Giovanni Battista Pittoni

Joresco collection, Chicago;
Anonymous sale, New York, Christie's, 26 January 2012, lot 305, for $25,000.

F. Zava Boccazzi, Pittoni, l'opera completa, Venice 1979, p. 125, cat. no. 45, reproduced fig. 454 (where incorrectly listed as on canvas).

In reality, the painting is slightly less bright overall, and the colour tones a touch warmer, than the catalogue reproduction suggests. The copperplate is in very good state, very flat and without damages to the metal. The paint surface is in excellent condition, with a delicate preserved impasto enlivening the stiff folds of the Virgin's veil, the delicate fabric of her neckline, and the crisp edges of the prayer book's pages. The subtle changing colours in her predominantly red dress are also retained, and the blue of her mantle is untouched apart from a very small repair to her right shoulder, visible under UV light. Otherwise, the inspection under UV light affirmed the nearly impeccable state of this picture. There is a very small surface damage by the left edge, towards the lower part of the panel, but this is largely hidden by the frame.An even varnish across the work. Overall this charming panel is in beautiful condition and ready for display. The copperplate is sold gilt wooden frame with decorative moldings.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Datable to the 1540s, the Madonna combines two different typologies: the lowered eyes recur in a lost work by Pittoni, known through an engraving by Marco Pitteri, while the positioning of the hands can be found in another Madonna Annunciate in a private collection in Venice.¹


1. See Zava Boccazzi, under Literature, p. 221 cat. no. I.18, reproduced fig. 330 and p. 177, cat. no. 233, reproduced fig. 416 respectively.