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Lot 1007: Matteo Giovannetti, Catherine of Alexandria and Saint Anthony the Great

Est: €700,000 EUR - €800,000 EURSold:
Kunsthaus Lempertz KGKöln, GermanyNovember 15, 2014

Item Overview

Description

CertificateProf. Dr. Gaudenz Freuler, Zurich 2014.The appearance of two panels by the Italian artist Matteo Giovannetti on the market is an important event for art historical research. A mere handful of works by this painter, who was active in the Papal court at Avignon in the early 14th century, exist today.The works originate from the estate of the painter Franz von Lenbach, and they are probabely the two works which Raymond de Marle saw in Munich and attributed to Matteo Giovannetti in the early 20th century. The first recorded evidence of the works is a photograph and description in a catalogue for an auction taking place from 24th-31st October 1900, in which they were offered for sale together with other pieces from the collection of Count Cernazai from Udine (Luisa Vertova 1968). It is not known whether Lenbach purchased the panels during this sale or from an art dealer, but upon his death on 6th May 1904 they were certainly part of his impressive art collection and remained in family ownership ever since.These panels were first published by Luisa Vertova in 1968 and show Saint Catherine of Alexandria as a young princess and Saint Anthony the Great as a hermit. The attribution to the enigmatic painter from Viterbo is based upon careful comparison of the panels with Giovannetti's frecoes in the "Palais des Papes" in Avignon, but also with his few surviving panel paintings. The stylistic similarities found were further supported by comparison with workshop details such as the embossed ornaments of the haloes, the patterns of which were made with the same tools as those of other panels by this artist, such as the ornaments in two paintings of the Saints Hermagoras and Fortunatus in the Museo Correr in Venice (illus. 1).Two further works by Giovannetti from the Cernazai collection were sold in the 1900 auction: Two gable ornaments depicting the annunciation which are now kept in the Louvre in Paris (illus. 2) and an oval panel of the Virgin and Child in private ownership in Paris (illus. 3). Today we assume that all three works were originally part of the same altarpiece which was previously owned by the Manin family in Venice. It is exceedingly probable that Teodoro Correr purchased the two panels of Saints now kept in the Museo Correr from the Manin family in the early 19th century (A. Lenza 2014).The Saints Hermagoras and Fortunatus are the patron saints of the town of Aquileia, which provides an interesting clue as to the patron of Giovannetti's altarpiece. Bertrando de Saint Geniés, the papal Chaplain in Avignon, was appointed Patriarch of Aquileia in 1334. His later custodian in Avignon was Manino II Manin, who also originated from the northern town of Veneto and was most probably the donor of the altarpiece. This assumption is heavily supported by the fact that the work is known to have been in the possession of the renowned Manin family, to whom the last Doge of Venice also belonged, until the late 18th century. When closed, the altarpiece would have measured 92 x 40 cm and displayed the two present panels with Saint Catherine to the left and Saint Anthony to the right. The Virgin and Child would have formed the central panel, flanked by Saints Hermagoras and Fortunatus and crowned by the two arched panels in Paris (illus. 3). Matteo Giovannetti was probably born in Viterbo in circa 1300. He is mentioned in papal correspondence in 1322 and again in 1328. His artistic career probably centred around Avignon, where he is mentioned as court painter to the Pope as of 1343, probably succeeding the Sienna artist Simone Martini who died in 1344. In Avignon he painted the frescoes in the Chapel of Saint Martial (1344 - 46) and the Chapel of Saint Michael for Pope Clemens VI. Later he painted the frescoes in the Chapel of Saint John (1346 - 48) and the prophets in the audience hall (1353) of Clemens' successor Innozenz VI. The frescoes in the Chapel of Chartreuse in Villeneuve-les-Avignon also originate from this time period. However, very little has survived of Giovannetti's numerous works on panel. Aside from the above-mentioned pieces from the altarpiece of Manino II Manin, we also know of a Madonna in the Chalandon collection in Parcieux and a Crucifixion in the collection of the Cassa di Risparmio in Viterbo. Researchers agree that the panels from this small, reconstructed altarpiece belong to Giovannetti's early phase of around 1344-46, as many stylistic parallels exist between these works and the frescoes of the Chapel of Saint Martial.The elegant style of Simone Martini must have been an important inspiration for Giovannetti's artistic development in Avignon. This is evident in the Madonna of the Annunciation kept in the Louvre, which is clearly influenced by Simone's small Orsini altarpiece (Antwerp, Koninklijk Museum voor Schone Kunsten). Giovannetti's work is characterised by a keen observation of nature, which is especially evident in the features of the donor in the Correr-panel, as well as those of the elderly Saint Anthony and the graceful figure of Saint Catherine of Alexandria, whose delicate veil is draped over her hair and folded beneath her red cloak. His exceptionally modern interest in the human form inspired him to paint figures, gestures and physiognomies unparalleled in the art of his time. Giovannetti was only able to develop this unique style in dialog with the artistic culture of Avignon. The international climate in the Southern French papal Court was what allowed him to become the most original painter not only in Italy, but the whole of Europe at the time, encorporating elements common to the International Gothic style of the early 15th century. Both the present two panels and the corresponding works from the Manin altarpiece represent exceedingly rare testimonies to his artistic talent.

