Description:

Icilio Frederico JONI (1866–1946)
The Virgin and Child

Tempera and gold leaf with pastiglia and punchwork on walnut panel

Six wax seals impressed with the Piccolomini coat of arms to the reverse

Mounted in a later gilt frame
31.5 x 24.5cm (the panel)

PROVENANCE:
Apparently with Christie's, London, early twentieth century (stock number 544DP stencilled to the reverse of the panel in black ink)
Selwyn John Curwen Brinton (1859–1940), by whom gifted to his god daughter
Gifted by her to the present vendor, 2003

OTHER NOTES:
Icilio Joni was a Sienese painter, gilder, and restorer whose exceptional eye and facility with these media led him to create imitations of the work of fourteenth and fifteenth century Sienese masters so faithfully and convincingly that his works fooled such connoisseurs as Bernard Berenson and entered many important collections as Renaissance originals.

A particular form of work reproduced by Joni were the tavolette di Biccherna, painted wooden panels used as covers for the ledgers of the Biccherna, a Sienese municipal official. These tavolette, some of which were painted by important Sienese Renaissance masters, had a particular form, with a central painted field within painted or pastiglia borders. The present lot is an example of Joni adapting that form to create what purports to be a private devotional painting.

The coat of arms painted in the upper left corner and also impressed on the wax seals to the reverse are of those of the Piccolomini, the great noble family of Siena – apparently an attempt by Joni to fabricate provenance for the panel – while the arms in the other corners are those of various Sienese bodies.

The panel was formerly in the collection of Selwyn Brinton, an art historian whose many published works are largely devoted to early Renaissance art. As Brinton died in 1938, just as Joni's work was coming to light – Joni published his revealing autobiography in 1932 – it seems likely that Brinton believed the panel to be a fifteenth century work.

  • Provenance: Apparently with Christie's, London, early twentieth century (stock number 544DP stencilled to the reverse of the panel in black ink)
    Selwyn John Curwen Brinton (1859–1940), by whom gifted to his god daughter
    Gifted by her to the present vendor, 2003
  • Dimensions: 31.5 x 24.5cm (the panel)
  • Medium: Tempera and gold leaf with pastiglia and punchwork on walnut panel
  • Notes: Icilio Joni was a Sienese painter, gilder, and restorer whose exceptional eye and facility with these media led him to create imitations of the work of fourteenth and fifteenth century Sienese masters so faithfully and convincingly that his works fooled such connoisseurs as Bernard Berenson and entered many important collections as Renaissance originals.

    A particular form of work reproduced by Joni were the tavolette di Biccherna, painted wooden panels used as covers for the ledgers of the Biccherna, a Sienese municipal official. These tavolette, some of which were painted by important Sienese Renaissance masters, had a particular form, with a central painted field within painted or pastiglia borders. The present lot is an example of Joni adapting that form to create what purports to be a private devotional painting.

    The coat of arms painted in the upper left corner and also impressed on the wax seals to the reverse are of those of the Piccolomini, the great noble family of Siena – apparently an attempt by Joni to fabricate provenance for the panel – while the arms in the other corners are those of various Sienese bodies.

    The panel was formerly in the collection of Selwyn Brinton, an art historian whose many published works are largely devoted to early Renaissance art. As Brinton died in 1938, just as Joni's work was coming to light – Joni published his revealing autobiography in 1932 – it seems likely that Brinton believed the panel to be a fifteenth century work.
  • Condition: Generally in very good condition.

    There a several blemishes to the painted gesso surface, including small holes and scratches, the appearance of which, and the presence of similar blemishes on other panels by Joni, suggests these are original to manufacture, deliberately added by him to deceptively give the impression that the panel dates to the fifteenth century.

    However, scattered across the panel are several small losses to the gesso surface and raised borders that clearly are post-manufacture faults. Additionally, there is are recent losses to the raised gesso moulding along upper part of the left-hand side caused by this moulding coming into contact with adhesive tape used in mounting the panel in its present frame and the panel subsequently being removed from the mount, pulling away these pieces (which are still present, stuck to the tape along the edge of the mount). These losses are not visible with the panel in its present frame, being concealed beneath the edge of the mount.

    The panel is slightly bowed along its longitudinal axis.

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