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53 Treffer
Illuminator close to the Master of Sant'Alessio a Bigiano, ca. 1270-80,

Illuminator close to the Master of Sant'Alessio a Bigiano, ca. 1270-80,

initial M with the Annunciation Vellum 122 x 110 mm. The present fragment with the initial M and a depiction of the Annunciation comes from a now dismantled liturgical book. The present initial together with its sister piece are presumably the remains of a liturgical book made for the diocese of Imola. The somewhat archaic formulas employed by the illuminator point to the refinements of the Master of the Gradual of the Cathedral of Imola, so that we might postulate a date of around 1260-65.

Sold for CHF 2 500 (including buyer’s premium)
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MASTER OF THE GRADUAL OF THE CATHEDRAL OF IMOLA

MASTER OF THE GRADUAL OF THE CATHEDRAL OF IMOLA

Initial A from a gradual with Christ in conversation with two prophets. Vellum. Emilia, ca. 1265-1270. 181 x 150 mm. Provenance: - Imola, Cathedral(?). - Geneva, William Kündig. - London, Christies June 1992. - thence to the current collection. Bibliography: - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, pp. 36-37 and 308-309. Literature cited: - Fabrizio Lollini, in: Franco Faranda (ed.), Cor unum et anima una. Corali Miniati della Chiesa di Imola, Faenza 1994, pp. 178-180. - Ada Labriola, in: Miklòs Boskovits (ed.), Miniature a Brera 1100-1422, Milan 1997, pp. 104-107. - Silvia Battistini, in: Fabrizio Lollini (ed.), Corali miniati di Faenza, Bagnacavallo e Cotignola. Tesori dalla Diocesi, Faenza 2000, pp. 169-170. This splendid and imposing initial A from a gradual, shows a depiction of the Almighty conversing with David and another prophet. No doubt this was the very same hand as that of the three large historiated initials of the Gradual of the Cathedral of Imola (Imola, Museo Diocesano, ms. corale III, fols. 51r,78r, 89v) This Master is an important artist and must have played a leading role in the early book illumination of Emilia Romagna. For this reason I have baptised this most notable illuminator Master of the Gradual of the Cathedral of Imola, after the said gradual. By way of clarification, this artist is not identical with the equally talented protagonist known as the "Master of Imola" - he of the illumination of an antiphonary series for San Domenico in Imola, barely a decade later. In view of the fact that the Cathedral of Imola was consecrated in 1271, we can assume that the first series of liturgical books was illuminated around this date, which makes the date of circa 1265-70 most probable. A further two initials by this master are to be found in the Metropolitan Museum in New York.

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TUSCANY, 3rd QUARTER OF THE 13TH CENTURY

TUSCANY, 3rd QUARTER OF THE 13TH CENTURY

Bas-de-page with Michael weighing two souls while a Dominican nun intercedes. Vellum. Tuscany, ca. 1265-1270. 100 x 253 mm. Provenance: - 1975, Paris, Berès. - 1992, New York, Breslau collection. - 1993, London Sotheby's 6 December 1993, Lot No. 23, purchased by the current owner. Bibliography: - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, p. 52. This charming early Bas-de-Page comes from a liturgical book made for the Dominican nuns and shows a horizontal, gnarled, scrolled tendril, with a green bird entwined, and the figure of the archangel Michael in the centre. It possible that this leaf was produced by a somewhat older precursor of Maestro Geometrico around 1265-70.

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SECOND MASTER OF THE GUBBIO CHOIR BOOKS Leaf from an antiphonary with historiated initial S with the lamentation over the destruction of Jerusalem. Tempera on vellum. Gubbio, ca. 1290. 480 x 335 mm (Initial 220 x 140mm). Provenance: -1996, London, BEL. - in the current collection since 1996 Bibliography: - Sandra Hindman, Milvia Bollati, Medieval Miniatures, Catalogue BEL, 1, London 1996, p. 12. - Gaudenz Freuler, Italian Miniatures from the Twelfth to the Sixteenth Centuries, Milan 2013, pp. 604-615, illustrated on p. 610. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014 pp. 54-55. This historiated initial S opens the text Si oblitus fuero tui, alleluia, obliviscatur... the response to the first nocturn for the 4th Sunday after Easter. As writers elsewhere have already noted, the present leaf can be identified as an element of an important antiphonary which was dismantled during the Napoleonic period, of which eleven further leaves have been conserved in the collection of the Fondazione Giorgio Cini, and various European private collections.

SECOND MASTER OF THE GUBBIO CHOIR BOOKS Leaf from an antiphonary with historiated initial S with the lamentation over the destruction of Jerusalem. Tempera on vellum. Gubbio, ca. 1290. 480 x 335 mm (Initial 220 x 140mm). Provenance: -1996, London, BEL. - in the current collection since 1996 Bibliography: - Sandra Hindman, Milvia Bollati, Medieval Miniatures, Catalogue BEL, 1, London 1996, p. 12. - Gaudenz Freuler, Italian Miniatures from the Twelfth to the Sixteenth Centuries, Milan 2013, pp. 604-615, illustrated on p. 610. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014 pp. 54-55. This historiated initial S opens the text Si oblitus fuero tui, alleluia, obliviscatur... the response to the first nocturn for the 4th Sunday after Easter. As writers elsewhere have already noted, the present leaf can be identified as an element of an important antiphonary which was dismantled during the Napoleonic period, of which eleven further leaves have been conserved in the collection of the Fondazione Giorgio Cini, and various European private collections.