Dimensions

Each 64 x 17 cm

Artist or Maker

Medium

Tempera on panel.

Literature

R. van Marle: The Development of the Italian Schools of Painting, II, The Hague 1924, p. 317. - L. Vertova: Testimonianze frammentarie di Matteo da Viterbo, in: Festschrift für Ulrich Middeldorf, Berlin 1968, p. 45-51. - M. Laclotte / D. Thiébaud: L´'École d´Avignon, Paris 1983, p. 32-48, 166-169. - D. Thiébaud: Matteo Giovannetti, in :L`Art gothique siennois, Katalog Avignon 1983, p. 189-190. - E. Castelnuovo: Un pittore Italiano alla corte di Avignone. Matteo Giovannetti e la Pittura in Provenza nel secolo XIV, Torino (2nd edition) p. 95, footnote. 5.

Provenance

18th C., Galleria Manin, Venice. - The Jacopo Danieli collection, Padua. - Museum Danieli, Zadar. - The Count Cernazai collection, Udine 1859. - The Franz von Lenbach collection, Munich 1900. - After his death henceforth in family ownership from 1904 to the present day.

Notes

VAT: Margin scheme

Payment & Shipping

Payment

Accepted forms of payment: American Express, MasterCard, Visa, Wire Transfer

Shipping

Auction House will ship, at Buyer's expense

Auction Details

Terms

Live bidding may start higher or lower

Buyer's Premium

€0 - 399,999:31.56%
€400,000+:26.8%

Bidding Increments

From:To:Increment:
€0€999€50
€1,000€1,999€100
€2,000€3,999€200
€4,000€5,499€300
€5,500€14,999€500
€15,000€29,999€1,000
€30,000€49,999€2,000
€50,000€64,999€3,000
€65,000+€50,000

Terms and Conditions

Conditions of Sale
1. The art auction house, Kunsthaus Lempertz (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Civil Code as commissioning agent on behalf of the accounts of submitters, who remain anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.
2. The auctioneer reserves the right to divide or combine any catalogue lots or, if it has special reason to do so, to offer any lot for sale in an order different from that given in the catalogue or to withdraw any lot from the sale.
3. All lots put up for sale may be viewed and inspected prior to the auction. The catalogue specifications and related specifications appearing on the internet, which have both been compiled in good conscience, do not form part of the contractually agreed to conditions. These specifications have been derived from the status of the information available at the time of compiling the catalogue. They do not serve as a guarantee in legal terms and their purpose is purely in the information they provide. The same applies to any reports on an item's condition or any other information, either in oral or written form. Certificates or certifications from artists, their estates or experts relevant to each case only form a contractual part of the agreement if they are specifically mentioned in the catalogue text. The state of the item is generally not mentioned in the catalogue. Likewise missing specifications do not constitute an agreement on quality. All items are used goods.
4. In the event of variances from the catalogue descriptions, which result in negation or substantial diminution of value or suitability, and which are reported with due justification within one year after handover, Lempertz nevertheless undertakes to pursue its rights against the seller through the courts; in the event of a successful claim against the seller, Lempertz will reimburse the buyer only the total purchase price paid. German is the official language for the catalogue text. Over and above this, Lempertz undertakes to reimburse its commission within a given period of two years after the date of the sale if the object in question proves not to be authentic. Liability of Lempertz for faults or defects is otherwise excluded.

5. Claims for compensation as the result of a fault or defect in the object auctioned or damage to it or its loss, regardless of the legal grounds, or as the result of variances from the catalogue description or statements made elsewhere are excluded unless Lempertz acted with wilful intent or gross negligence; in other regards, point 4 applies.

6. Submission of bids. Bids in attendance: The floor bidder receives a bidding number on presentation of a photo ID. Lempertz reserves the right to grant entry to the auction. If the bidder is not known to Lempertz, registration must take place 24 hours before the auction is due to begin in writing on presentation of a current bank reference. Bids in absentia: Bids can also be submitted either in writing, telephonically or via the internet. The placing of bids in absentia must reach Lempertz 24 hours before the auction to ensure the proper processing thereof. The item must be mentioned in the bid placed, together with ticket number and item description. In the event of ambiguities, the listed ticket number becomes applicable. The placement of a bid must be signed by the applicant. The regulations regarding revocations and the right to return the goods in the case of long distance agreements (§ 312b - d of the Civil Code) do not apply. Telephonic bids: Establishing and maintaining a connection cannot be vouched for. In submitting a bid placement, the bidder declares that he agrees to the recording of the bidding process. Bids via the internet: They will only be accepted by Lempertz if the bidder registered himself on the internet website beforehand. Lempertz will treat such bids in the same way as bids in writing.

