Illuminazioni di manoscritti italiani
venerdì 18 settembre 2015, 13h30
MASTER OF S. AGNESE DI VAL DI PIETRA Fragment of a leaf from a gradual with the initial Q and the scene of Doubting Thomas. Vellum. Bologna, ca.1300-1305. 270 x 220 mm. Provenance: - Bologna, Sant'Agnese of Val di Pietra. - During the period of secularisation under Napoleon, this and a further 9 leaves were cut out of a volume still be be found in the Museo Nazionale della Musica in Bologna (Ms. Lit 4). - Milan Hoepli (?). - London, Sam Fogg. - 1995 the current collection. Bibliography: - Gaudenz Freuler, Studi recenti sulla miniatura medievale (soprattutto) emiliana. Appunti intorno ad una recente mostra americana (parte 1), in: Arte Cristiana, 820, XCII, 2004, pp. 3-4 and p. 9, note5; Stefania Roncroffi, Firenze 2009, pp.107-109. - Gaudenz Freuler, Italian Miniatures from the Twelfth to the Sixteenth Centuries, Milan 2013, pp. 190-205. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, pp. 60-61. Further reading: - Fabrizio Lollini, in: Duecento. Forme e colori del medioevo a Bologna, Bologna 2000, pp. 365-371, 377-378. This leaf fragment with a simple initial Q and a lively depction of Doubting Thomas introduces the introitus for the mass during the octave after Easter In recent years nine further leaves of graduals by the same hand with corresponding liturgical texts have been located in various European collections (fig. 1) and at the Montreal Museum of Fine Arts, which were clearly cut from the gradual now at the Museo Nazionale della Musica in Bologna (Ms. Lit 4) The unassuming Byzantine element in this illuminator's work relates to the fact that he presumably worked in an illuminators collective, in which artists from the circle of Jacopino da Reggio also worked.
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RIMINI, NERI DA (Rimini ca. 1270 - ca. 1322 ?) Historiated initial A cut from a antiphonary (removed from binding) with Christ flanked by the Virgin and John, with three prophets in adoration. Vellum. Rimini, ca. 1305. 193 x 182 mm. Provenance: - Brussels, collection of Vicomte Hyppolyte Vilain (1793-1873). - 1981, London Sotheby's, 14 July 1981, lot 20. - 1992 Milan, collection of Nella Longari. - 2003, Hamburg, Jörn Günther. - Since 2004 in the current collection. Exhibited: - Rimini, Museo della Città, 2. April-28. May 1995, No. 8. Bibliography: - Milvia Bollati, in: Filippo Todini (ed.). Una collezione di Miniature Italiane, Dal Duecento al Cinquecento,Milan 1993, pp. 19-21. - Neri da Rimini, Il Trecento riminese tra pittura e scrittura, Ausstellungkatalog 1995 Rimini, Museo della Città, Milan 1995, p. 84. - Gudrun Dauner, Neri da Rimini und die Rimineser Miniaturmalerei des frühen Trecento, Munich 1998, pp. 87-90. - Pia Palladino, Treasures of a Lost Art. Italian Manuscript Painting of the Middle Ages and Renaissance, exh. cat. Cleveland/San Francisco/New York 2003, pp.15-20. - Gaudenz Freuler, Studi recenti sulla miniatura medievale (soprattutto) emiliana. Apunti intorno ad una recente mostra americana (parte1), in Arte Cristiana XCII, 2004, pp. 4-6. - Gaudenz Freuler, Italian Miniatures from the Twelfth to the Sixteenth Centuries, Milan 2013, pp. 214-227. - Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, pp. 68-69. This historiated initial A appeared on the frontispiece of a dismantled volume of antiphonaries, of which I have recently recorded a futher 17 single leaves or initials (Freuler 2013, fig.1) This superb initial and its sister pieces can be added to the miniature dated to 1300 at the Fondazione Cini, so may have been produced within the first five years.
