Marco Bello

The support consists of a panel which has been inset into a wooden stretcher. This supporting device does not appear to have been effective and there are a number of old horizontal cracks in the panel, visible in the catalogue illustration. The paint surface is secure and the colours are nicely preserved. Restoration work is evident in the figure of the Christ child and Madonna and this is confirmed under UV light which reveals scattered old retouching work elsewhere. Offered in a modern parcel gilt and sgraffito frame in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

First documented at Udine in 1512, Marco Bello is thought to have been trained in the workshop of the great Giovanni Bellini in Venice. His earliest known work, a Circumcision in the Accademia dei Concordi in Rovigo, is signed: Opus Marci Belli disciplus Joannis Bellini. The group of the Madonna and Child used here clearly reflects Bellini's types, and was used on other occasions by the painter. These include the Madonna and Child with four Saints  formerly in the Leuchtenberg collection and the Madonna and Child with Saint Simeon and Saint Francis (formerly German art market, present whereabouts unknown), both recently assigned to Marco by Tempestini.¹

We are grateful to Prof. Peter Humfrey for suggesting the attribution to Marco Bello following first-hand examination of the original.



1. For which see A. Tempestini, 'Il catalogo di Marco Bello: nuovi contributi e riflessioni', in Studi di storia dell’arte,  vol. 11, 2000, pp. 29-72, and pp. 32, 36, figs. 12 and 33.