Sold for CHF 6 000 (including buyer’s premium)
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ROMAN BOOK ILLUMINATOR FROM THE LATE 13TH CENTURY. Leaf from a missal with a large historiated initial I with Mary Magdalene anointing the feet of Christ. Vellum. Rome, ca. 1290-1295. 310 x 220 mm. With a further small illuminated initial I with the Prophet Jesaias, verso with an initial I with a tonsured monk Provenance: - Rom, Basilica di Santa Prassede (?). - 2004, Hamburg, Jörn Günther. - 2004, Swiss private collection. - Since 2008 in the current collection. Bibliography: Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, pp. 266-268. Further cited literature: - François Avril, Marie-Therèse Gousset, Bibliothèque Nationale Paris, Manuscrits Enluminés d' origine Italienne, 2, XIII siècle, Paris 1984, p. 135. - William M.Voelkle, Roger S. Wieck, The Bernard Breslauer Collection of Art. Manuscript Illuminations, New York 1992, pp.161-163. The present leaf is part of a dismantled missal, of which three further sister leavess are known to exist. For certain stylistic reasons it is difficult to classify these leaves in art historical terms. There are good reasons to suppose that these missal leaves were executed in Rome around 1290-95, by a workshop of illuminators in the city, perhaps at the beginning of the papacy of Bonifatius VIII (1294).

ROMAN BOOK ILLUMINATOR FROM THE LATE 13TH CENTURY. Leaf from a missal with a large historiated initial I with Mary Magdalene anointing the feet of Christ. Vellum. Rome, ca. 1290-1295. 310 x 220 mm. With a further small illuminated initial I with the Prophet Jesaias, verso with an initial I with a tonsured monk Provenance: - Rom, Basilica di Santa Prassede (?). - 2004, Hamburg, Jörn Günther. - 2004, Swiss private collection. - Since 2008 in the current collection. Bibliography: Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, pp. 266-268. Further cited literature: - François Avril, Marie-Therèse Gousset, Bibliothèque Nationale Paris, Manuscrits Enluminés d' origine Italienne, 2, XIII siècle, Paris 1984, p. 135. - William M.Voelkle, Roger S. Wieck, The Bernard Breslauer Collection of Art. Manuscript Illuminations, New York 1992, pp.161-163. The present leaf is part of a dismantled missal, of which three further sister leavess are known to exist. For certain stylistic reasons it is difficult to classify these leaves in art historical terms. There are good reasons to suppose that these missal leaves were executed in Rome around 1290-95, by a workshop of illuminators in the city, perhaps at the beginning of the papacy of Bonifatius VIII (1294).

Sold for CHF 21 000 (including buyer’s premium)
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MAESTRO DEI CORALI DI ASSISI, 13TH CENTURY. Initial E from an antiphonary with Christ enthroned, two apostles in adoration and two wolves baring their teeth over two sheep. Vellum. Assisi Umbria ca. 1290-1295. 135 x 100 mm. Provenance: - London, Sam Fogg. - thence in the current collection. Bibliography: - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, p. 272. Cited literature: - Ada Labriola in: Miklòs Boskovits (ed) Miniature a Brera 1100-1422, Milan 1997, p. 108. - Milvia Bollati, in: Frate Francesco. Tracce, parole, immagini, Milan 2014, pp. 122-127. The present historiated initial is part of a continuous series which has been scattered amongst various collections. The work of this unknown but refined illuminator, as the literature to date has rightly recognised, is reminiscent of the Roman illumination of the late 13th century. A simple codicological analysis may shed some light on the sequence of the individual historiated initials within the series.

MAESTRO DEI CORALI DI ASSISI, 13TH CENTURY. Initial E from an antiphonary with Christ enthroned, two apostles in adoration and two wolves baring their teeth over two sheep. Vellum. Assisi Umbria ca. 1290-1295. 135 x 100 mm. Provenance: - London, Sam Fogg. - thence in the current collection. Bibliography: - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, p. 272. Cited literature: - Ada Labriola in: Miklòs Boskovits (ed) Miniature a Brera 1100-1422, Milan 1997, p. 108. - Milvia Bollati, in: Frate Francesco. Tracce, parole, immagini, Milan 2014, pp. 122-127. The present historiated initial is part of a continuous series which has been scattered amongst various collections. The work of this unknown but refined illuminator, as the literature to date has rightly recognised, is reminiscent of the Roman illumination of the late 13th century. A simple codicological analysis may shed some light on the sequence of the individual historiated initials within the series.

Sold for CHF 28 000 (including buyer’s premium)
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MAESTRO DELLA MATRICOLA DEI SARTI Historiated initial M from an antiphonary with the Annunciation. Vellum. Perugia, ca. 1315-20. 145 x 120 mm. Provenance: - London, Christie's June 1995. - acquired by the current owner at the above auction. Bibliography: - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, p. 278. Cited literature and further reading: - Alessandro Galli, in: Miklòs Boskovits (ed) Miniature a Brera 1100-1422, Milan 1997, pp. 180-185. - Marina Subbioni, La miniatura Perugina del Trecento, Perugia 2003, pp. 39 ff. This historiated initial M with its expressive interpretation of the Annunciation opens the first response to the first nocturn of the corresponding feast. In this historiated initial, the link to the Umbrian school of illumination, in particular that of Perugia, was correctly identified when it was sold at auction twenty years ago. However, a more precise attribution to a specific master is still lacking.