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RIMINI, NERI DA (Rimini ca. 1270 - ca. 1322 ?) Leaf from an antiphonary with a historiated initial L: Moses receiving the Tablet from God the Father. Vellum. Rimini, 1314. 573 x 385 mm (Initial 100 x 95 mm). Provenance: - Rimini, San Francesco. - 1905 Frankfurt, Joseph Baer. - London Sotheby's, 23 June 1998, Lot No. 14. - Lugano Albi Rosenthal. - Around 2000 purchased by the current owner from the collection of Albi Rosenthal in Lugano. Bibliography: - Auction catalogue Joseph Baer & Co, Frankfurt 1905, p. 7. - Gudrun Dauner, Neri da Rimini und die Rimineser Miniaturmalerei des frühen Trecento, Munich 1998, pp. 97-144, esp. 135; London Sotheby's 23 June 1998, lot 14. - Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, pp. 76-79; Simonetta Nicolini, in: Milvia Bollati (ed.), Dizionario Biografico die miniatori Italiani. Secoli IX-XVI, Milan 2004, pp. 816-819. Further relevant literature: - Neri da Rimini, Il Trecento riminese tra pittura e scrittura, Ausstellungkatalog 1995 Rimini, Museo della Città, Milan 1995, pp.142 ff. This leaf, long thought to be lost, which only reappeared on the London art market in 1998, shows God the Father within an initial L, as he hands Moses a tablet (not the tablet of the Ten Commandments), and so opens the response of the first nocturn of the fourth Sunday of fasting. This leaf is without doubt an important testament to the work of the illuminator Neri da Riminis at the height of his powers around 1314.
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1ST MASTER OF THE SAN DOMENICO CHOIR BOOKS (MASTER SENECA) Leaf from an antiphonary with the initial D and the Madonna and Child enthroned. Vellum. Bologna, ca. 1320. 515 x 375 mm (Initial 115 x 120 mm). Provenance: - Bologna , S. Pietro Martire or San Giovanni Battista(?). - ca. 1930, Milan Ulrico Hoepli. - 1960, Lugano, Erwin Rosenthal. - 1987, London Quaritch. - 1994, London, Sam Fogg. - In the current collection since 1995. Bibliography: - Gaudenz Freuler, Studi recenti sulla miniatura medievale (soprattutto) emiliana. Appunti intorno ad una recente mostra americana (parte I), in: Arte Cristiana, XCII, 2004, pp.1-10. - Gaudenz Freuler, Italian Miniatures from the Twelfth to the Sixteenth Centuries, Milan 2013, pp. 254- 271. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, pp. 28-83. Further reading: - Giordana Mariani Canova, Miniature dell' Italia Settentrionale nella Fondazione Giorgio Cini, Vicenza 1978, pp. 13 ff. - Giordana Mariani Canova, Nuovi contributi alla serie liturgica degli antifonari di San Domenico in Bologna, in: La miniatura italiana in età romanica e gotica. Atti del I congresso di storia della miniatura italiana, Florence 1979, pp. 371-293. - Massimo Medica, Libri Miniati del Museo medievale, Bologna 1997, pp.3 ff. - Massimo Medica in: Duecento. Forme e colori del medioevo a Bologna, exh.cat. Bologna 15.4-16.7 2000, Bologna 2000, pp. 373-375. This leaf with the text of the first response of the first nocturn of the Feast of the Assumption of Mary, is a fragment of the highest quality from an important choir book made for one of the various convents of the Dominican nuns of Bologna, presumably S. Pietro Martire or San Giovanni Battista.
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2ND MASTER OF SAN DOMENICO (MASTER OF B 18) Leaf from an antiphonary with the initial E and a depiction of the Presentation in the Temple. Vellum. Bologna ca. 1320. 520 x 375 mm (Initial (1205 x 115 mm). Provenance: - Bologna , S. Pietro Martire or San Giovanni Battista(?). - ca. 1930, Milan Ulrico Hoepli. - 1960 Lugano, Erwin Rosenthal; 1987, London Quaritch. - London, Sam Fogg. - In the current collection since ca. 1995. Bibliography: - Gaudenz Freuler, Studi recenti sulla miniatura medievale (soprattutto) emiliana. Appunti intorno ad una recente mostra americana (parte I), in: Arte Cristiana, XCII, 2004, pp.1-10. - Gaudenz Freuler, Italian Miniatures from the Twelfth to the Sixteenth Centuries, Milan 2013, pp. 254- 271. - Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, p. 28-83. Further reading: - Giordana Mariani Canova, Miniature dell' Italia Settentrionale nella Fondazione Giorgio Cini, Vicenza 1978, pp. 13 ff. - Giordana Mariani Canova, Nuovi contributi alla serie liturgica degli antifonari di San Domenico in Bologna, in: La miniatura italiana in età romanica e gotica. Atti del I congresso di storia della miniatura italiana, Florence 1979, pp. 371-293. - Massimo Medica, Libri Miniati del Museo medievale, Bologna 1997, pp.3 ff. - Massimo Medica in: Duecento. Forme e colori del medioevo a Bologna, exh.cat. Bologna 15.4-16.7 2000, Bologna 2000, pp. 373-375. This leaf with its elegant scrolled border of acanthus palmettes in blue and red contains a historiated initial E. This leaf can be identified as an element of a series of now dispersed antiphonaries made for a presumably Bolognese Dominican convent, of which a number of leaves have been identified in the most diverse important European and American collections including the Free Library in Philadelphia. The present leaf was not illuminated by the master known as the Master of Seneca, as in Cat 137, but by the Master of B 18, a further exponent of the illuminators workshop.
