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Lot 19: Marcello Venusti

Est: €50,000 EUR - €70,000 EURSold:
DorotheumVienna, AustriaJune 09, 2020

Item Overview

Description

Please note the exact Buyer’s Premium charges which can be found in the Conditions of Sale in the Terms below.

(Mazzo di Valtellina, Sondrio, circa 1512–1579 Rome)
The Pietà with two Angels,
signed center right (under Mary’s foot):
M.B. INVENTOR / MARCELLVS VENVSTA / .F.,
oil on panel, 123.5 x 89.5 cm, framed

Inscribed on the reverse: Orig.le de Michiel Angel Bonarrota and collection mark of Sebastián Gabriel de Borbón (with the initials S. and G. mounted by a crown)

Provenance:
possibly Collection of José de Madrazo y Agudo (1781-1859);
Collection of the Infante Sebastián Gabriel de Borbón y Braganza (1811-1875), Madrid;
by inheritance to his son Pedro de Alcántara de Borbón y Borbón, Duke of Dúrcal (1862-1892);
his sale, Hotel Drouot, Paris, 3 February 1890, lot 51 (as Marcello Venusti);
Collection of J. Schmidt-Paganini, Basel;
sale, Vogler Auktionen, Basel, Autumn auction 2007, lot 359 (as Marcello Venusti);
Private collection, Switzerland;
sale, Christie’s, New York, 15 April 2008, lot 10 (as Marcello Venusti);
where acquired by the present owner

Documentation:
Archivo General de Palacio, Palacio Real de Madrid, Historical section, 123, Galería de Pinturas del Serenísimo Señor Ynfante Don Sebastian Gabriel, 1835, no. 106: ‘Otro en tabla de 4 pies y 5 pulgadas de alto, por 3 pies y 3 pulgadas de ancho. La Virgen sentada, mirando al cielo y con los brazos aviertos, tiene al Señor muerto en su regazo y sostenido por dos ángeles. Restaurado por don Juan Rivera. Tiene marco tallado y dorado… Marcelus Venusta (firmado)’

Exhibited:
Trento, Museo Diocesano Tridentino, L’uomo del concilio, 4 April - 26 July 2009, no. 29;
Milan, Castello Sforzesco, D’après Michaelangelo, 30 September 2015 - 10 January 2016, cat. no. 74;
Forlì, Musei San Domenico, L’Eterno e il Tempo, tra Michelangelo e Caravaggio, 10 February -17 June 2018, no. 33

Literature:
K. Frey, Die Handzeichnungen des Michelagniolos Buonarroti, Berlin 1909-11, II, p. 59;
C. de Tolnay, Michelangelo’s Pietà: compositions for Vittoria Colonna, in: Princeton University Art Museum 1953, 2, 12, pp. 44-62, in part. p. 45f., note 3, no. 10, p. 53, fig. 10;
C. de Tolnay, Michelangelo. The Final Period, Princeton 1960, p. 267, no. 348, ill.;
G. W. Kamp, Marcello Venusti. Religiöse Kunst im Umfeld Michelangelos, Egelsbach 1993, p. 124, no. 34, ill. p. 257;
J. M. Ruiz Manero, Obras y noticias de Girolamo Muziano, Marcello Venusti y Scipione Pulzone en España, in: Archivo español de arte, 68, 1995, 272, pp. 372 and note 37;
M. Forcellino, Michelangelo, Vittoria Colonna e gli “spirituali”. Religiosità e vita artistica a Roma negli anni Quaranta, Rome 2009, p. 119–120, p. 154 mentioned under note 208;
R. Pancheri, in: L’uomo del concilio. Il cardinale Giovanni Morone tra Roma e Trento nell’età di Michelangelo, ed. by R. Pancheri/D. Primerano, exhibition catalogue, Trento 2009, pp. 214-215, no. 29;
A. Forcellino, La Pietà di Ragusa, in: Annali della Scuola Normale Superiore di Pisa. Classe di lettere e filosofia, 2010, 5, 2/1, p. 127, p. 382, fig. 36;
K. Herrmann Fiore, in: L’ ultimo Michelangelo. Disegni e rime attorno alla Pietà Rondanini, ed. by A. Rovetta, exhibition catalogue, Milan 2011, mentioned under no. 3.15, p.191, note 3;
S. Capelli, Le copie pittoriche della Pietà di Michelangelo per Vittoria Colonna: Marcello Venusti e i copisti anonimi. Attribuzioni e precisazioni, in: Studi Romani, 61, 2013, p. 131–135, no. 7, pl. XIV, fig. 2;
A. Rovetta, in: D’après Michelangelo, ed. by A. Alberti/A. Rovetta/C. Salsi, exhibition catalogue, Venice 2015, p. 289, p. 291, cat. 74;
Michelangelo a colori. Marcello Venusti, Lelio Orsi, Marco Pino, Jacopino del Conte, ed. by F. Parrilla, exhibition catalogue, Rome 2019, p. 94-95, fig. 3