MAESTRO DELLA MATRICOLA DEI SARTI Historiated initial M from an antiphonary with the Annunciation. Vellum. Perugia, ca. 1315-20. 145 x 120 mm. Provenance: - London, Christie's June 1995. - acquired by the current owner at the above auction. Bibliography: - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, p. 278. Cited literature and further reading: - Alessandro Galli, in: Miklòs Boskovits (ed) Miniature a Brera 1100-1422, Milan 1997, pp. 180-185. - Marina Subbioni, La miniatura Perugina del Trecento, Perugia 2003, pp. 39 ff. This historiated initial M with its expressive interpretation of the Annunciation opens the first response to the first nocturn of the corresponding feast. In this historiated initial, the link to the Umbrian school of illumination, in particular that of Perugia, was correctly identified when it was sold at auction twenty years ago. However, a more precise attribution to a specific master is still lacking.

Sold for CHF 7 000 (including buyer’s premium)
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BOOK ILLUMINATOR OF PERUGIA FROM THE EARLY 14TH CENTURY. Leaf from a missal with the initial D and the Apostles Simon and Judas. Vellum. Perugia, ca.1320. 365 x 245 mm. Provenance: - Assisi, San Francesco. - 1871, sold from the collection of the Prince of Liechtenstein. - 1990, Triest, De Polo collection. - 1995, Turin, Pregliasco. - 1997, purchased by the current owner Bibliography: - Marco Assirelli, Emanuela Sesti, La Biblioteca del sacro Convento di Assisi , II, I Libri Miniati del XIII e del XIV secolo, Assisi 1990, pp.161-168. - Pregliasco Libreria Antiquaria, Torino, Kat 69, 1995, S. 3-4, No. 3-5. - Marina Subbioni, La miniatura Perugina del Trecento, Perugia 2003, p. 50. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, p. 276. Further cited literature: - Miniatures and Illuminated Leaves from the 12th to the 16th Centuries, Katalog Jörn Günther 6, Hamburg, Hamburg 1995, pp. 76-78. As ever, with Umbrian missals, the text block is divided into two columns. The present leaf, produced circa 1320, from the Libreria Antiquaria Preliasco, together with two further leaves, were in the possession of the Prince of Liechtenstein during the 19th century and were sold from this famous collection in 1871.

BOOK ILLUMINATOR OF PERUGIA FROM THE EARLY 14TH CENTURY. Leaf from a missal with the initial D and the Apostles Simon and Judas. Vellum. Perugia, ca.1320. 365 x 245 mm. Provenance: - Assisi, San Francesco. - 1871, sold from the collection of the Prince of Liechtenstein. - 1990, Triest, De Polo collection. - 1995, Turin, Pregliasco. - 1997, purchased by the current owner Bibliography: - Marco Assirelli, Emanuela Sesti, La Biblioteca del sacro Convento di Assisi , II, I Libri Miniati del XIII e del XIV secolo, Assisi 1990, pp.161-168. - Pregliasco Libreria Antiquaria, Torino, Kat 69, 1995, S. 3-4, No. 3-5. - Marina Subbioni, La miniatura Perugina del Trecento, Perugia 2003, p. 50. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, p. 276. Further cited literature: - Miniatures and Illuminated Leaves from the 12th to the 16th Centuries, Katalog Jörn Günther 6, Hamburg, Hamburg 1995, pp. 76-78. As ever, with Umbrian missals, the text block is divided into two columns. The present leaf, produced circa 1320, from the Libreria Antiquaria Preliasco, together with two further leaves, were in the possession of the Prince of Liechtenstein during the 19th century and were sold from this famous collection in 1871.

Sold for CHF 14 000 (including buyer’s premium)
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BOOK ILLUMINATOR, FROM THE CIRCLE OF MEO DA SIENA (MASTER OF THE MONTELABATE CROSS?) Historiated initial M with the three Marys at the empty tomb of Christ. Vellum. Perugia, ca. 1320-25. 105 x 110 mm. Provenance: - 1994, London Sam Fogg. - in the current collection since that date. Bibliography: - Gaudenz Freuler, Italian Miniatures from the Twelfth to the Sixteenth Centuries, Milan 2013, p. 624. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, p. 280-281 This most delicately painted initial M, with a dainty depiction of the arrival of the three Marys at the empty grave in the centre, opens the third response of the first nocturn for Easter Monday. The hybrid style of this painting leads us to assume that this historiated initial was produced around 1320-25. In the work of this illuminator we witness those elements which enabled a style of illumination with its own identity to emerge in Perugia, and which led to masters such as Vanni di Baldolo and Matteo di Ser Cambio.

BOOK ILLUMINATOR, FROM THE CIRCLE OF MEO DA SIENA (MASTER OF THE MONTELABATE CROSS?) Historiated initial M with the three Marys at the empty tomb of Christ. Vellum. Perugia, ca. 1320-25. 105 x 110 mm. Provenance: - 1994, London Sam Fogg. - in the current collection since that date. Bibliography: - Gaudenz Freuler, Italian Miniatures from the Twelfth to the Sixteenth Centuries, Milan 2013, p. 624. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, p. 280-281 This most delicately painted initial M, with a dainty depiction of the arrival of the three Marys at the empty grave in the centre, opens the third response of the first nocturn for Easter Monday. The hybrid style of this painting leads us to assume that this historiated initial was produced around 1320-25. In the work of this illuminator we witness those elements which enabled a style of illumination with its own identity to emerge in Perugia, and which led to masters such as Vanni di Baldolo and Matteo di Ser Cambio.

