Sold Without Reserve | BERNARDINO DI BOSIO ZAGANELLI, CALLED BERNARDINO DA COTIGNOLA | MADONNA AND CHILD ENTHRONED WITH SAINTS MARY MAGDALENE AND CATHERINE OF ALEXANDRIA BEFORE A LEDGE, A LANDSCAPE B...
Estimate: 30,000 - 50,000 USD
Estimate: 30,000 - 50,000 USD
Property from a Distinguished Private Collection, Sold Without Reserve
BERNARDINO DI BOSIO ZAGANELLI, CALLED BERNARDINO DA COTIGNOLA
(Cotignola circa 1470 - circa 1510)
MADONNA AND CHILD ENTHRONED WITH SAINTS MARY MAGDALENE AND CATHERINE OF ALEXANDRIA BEFORE A LEDGE, A LANDSCAPE BEYOND
oil on panel
10½ by 8 in.; 26.6 by 20.2 cm.
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, firstname.lastname@example.org, an independent restorer who is not an employee of Sotheby's.
This painting is in sound condition overall with some of the minute details nicely preserved. There appear to be multiple campaigns of restoration, carried out at different moments in time, but all of a skillful nature. While some small elements have held up well over the years, such as the ornamentations on the donors' collars or the subtle pattern where the light garment is draped over Mary's shoulder, other areas, including much of the pattern on the cloth of honor, have been largely reconstructed. A few areas, such as the left-hand donor's lower sleeve and a portion of the Madonna's sleeve and skirt on the left, have no cracks in the paint, indicating these are newer retouches. The painting is coated with an aged varnish that while not markedly discolored, strongly fluoresces under ultraviolet light, making it unclear how much restoration may exist. The panel appears to retain its original thickness and gessoed surface on the back, and displays a mild convex lateral warp. Cleaning could be considered to remove old varnish and restorations, but would have to be weighed against potentially requiring a fair amount of retouching to address wear and loss.
"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."
Patrizi Collection, Rome;
Possibly with Galleria Bellini, Florence;
Austrian Embassy, Rome, before 1965 and probably until 1990;
Anonymous sale, New York, Sotheby's, 29 January 2005, lot 10;
A. Paolucci, I pittori da Cotignola Francesco e Bernardino Zaganelli, Ph.D. dissertation, University of Florence 1964, vol. I, pp. 28-30, vol. II, pp. 16-17;
R. Roli, "Sul problema di Bernardino e Francesco Zaganelli," in Arte Antica e Moderna, XXXI, 1965, p. 232, reproduced pl. 80b;
F.R. Shapley, Paintings from the Samuel H. Kress Collection. Italian Schools: XV-XVI Century, London 1968, pp. 68-9, note 4.
A. Colombi Ferretti, "Zaganelli Bernardino e Francesco," in La pittura in Italia. Il Cinquecento, Milan 1987, p. 867;
A. De Marchi in G. Romano, ed., Da Biduino ad Algardi, Pittura e Scultura a confronto, exhibition catalogue, Turin 1990, p. 108, reproduced p. 107;
A. De Marchi in G. Romano, ed., Antichi Maestri Pittori. Quindici anni di studi e ricerche, exhibition catalogue, Turin 1993, pp. 145, 149;
R. Zama, Gli Zaganelli (Francesco e Bernardino) pittore: catalogo generale, Rimini 1994, p. 104, cat. no. 7, reproduced;
A. De Marchi, "Bernardino Zaganelli inedito: due 'Facies Christi'", in Prospettiva, nos. 75-76 (1994): p. 132;
A. Donati, Girolamo Marchesi da Cotignola, San Marino 2007, p. 140;
A. Bliznukov in S. Chiodo and S. Padovani, The Alana Collection. Italian Paintings from the 14th to 16th Century, Florence 2014, vol. III, pp. 43-48, no. 7, reproduced p. 45.
Little is known about Bernardino Zaganelli’s life, but his works can be dated stylistically and in relation to the work of his brother Francesco, with whom he collaborated and shared a studio in their hometown of Cotignola. Both brothers primarily painted religious commissions, and the present work belongs to a group of small Madonna panels undoubtedly made for a private patron. This early independent painting by Bernardino is roughly contemporary with the first known collaboration between the Zaganelli brothers, which is signed and dated 1499.
The intimate scale and subject matter can be compared to a Madonna and Chid with St. Mary Magdalene and St. Christina formerly in the Kress Collection, New York, as well as a panel depicting the same subject as the present work in an Italian private collection. Roli, De Marchi, and Zama have all discussed these panels as a group (see Literature); Roli and Zama date them to just before 1499 along with the Deposition panel in the Rijksmuseum, Amsterdam, while De Marchi dates them a few years later.