Studio of Alessandro di Mariano Filipepi, called Sandro Botticelli
- Alessandro di Mariano Filipepi, called Sandro Botticelli
- The Baptism of Christ
- tempera on panel
Their sale, Rome, Galleria Sangiorgi, 21-27 April 1902, lot 499;
Rambaldi collection, Bologna;
Eugenio Burnath (or Bournat) collection, before 1924;
Bruno Canto, Milan;
In the present collection since at least 1963.
C.L Ragghianti, "Inizio di Leonardo," in Critica d'Arte, I, 1954, p. 118 (as Botticelli);
R. Salvini, Tutta la pittura del Botticelli, Milan 1958, vol. II, 1958, p. 78, reproduced plate 155B (as School of Botticelli);
R. Lightbown, Botticelli, Complete Catalogue, Los Angeles 1978, vol. II, pp. 151-152, cat. no. C65, reproduced p. 151, fig. C65 (under Workshop and School pictures as untraced, "no attribution can safely be made of it in its absence");
G. Mandel, L'opera completa del Botticelli, Milan 1978, p. 116, cat. no. 115, reproduced (under Workshop and School pictures as untraced and therefore impossible to give an attribution);
N. Pons, Catalogo completo, Botticelli, Milan 1989, pp. 87-88, cat. no. 122, reproduced p. 87, fig. 122 (repeating comments of Lightbown and Mandel and suspending judgement until the painting is traced).
"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."
The composition is undoubtedly of Botticelli’s design and no other versions of the subject in this configuration survive today. The painting itself was executed by a member of Botticelli’s workshop and, as Professor Andrea De Marchi notes, the approach to the rock face and landscape suggests an artist also familiar with the work of Ghirlandaio.1 Lightbown compared the device of the rock formation used to frame the composition with that in Botticelli’s Holy Trinity Surrounded by Seraphim with Saints Mary Magdalene and John the Baptist and Tobias and the Angel in the Courtauld Gallery, London (inv. no. inv. P.1947.LF.38).
We are grateful to Professors Laurence Kanter and Andrea De Marchi for endorsing the attribution upon firsthand inspection and to Professor Nicoletta Pons on the basis of photographs.
1. Private oral communication with the department, 29 January 2016.