Sold for CHF 60 500 (including buyer’s premium)
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MASTER OF THE CHOIR BOOKS OF SAN LORENZO Leaf from an antiphonary with the historiated initial L and a depiction of Moses receiving the tablets with the Ten Commandments. Vellum. Perugia, ca. 1330-1335. 513 x 370 mm. Provenance: - 2008, Basel, Jörn Günther. - In the current collection since that date. Bibliography: - Filippo Todini, La pittura umbra dal Duecento al primo Cinquecento, Milan 1989, p. 120. - Cristina De Benedictis, in: La Spezia. Museo Civico Amedeo Lia, Milan 1996, p. 282. - Marina Subbioni, La miniatura Perugina del Trecento, Perugia 2003, p. 92. - Elvio Lunghi, in: Dizionario Biografico dei miniatori Italiani, Milan 2004, p. 460. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, pp. 282-284. The historiated initial L opens the response to the first nocturn of the fourth Sunday of fasting The first publication of this leaf by Filippo Todini (1989) established the authorship of this illuminator, active in Perugia, who, amongst other things had decorated various volumes of the series of choir books for the Cathedral of Perugia dedicated to San Lorenzo: and consequently became known as the Maestro dei Corali di San Lorenzo. The present leaf belongs to his later works, as do the sister pieces, which is why a date of circa 1330-35 is suggested.

MASTER OF THE CHOIR BOOKS OF SAN LORENZO Leaf from an antiphonary with the historiated initial L and a depiction of Moses receiving the tablets with the Ten Commandments. Vellum. Perugia, ca. 1330-1335. 513 x 370 mm. Provenance: - 2008, Basel, Jörn Günther. - In the current collection since that date. Bibliography: - Filippo Todini, La pittura umbra dal Duecento al primo Cinquecento, Milan 1989, p. 120. - Cristina De Benedictis, in: La Spezia. Museo Civico Amedeo Lia, Milan 1996, p. 282. - Marina Subbioni, La miniatura Perugina del Trecento, Perugia 2003, p. 92. - Elvio Lunghi, in: Dizionario Biografico dei miniatori Italiani, Milan 2004, p. 460. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, pp. 282-284. The historiated initial L opens the response to the first nocturn of the fourth Sunday of fasting The first publication of this leaf by Filippo Todini (1989) established the authorship of this illuminator, active in Perugia, who, amongst other things had decorated various volumes of the series of choir books for the Cathedral of Perugia dedicated to San Lorenzo: and consequently became known as the Maestro dei Corali di San Lorenzo. The present leaf belongs to his later works, as do the sister pieces, which is why a date of circa 1330-35 is suggested.

Sold for CHF 34 000 (including buyer’s premium)
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BALDOLO, VANNI DI (active 1332-1348) Sheet from a gradual with the historiated initial S and a depiction of the outpouring of the Holy Spirit. Vellum. Perugia, ca. 1335-1340. 532 x 382 mm. Provenance: - Perugia, the Cathedral of San Lorenzo (?). - 1924, Paris, Kalebdjian. - 1924-2004, New York, Robert Lehman collection. - 2004, Hamburg, Jörn Günther collection. - 2005, Zurich private collection. - Zurich, Koller 18 March 2008, Lot No. A144/3403 and purchased by the current owner. Exhibited: - Cleveland, Cleveland Museum of Art (23.2.-4.5.2003). - San Francisco, Fine Arts Museum (7.6.-31.8.2003). - New York, The Metropolitan Museum of Art (30.9.2003 - 1.2. 2004) "Treasures of a Lost Art" Italian Manuscript Painting of the Middle Ages and Renaissance. Bibliography: - Seymour De Ricci (assisted by William J.Wilson). - Census of Medieval and Renaissance Manuscripts in the United States and Canada, New York 1927, p. 1707 No A.16. - Pia Palladino, Treasures of a lost Art. Italian manuscript Painting of the Middle Ages and Renaissance, New Haven/London 2003, pp. 33-34. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, pp. 286-288. This leaf with the historiated initial S, was cut from a gradual as fol. XIX. Our thanks to Pia Pallladiino (2003) for the correct attribution of this finely painted leaf from a gradual, to the Perugian painter and miniaturist Vanni di Baldolo. Vanni di Baldolo, with his monumental, expressive figures and the lively but harmonious narrative style, is quite rightly considered one of the leading forces in the art of the illuminated manuscript in Perugia around 1340.

BALDOLO, VANNI DI (active 1332-1348) Sheet from a gradual with the historiated initial S and a depiction of the outpouring of the Holy Spirit. Vellum. Perugia, ca. 1335-1340. 532 x 382 mm. Provenance: - Perugia, the Cathedral of San Lorenzo (?). - 1924, Paris, Kalebdjian. - 1924-2004, New York, Robert Lehman collection. - 2004, Hamburg, Jörn Günther collection. - 2005, Zurich private collection. - Zurich, Koller 18 March 2008, Lot No. A144/3403 and purchased by the current owner. Exhibited: - Cleveland, Cleveland Museum of Art (23.2.-4.5.2003). - San Francisco, Fine Arts Museum (7.6.-31.8.2003). - New York, The Metropolitan Museum of Art (30.9.2003 - 1.2. 2004) "Treasures of a Lost Art" Italian Manuscript Painting of the Middle Ages and Renaissance. Bibliography: - Seymour De Ricci (assisted by William J.Wilson). - Census of Medieval and Renaissance Manuscripts in the United States and Canada, New York 1927, p. 1707 No A.16. - Pia Palladino, Treasures of a lost Art. Italian manuscript Painting of the Middle Ages and Renaissance, New Haven/London 2003, pp. 33-34. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, pp. 286-288. This leaf with the historiated initial S, was cut from a gradual as fol. XIX. Our thanks to Pia Pallladiino (2003) for the correct attribution of this finely painted leaf from a gradual, to the Perugian painter and miniaturist Vanni di Baldolo. Vanni di Baldolo, with his monumental, expressive figures and the lively but harmonious narrative style, is quite rightly considered one of the leading forces in the art of the illuminated manuscript in Perugia around 1340.