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3RD MASTER OF THE CHOIR BOOKS OF SAN DOMENICO IN BOLOGNA (MAESTRO DELLA NATIVITÀ) "Bas-de Page" of a leaf of a gradual with the Mass of the Epiphany comprising three tondos. In the central image the Virgin presenting the new king to the world, the lateral tondos with two Dominican saints (Dominic and Peter Martyr). Vellum. Bologna, ca. 1315-1320. 285 x 90 mm Provenance: - San Domenico, Corale 18 fol.96 (?). - London, art dealer. - In the current collection since ca. 1992 Bibliography: - Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, pp. 90-91. Further cited literature: - P.V. Alce O. P., P.A. D'Amato, La Biblioteca di San Domenico in Bologna, Florence 1961, pp. 139 ff. - Emanuela D'Agostino, Patrizia Alunni, I corali di San Domenico a Bologna, Bologna 2005. - Gaudenz Freuler, Italian Miniatures from the Twelfth to the Sixteenth Centuries, Milan 2013, pp. 228-247. The three tondi, enclosed within a serrated frieze and separated by palmette scrolls, arranged horizontally, formed the Bas-de-Page of a Dominican choir book. There is much to suggest that the fragment in question does indeed come from one of the volumes of the famous and almost complete series of choir books of San Domenico in Bologna, which is still located in San Domenico It is the gradual (Corale 18), which simply contains a large historiated initial with the Birth of Christ (fol.80v) from which our fragment presumably comes.
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NERIO Bologna circa 1310-15 Initial A with Christ and two prophets in adoration and (in the upper section) the Annunciation. Tempera on vellum. Bologna, ca. 1310-15. 292 x 227 mm. Provenance: - London, Peter Summers. - London, Sotheby's, 3 July 1984, Lot No. 14. - Purchased at the above auction by the current owner. Bibliography: Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, pS. 98. Further reading: - Alessandro Conti, La Miniatura Bolognese, Scuole e botthege 1270-1340, Bologna 1981, esp pp. 50 ff. - Giordana Mariani Canova, Miniature dell' Italia settentrionale nella Fondazione Giorgio Cini, Vicenza 1978, p. 3. - Massimo Medica, in: Duecento. Forme e colori del medioevo a Bologna, Bologna 2000, pp. 379-380. This large splendid initial A, almost 30 in height, was most certainly part of a frontispiece of a gradual, and opened the introitus to the mass of the first Sunday of Advent. As research has recently revealed, this initial is definitely part of the same series of choir books as an initial R, of a fully corresponding style, with a depiction of the Resurrection of Christ and the Marys at the empty grave, which is at the Fondazione Cini in Venice (Inv 2015). The impressive quality of the painting in this initial is indicative of a significant aspect of the art of illumination in Bologna in the first quarter of the 14th century, namely the typical Neo-Byzantine substrata of Veneto influence, revealed in the facial expressions and the type of figures, which is then overlaid by the new sense of plasticity and reality from the influence of Giotto in Padua.
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NERIO Bologna circa 1310-15 Historiated initial from an antiphonary with the calling of the first Apostles Andrew and Peter. Vellum. Bologna, ca. 1320. 101 x 117 mm. Provenance: - British private collection. - 1996, London, Sam Fogg. - In the current collection since 1996 . Bibliography: - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, p. 107. Further cited literature: - Massimo Medica in: Milvia Bollati (ed.). - Dizionario Biografico die miniatori Italiani.Secoli IX-XVI, Milan 2004, pp. 820-821. - Nigel Morgan, Stella Panayotova, Suzanne Reynolds (ed.), A Catalogue of Western Book Illumination in the Fitzwilliam and the Cambridge Colleges, London 2011, pp. 289-290. This historiated initial D, with a depiction of the calling of the first Apostles opens the third response to the first nocturn for the Feast of the Apostle Andrew (30 November). The style and repertoire of the figures are characteristic of the work of the Bolognese illuminator Nerio. Nerio is considered the main protagonist of the art of illumination in Bologna at the beginning of the 14th century, and made a significant contribution to the style of the collective of illuminators for the Choir Books of San Domenico.
