Bartolomeo di Giovanni

Borromeo collection, Milan;
Museo Borromeo, Palazzo di Milano (opened to the public in the last quarter of the 19^th century).

Isola Bella, Archivio Borromeo, Inventario dell'appartamento de Conte Giberto Borromeo nel suo Palazzo in Piazza Borromeo 7. Milano (started on 23 November 1914 and updated), "Stanza da letto della Principessa Rosanna Borromeo, 1 Dicembre 1926, Quadri della Pinacoteca Borromeo, N. 66. Una Pietà. Attribuito al Ghirlandaio. Scuola fiorentina su tavola."

The following condition report has been provided by Karen Thomas of Thomas Art Conservation LLC., 336 West 37th Street, Suite 830, New York, NY 10018, 212-564-4024, info@thomasartconservation.com, an independent restorer who is not an employee of Sotheby's. This painting is in excellent condition overall. Retouching, visible under ultraviolet illumination, is limited to a few small losses in Christ's head, a portion of Nicodemus' proper right arm and a scratch through his knee, and two losses in Nicodemus' hair. Scattered light wear is commensurate with the age of the painting. The wood panel support is comprised of a single horizontally grained board and displays a mild convex vertical warp. Fairly recent structural intervention to address old insect damage and to fill in channels from crossbattens is visible on the back. The varnish is clear with an even gloss. The painting appears to have been recently restored and may be enjoyed in its current state.
"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 attribution of this small panel to Bartolomeo di Giovanni has been confirmed by Nicoletta Pons who dates it to circa 1488-1490.  Depicting the Pietà with Saint Nicodemus, the Virgin Mary and Saint John the Evangelist, it once formed part of the predella of an altarpiece.  The body of Christ is seen being lowered into the sepulchre by Nicodemus who is flanked by the Virgin Mary and Saint John.  In the background at left  is a small, quickly painted vignette of Christ carrying the cross while, at right, the Holy Women, or Three Maries, are seen making their way to Christ’s tomb. This painting can be compared to two other depictions of the Pietà by Bartolomeo di Giovanni: one is the central panel of a predella for an altarpiece by Domenico Ghirlandaio (formerly in Chiesa di San Marco, Florence and now in the Galleria degli Uffizi); the other, also a central panel, is in the Walters Art Gallery, Baltimore.¹

The earliest work by Barolomeo di Giovanni is the predella to another altarpiece by Ghirlandaio, depicting a Sacra Conversazione, of circa 1475-80 (Lucca Cathedral).  Bartolomeo frequently collaborated with Ghirlandaio, in whose workshop he may have trained.  He also had a working relationship with Botticelli with whom he is thought to have collaborated on the spalliere depicting Nastagio degli Onesti’s Banquet in the Wood (circa 1483, Museo del Prado, Madrid).  Though specializing in small-scale paintings, Bartolomeo produced a few large independent works, such as the Deposition (Toronto, Art Gallery of Ontario) and a tondo depicting the Madonna and Infant Saint John the Baptist Adoring the Christ Child, sold in these Rooms (31 January 2013, lot 132).

An expertise by Nicoletta Pons, dated 25 June 2010 accompanies this lot.  We are grateful to Mauro Natale for providing information on the Borromeo collection and inventory.

1.  See N. Pons, Bartolomeo di Giovanni, exhibition catalogue, Florence 2004, pp. 14-15, reproduced fig. 6, and p. 77, reproduced fig. 3c; and p. 47, fig. 39 reproduced.