We are grateful to Francesca Parrilla for confirming the attribution of the present painting on the basis of a digital photograph and for her help in cataloguing this lot.

This painting relates, with some minor variants, to Michelangelo´s celebrated drawing of the Pietà in the Isabella Stewart Gardner Museum, Boston (inv. no. 1.2.o/16). The drawing is mentioned by Vasari in his biography of Michelangelo in the 1568 edition of the Vite and he states that the drawing was sent as a present to Vittoria Colonna: ‘[…] e le disegnò Michelagnolo una Pietà in grembo alla Nostra Donna con due angioletti, mirabilissima’ [‘and Michelangelo drew for her an admirable Pietà in the lap of Our Lady with two young angels’] (see Vasari 1568, ed. 1966-1987, vol. VI, 1987, p. 112).

Marcello Venusti arrived in Rome during the 1540s following a sojourn in Mantua. He was highly regarded in the circle of the Farnese, especially for his ability to make painted replicas after the ‘inventions’ of Michelangelo, while introducing a personal element to each of his works. He had the ability to combine a range of influences, gained during his training, such as Raphaelesque references, a sentimentalism derived from Lombardy, as well as a quality of elegance derived from Perino del Vaga, while other stylistic qualities he added subsequently when he was in Rome, such as the monumentality of Michelangelo, which at times was received through the filter of Sebastiano del Piombo.

In this painting the Madonna is seated at the foot of the cross with her arms raised and her palms turned to the heavens in a gesture expressing profound pain. The body of Christ is supported in his mother’s lap and by two cherubs either side of her, supporting Christ’s arms, thereby creating a geometrically balanced composition. The soft passage of light and shade modelling Christ’s body giving the figure a sculptural quality. Behind the figures, the mountainous landscape with scattered towns and hamlets is an invention of Marcello Venusti’s imagination. On the left is a group of houses around a church at the foot of the mountains, while to the right a walled town with a characteristic gate is shown: such elements reoccur regularly in Venusti´s work.

The inscription ‘M.B. INVENTOR / MARCELLVS VENVSTA / .F.’ also recorded by the scholar Karl Frey in 1909, corroborates Venusti’s authorship.

Among the earlier painted replicas of Michelangelo’s Pietà, is the version in the Galleria Borghese, Rome, that has traditionally been attributed to Marcello Venusti, however recently this has been assigned to the Sienese painter, Marco Pino (1521-1583; see cat. 8 by M. S. Bolzoni, in: Michelangelo a Colori, 2019).

Provenance:
This painting is cited in the inventory of the Infante Don Sebastián Gabriel de Borbón y Braganza (1811-1875) and his mark, ‘SG’ beneath a crown, appears on the panel’s reverse. The dimensions given in the Infante’s inventory of 1835 accord with those of the present painting (see Ruiz Manero 1995, p. 372, note 37 for the inventory citation; Capelli 2013, p. 133). Following the advice of the painter and later director of the Museo del Prado, José de Madrazo (1781-1859), Sebastián Gabriel assembled an exceptional collection of paintings. Madrazo owned a Crucifixion by Venusti after Michelangelo’s famous drawing which is now in the British Museum, and it highly probable that the Spanish painter advised the Infante on the acquisition of the present painting. The Infante’s collection was broken up and sold at auction after his death, thereby one of the most important Spanish collections of the nineteenth century was dispersed.

Technical analysis by Gianluca Poldi:

The painting is executed on a thick panel with two horizontal thin crossbars.

Only a thin outline of accurate underdrawing can be seen by IR reflectography, despite the transparency of the paint film to IR radiation, and no changes have been detected. Venusti probably used a cartoon to transfer the composition precisely on to the white ground by means of pouncing or a carbon-copy method, retracing the outline of the figures and elements with an ink that is highly transparent to IR radiation, such as iron-gall ink. He appears subsequently to have accurately cancelled the first trace before colouring the panel.