Sold for CHF 34 000 (including buyer’s premium)
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ANONYMOUS UMBRIAN BOOK ILLUMINATOR, CIRCLE OF MAESTRO DELLO SPECULUM ARSENAL Leaf from an antiphonary with the initial A and a depiction of the Presentation in the Temple. Vellum Perugia, ca. 1350. 535 x 385 mm (historiated initial 140 x 130mm) Provenance: - Zurich, Vendita Hoepli, 21-23 May 1931, Lot No. 53. - 1995, Turin, Pregliasco, Cat. 69 1995. - In the current collection since 1997. Bibliography: - Turin, Pregliasco, Cat. 69, 1995, p. 4. - Gaudenz Freuler, Italian Miniatures from the Twelfth to the Sixteenth Centuries, Milan 2013, pp. 906-907. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, p. 230. Further cited literature: - Marina Subbioni, La miniatura Perugina del Trecento, Perugia 2003, pp.195 ff. This leaf, with its slightly provincial air, featuring a depiction of the Presentation in the Temple within an initial A, is part of a dismantled antiphonary. The Perugian background of our anonymous illuminator is also apparent if we compare the work with the frescoes in San Pietro in Perugia

ANONYMOUS UMBRIAN BOOK ILLUMINATOR, CIRCLE OF MAESTRO DELLO SPECULUM ARSENAL Leaf from an antiphonary with the initial A and a depiction of the Presentation in the Temple. Vellum Perugia, ca. 1350. 535 x 385 mm (historiated initial 140 x 130mm) Provenance: - Zurich, Vendita Hoepli, 21-23 May 1931, Lot No. 53. - 1995, Turin, Pregliasco, Cat. 69 1995. - In the current collection since 1997. Bibliography: - Turin, Pregliasco, Cat. 69, 1995, p. 4. - Gaudenz Freuler, Italian Miniatures from the Twelfth to the Sixteenth Centuries, Milan 2013, pp. 906-907. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, p. 230. Further cited literature: - Marina Subbioni, La miniatura Perugina del Trecento, Perugia 2003, pp.195 ff. This leaf, with its slightly provincial air, featuring a depiction of the Presentation in the Temple within an initial A, is part of a dismantled antiphonary. The Perugian background of our anonymous illuminator is also apparent if we compare the work with the frescoes in San Pietro in Perugia

Sold for CHF 5 000 (including buyer’s premium)
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1ST MASTER OF THE CHOIR BOOKS OF SIENA CATHEDRAL Historiated initial E from a choir book with Christ blessing the Apostles. Vellum. Siena, ca. 1270-75. 145 x 125 mm. Provenance: - 1966, New York, Mortimer Brandt collection. - In the current collection since ca. 1995-96. Bibliography: - Harry Bober, The Mortimer Brandt Collection of Medieval Manuscript Illuminations, Memphis Tenessee 1965, pp. 28-29. - An Exhibition of Italian Panels and Manuscripts from the Thirteenth and Fourteenth Centuries in Honor of Richard Offner, The Wadsworth Atheneum, Hartford 1965, p. 48. - Ada Labriola, in: Miklòs Boskovits (ed.) Miniature a Brera 1100-1422, Milan 1997, pp. 90-91. - Ada Labriola, in A. Labriola, C. De Benedictis, G. Freuler, La miniatura senese 1270-1420, Siena 2002, pp. 30 ff. and 262-265. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, pp.156-157. This historiated initial E with its depiction of Christ blessing the Apostles could well have had as its subject Christ sending out the Apostles. When it was first pubished in the catalogue of the Mortimer Brandt Collection, this historiated initial was erroneously linked the circle of Giovanni di Gaibana. As Ada Labriola has rightly established, this miniature is the work of a Sienese illuminator circa 1270, known as the First Master of the Choir Books of Siena Cathedral.

1ST MASTER OF THE CHOIR BOOKS OF SIENA CATHEDRAL Historiated initial E from a choir book with Christ blessing the Apostles. Vellum. Siena, ca. 1270-75. 145 x 125 mm. Provenance: - 1966, New York, Mortimer Brandt collection. - In the current collection since ca. 1995-96. Bibliography: - Harry Bober, The Mortimer Brandt Collection of Medieval Manuscript Illuminations, Memphis Tenessee 1965, pp. 28-29. - An Exhibition of Italian Panels and Manuscripts from the Thirteenth and Fourteenth Centuries in Honor of Richard Offner, The Wadsworth Atheneum, Hartford 1965, p. 48. - Ada Labriola, in: Miklòs Boskovits (ed.) Miniature a Brera 1100-1422, Milan 1997, pp. 90-91. - Ada Labriola, in A. Labriola, C. De Benedictis, G. Freuler, La miniatura senese 1270-1420, Siena 2002, pp. 30 ff. and 262-265. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, pp.156-157. This historiated initial E with its depiction of Christ blessing the Apostles could well have had as its subject Christ sending out the Apostles. When it was first pubished in the catalogue of the Mortimer Brandt Collection, this historiated initial was erroneously linked the circle of Giovanni di Gaibana. As Ada Labriola has rightly established, this miniature is the work of a Sienese illuminator circa 1270, known as the First Master of the Choir Books of Siena Cathedral.

