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Paintings

Saint Lawrence Martyr

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Suggestive tempera painting on wood depicting San Lorenzo, with a halo decorated with gold leaf and enriched by an elegant and complex engraving. The background is characterized by floral and phytomorphic elements, while on the right we see a fortress depicted which recalls the iconographic style of medieval coats of arms.

The figure of the Saint is recognizable by the palm of martyrdom, by his hair, by his red robe, and above all by the grill, on which he was martyred by being burned alive. The frame, created in a later period, is stylistically more archaic than the work, yet manages to accompany it in an elegant and appropriate way, especially adapting to the form of the work.

The painting is attributed to Tommaso di Piero del Trombetto (Prato, circa 1464 – 1530). Expertise by Professor Alessandro Delpriori.

Measurements: 113.5 x 53.5 cm ​​

 

Reference bibliography ​

 

Piero Morselli, Tommaso di Piero Trombetto: aspects of Prato painting, 1485-1530, Azienda autonomi de Turismo di Prato, 1987. https://www.finestresullarte.info/musei/prato-palazzo-pretorio-opens-sala-opere-del-quattrocento-dai-depositi [F. Baldanzi], Chronological index of artists from Prato, in Pel Calendario Prato del 1850. Memories and studies of homeland things, V (1849), p. 112

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Madonna of Humility

 

Tempera on panel decorated with a gold background with bas-relief and engraving, of Venetian origin and dating back to the first quarter of the 15th century, depicting the "Madonna of Humility". 

The Virgin is depicted sitting, as this theme predicts, with her hands clasped in prayer, while  infanti Jesus lies on her lap, resting in the robe of which he was stripped.

In addition to the painting, the skilled work of bas-relief and engraving of the bottom of the panel is of particular value and importance. Work attributed to the workshop of Zanino di Pietro (..., 1380 – Venice, 1443). Expertise by Professor Alessandro Delpriori.

Measurements: 50 x 37 cm

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Reference bibliography


• https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0500717028

• Serena Padovani, Una nuova proposta per Zanino di Pietro, in Paragone, vol. 36, n. 4, Firenze, Sansoni, 1985, pp. 73-81.

• Paola Berardi, Zanino di Pietro - Un raro maestro medievale nel Museo Civico di Rieti, in Fidelis Amatrix, Amatrice, Cola dell’Amatrice, marzo/aprile 2005, pp. 25-26.

• Stefano Petrocchi, Zanino di Pietro, detto anche Giovanni di Pietro Charlier o di Francia, Madonna con Bambino 1429, in Carlo Bertelli e Giorgio Bonsanti (a cura di), Restituzioni 2018 - Tesori d'arte restaurati, Venezia, Marsilio, 2018, pp. 264-268.

• Mauro Minardi, Pittura veneta fra Tre e Quattrocento nelle Marche. Note in calce a una mostra, in Arte Veneta, n. 63, Milano, Electa, 2006, pp. 6-23.

• Federico Zeri, Aggiunte a Zanino di Pietro, in Paragone, vol. 13, n. 153, Firenze, Sansoni, 1962, pp. 56-60.

• Mauro Lucco (a cura di), La pittura nel Veneto - Il Quattrocento, Milano, Electa, 1990.

Ecce Homo

 

Oil and tempera painting on larch panel depicting "Ecce Homo", of Spanish origin and dating back to the end of the 16th century. An attribution to the Spanish painters Pablo Schepers and Roland de Mois is hypothesized. The Flemish authors were called to Zaragoza by Martin de Gurrea y Aragon, Duke of Villahermosa around 1559. The two formed a single artistic personality, and we currently do not have sufficient bibliographical data to distinguish them. There is a very similar panel within the Tarazona town hall attributed to the circle of Pablo Schepers, and a scene from Ecce Homo attributed to Roland de Mois in the Basilica del Pilar in Zaragoza. These paintings show recurring and similar details such as the crown of the spinal column, the halo that forms a luminous cross and above all the features of the face, such as the ear, the eyes red from crying, the characteristic shape of the nose, the beard, as well as the expression full of pathos. Measurements: 50.5 x 38 cm ​

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Reference bibliography

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  • Criado, J.: “La pala d’altare maggiore del monastero di La Oliva (1571 – 1587) e il rinnovamento della pittura a Saragozza. Nuove precisazioni documentarie”, Artigrama, n. 26, 2011, pag. 2011, pag. 557 – 581.

