Martino di Bartolomeo di Biago (Siena 1389 - 1434/35) Pair of paintings SAINT ROMUALD SAINT ALBERT OF MONTALCETO Tempera on linen, on panel. 132.3 x 51.8 cm / 132.3 x 51.5 cm. Framed 155 x 82 xm. Provenance: Hampel Munich (10.12.2015, lot 217, Estimate € 200,000 / E 300,000 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. Pair of extraordinary works by the Sienese Martino Di Bartolomeo, both in excellent condition, belonging to a group of extremely rare paintings from the first half of the 15th century; made in tempera on canvas, both paintings were subsequently, probably during the 18th century, applied to panel. The works come from the prestigious collection of the Florentine antique dealer and art collector Carlo De Carlo, whose assets were almost entirely sold during the legendary auction of December 2001. Our two paintings were also sold on that occasion, listed in the catalog as no. 125 (erroneously described as detached frescoes, mounted on panel at a later time). Both paintings depict saints of the Benedictine Order, easily recognizable by their typical white vestments. The older of the two, with the beard, wears a magnificent cope, the mitre and the pastoral staff, which identify him as a bishop and make him recognizable as Romuald. The younger one, on the other hand, wears the habit of the Camaldolese order, and a hare peeks out from a sleeve, so it is undoubtedly Albert of Montalceto, whose attribute is the hare, an animal he protected from hunters when he was a young hermit. Originally from Siena, Martino di Bartolomeo was the son of the goldsmith Bartolomeo di Biagio, and began his painting career between Lucca and Pisa, where, as a young artist, he left several important works. In 1405 he returned to his native city, Siena, and dedicated 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). A characteristic of this original style of fusion is the depiction of Sant'Alberto, with his pronounced chin, as well as the mighty 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 di Siena (https://catalogo.fondazionezeri.unibo.it/entry/work/8162/ ): here we can easily compare the San Lorenzo of the Pinacoteca with our San Romualdo, and again San Agostino with our San Alberto. See the comparison image for details. Furthermore, those in the fresco of the Trinity and Saints in the church of Santa Maria della Scala, also in Siena, and finally those of 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 in a phase of the painter's artistic maturity, i.e. in the second and definitive Sienese period, in which Martino's style becomes substantially recognizable, making a precise chronological placement very difficult. 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 have similarities 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 Saint Stephen (St ädel Museum, Frankfurt am Main): both characterized by a strong 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 (XIV/XV 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 card. 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. Contact us, without obligation, for any additional information. Follow us also on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/