Martino di Bartolomeo di Biago (Siena 1389 – 1434), SAINT ROMUALD and SAINT ALBERT

Martin of Bartholomew of Biago
(Siena 1389 – 1434/35)

Pair of paintings
Saint Romuald
Saint Albert of Montalceto

Tempera on linen, on panel.
132,3x51,8cm/ 132,3x51,5cm.
Framed 155 x 82 xm.

Provenance: Hampel Monaco (10.12.2015, lot 217, Estimate €200.000/E300.000
https://www.hampel-auctions.com/a/Martino-di-Bartolomeo-di-Biago-1389-Siena-1434-35.html?a=103&s…

Bibliography: Published in G. Fattorini, in: Vetera et nova, M. Vezzosi (ed.), Florence 2005, p. 30, figures 3 and 4.

A pair of extraordinary works by Sienese artist Martino Di Bartolomeo, both in excellent condition, belonging to a group of extremely rare paintings from the first half of the 15th century. Painted in tempera on canvas, both paintings were later applied to panel, likely during the 18th century.

The works come from the prestigious collection of the Florentine antique dealer and art collector Carlo De Carlo, whose estate was almost entirely sold during the legendary auction of December 2001. Our two paintings were also sold at that time, listed in the catalogue at no. 125 (erroneously described as detached frescoes, later mounted on wood).

Both paintings depict saints of the Benedictine Order, easily recognizable by their characteristic white robes. The older of the two, with a beard, wears a magnificent cope, miter, and crosier, identifying him as a bishop and making him recognizable as Romuald. The younger, however, wears the habit of the Camaldolese order, and a hare appears from one sleeve, making him undoubtedly Alberto da Montalceto, whose attribute is the hare, the animal he protected from hunters as a young hermit.

Originally from Siena, Martino di Bartolomeo was the son of the goldsmith Bartolomeo di Biagio. He began his painting career between Lucca and Pisa, where he left several important works as a young artist. In 1405, he returned to his hometown of Siena and devoted himself to important public commissions, such as works for the cathedral and the Palazzo Pubblico. The diversity of his activities made Martino a rather atypical painter in the Sienese tradition.

His energetic monumental style shows clear Florentine echoes and mixes with influences from Spinello Aretino (c. 1346–1410), Antonio da Firenze (Antonio Veneziano, active 1369–1388), Niccolò di Pietro Gerini (active 1368–1415) and Taddeo di Bartolo (1362–1422).

Characteristic of this original casting style is the depiction of Saint Albert, with his pronounced chin, as well as the powerful and severe Romuald.

Both figures compare well with many others depicted by Martino di Bartolomeo, such as those on the coffered altars no. 120 and no. 160 of the Pinacoteca Nazionale in Siena (https://catalogo.fondazionezeri.unibo.it/entry/work/8162/ ): here we can easily compare the Pinacoteca's Saint Lawrence with our Saint Romuald, and again Saint Augustine with our Saint Albert. See the comparison image in detail.

Furthermore, those in the fresco of the Trinity and Saints in the church of Santa Maria della Scala, also in Siena, and finally those in the Church of S. Agostino in Bagnoregio (https://catalogo.fondazionezeri.unibo.it/entry/work/8108/ )

The two images of Saints presented here were certainly created during a phase of the painter's artistic maturity, that is, in the second and definitive Sienese period, in which Martino's style became substantially recognizable, making a precise chronological placement very difficult, however.

The architectural structures that frame the two saints are almost identical to those of a fresco created in 1407 by Taddeo di Bartolo in the chapel of the Palazzo Pubblico in Siena (https://museocivico.comune.siena.it/opere/cesare-e-pompeo )

In general, the two paintings under examination present analogies with masterpieces by Martino Di Bartolomeo created in the first two decades of the 15th century, such as the Madonna of Humility (Fogg Art Museum, Cambridge, MA) or the Stories of St. Stephen (Städel Museum, Frankfurt am Main): both are characterised by a marked plasticity and therefore clearly attributable to this painter and his artistic exchange with Jacopo della Quercia (c. 1372 – 1438), Domenico di Niccolò Cori (c. 1362-1450) and Francesco di Valdambrino (14th/15th century), author of polychrome wooden figures.

ADDITIONAL INFORMATION:

The works are sold complete with two imposing gilded frames and are accompanied by a certificate of authenticity and a descriptive iconographic sheet.

We take care of and organize the transport of the purchased works, both for Italy and abroad, through professional and insured carriers.

It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works.

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