Non-invasive spectroscopic analyses carried out on many points of the painting demonstrate the particularly rich palette used by Venusti and his unusual choices, such as the pigment mixtures. The palette includes a high-quality natural ultramarine (lapis lazuli) in the blue areas of the sky, in the most distant mountains and in the Virgin’s cloak. Azurite is used, on the contrary, mixed with some lead-based yellow, to obtain the bluish-green in the closer mountains and in the meadows, while in the green-brownish areas of the rocks and mountains some smalt blue was also used, and this has discoloured which is typical for this cobalt glass-based pigment in siccative oil.

Verdigris is employed in a glaze over the earths and ochre of the soil. A carmine-type red lake was used in the Virgin’s dress and in the right Angel. Some small touches of blue were put as glazes on the Virgin’s dress, with a specific technique.

The flesh tones are based on a mixture of lead white with vermillion and iron oxides, together with abundant black in the shadows, in a way that is reminiscent of the technique of Sebastiano del Piombo.

Numerous shades embellish the refined colour of this painting on panel, which are created by the alternation of impasto and glazing techniques, with only a few reliefs such as in the lights of the angel’s head in the centre of the belt on the Virgin’s breast.

Artist or Maker

Notes

Salereoom Notice
Additional literature:
A. Donati, in L'Eterno e il Tempo, Cat. Exh. Paolucci, Milano, Silvana Editoriale, 2018, pp. 191, 361-362, no. 3 with bibliography (as Marcello Venusti).
A. Donati, Vittoria Colonna e l´eredità degli spirituali, Rome, Etgraphiae, 2019, pp. 172-173, illustrated Pl. XVII (as Marcello Venusti)

Payment & Shipping

Accepted forms of payment: Other, Wire Transfer

Shipping

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Auction Details

Old Master Paintings

by
Dorotheum
June 09, 2020, 04:00 PM CET

Dorotheergasse 17, Vienna, Vienna, 1010, AT

Terms

Live bidding may start higher or lower

Buyer's Premium

€0 - 10,000:28.0%
€10,001 - 100,000:25.0%
€100,001 - 600,000:22.0%
€600,001+:15.0%

Bidding Increments

From:To:Increment:
€0€19€1
€20€39€2
€40€99€5
€100€199€10
€200€399€20
€400€999€50
€1,000€1,999€100
€2,000€3,999€200
€4,000€9,999€500
€10,000€19,999€1,000
€20,000€39,999€2,000
€40,000€99,999€5,000
€100,000€199,999€10,000
€200,000€399,999€20,000
€400,000€999,999€50,000
€1,000,000€1,999,999€100,000
€2,000,000€3,999,999€200,000
€4,000,000€9,999,999€500,000
€10,000,000+€1,000,000

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Errors and omissions excepted. The Dorotheum also reserves the right to correct lot descriptions up until the beginning of the sale.

DISCLAIMER CONCERNING THE CONDITIONS OF SALE BY AUCTION AND CATALOGUE TEXTS

Conditions of Sale by Auction, information and catalogue texts in English, French, Italian or any other language, as the case may be, are for the sake of convenience only and shall in no way be considered binding. The DOROTHEUM is unable to assume any liability for the correctness of translations. In the event of diverging interpretations by interested parties, Buyers and the DOROTHEUM, the German versions of the Conditions of Sale by Auction, information and catalogue texts shall exclusively be authoritative and binding. Equally, any and all amounts stated in foreign currencies in the catalogue as well as on the currency converter shall be deemed to be non-binding indications only. In auctions, the sole legal tender of Austria (EURO) will be used exclusively.

INFORMATION

Pursuant to EU rules for the prevention of and the fight against money laundering (Directive 2015/849/EU and BGBL I Nr. 95/2017), we are under a statutory obligation to ask for an identity document when purchase prices of EUR 10,000.00 and above are paid in cash. Thank you for understanding that we have to require an official identity document from you in such case.
When submitting an absentee bid form stating that you wish to pay cash, please also send us a photocopy of your official photo ID card not later than 48 hours prior to the auction, and in particular also if you will not pay or collect the item(s) personally, for example if you want any item(s) with a starting price or lower estimated selling price of EUR 10,000.00 and above to be mailed to you C.O.D.
Please note: The statutory ID obligation does not apply to cash payments if a (first) installment was transferred from a bank account maintained in your name with a banking institution recognized by the EU and located within the European Union, or if the bid order was notarized or was submitted with a secure e-mail signature within the meaning of the (Austrian) "Signaturgesetz" (Electronic Signature Act).

