View full screen - View 1 of Lot 56. Madonna and Child enthroned with two angels.
56

Giovanni Mazone

Madonna and Child enthroned with two angels

Property from a Distinguished Private Collection

Giovanni Mazone

Giovanni Mazone

Madonna and Child enthroned with two angels

Madonna and Child enthroned with two angels

Property from a Distinguished Private Collection

Giovanni Mazone

Active in Liguria 1453–1510/12

Madonna and Child enthroned with two angels


tempera on panel

31 ½ by 22 ¼ in.; 80 by 57 cm.

The following condition report has been provided by Matt Hayes of Pietro Edwards Society of Art Conservation, 119 West 23rd Street, Suite 400, New York, NY 10011, 212-457-8956, mh@edwards-society.com, an independent restorer who is not an employee of Sotheby's. The painting is remarkably well preserved and presents itself beautifully. The paint film is generally in very good condition. There are a number of old vertical cracks following the wood grain, which slightly interrupt the planarity of the surface. A limited number of losses are evident, most retouched with skillful fine hatching: around the cracks, in the saint's hat, surrounding the leftmost candle, in the face of the acolyte more in the background, in the robe of the rightmost monk. Occasionally very slight wear can be observed, as to the edges of the craquelure in the hermit's cell and the shadows of the monk offering the eucharist's feet. A few small losses are not retouched; one, to the more distant acolyte's nose (1x2 mm), is more recent. The varnish is clear and generally even and glossy, with a few scuffs. Fine dark accretions speckle the paint of the foreground. The panel preserves its original thickness and original gesso coating on the reverse. The panel is in plane. There is a slight amount of old woodworm activity, evidenced by exit holes in the upper register; this is no longer active. Some filling and retouching on the reverse has been done. The parcel-gilt walnut frame is in good condition, with some wear to the gilding.


In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.

NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

With Moretti Fine Art, Florence, by 2003;
There acquired, 2006.
D. Benati in Da Ambrogio Lorenzetti a Sandro Botticelli, exhibition catalogue, Florence 2003, pp. 178-181.
Florence, Moretti Fine Art, Da Ambrogio Lorenzetti a Sandro Botticelli, 2003, no cat. no.

Miklós Boskovits was the first to propose an attribution to the Genoese painter Giovanni Mazone for this charming panel, noting the typically Ligurian composition which includes a pair of smaller angels placed on either side of the Madonna's throne. Mazone repeated this motif on a few occasions, the earliest of which was for his polyptych of Santa Maria delle Vigne, Genoa, from circa 1470. It is likely that the present panel originally formed the central piece of a much larger polyptych. Figures of various saints would have surrounded the panel, which was most probably cut down along the bottom edge at some point, having originally shown the Madonna full-length.  


This painting is an important example from Mazone's late career, when he began to shift out of his earlier gothic tendencies and take on a more Renaissance style. Benati dates it to 1485-95, comparing it to the late Crucifixion and Saints formerly in the church of San Giuliano d'Albaro and now in the Pinacoteca di Palazzo Bianco in Genoa.1


1. See D. Benati, op. cit., p. 182-3, reproduced fig. 2 p. 183.