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Giannicola di Paolo
THE ENTOMBMENT OF CHRIST, WITH THE VIRGIN, MARY MAGDALENE, NICODEMUS, SAINT JOHN THE EVANGELIST, AND OTHER SAINTS
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200,000300,000
LOT SOLD. 312,500 GBP
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3
Giannicola di Paolo
THE ENTOMBMENT OF CHRIST, WITH THE VIRGIN, MARY MAGDALENE, NICODEMUS, SAINT JOHN THE EVANGELIST, AND OTHER SAINTS
Estimate
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
200,000300,000
LOT SOLD. 312,500 GBP
JUMP TO LOT

Details & Cataloguing

Old Masters Evening Sale

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Giannicola di Paolo
ACTIVE IN PERUGIA 1481-1544
THE ENTOMBMENT OF CHRIST, WITH THE VIRGIN, MARY MAGDALENE, NICODEMUS, SAINT JOHN THE EVANGELIST, AND OTHER SAINTS
oil on panel, in an elaborately carved and gilded frame
100 x 100 cm.; 39 3/8  x 39 3/8  in.
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Provenance

The Conti Robilant, Venice, by 1933;

By descent at Palazzo Mocenigo, Venice, to Conte Andrea Robilant;

By whom sold, London, Christie’s, 29 June 1962, lot 68, for 1,900 guineas to Chance (as Perugino);

Anonymous sale ('The Property of a Lady'), London, Christie's, 10 July 1987, lot 103 (as Giovan Battista Caporali).

Literature

C. Castellaneta and E. Camesasca, L’opera completa del Perugino, Milan 1969, p. 123, cat. no. 282, reproduced (as attributed to Perugino);

F. Todini, La Pittura Umbra: dal duecento al primo cinquecento, Milan 1989, vol. I, p. 79 (as Giannicola di Paolo).

Catalogue Note

Long considered to be by the great Perugino, this panel is in fact a mature work, datable to circa 1520, by Giannicola di Paolo, one of the foremost painters in Perugia in the early Cinquecento. The artist was employed in Perugino's workshop and is known to have collaborated on numerous works, including the Last Supper in the church of Sant’Onofrio, Florence. Later, as an independent painter, he set up a workshop in Piazza del Sopramura, in the same square as his former master, and his style remained heavily influenced by the latter throughout his career.1 

Evidence of pouncing in the execution of some paintings, such as the Annunciation attributed to Giannicola in the National Gallery, London (inv. no. NG1104), suggest that Perugino’s cartoons were freely accessible to him.2  However, rather than directly copying Perugino’s paintings, the artist likely made his own drawings from his master’s modelli while working in his studio. For example, the design of Giannicola’s impressive Ognissanti altarpiece of 1506, now in the Galleria Nazionale dell’Umbria, Perugia (inv. no. 323), derives from Perugino’s San Pietro Ascension composition, though the figures are different, suggesting they are of his own invention.  

We are grateful to Professor Filippo Todini for re-endorsing the attribution on the basis of digital images.

1 C. Higgitt, M. Spring, A. Reeve and L. Syson, 'Working with Perugino: The Technique of an Annunciation attributed to Giannicola di Paolo,' in National Gallery Technical Bulletin, Renaissance Siena and Perugia 1490–1510, vol. 27, 2006, p. 99.
2 Higgitt, Spring, Reeve and Syson 2006, p. 99.

Old Masters Evening Sale

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London