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BOLOGNESE BOOK ILLUMINATOR, 14TH CENTURY. Historiated initial I with the Crucifixion and Saints John, John the Baptist, Dominic and Peter. Vellum. Bologna, ca. 1330-1335. 315 x 58 mm. Provenance: - Bologna, San Pietro Martire; European private collection. -In the current collection since 1997. Bibliography: - Gaudenz Freuler, Italian Miniatures from the Twelfth to the Sixteenth Centuries, Milan 2013, pp. 272-277 - Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, pp.102-103. Further cited literature: - Giordana Mariani Canova, Miniature dell' Italia settentrionale nella Fondazione Giorgio Cini, Vicenza 1978, p.15 No. 24. This leaf fragment from a gradual with the initial I opens the introitus to the mass of Passion Sunday. As I clarified recently (G. Freuler, 2013), the fragment in question comes from a dispersed gradual, which was made for a Dominican convent, presuambly the Dominican nuns of San Piero Martyre in Bologna.
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BOLOGNESE BOOK ILLUMINATOR, 14TH CENTURY (MASTER OF MODENA?) Antiphonary sheet, illuminated on both sides. Vellum. Bologna, ca. 1330. 533 x 370 mm. (Recto) With the initial G and the angel of the Annunciation before Joseph and verso the initial M and the Annunciation to Mary. Provenance: - Private Collection Europe. - 2006, Hamburg, Jörn Günther. - In the current collection since 2007. Bibliography: - Hamburg, Jörn Günther, Broschüre 10, 2007 No.3. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, pp. 92-94. Further cited literature: - Massimo Medica, in Francesco da Rimini e gli esordi del gotico bolognese, Bologna 1990, pp. 97-112. This leaf relates to the liturgy for the Assumption of Mary (8 September). The illustrator of the small series of images on this leaf was without doubt close to the collective of illuminators of the series of choir books of San Domenico and may well have been involved in their production. Whether this could be a later work by the Master of Modena, must remain an open question for the time being. This piece was probably produce shortly before 1330.
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GIACOMO DI NASCIMBENE, NICOLO DI (NICOLO DA BOLOGNA) (Bologna ca. 1330 – ca. 1404 probably ibid.) Fragment of a leaf of an antiphonary with the initial B and the Baptism of Christ. Vellum. Bologna, ca. 1360-1365. 215 x 163 mm (Initial 80 x 62 mm). Provenance: - Florence, private collection. - Before 1985 Florence, New York, Martello collection. - London Christie's, 24 November 1993, Lot No. 5. - 1994 London Sam Fogg to the current collection. Bibliography: - Miklòs Boskovits, The Martello collection. Paintings ,drawings and miniatures from the XIVth to the XVIIIth centuries, Florence 1985, p.120. - Gaudenz Freuler, Italian Miniatures from the Twelfth to the Sixteenth Centuries, Milan 2013, pp. 284-293. - Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, pp.120-121. This leaf fragment comes from a dismantled antiphonary. This small and extremely finely painted historiated initial showing the Baptism of Christ, introduces the first antiphonary to the Laudes of the Feast of Saint John the Baptist (24 June). A complete leaf with the figure of Laurentius in an initial L held in a Milanese private collection, was recently proved to have come from the same choir book. In this in fact simple miniature, the illuminator Nicolò di Giacomo exercises his artistic powers to the full and makes plain the reasons why he quickly rose to be the leading illuminator of Bologna in the second half of the 14th century.