  • Benito Domenech , José (1991). "Annotazioni al pittore fiammingo Pablo Schepers" . Accademia: Bollettino dell'Accademia Reale di Belle Arti di San Fernando (73): 459-476. ISSN 0567-560X . Archiviato dall'originale nel 2007 . Estratto il 13 settembre 2020 .

  • Castro Alava , José Ramon (1941). «Le pale d'altare dei Monasteri de La Oliva e del Fitero» . Principe di Viana 2 (3): 13-26. ISSN 0032-8472 . Archiviato dall'originale il 13 dicembre 2007 . Estratto il 13 settembre 2020 .

  • Servo Mainar, Jesus Fermin (2011). «La pala d'altare maggiore del monastero di La Oliva (1571-1587) e il rinnovamento della pittura a Saragozza. Nuove precisazioni documentarie» . Artigrama: Giornale del Dipartimento di Storia dell'Arte dell'Università di Saragozza (26): 557-582. ISSN 0213-1498 . Estratto il 13 settembre 2020

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Holy Family

 

Work of an Italian-Flemish painter active between Liguria and Piedmont, a contemporary follower of the artistic formulas of Joos van Cleve. The painting, datable to around 1515 – 1525, is an oil on larch panel depicting a Holy Family with a basket of flowers. The attribution, by Dr. Mia Alsina, sheds light on an author who enjoyed the fruits of the expansion and success of Flemish art during the 16th century, especially in Italy, Spain, Portugal and France. The painter is a careful observer of the formulas that Joos van Cleve in turn borrowed from artists of the Italian scene, tempering the severe composure of Flemish art with the sweetness of the Virgin, the naturalness of the chiaroscuro and the suggestiveness of the landscape.

As a result, the author has been able to suggest and develop an intimate scene of complicity between mother and son, which seems to be separated from the almost distant presence of Saint Joseph, who contemplates the child while placing his hands in prayer. Expertise by Dr. Mia Alsina - Timia Art Research.

Measurements: 64.5 x 48.5 cm

 

Reference bibliography

 

  • Snyder, James. Northern Renaissance Art, 1985, Harry N. Abrams, ISBN 0136235964

 

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The Crucifixion

 

Small panel in excellent condition depicting the Crucifixion of Christ. It is a very important theme and subject in the history of art, and undoubtedly one of the most widespread. This oil and tempera on oak panel of Flemish origin dates back to the beginning of the 16th century. In our opinion, the author is close to artists such as Gillis Congnet (Antwerp, 1542 – Hamburg, 27 October 1599), a slightly later Flemish painter in our estimation, with a very personal pictorial style who assimilated and reworked the lesson of authors such as Roger Van Der Weyden. There are then further particularities that make this painting peculiar, starting with the suggestive play of blue hues in the background, skilfully created to paint voluminous clouds. We then find Jerusalem standing out in the background, however it is depicted as a maritime city. Moving further in depth, we even see the sea, undoubtedly an original and characteristic context. Measurements: 36 x 26.5 cm

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Reference Bibliography

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  • Le livre des peintres de Carel Van Mander - Page/table 32b de l'édition originale datée de 1604 (Réédité en 2002)

  • Pol Potier de Courcy, Nobiliaire et armorial de Bretagne, Vol II, pag. 148.

  • Pierluigi De Vecchi e Elda Cerchiari Necchi, Arte nel tempo. Il Medioevo, volume 2, ediz. blu per le scuole superiori, Milano, Bompiani, 2000 [1991], ISBN 978-88-450-4219-5.​

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