Sold for CHF 25 000 (including buyer’s premium)
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MAESTRO DELLO STATUTO DEL 1337 Initial V with Christ in Majesty from an antiphonary. Tempera on vellum. Siena ca. 1315-1320. 205 x 168 mm Provenance: - London, Robert Dowma. - 1997, Hamburg, Jörn Günther. - In the current collection since ca. 1998. Bibliography: - Recent Acquisitions. Medieval & Renaissance illuminated manuscripts, Cat. Jörn Günther, Bruce Ferrini, Hamburg, Akron (OH) 1997. - Ada Labriola in: Ada Labriola, Cristina De Benedictis, Gaudenz Freuler, La miniatura senese.1270-1420, Milan 2002, pp. 55 ff., pp. 291-295. - Ada Labriola, Gaudenz Freuler, Maestro dello statuto del 1337, in: Milvia Bollati (ed.) Dizionario Biografico dei miniatori Italiani. Secoli IX - XVI, Milan 2004, pp. 610-612. - Gaudenz Freuler, Ancora sulla miniatura senese dei secoli XIII-XV. Postille ad un libro (parte I), in :Arte Cristiana, XCVII 2009, pp. 283-284. - Gaudenz Freuler, Italian Miniatures from the Twelfth to the Sixteenth Centuries, Milan 2013, pp. 478-485. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, pp. 184. Further reading: - Gaudenz Freuler, Manifestatori dell cose miracolose. Arte Italiana del 300 e del 400 da collezioni in Svizzera e Liechtenstein, cat. exh. Lugano 1991, Einsiedeln 1991, p. 60. - Ada Labriola, Un corale trecentescho nell' Archivio Capitolare di Pistoia, in: Paragone, 529-533, 1994, pp. 10-16. This initial V with an unusual depiction of the Ascension of Christ, may have opened the antiphonary for the laude for the Feast of the Ascension. As Ada Labriola has rightly recognised, these initials cannot with any certainty be attributed to the Master of the Massa Marittima Choir Books, but rather to a presumably somewhat younger Sienese contemporary, Master of the Statutes of 1337.

MAESTRO DELLO STATUTO DEL 1337 Initial V with Christ in Majesty from an antiphonary. Tempera on vellum. Siena ca. 1315-1320. 205 x 168 mm Provenance: - London, Robert Dowma. - 1997, Hamburg, Jörn Günther. - In the current collection since ca. 1998. Bibliography: - Recent Acquisitions. Medieval & Renaissance illuminated manuscripts, Cat. Jörn Günther, Bruce Ferrini, Hamburg, Akron (OH) 1997. - Ada Labriola in: Ada Labriola, Cristina De Benedictis, Gaudenz Freuler, La miniatura senese.1270-1420, Milan 2002, pp. 55 ff., pp. 291-295. - Ada Labriola, Gaudenz Freuler, Maestro dello statuto del 1337, in: Milvia Bollati (ed.) Dizionario Biografico dei miniatori Italiani. Secoli IX - XVI, Milan 2004, pp. 610-612. - Gaudenz Freuler, Ancora sulla miniatura senese dei secoli XIII-XV. Postille ad un libro (parte I), in :Arte Cristiana, XCVII 2009, pp. 283-284. - Gaudenz Freuler, Italian Miniatures from the Twelfth to the Sixteenth Centuries, Milan 2013, pp. 478-485. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, pp. 184. Further reading: - Gaudenz Freuler, Manifestatori dell cose miracolose. Arte Italiana del 300 e del 400 da collezioni in Svizzera e Liechtenstein, cat. exh. Lugano 1991, Einsiedeln 1991, p. 60. - Ada Labriola, Un corale trecentescho nell' Archivio Capitolare di Pistoia, in: Paragone, 529-533, 1994, pp. 10-16. This initial V with an unusual depiction of the Ascension of Christ, may have opened the antiphonary for the laude for the Feast of the Ascension. As Ada Labriola has rightly recognised, these initials cannot with any certainty be attributed to the Master of the Massa Marittima Choir Books, but rather to a presumably somewhat younger Sienese contemporary, Master of the Statutes of 1337.

Sold for CHF 22 000 (including buyer’s premium)
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MAESTRO DELLE EFFIGI DOMENICANE Historiated initial S from a gradual with the outpouring of the Holy Spirit. Vellum. Florence, ca. 1330. 173 x 142 mm. Provenance: - Acquired in 1996 from a European private collection. Bibliography: - Miklos Boskovits, A Critical and Historical Corpus of Florentine Painting,III/IX, Florence 1984, p. 284. - 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. 42-43. - Gaudenz Freuler, Studi recenti sulla miniatura medievale: Emilia, Veneto, Toscana. Appunti su una mostra americana (parte II), in: Arte Cristiana XCII, 2004, pp. 162-163. - Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, pp. 204-206. The initial S opens the Introitus to the Mass on Whitsunday Numerous single leaves and historiated initials such as the ones discussed here, which have reached all the important collections in Europe and overseas, owe their existence to countless dismantled manuscripts produced by this artist, who has earned a name as a highly original and successful illuminator.

