View full screen - View 1 of Lot 129. GIOVANNI BATTISTA NALDINI  |  MANNA FROM HEAVEN; THE STONING OF ST. STEPHEN.
129

GIOVANNI BATTISTA NALDINI | MANNA FROM HEAVEN; THE STONING OF ST. STEPHEN

Reserves

Estimate:

15,000

to
- 20,000 USD

Property from Moretti Fine Art, Monaco, Sold Without Reserve. All proceeds to be donated to ChefsForAmerica COVID–19 Response

GIOVANNI BATTISTA NALDINI | MANNA FROM HEAVEN; THE STONING OF ST. STEPHEN

GIOVANNI BATTISTA NALDINI | MANNA FROM HEAVEN; THE STONING OF ST. STEPHEN

Estimate:

15,000

to
- 20,000 USD

Lot sold:

10,625

USD

Property from Moretti Fine Art, Monaco, Sold Without Reserve. All proceeds to be donated to ChefsForAmerica COVID–19 Response

GIOVANNI BATTISTA NALDINI

Fiesole circa 1537 - 1591 Florence

MANNA FROM HEAVEN; THE STONING OF ST. STEPHEN


a pair, both oil on panel

each unframed: 3 3/4 x 8 1/4 in.; 9.5 x 21 cm.

each framed: 5 3/4 x 10 1/2 in.; 14.6 x 26.7 cm.

Both paintings are in engaged gilt frames and their structure appear sound and stable. The composition with the stoning of St. Stephen has a slight vertical depression in the panel at the extreme left. The paint layer around this area appears stable and secure. No areas of obvious restoration are visible, either to the naked eye or under UV, though a couple tiny strokes of reinforcements in the dark shadows may be visible under UV. Otherwise, both paintings may be hung as-is.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Anonymous sale, London, Bonham's, 30 October 2013, lot 1 (the pair; as Florentine School circa 1580).

"One of the best painters in mid-16th Century Florence, Giovan Battista Naldini forged a unique artistic style of his own, but one which derived a nervous energy from his master Pontormo. These two panels demonstrate Naldini’s ability to create strong and impressive narrative compositions on a more intimate scale, just as successful as the monumental panels he painted for the altars of some of Florence’s most important churches.  They are beautifully preserved, and fascinating for their subject matter, focusing on episodes from the Old and New Testament which appear to be unrelated." 


Christopher Apostle



Carlo Falciani, to whom we are grateful, has attributed these works to Giovanni Battista Naldini. Naldini first trained with Jacopo Pontormo in Florence, and then worked under Giorgio Vasari on the decoration of Francesco I de’ Medici’s Studiolo in the Palazzo Vecchio, alongside Jacopo Coppi (see lot 128). For the Studiolo, Naldini produced an Allegory of Dreams and the Gathering of Ambergris. After this assignment he earned commissions for altarpieces in Santa Maria Novella, Santa Croce, and San Marco in Florence. In 1580 he painted frescoes in the newly constructed chapel of St. John the Baptist in the church of Trinità dei Monte, Rome. 


These two small horizontal panels likely belonged to a group of such scenes that would have also included a Lamentation sold in Sotheby’s previous Dealer’s Eye sale, 26 January 2006, lot 108. The present pictures have survived in remarkable condition given their age and size. They probably date from the years after the completion of the Studiolo, when Naldini enjoyed Vasari’s support and resulting commissions. Both compositions follow Counter-Reformation guidelines for clarity and emphasis on the religious narrative, but Naldini’s individual Mannerist style is still discernible in his use of bright pastel colors.


All proceeds to be donated to ChefsForAmerica COVID –19 Response, a subsidiary of Chef José Andrés’ World Central Kitchen, a relief effort to feed people who are victims of the financial strains due to the coronavirus. To donate, please go to https://wck.org/