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GIACOMO DI NASCIMBENE, NICOLO DI (NICOLO DA BOLOGNA) (Bologna ca. 1330 - ca. 1404 probably ibid.) Historiated initial P cut from an antiphonary with the Ascent of Christ into Heaven. Vellum. Bologna, ca. 1370-1375. 160 x 110 mm. Provenance: - Bologna, one of the Dominican female houses (?). - 1990, London, Colnaghi. - 1994 Sam Fogg, London to the current collection. Bibliography: - Gaudenz Freuler, Nicolò di Giacomo, in Colnaghi , Master drawings, London 1990, No.1. - Gaudenz Freuler, Manifestatori dell cose mircolose. Arte Italiana del 300 e del 400 da collezioni in Svizzera e Liechtenstein (Exh. Cat Lugano, Fondazione Thyssen) Einsiedeln 1991, pp. 153-154. - Gaudenz Freuler, Italian Miniatures from the Twelfth to the Sixteenth Centuries, Milan 2013, pp. 284-293. Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, pp.120-121. This historiated initial P, with its central depiction of Christ the Redeemer in the Heavens before the eyes of his mother and the Apostles, introduces the Responsorium of the first nocturn for the Feast of the Ascension. This historiated initial can without doubt be attributed to the famous Bolognese illuminator Nicolò di Giacomo. As has been recently postulated, this historiated initial is part of a dispersed antiphonary, presumably in two volumes, made for a Dominican convent.
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GIACOMO DI NASCIMBENE, NICOLO DI (NICOLO DA BOLOGNA) (Bologna ca. 1330 - ca. 1404 probably ibid.) Historiated initial M cut from an antiphonary with Saint Dominic and a Dominican nun in adoration. Vellum. Bologna, ca. 1375. 225 x 170 mm. Provenance: - Swiss private collection. - 2006, London, Sam Fogg. - 2007 to the current collection Bibliography: - Gaudenz Freuler, Italian Miniatures from the Twelfth to the Sixteenth Centuries, Milan 2013, pp. 284-293. - Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, pp. 124-125. Saint Dominic, who faces the viewer directly with an open book and his attribute, the lily, stands before the central bar of the initial M. This initial, painted by the Bolognese Nicolò di Giacomo, is one of a number of initials cut from a larger choir book series made for a Dominican women's house (see also Cat 145), and can be dated to 1370-75.
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BOOK ILLUMINATOR OF THE VENETO, 13TH CENTURY. Leaf from an antiphonary with an ornamented initial A. Vellum. Veneto, ca. 1250-60. 430 x 305 mm (Initial 130 x 77 mm). Provenance: - Bis 1884, Paris, collection of the Comte de Bastard d' Estang. - Paris-Florence, Landau Finaly collection, 1977. - Lucerne, Fischer 21., 22. November 1977, Los No. 787. - 1994 London, Sam Fogg. - In the current collection since 1994. Bibliography: - Luzern, Fischer, 21, 22 Nov. 1977, pp.120-121, No.787. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, pp.12-15. This initial A opens the first response to the first nocturn of the Feast of Light (2 Feb) This important example of early Venetian illumination was formerly part of the famous collection of the Comte de Bastard d' Estang, which included several further sister leavess from the same dispersed choir book. These later came to the Landau Finaly collection (Florence-Paris) This antiphonary leaf and its sister leaves preceded the miniatures in the epistolary of Giovanni di Gaibana (1259) and indeed can be dated to a few years earlier.
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ANONYMOUS, BYZANTINE BOOK ILLUMINATOR OF THE VENETO Initial D from a liturgical book with Saint John the Baptist turning towards Jerusalem. Vellum. Veneto, ca. 1280-1300. 175 x 160 mm. Provenance: - Purchased by the current owner in 1994 from a London dealer. Bibliography: - Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, pp. 8-9. This initial D with John the Baptist preaching before Jerusalem, may have opened the antiphonary of the nocturn on the Feast day of the Baptist (24 June) The late Byzantine style of this miniature, after the pattern of the paleological Renaissance defined by Otto Demus (1958), a style which developed in Byzantine art around 1200, leads us to assume that immigrant Byzantine illuminators were working in the Veneto area. The face of this saint is certainly no longer modelled after the Byzantine style, but rather the Latin Italian painting of around 1300. There is much to suggest that this fascinating historiated initial was painted in the last decades of the 13th century by a Byzantine workshop active in the Veneto.
