ZANINO DI PIETRO - Lot 2

Lot 2
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Estimation :
20000 - 30000 EUR
Result : NC
ZANINO DI PIETRO - Lot 2
ZANINO DI PIETRO (documented in Bologna, Venice and Marche between 1389 and 1437) Saint Dominic Saint Peter martyr Two altarpiece panels. Egg painting and gold ground on rectangular wooden panels, surrounded by a modern black wooden frame. 62 x 24.5 cm, each panel unframed, thickness 1.5 cm Provenance: Albin Chalandon (1809-1885) collection, Parcieux, Ain. Always remained in the family. Bibliography: F. Zeri, "Aggiunte a Zanino di Pietro" Paragone, XIII,1962, n°153, p. 56-57 reprinted in Giorno per Giorno nella Pittura, Milan 1988, pp.15-17; V. Baradel, Zanino di Pietro, un protagonista della pittura veneziana fra tre e quattrocento, Padova, 2019, p.210, cat. 23, reproduced figs. XLIV-XLV. The two saints stand full-length against the painted ground and gold background, holding a fleur-de-lys sprig in one hand and the sacred book in the other. They are dressed in the black-and-white habit of the Dominican order, founded by St. Dominic, and we recognize St. Peter Martyr, the Grand Inquisitor, by his attributes, the knife and dagger which, according to the Golden Legend, struck him to death. Zanino, a citizen of Venice, lived in Bologna from 1389 to 1403 before moving to the lagoon town, where he is documented from 1407 to 1448. Jacopo di Paolo and Lippo di Dalmasio influenced his Emilian period, while in Venice, the presence of Gentile da Fabriano from 1408 to 1414, modified his art towards the international Gothic style. The expressionist character and exaggerated scansion of the undulating line of the draperies, notable in this last altarpiece and in the four saints from an old Swiss collection, are somewhat attenuated here, both by the calmness of the line and the sobriety of the color. In 1962, while in the Chalandon collection, our two panels were first published by Zeri, who added them to Roberto Longhi's 1946 catalog of works by Zanino di Pietro (see R. Longhi, Viatico per cinque secoli di pittura venziana, p. 49 reprinted in Opere complete, Vol. X, p.44-45 Ricerche sulla pittura veneta, 1946-1969) and linked to the Saints Nicholas, Andrew and Lucia then housed at Camerino, Museo Diocesano, which have since returned to their place of origin in Valcarecce- Cingoli, Church of Santa Maria Assunta. This comparison is confirmed by the more balanced attitude of the figures compared to the Mombaraccio altarpiece, their less tense, more contemplative expression and the oversized design of the hands. Condition: the slightly curved panels have lost their original poly-lobed frame, traces of which can still be seen on the gold background. On the reverse, traces of open xylophagous insect galleries, filled in with resin. Unreadable red wax stamp. Pictorial surface and gold background: wear and restoration.
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