Matteo di Giovanni

Suida Manning Collection.

J.K. Kettlewell, The Hyde Collection Catalogue, Glens Falls, New York 1981, p. 33 (where misidentified as Miracle of Saint Nicholas of Tolentino);
G. Coor, Neroccio de'Landi, 1447-1500, Princeton 1961, p. 25
K. Christiansen, L. Kanter, C. Strehlke, Painting in Renaissance Sienna, 1420 - 1500, exhibition catalogue, New York 1988, pp. 280 - 281, no. 50 b, reproduced pp. 280 and 281.

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 work on panel is unreinforced on the reverse. It has been treated, filled, and joined on the reverse where a few cracks were active. The paint layer has been cleaned and restored. I do not find the varnish or restorations to be particularly good, and although the work could be hung in its current state, the restorations could be considerably more effective. There are some broad restorations in the near bank of the river. There are also restorations in the bridge, the twin arches above the water on the right side, the trees, the red awnings, the saddlebag of the donkey, and in paint losses beneath the window on the far right. Some of the hair on the donkey's stomach also seems to be added. There are inevitably other restorations not mentioned here. There is a good deal of graphic information in this picture which would be sharper and more accurately presented if the restoration were re-examined. However, the work could be hung as 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."

This engaging and highly emotive Saint Bernardino restoring a child to life once formed part of a predella from an as yet unidentified altarpiece. Two other panels have been identified as belonging to the same altarpiece: a Banquet of Herod (The Hyde Collection, Glens Falls, New York), and a Crucifixion of Saint Peter (Keresztény Muzeum, Esztergom).¹ The Ezstergom Crucifxion of Saint Peter was once part of the collection of Johann Anton Ramboux, and when sold from that collection (Cologne, Heberle, 23 May 1867) it was described as being paired with a Beheading of Saint Paul (location unknown). Assuming the existence of that now lost altarpiece, the original predella would have consisted of four panels, all of roughly the same dimensions, and all by Matteo di Giovanni. All three known panels retain their original gilt right and left edges, with similar punched circles framing the picture field, as well as corresponding traces of a patterned candelabra motif. A similarly handled Crucifixion (Manchester City Art Gallery) by Matteo di Giovanni may be the central scene of the predella, as it shares with the aforementioned panels a very similar figure style and employment of a deep landscape, most readily apparent in the present picture.²

Based on the loose, sketchy quality of the figures, simplified spatial construction compared with Matteo di Giovanni’s earlier works, and generalized architectural arrangements, Larry Kanter has dated this work (along with the other panels from the group) to the early 1480’s.³ Such a dating would place it later than both the predella of the Cinughi altarpiece of the Madonna of the Snow (1477), and the Saint Barbara predella in the Vatican, but earlier than the predella in the Museo d’Arte Sacra, Buonconvento (mid-1480’s).

The scene presented here by Matteo di Giovanni tells the story of Saint Bernardino (d. 1444) and the miracle by which he emerged from heaven to save a drowning ten year old boy called Carino of Aquila. The arrangement of the scene is of prime importance here, as the artist offers a scene fraught with peril and dynamism. Previous depictions of the story tend to focus on the manner in which the young boy was saved, that being a group of praying citizens. It was used as a didactic tool from which to understand the holy powers of Saint Bernardino. Such an approach to the narrative can be seen in Sano di Pietro’s panel from the early 1450’s⁴, in which the act of resuscitating the young boy is placed in the background, while the praying figures are featured in the immediate foreground. Matteo di Giovanni chooses in this composition to offer a highly dynamic and realistic presentation of the scene. The water in which the young Carino drowns is rendered as a rushing stream of water, along which his panic stricken mother approaches in a state of shock.

1. See Literature, Kanter 1988, p. 278.
2. Ibid, p. 279.
3. Ibid.
4. Ibid, p. 153, cat. no. 20, reproduced in color.