2
2

PROPERTY FROM A PRIVATE COLLECTION

Paolo Veneziano and close studio assistant, possibly one of his sons, Giovannino, Luca or Pablo
THE MADONNA AND CHILD ENTHRONED
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Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
250,000350,000
LOT SOLD. 322,000 GBP
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2

PROPERTY FROM A PRIVATE COLLECTION

Paolo Veneziano and close studio assistant, possibly one of his sons, Giovannino, Luca or Pablo
THE MADONNA AND CHILD ENTHRONED
Estimate
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
Double Dagger
Indicates that the lot is being sold whilst subject to Temporary Importation, and that VAT is due at the reduced rate
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
250,000350,000
LOT SOLD. 322,000 GBP
JUMP TO LOT

Details & Cataloguing

Old Masters Evening Sale

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Paolo Veneziano and close studio assistant, possibly one of his sons, Giovannino, Luca or Pablo
ACTIVE IN VENICE BETWEEN 1333 - 1358
THE MADONNA AND CHILD ENTHRONED
tempera on panel, gold ground
86 x 59.5 cm.; 33 7/8  x 23 3/8  in.
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Provenance

In the collection of the father of the present owner since 1967;

Thence by descent.

 

Exhibited

M. Muraro, Paolo da Venezia, Milan 1969, pp. 36, and 110, fig. 4 (as workshop of Paolo, circa 1340).

Catalogue Note

Paolo Veneziano was the dominant artistic personality in fourteenth-century Venice and possibly the most widely patronized too, winning commissions throughout northern and central Italy, as well as in Istria and Dalmatia. Steeped in the Byzantine roots of Venetic painting at the time, he absorbed and made his own the new gothic idiom that swept through Europe and was fundamental in steering Venetian painting away from its Hellenistic roots to form its own identity.

We are grateful to Professor Andrea De Marchi for confirming the attribution and for proposing that Paolo's son Giovannino assisted in the execution of the panel. De Marchi dates the work to the 1350s, probably after the Campana Polyptych dated 1354 in the Louvre, Paris, in which the Madonna is also seen enthroned and in which the halos of the two figures, particularly in the red cruciform design of the Child and the Mother's crown, closely match the present ones.1 De Marchi also suggests the present work was likely painted before the Saint Dominic Polyptych from San Severino Marche, of which the central panel, signed by both Paolo and Giovannino and dated 1358, is in the Frick Collection, New York.

We also thank Dr Christopher Platts for endorsing the attribution to Paolo and for dating the work to the mid- to late-1350s. Platts too believes that the work was executed with the help of a talented associate, possibly one of the artist's sons, as was frequent in the artist's production during the latter part of his career. For Platts the closest comparison is with the central panel of the aforementioned Campana Polyptych from 1354, and in particular the very similar way in which the bone structure of the eye sockets is defined.

Both De Marchi and Platts have kindly pointed us to an article by Roberta Maria Salvador in which she carefully analyses the tooling and punchwork found in Paolo's oeuvre. The master and his workshop made use of a unique three-pointed punch tool to create the triangular groups of three dots in the gilded halos. This particular punch tool is only found in works executed after circa 1349 and then disappears form the artist's known works after circa 1358, thus providing us with technical evidence which supports the stylistic dating of the work to the mid- to late-1350s.

1 See F. Pedrocco, Paolo Veneziano, Milan 2003, pp. 194–95, cat. no. 25, reproduced.

2 Pedrocco 2003, pp. 204–05, cat. no. 30, reproduced.

3 R. M. Salvador, 'Girali e racimoli. Paolo Veneziano e la definizione di un canone nella decorazione dei nimbi', in Arte veneta, 71, 2014, pp. 101–25.

Old Masters Evening Sale

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London