MAESTRO DELLE EFFIGI DOMENICANE Historiated initial S from a gradual with the outpouring of the Holy Spirit. Vellum. Florence, ca. 1330. 173 x 142 mm. Provenance: - Acquired in 1996 from a European private collection. Bibliography: - Miklos Boskovits, A Critical and Historical Corpus of Florentine Painting,III/IX, Florence 1984, p. 284. - 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. 42-43. - Gaudenz Freuler, Studi recenti sulla miniatura medievale: Emilia, Veneto, Toscana. Appunti su una mostra americana (parte II), in: Arte Cristiana XCII, 2004, pp. 162-163. - Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, pp. 204-206. The initial S opens the Introitus to the Mass on Whitsunday Numerous single leaves and historiated initials such as the ones discussed here, which have reached all the important collections in Europe and overseas, owe their existence to countless dismantled manuscripts produced by this artist, who has earned a name as a highly original and successful illuminator.

Sold for CHF 26 000 (including buyer’s premium)
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MASTER OF THE DOMINICAN EFFIGIES Leaf from an antiphonary with the initial V and the figure of John the Evangelist. Vellum. Florence, ca. 1340. 495 x 355 mm (historiated initial 115 x 115 mm). Provenance: - Castelfiorentino, Pieve dei Santi Ippolito e Biagio. - 1960, New York, Mortimer Brandt. - 1996, Paris, Les Enluminures. - thence to the current collection Bibliography: - Richard Offner, A Critical and Historical Corpus of Florentine Painting, III/VII Florence 1957, p.70. - Miklòs Boskovits, A Critical and Historical Corpus of Florentine Painting, III/IX, Florence 1984, p. 287. Les Enluminures, Cat. 5, Paris 1996, p. 18. - Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, pp. 210- 211.

MASTER OF THE DOMINICAN EFFIGIES Leaf from an antiphonary with the initial V and the figure of John the Evangelist. Vellum. Florence, ca. 1340. 495 x 355 mm (historiated initial 115 x 115 mm). Provenance: - Castelfiorentino, Pieve dei Santi Ippolito e Biagio. - 1960, New York, Mortimer Brandt. - 1996, Paris, Les Enluminures. - thence to the current collection Bibliography: - Richard Offner, A Critical and Historical Corpus of Florentine Painting, III/VII Florence 1957, p.70. - Miklòs Boskovits, A Critical and Historical Corpus of Florentine Painting, III/IX, Florence 1984, p. 287. Les Enluminures, Cat. 5, Paris 1996, p. 18. - Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, pp. 210- 211.

Blatt aus einem Antiphonar mit der Initiale V und der Figur des Evangelisten Johannes. Pergament 495 x 355 mm (Bildinitiale 115 x 115 mm).

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MASTER OF S. GIOVANNI FUORCIVITAS A PISTOIA Initial A from an antiphonary with a depiction of Christ healing the blind man. Vellum. Florence, ca. 1330-1340. 135 x 135 mm. Provenance: - 1996, Paris, Les Enluminures. - Thence in the current collection Bibliography: - P. Palladino, Treasures of a Lost Art. Italian Manuscript Painting of the Middle Ages and Renaissance, exh. cat. Cleveland/San Francisco/New York 2003.

MASTER OF S. GIOVANNI FUORCIVITAS A PISTOIA Initial A from an antiphonary with a depiction of Christ healing the blind man. Vellum. Florence, ca. 1330-1340. 135 x 135 mm. Provenance: - 1996, Paris, Les Enluminures. - Thence in the current collection Bibliography: - P. Palladino, Treasures of a Lost Art. Italian Manuscript Painting of the Middle Ages and Renaissance, exh. cat. Cleveland/San Francisco/New York 2003.

Sold for CHF 35 000 (including buyer’s premium)
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WORKSHOP OF MAESTRO DADDESCO Leaf from a gradual with a historiated initial A and a depiction of David in atonement before God. Vellum. Florence, ca. 1335-40. 404 x 270 mm (historiated initial 175 x 130 mm) Provenance: - In the current collection since ca. 1992. Bibliography: Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, p.198. This leaf with the letter A, was formerly part of the frontispiece of a gradual and opens the Introitus to the Mass of the First Sunday of Advent The Florentine authorship of this little-known leaf can be barely contested, yet its exact attribution poses certain problems. It is beyond doubt that the illuminator ranks alongside the protagonists of Florentine illumination of the 2nd quarter of the 14th century, Pacino di Bonaguida, Master of the Effigi Domenicane and the anonymous master known as Maestro Daddesco.

WORKSHOP OF MAESTRO DADDESCO Leaf from a gradual with a historiated initial A and a depiction of David in atonement before God. Vellum. Florence, ca. 1335-40. 404 x 270 mm (historiated initial 175 x 130 mm) Provenance: - In the current collection since ca. 1992. Bibliography: Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, p.198. This leaf with the letter A, was formerly part of the frontispiece of a gradual and opens the Introitus to the Mass of the First Sunday of Advent The Florentine authorship of this little-known leaf can be barely contested, yet its exact attribution poses certain problems. It is beyond doubt that the illuminator ranks alongside the protagonists of Florentine illumination of the 2nd quarter of the 14th century, Pacino di Bonaguida, Master of the Effigi Domenicane and the anonymous master known as Maestro Daddesco.

