Beschreibung:

Property from the Collection of Sir Peter Jonas
Giovanni Battista Bertucci il Vecchioactive in Faenza circa 1495 - 1516Saint Margaret
oil on pine panelunframed: 81.7 x 50.8 cm.; 32¼ x 20 in.framed: 93.5 x 62.9 cm.; 36⅞ x 24¾ in.Condition reportThe panel is cradled, flat and stable. The paint surface is fairly clean but the varnish is discoloured. There are three vertical restored splits, which run from the upper margin, the longest of which runs down to the middle of the Saint’s drapery. There are further small retouchings visible, scattered in her drapery and in the green background. Inspection under ultraviolet light confirms all these and further reveals retouchings to the network of craquelure in the upper left corner, and a few small spots in her chest, as well as in the background and dragon’s head. The painting is in overall good condition.
Please note that Condition 12 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.ProvenanceDiamanten-Regie, Berlin;
By whom anonymously sold, Berlin, Graupe, 27–29 May 1935, lot 11 (as Lorenzo Costa ;
Private collection, Munich;
Whence sold, Berlin, Hans W. Lange, 16–17 April 1943, lot 15;
Where acquired by Heinrich Hoffmann (1885–1957), Munich and Gufflam;
Recovered by the Allied Forces and transferred to the Central Collecting Point, Munich (Mü-no. 27893), 4 May 1946;
Transferred by the Allied Forces to the Bavarian Prime Minister, Munich, 25 April 1949;
Transferred from the Bavarian Prime Minister to the Administration of Cultural Assets, Foreign Ministry of the Federal Republic of Germany, Munich, 22 February 1952;
Bavarian State Painting Collection, Munich (Assigned from the Bavarian Authority for Asset management and compensation to the Free State of Bavaria), 11 March 1959;
Purchased from the Bavarian State by Henriette Hoffmann von Schirach (1913–1992), 7 August 1963;
Anonymous sale, Lucerne, Galerie Fischer, 3–7 December 1963, lot 1109 (as Lorenzo Costa ;
Anonymous sale, London, Sotheby's, 18 April 2000, lot 287 (as follower of Lorenzo Costa ;
Where acquired by Sir Peter Jonas (1946–2020).Catalogue noteEverett Fahy suggested this work to be by Giovanni Battista Bertucci il Vecchio, called Giovanni Battista da Faenza, on the basis of photographs, as announced in a saleroom notice when the painting was offered at Sotheby's, 18 April 2000, lot 287.
The painting was consigned to the Paul Graupe auction in May 1935 by the Diamanten-Regie, a German colonial company that was responsible for sourcing and selling diamonds from the former German colony in Southwest Africa and from circa 1933 also had an art department. Through the archival files of the Diamanten-Regie at the Bundesarchiv in Berlin (Barch, R 8127/1017) and the files relating to expertises by the art historian Dr. Hermann Voss (1884–1969) at the Central Archive in Berlin (I/GG 295 I d 6, Bd. 23, I/GG 349 o.Az., Bd. 1) no earlier provenance could be established for this painting.
This painting is not recorded on any of the consulted lists and databases of losses, including the Art Loss Register.