View full screen - View 1 of Lot 513. The Holy Family in a landscape.
513

Alessandro Bonvicino, called Moretto da Brescia

The Holy Family in a landscape

Estimate:

150,000

to
- 200,000 USD

Property from a Distinguished Private Collection

Alessandro Bonvicino, called Moretto da Brescia

Alessandro Bonvicino, called Moretto da Brescia

The Holy Family in a landscape

The Holy Family in a landscape

Estimate:

150,000

to
- 200,000 USD

Property from a Distinguished Private Collection

Alessandro Bonvicino, called Moretto da Brescia

Brescia circa 1498 - 1554

The Holy Family in a landscape


oil on panel

panel: 17 1/8 by 13 3/8 in.; 43.5 by 34 cm.

framed: 23 1/2 by 19 1/2 in.; 59.7 by 49.5 cm. 

The following condition report has been provided by Karen Thomas of Thomas Art Conservation LLC., 119 West 23rd Street, Suite 400, New York, NY 10011, 212-564-4024, info@thomasartconservation.com, an independent restorer who is not an employee of Sotheby's.


This painting is in very good condition. The paint layers are nicely intact overall, while retouching is precisely applied. The vibrancy of the palette and excellent state of the glazes are notable. Tiny raised lines of paint following the vertical wood grain — stable and not visually prominent under normal viewing conditions — are the result of expansion and contraction of the wood. Restoration, clearly visible under ultraviolet illumination, addresses a small number of scattered narrow losses along the wood grain in the sky and Mary's neck, some drying cracks in Mary's red dress, and pinpoint losses clustered in the lower left corner. Small touches of restoration are concentrated in Joseph's green garment, possibly to address typical age-related color shifts in the green glaze.

The thickly applied varnish is clear and even with a very high gloss.

The wood panel support appears to retain its original thickness. Two crossbars are attached to the reverse and narrow strips of wood have been applied to the perimeter, presumably to aid with framing.


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, Zurich, Zunfthaus zur Meise, 19 May 1933, lot 1269 (as Girolamo Romanino);
Possibly Lutomirski collection, Milan1;
Anonymous sale (Private collector, who purportedly acquired at above sale in 1933), New York, Christie's, 24 January 2003, lot 29 (as Francesco Prata da Caravaggio);
There acquired.
A. Ballarin, La 'Salome' del Romanino e altri studi sulla pittura bresciana del Cinquecento, Cittadella 2006, p. xxxi, reproduced plate LXXIV;
B. Maria Savy, in The Alana Collection: Italian Paintings From the 14th to 16th Century, Florence 2014, vol. 3, pp. 10-12, cat. no. 2, reproduced. 

Alessandro Ballarin was the first to correctly re-attribute this elegant Adoration to the young Moretto da Brescia. Ballarin has reconstructed the earliest activity of the artist, which centers around the commission of the organ doors depicting Saint Faustinus and Saint Jovita for the old cathedral of Brescia in 1515 (now in the church of Santa Maria in Valvendra in Lovere). 


Moretto da Brescia was greatly inspired by fellow Brescian Girolamo Romani, called Romanino (circa 1485-1566), with whom scholars believe he traveled to Padua in 1513-1514. Moretto likely then went on to Venice, as many of his paintings from 1514-1515 (including the present example) bear the influence of the great Venetian painters working in the wake of Giorgione, including the young Titian and Palma Vecchio. The Adoration presented here can be dated to around 1515 and compared directly with the Madonna and Child now in the Pushkin Museum (inv. no. 106). Interestingly, the unique framing device of the beams of the shed within the composition reflect an understanding of the Northern Renaissance master Albrecht Dürer, though the central theme of the Holy Family derives more from Venetian influences.  


1. Ballarin saw a photograph of the painting in the dealer Harry Solomon's office in Milan in 1989 with the Lutomirski provenance; it is not evident that the painting exchanged hands at that time as the consignor of the painting to the 2003 auction acquired it at the 1933 auction.