7. Carrying out the auction. The hammer will come down when no higher bids are submitted after three calls for a bid. In extenuating circumstances, the auctioneer reserves the right to bring down the hammer or he can refuse to accept a bid. If several individuals make the same bid at the same time, and after the third call, no higher bid ensues, then the ticket becomes the deciding factor. The auctioneer can retract his acceptance of the bid and auction the item once more if a higher bid that was submitted on time, was erroneously overlooked and immediately queried by the bidder, or if any doubts regarding its acceptance arise (§ 2 point 4 VerstVO). Bids are only played to an absolute maximum by Lempertz if this is deemed necessary to outbid another bid. The auctioneer can bid on behalf of the submitter up to the agreed limit, without revealing this and irrespective of whether other bids are submitted. Even if bids have been placed and the hammer has not come down, the auctioneer is only liable to the bidder in the event of premeditation or gross negligence.

8. Once a lot has been knocked down, the successful bidder is obliged to buy it. If a bid is accepted conditionally, the bidder is bound by its bid until four weeks after the auction unless it immediately withdraws from the conditionally accepted bid. From the fall of the hammer, possession and risk pass directly to the buyer, while ownership passes to the buyer only after full payment has been received.

9. A premium of 26 % (23% + 3% live bidding fee) calculated on the hammer price plus 19 % value added tax calculated on the surcharge only is levied (margin scheme). On the lots which are characterized by an *, the buyer shall pay a premium of 26% (23% +3% live bidding fee) on the hammer price; onto this (hammer price and premium) the statutory VAT of 19% for decorative art and photography will be added. (Regelbesteuerung = regular scheme). For original works of art and photographies whose author died after 31.12.1941, a charge of 1.9% on the hammer price will be levied fort he droit de suite. Invoices may be issued for buyers who are entitled to a Pre-Tax Deduction for art and decorative art for all lots according to the existing »Regelbesteuerung« (regular scheme). These buyers must identify themselves when receiving their bidding paddle. Exports to third (i.e. non-EU) countries will be exempt from VAT, and so will be exports made by companies from other EU member states if they state their VAT identification number.

10. Successful bidders attending the auction in person shall forthwith upon the purchase pay to Lempertz the final price (hammer price plus premium and VAT) in Euro. Payments by foreign buyers who have bid in writing or by proxy shall also be due forthwith upon the purchase, but will not be deemed to have been delayed if received within ten days of the invoice date. Cheques cannot be accepted. The request for an alteration of an auction invoice to a person other than the bidder has to be made immediately after the auction. Lempertz however also reserves the right to refuse such a request if it is deemed appropriate.

11. In the case of payment default, Lempertz will charge interest on the outstanding amount at a rate of 1 % of the gross price per month or part month. If payment is made in a foreign currency, any exchange rate losses and bank charges will be borne by the buyer. If the buyer defaults in payment, Lempertz may at its discretion insist on performance of the purchase contract or, after allowing a period of grace, claim damages for non-performance. In the latter case, Lempertz may determine the amount of the damages by putting the lot or lots up for auction again, in which case the defaulting buyer will bear the amount of any reduction in the proceeds compared with the earlier auction, plus the cost of resale, including the premium.

12. Buyers must take charge of their purchases immediately after the auction. Once a lot has been sold, the auctioneer is liable only for wilful intent or gross negligence. Lots will not, however, be surrendered to buyers until full payment has been received. Without exception, shipment will be at the expense and risk of the buyer. Purchases which are not collected within four weeks after the auction may be stored and insured by Lempertz on behalf of the buyer and at its expense in the premises of a freight agent. If Lempertz stores such items itself, it will charge 1 % of the hammer price for insurance and storage costs.

13. As far as this can be agreed, the place of performance and jurisdiction is Cologne. German law applies; the provisions of the United Nations Convention on Contracts for the International Sale of Goods, CISG are not applicable. Should any provision herein be wholly or partially ineffective, this will not affect the validity of the remaining provisions.

14. As far as this can be agreed, the place of performance and jurisdiction is Cologne. German law applies; the provisions of the United Nations Convention on Contracts for the International Sale of Goods, CISG are not applicable. Should any provision herein be wholly or partially ineffective, this will not affect the validity of the remaining provisions.
Henrik Hanstein, sworn public auctioneer.

Shipping Terms

Auction House will ship, at Buyer's expense

Shipping Terms

Auction House will ship, at Buyer's expense

Shipping Terms

Auction House will ship, at Buyer's expense

Shipping Terms

Auction House will ship, at Buyer's expense

Bidder registration

Please note that 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 bidders for a deposit prior to the sale.

Buyers Premium

A premium of 22 % calculated on the hammer price plus 19 % value added tax calculated on the surcharge only is levied (margin scheme). On the lots which are characterized by an *, the buyer shall pay a premium of 22% on the hammer price; onto this (hammer price and premium) the statutory VAT of 7 per cent for paintings, original prints, sculptures and collection pieces and 19 per cent for decorative art and photography will be added. (Regelbesteuerung = regular scheme). For original works of art and photographies whose author died after 31.12.1941, a charge of 1.9% on the hammer price will be levied fort he droit de suite.