, Crema, Milan 1987, p. 105;
F. Moro, 'Due fratelli, due differenti percorsi: Martino e Albertino Piazza', in Studi di Storia dell'Arte, 8, Todi 1997, pp. 87-89, reproduced p. 130, fig. 7, listed as location unknown.

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 shows no reinforcements on the reverse. There is some unevenness to the panel, perhaps due to a knot in the wood, which has caused a loss in the right side of the archway. There are some vertical cracks in the Madonna's robe in the lower center, but throughout the picture one sees a very healthy paint layer even though no restorations are apparent under uv. The varnish is very dull and misleading. It may be if the varnish were removed more restorations will become evident, but in general the condition is very healthy. A fresh varnish is certainly required.
"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."

This charming panel by Martino Piazza da Lodi is one of the artist's few dated works. With his brother Alberto (1490-1528/9) he dominated the art of the Lombard city of Lodi in the 16th century and their work has only recently been separated by Franco Moro.

Characteristic of Martino's work in this period is the approach to detail, particularly in the hair and eyebrows, the leaves in the trees and the flowers in the angels' hair, as well as the distinctive zig-zag of the folds. The artist has taken great care in his chromatic approach to the composition: the Madonna and Joseph's bold reds and blues (whose prominence in either figure has been reversed) allow them to stand out from the more muted tones of the shepherds and the architecture, only to revert to the strong colours of the background beyond. Though the disposition of the figures differs, the architectural setting and the landscape beyond are based on Albrecht Dürer's signed woodcut of the Adoration of the Magi (Bartsch 87 [132]) from the series of the Life of the Virgin.

A slightly larger version, also on panel but with minor differences in the details and dated 1620, was sold in these Rooms, 24 January 2008, lot 40, for $241,000.