Lot Essay
Giampietrino is widely regarded for his role in disseminating the stylistic and technical innovations of Leonardo da Vinci in early sixteenth century Lombardy. While his identification with the "Gian Petro" mentioned in Leonardo’s Codex Atlanticus remains speculative, the substantial body of his work demonstrates an intimate knowledge of Leonardo’s techniques and compositions, particularly from the master’s second Milanese period (1508-1513).
This panel, datable to circa 1520, is among Giampietrino's most sophisticated compositions. The Leonardesque influence is particularly evident in the serene, idealized head of Saint Michael and the soft modeling of the Madonna’s features, while the Virgin's dynamic pose suggests awareness of Raphael’s compositional innovations. The luminosity and softness in the rendering of flesh and drapery recall the gentle sfumato and tender emotional tone of Bernardino Luini (C. Quattrini, op. cit., 2015). The meticulous attention to details, such as the intricate textures of the fabrics and the precise depiction of the lion's fur, reflect the technical finesse characteristic of Andrea Solario. Furthermore, the elaborate and dynamic interweaving of figures, particularly the torsion of the Virgin and the positioning of Saint Michael, align with the compositional complexity and spatial ingenuity seen in the works of Lorenzo Lotto (ibid.). A closely related but more conventional version of this subject, with the Madonna placed centrally, is held in the Museum of Fine Arts in Budapest (inv. no. 47; fig. 1). The Budapest composition, while stylistically similar, exhibits a less intricate arrangement.
Originally presented to Pope Clement XI, the painting entered the collection of his nephew, Cardinal Alessandro Albani, one of the foremost patrons and collectors of the eighteenth century. Albani facilitated its sale in 1726–1727 to Henry Somerset, 3rd Duke of Beaufort, during the Duke’s Grand Tour. The acquisition is documented in the Duke’s meticulous purchase records, preserved in the "Red Folder" at Badminton House. Described as “Un Quadro di Leonardo da Vinci,” the painting was part of a group of works purchased from Albani for 400 crowns. The painting was shipped to England in 1728 as part of a consignment of ninety-nine cases dispatched via Livorno.
The painting subsequently passed by inheritance through the Beaufort family before being sold anonymously at Christie’s, London, in 1895 (18 July, lot 73), and again in 1906 (7 April, lot 95) from the collection of Harry Quilter. It later entered the Loeffler collection, passing by descent to his heirs.
This panel, datable to circa 1520, is among Giampietrino's most sophisticated compositions. The Leonardesque influence is particularly evident in the serene, idealized head of Saint Michael and the soft modeling of the Madonna’s features, while the Virgin's dynamic pose suggests awareness of Raphael’s compositional innovations. The luminosity and softness in the rendering of flesh and drapery recall the gentle sfumato and tender emotional tone of Bernardino Luini (C. Quattrini, op. cit., 2015). The meticulous attention to details, such as the intricate textures of the fabrics and the precise depiction of the lion's fur, reflect the technical finesse characteristic of Andrea Solario. Furthermore, the elaborate and dynamic interweaving of figures, particularly the torsion of the Virgin and the positioning of Saint Michael, align with the compositional complexity and spatial ingenuity seen in the works of Lorenzo Lotto (ibid.). A closely related but more conventional version of this subject, with the Madonna placed centrally, is held in the Museum of Fine Arts in Budapest (inv. no. 47; fig. 1). The Budapest composition, while stylistically similar, exhibits a less intricate arrangement.
Originally presented to Pope Clement XI, the painting entered the collection of his nephew, Cardinal Alessandro Albani, one of the foremost patrons and collectors of the eighteenth century. Albani facilitated its sale in 1726–1727 to Henry Somerset, 3rd Duke of Beaufort, during the Duke’s Grand Tour. The acquisition is documented in the Duke’s meticulous purchase records, preserved in the "Red Folder" at Badminton House. Described as “Un Quadro di Leonardo da Vinci,” the painting was part of a group of works purchased from Albani for 400 crowns. The painting was shipped to England in 1728 as part of a consignment of ninety-nine cases dispatched via Livorno.
The painting subsequently passed by inheritance through the Beaufort family before being sold anonymously at Christie’s, London, in 1895 (18 July, lot 73), and again in 1906 (7 April, lot 95) from the collection of Harry Quilter. It later entered the Loeffler collection, passing by descent to his heirs.