Zanino di Pietro

Galerie Feischmann, Munich, 1932;
William Randolph Hearst (1863-1951), New York and San Simeon, California;
The Putnam Foundation, San Diego, by 1964;
By whom sold, London, Sotheby's, 5 July 1967, lot 21 (as G. da Fabriano);
There purchased by the father of the present collector.

S. Padovani, "Materiale per la storia della pittura ferrarese nel primo Quattrocento", in Antichità Viva, 1974, p.14, reproduced fig. 24.

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 is on a panel which is cradled and flat. The paint layer is stable. There is a very rugged quality to the gilding and to the paint in the Madonna's decorated robe, which seems to be very healthy. The robes of the angels seem to be healthy, and the pink wrap of Christ also seems to have a good deal of health. The flesh colors in the Child and in the Madonna have weakened, particularly in the shadows and transitions; therefore, there is some ground color showing in the cheek of the Madonna, around her eyebrows, in her fingers and in the features of Christ. I do not necessarily think the restoration should be continued, and I do not think the picture should be cleaned. This picture should be lit properly, but the restoration seems to be effective as it is.
"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."

Along with Jacobello del Fiore, Zanino was one of the dominant painters in Venice in the first decades of the fifteenth century. His style betrays the influence of Gentile da Fabriano who passed through la Serenissima in the early 1400s. Formerly known as Giovanni di Francia, Serena Padovani was the first to show that the Madonna and Child in Palazzo Venezia in Rome, signed and dated 1429, is in fact the work of Zanino.¹  

The composition may be compared to another Madonna of Humility whose current whereabouts is unknown. Though differing in details, the two designs both present the Madonna dominating the space around her and in each great care has been taken in the description of Her cloak.


1. See S. Padovani, "Una nuova proposta per Zanino di Pietro", in Paragone, XXXVI, 1985, pp. 73-81.
2. Ibid, pp. 77-78, reproduced fig. 58.