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VENETIAN BOOK ILLUMINATOR, 13TH CENTURY. Leaf from a gradual with the initial R and the three Marys at the empty tomb of Christ. Vellum. Venice, ca. 1290-1300. 502 x 349 mm. Provenance: - 2007 Hamburg, Jörn Günther. - Thence in the current collection. Bibliography: - Jörn Günther, Brochure No.10, Hamburg 2007, No.2. - Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, pp. 20-23. This initial R opens the Introitus to the Easter mass Without doubt this unknown illuminator modelled his art on works such as the illumination of the epistolary of Giovanni di Gaibana and that of the mosaicists of San Marco, in particular those who were working on the scenes of the Moses cycle around 1280.
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VENETIAN BOOK ILLUMINATOR, CIRCLE OF LORENZO VENEZIANO. Bas- de-Page from a Venetian choir book. Vellum. Venice, ca. 1370. 87 x 215 mm. Provenance: - 1992, London, Sam Fogg. -1995 the current collection. Bibliography: Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, pp. 30-31. Although this is a marginal element on the leaf, the painting is of the highest quality. A comparison with a historiated initial sold from the estate of Sir John Pope Hennessy with the crowned Redeemer rising to the Rex lustitiae, clearly shows that both fragments were painted by the same oustanding hand. This unknown illuminator without doubt must have been one of the outstanding Venetian artists in this sector.
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CORTESE, CRISTOFORO (active 1399 - before 1445 Venice). Historiated initial R from the choir book with a Saint at prayer. Vellum. Venice, ca. 1435-1440. 175 x 165 mm. Provenance: - 1995 Akron (Ohio), Bruce Ferrini. - thence in the current collection. Bibliography - Bruce Ferrini Gallery, Medieval and Renaissance Miniature Paintings, cat 3, Akron (Ohio) 1995, No 23. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, pp.36-37. - Daniele Guernelli, Reborn from ashes: Cristoforo Cortese's manuscripts escaped from the fire (Turin, Biblioteca Nazionale 1904, in: Codices, No 93/94, 2014, p. 50, note. 52. Further cited literature: - Gaudenz Freuler, Italian Miniatures from the Twelfth to the Sixteenth Centuries, Milan 2013, pp. 392-397. Before a blue ground overlaid with a fine mesh of filigree scrolls of an initial R, we can make out an old bearded saint. This fragment is characteristic of Cortese’s eclectic and at the same time innovative spirit. He combines echoes of Gheraducci’s choir books in the figure and its integration with the initial, with the artistic influences of the Bolognese “Neo-Gothic” work of Giovanni da Modena and Jacopo di Paolo. On the basis of these, Cortese then creates his expressive faces.
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VENETIAN BOOK ILLUMINATOR, INFLUENCED BY THE MASTER OF THE MURANO GRADUALE (the latter active ca. 1430–60) Initial I from an antiphonary with the figure of a prophet. Vellum. Venice, ca. 1470. 206 x 113 mm. Provenance: - New York Mortimer Brandt. - London , Sothebys's, 20 June 1995, lot 32. - London Sam Fogg, in the current collection since 1996. Bibliography: - Harry Bober, The Mortimer Brandt Collection of Medieval Manuscript Illuminations, Memphis Tenessee 1965, pp. 47-48. - Pia Palladino, Treasures of a Lost Art. Italian Manuscript Painting of the Middle Ages and Renaissance, exh. cat. Cleveland/San Francisco/New York 2003, pp.125-126. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014. No doubt this historiated initial was part of a dispersed antiphonary, of which there are other fragments. The fragment in question was probably made around 1470 for an unknown Venetian patron.
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MASTER OF MONZA Illuminated fragment of a Legenda Aurea with Christ in Limbo. Vellum. Lombardy, ca. 1290. 105 x 104 mm. Provenance: - 1989 Chicago, private collection. - 1992 London, Sam Fogg. - thence to the current collection. Bibliography: - Gaudenz Freuler, Italian Miniatures from the Twelfth to the Sixteenth Centuries, Milan 2013, pp. 427-431. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, pp. 304-305. Cited and further literature: - Robert Forrer, Unedierte Federzeichnungen, Miniaturen und Initialen, Strasburg 1901, pp. 11-12. - Zofia Ameisenowa, Rekopisy i pierwodruki iluminowane Biblioteki Jagiellonskiej, Cracow 1958, pp. 16-18. - Giovanni Valagussa, Santi Lombardi di fine Duecento, in: Scritti per l'istituto germanico di Storia dell' Arte di Firenze, Florence 1997, pp. 23-34. This painting depicts in a lively and archaic naif fashion the scene of Christ freeing the Patriarchs of the Old Testament from limbo.