"signiert", "monogrammiert" (signed, monogrammed): a work signed or monogrammed by the artist; "bezeichnet" (bears a signature): the artist's signature has possibly been added by another hand; "zugeschrieben" (attributed to): probably but not necessarily an authentic work by the artist; Street Art (Urban Art): due to the specific (sub)culture of this genre probably but not necessarily an authentic work by one or several artists or persons (except where a specific certificate of authenticity exists), often but not necessarily reworked, adapted or stenciled; "Werkstatt" (studio): a work probably produced in the artist's studio or workshop, i.e. in the artist's immediate surroundings; "Schule" (school): a work of uncertain date, executed in the style of an artist or a regional group of artists; "Umkreis" (circle): a work created within the artist's wide regional and temporal sphere of influence; "Nachfolger" (follower): a work in the artist's style, but possibly of a later period; "Nachahmer" (in the manner of): imitation or copy of a work by the artist, of an uncertain date; First name and surname of the artist, date and location: undoubtedly a work by the artist.

COPYRIGHT

All information (texts, descriptions, pictures, illustrations, etc.) and all advertising media of the DOROTHEUM are protected by copyright and are subject to intellectual property
protection. Outside the limits of the law, they may not be treated, distributed, reproduced or processed or stored in databases unless with the express prior written consent of the
DOROTHEUM. Moreover, the name DOROTHEUM is also protected by trademark rights registered at national and international levels. In case of infringement, the DOROTHEUM
reserves the right to take corresponding action under civil law or penal law to protect its intellectual property. By acquiring an item at auction the purchaser shall not acquire exclusive license or exploitation rights under copyright law over and above title to the item purchased.

Contract

In order to participate in our auction you need to register 24 hours before the sale. Please be aware we reserve the right to ask all bidders for a deposit / passport ID prior to the sale.

Kind regards,
Dorotheum Client Service

Buyer's Premium

The buyer's premium shall be as follows:
a) for items subject to margin tax (not specially marked in the catalogue/in the description) or for sales where the Dorotheum acts as an agent (marked with a "V" ["Vermittlung" = agent sale] in the catalogue/in the description):

up to an amount of EUR 10,000: 28% of the hammer price
for the amount exceeding EUR 10,000: 25% of the hammer price
for the amount exceeding EUR 100,000: 22% of the hammer price
for the amount exceeding EUR 600,000: 15% of the hammer price

In these cases the buyer's premium includes the statutory VAT.

b) for fully taxable items (marked in the catalogue/in the description with the symbol "+" for 20% VAT, with "-" for 13% VAT or with "#" for 10% VAT):

up to an amount of EUR 10,000 EUR: 23.34% of the hammer price
for the amount exceeding EUR 10,000: 20.84% of the hammer price
for the amount exceeding EUR 100,000: 18.34% of the hammer price
for the amount exceeding EUR 600,000: 12.5% of the hammer price

In the case under (b), the statutory VAT is calculated based on the total price (hammer price plus buyer's premium and a possible resale right royalty) and is added to the total price.


RESALE ROYALTIES

In compliance with directive 2001/84/EC Austrian copyright legislation (Urheberrechtsgesetz-Novelle 2005 as amended) implemented Artist Resale right in Austria.
As a result, sales of original works that are marked with an asterisk (*) in the catalogue will be subject to a non-refundable royalty payment in the form of a surcharge on the hammer price. This will be used by the Dorotheum to pay the royalty due to the artist, his legal successor or the artist's representatives.

The surcharge is calculated as follows:
4% on the first 50.000 EUR, (= - 50.000 EUR)
3% on the next 150.000 EUR, (= 50.000,01 - 200.000 EUR)
1% on the next 150.000 EUR, (= 200.000,01 - 350.000 EUR)
0,5% on the next 150.000 EUR, (= 350.000,01 - 500.000 EUR)
0,25% on all subsequent amounts (= over 500.000,01 EUR), based on the hammer price.

The surcharge may not exceed 12,500 EUR and does not apply to purchases under
2,500 EUR.

Shipping Terms

Shipping fees are applicable unless the winning bidder picks up the lot after the auction. The actual shipping rates depend on the dimensions and weight of the lots.