LE MAÎTRE DE SAN FELICE DI GIANO (DOCUMENTÉ À SPOLETO DANS LA SECONDE MOITIÉ DU XIIIe SIÈCLE)

Starting price
€ 20 000
Auction dateClassic
18.05.2022 14:30UTC +02:00
Auctioneer
CHRISTIE'S
Event location
France, Paris
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ID 761380
Lot 121 | LE MAÎTRE DE SAN FELICE DI GIANO (DOCUMENTÉ À SPOLETO DANS LA SECONDE MOITIÉ DU XIIIe SIÈCLE)
LE MAÎTRE DE SAN FELICE DI GIANO (DOCUMENTÉ À SPOLETO DANS LA SECONDE MOITIÉ DU XIIIe SIÈCLE)Le martyre de sainte Lucietempera sur panneau, un fragment34 x 32,5 cm (13 1⁄4 x 12 3⁄4 in.) Provenance Marché de l'art, Bologne, Italie.Collection R. Gualino, Rome, Italie, 1945.Marché de l'art, Prato, Italie.G. Sarti Antiques Ltd, Londres, Grande-Bretagne.Collection du Docteur André Convert (1931-2021), région Rhône-Alpes, France. Literature E. B. Garrison, Italian Romanesque Panel Painting. An illustrated index, Florence, 1949, p. 143, n°373 (comme 'école du nord de l'Ombrie, vers 1300'), , reproduit dans son format d'origine.F. Todini, La pittura umbra dal Duecento al primo Cinquecento, Milan, 1989, I, p. 182, n°25 (comme 'maître de San Felice di Giano'). G. Sarti, Splendeurs de la peinture italienne 1250-1510, Paris, 2005, VI, pp. 18-23 (comme 'maître de San Felice di Giano'), reproduit en couleurs p. 19. Post lot text MASTER OF SAN FELICE DI GIANO, THE MARTYRDOM OF SAINT LUCY, TEMPERA ON PANEL, A FRAGMENTThis scene from the life of Saint Lucy is a rare example of the work of the Master of San Felice di Giano (active in the second half of the 13th century). Filippo Todini grouped a number of works together under the name of this Master, including our Saint Lucy, taking as his reference point the altarpiece of the Abbey of San Felice di Giano, Christ in glory with the symbols of the Evangelists. The Master of San Felice belonged to the school of Spoleto, the main centre of painting in southern Umbria in the 12th and 13th centuries. The influence of Giunta di Capitino da Pisa (circa 1202-circa 1250), known as Giunta Pisano, can be seen in his style. A native of Colle in Pisano, Giunta Pisano was the most important Italian artist before Coppo di Marcovaldo (circa 1225-circa 1576) and Cimabue (1240-1302), and his influence was felt not only in Pisa, but also in the broader regions of Umbria and Emilia. In the altarpiece of Christ in Glory and in our panel, there is a dynamism that the Master of San Felice di Giano took from the work of Giunta Pisano, although the more constrained Byzantine style is still very noticeable in his work. Our panel was once part of a horizontal altarpiece, with a Virgin and Child on a throne with two angels in the centre. Edward B. Garrison (1900-1981) in his 1949 book, reproduced this altarpiece in its entirety, which allows us to understand its structure before it was later taken apart due to the poor condition of the lower parts (E. B. Garrison, op. cit., 143). Our Martyr of St. Lucy was in the upper right-hand section. Here we see the moment of her death. To thank St. Agatha for healing her mother, Lucy gave away her entire fortune to the poor. Her avaricious fiancé denounced her as a Christian to the Romans, who tried in vain to kill her, until a soldier stabbed her in the neck. According to a grainy photo, the angel to the right of the Virgin Mary in the middle panel had his left foot in front of the figure of the saint on the left of our painting, which explains the restorations to this figure. The central panel, that of the Virgin, was put up for sale in 2004; at that time it was noted that there was the beginning of a name to the right of the angel, which would have been that of the saint on the left in our panel; this read 'S CAA...', which suggests that she is Saint Catherine.
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