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MASTER OF THE VITAE IMPERATORUM a) Historiated initial C with Saint Francis of Assisi receiving the stigmata. b) Historiated initial E with a depiction of Christ being tempted to turn stones into bread. Vellum. Milan, ca. 1447. 89 x 82 mm and 94 x 81 mm. Provenance: - 1994, Paris, Les Enluminures. - Thence to the current collection. Bibliography: - Les Enluminures, Enluminures, Véluins, Dessins du XIIe au XIXe siècle, Catalogue 3, Paris 1994, p.26. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, p.342-343. This initial C with a depiction of Saint Francis of Assisi receiving the stigmata, may have opened the response to the first nocturn of the feast day of the Stigmata of Francis. The initial E shows the temptation of Christ in the desert. The illuminator of this charming gem of Lombard illumination, is notable for its remarkable skill in conjuring up such a subtle and atmospheric scene in this small initial.
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MAESTRO OLIVETANO (GIROLAMO DA MILANO) (active between 1429-1449) Two fragments from a choir book, Saint Ambrose and an abbot in the white Benedictine habit (Saint Romuald or Benedict?). Vellum. Milan, ca.1435-1439. 77 x 47 mm, 105 x 80 mm. Provenance: - 1995, Chicago, private collection. - In the current collection since ca. 1996. Bibliography: - Milvia Bollati, Un gradual Olivetano. Un percorso nella Miniatura Lombarda del Quattrocento, London 2008. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, pp.344-347. Further cited literature: - Anna Melograni, Appunti di miniatura lombarda. Ricerche sul "maestro delle Vitae Imeratorum, in: Storia dell' Arte, LXX, 1990, pp. 274-314. One fragment shows an abbot looking out directly at the viewer, in a white Benedictine habit of the Olivetan order, the high status of the abbot being indicated with the green cope brocaded in gold. The identity of the saint is not certain, but this may be Saint Romuald. The second fragment shows a gold-edged medallion on a blue ground enclosing a saint with a gold bishop’s crosier, an open book and the city under his protection. It is easy to recognise this figure as the Patron Saint of Milan, Saint Ambrosius The artistry of this important Lombard illuminator is apparent in its exceptional elegance, which has developed from the French-inspired illumination of Giovannino de' Grassi, in particular in the hands of Tomasino da Vimercate, and the dynamic Gothic playfulness of Michelino da Besozzo.
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MASTER OF THE FRANCISCAN BREVIARY Initial A from a gradual, with David raising his soul to God. Vellum. Milan, ca. 1446-1450. 108 x 96 mm. Provenance: - Milan, collection of Carlo Prayer. - Ca. 1990 the current collection. Bibliography: - Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, p. 338. The authorship of this inspired historiated initial can be established by comparing directly with a very similar initial from a volume of a choir book series commissioned by Cardinal Bessarion, now in the Fondazione Giorgio Cini in Venice.
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ANONYMOUS LOMBARDY BOOK ILLUMINATOR, 15TH CENTURY. CIRCLE OF THE MASTER OF THE FRANCISCAN BREVIARY Historiated initial S from a liturgical book with God the Father sending forth the Holy Spirit. Vellum. Lombardy, ca. 1460. 100 x 105 mm. Provenance: - 1995 Turin, Pregliasco. - Thence to the current collection. Bibliography: - Turin, Pregliasco, Cat. 69,1995, p. 4,No. 10. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, p. 356. The historiated initial S with the Emanation of the Holy Spirit, may, in view of the small format, have come from a missal rather than a gradual. This graceful historiated initial may have been painted around 1460 by a Lombard illuminator in the close circle of the Master of the Franciscan Breviary.
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LOMBARDY BOOK ILLUMINATOR, 15TH CENTURY (WORKSHOP OF JACOPO BALSEMO?) Initial N from an antiphonary with the Birth of the Virgin. Vellum. Bergamo(?), ca. 1450-55. 180 x 208 mm. Provenance: - London Sotheby's, 21 June 1994, lot 56. - London Sam Fogg. - 1994, the current collection. Bibliography: - Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, pp. 354-355. This stately historiated initial with a lively depiction of the Birth of the Virgin opens the second response to the second nocturn of the Feast of the Birth of the Virgin. Stylistically this initial has echos of the early work of Balsem. Consequently, the author of this initial, painted possibly around 1450-55 may have belonged to an early workshop of Jacopo Balsemo.
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