Sold for CHF 34 000 (including buyer’s premium)
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ANONYMOUS, CIRCLE OF THE BOOK ILLUMINATOR OF THE CHOIR BOOKS OF SANTA MARIA DEL CARMINE Historiated initial E from an antiphonary (Proprio de tempore) with a depiction of the Temptation of Christ and a scene from the confession. Vellum. Pisa, ca. 1350. 155 x 145 mm. Provenance: - 2003, London, Sam Fogg. - Thence in the current collection. Bibliography: - Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, pp. 218-220. Further reading: - Maria Grazia Ciardi Dupré Dal Poggetto, Codici Pisani Trecenteschi a Firenze, in: la Miniatura Italiana in età Romanica e Gotica, Florence 1979, pp. 501-528 (esp. 519-525). - Maria Grazia Ciardi Dupré Dal Poggetto, Rapporto testo-Immagine e Aspetti Iconografici nei Graduali Per Santa Maria del Carmine a Firenze, in: Rapporti Tra Codice, testo e Figurazione, Florence 1992, pp. 281-294. This initial E, of once splendid appearance, which unfortunately has been somewhat damaged with much rubbing and flaking of the gold, can be identified thanks to the motif of the Temptation of Christ and relates to the responsorium of the first nocturn of the first Sunday of fasting. The illuminator of this initial developed stylistically from the tradition of the Pisan illuminators of the first half of the 14th century. The illuminator in question has skilfully combined the highly expressive repertoire of figures and composition created by Buffalmacco and Traini, overlaid with the Gothic intricacies drawn from Sienese art, particularly in the tradition of Simone Martini.

ANONYMOUS, CIRCLE OF THE BOOK ILLUMINATOR OF THE CHOIR BOOKS OF SANTA MARIA DEL CARMINE Historiated initial E from an antiphonary (Proprio de tempore) with a depiction of the Temptation of Christ and a scene from the confession. Vellum. Pisa, ca. 1350. 155 x 145 mm. Provenance: - 2003, London, Sam Fogg. - Thence in the current collection. Bibliography: - Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, pp. 218-220. Further reading: - Maria Grazia Ciardi Dupré Dal Poggetto, Codici Pisani Trecenteschi a Firenze, in: la Miniatura Italiana in età Romanica e Gotica, Florence 1979, pp. 501-528 (esp. 519-525). - Maria Grazia Ciardi Dupré Dal Poggetto, Rapporto testo-Immagine e Aspetti Iconografici nei Graduali Per Santa Maria del Carmine a Firenze, in: Rapporti Tra Codice, testo e Figurazione, Florence 1992, pp. 281-294. This initial E, of once splendid appearance, which unfortunately has been somewhat damaged with much rubbing and flaking of the gold, can be identified thanks to the motif of the Temptation of Christ and relates to the responsorium of the first nocturn of the first Sunday of fasting. The illuminator of this initial developed stylistically from the tradition of the Pisan illuminators of the first half of the 14th century. The illuminator in question has skilfully combined the highly expressive repertoire of figures and composition created by Buffalmacco and Traini, overlaid with the Gothic intricacies drawn from Sienese art, particularly in the tradition of Simone Martini.

Sold for CHF 1 700 (including buyer’s premium)
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CAMALDOLESE, DON SIMONE (active 1379 – 1405) Historiated initial H from an antiphonary with the Adoration of the Shepherds. Vellum. Florence, ca. 1395-1400. 245 x 200 mm. Provenance: - 1980 Kreuzlingen, Kisters collection. - 1996, Hamburg, Jörn Günther. - 1997 the current collection. Exhibited: - Lugano, Fondazione Thyssen-Bornemisza, Villa Favorita, 7. April - 30. June 1991, No. 79. Bibliography: - Miklòs Boskovits, Pittura Fiorentina alla Vigilia del Rinascimento, Florence 1975, p. 429. - D.G. Firmani, Don Simone Camaldolese and manuscript Production in late Trecento Florence a codiological examination, Diss. Maryland 1984, p. 10. - Gaudenz Freuler, Manifestatori delle cose mircolose. Arte Italiana del 300 e del 400 da collezioni in Svizzera e Liechtenstein (Exh. Cat Lugano, Fondazione Thyssen) Einsiedeln 1991, p. 208. - Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, pp. 244-247. Further cited literature: - Gaudenz Freuler in: Lorenzo Monaco dalla Tradizione Giottesca al Rinascimento, Florence 2006, p. 138. - Gaudenz Freuler, in: L'eredità di Giotto. Arte a Firenze 1340-1375, Cat. Florence Galleria degli Uffizi, Florence 2008, pp. 236-239. This imposing Florentine initial, conceived in the style of a monumental wall painting, narrates the Adoration of the newborn Jesus the Redeemer by his parents and the shepherds who have approached the scene The authorship of this fragment cut from a antiphonary, as that of the Sienese Camaldolese brother Don Simone Camaldolese, remains undisputed since it was first published by Boskovit (1975). Various fragments scattered amongst the most famous museums relate to further dispersed cimelia by this illuminator, whose fame reached beyond Florence to the court of Visconti and Gonzaga

CAMALDOLESE, DON SIMONE (active 1379 – 1405) Historiated initial H from an antiphonary with the Adoration of the Shepherds. Vellum. Florence, ca. 1395-1400. 245 x 200 mm. Provenance: - 1980 Kreuzlingen, Kisters collection. - 1996, Hamburg, Jörn Günther. - 1997 the current collection. Exhibited: - Lugano, Fondazione Thyssen-Bornemisza, Villa Favorita, 7. April - 30. June 1991, No. 79. Bibliography: - Miklòs Boskovits, Pittura Fiorentina alla Vigilia del Rinascimento, Florence 1975, p. 429. - D.G. Firmani, Don Simone Camaldolese and manuscript Production in late Trecento Florence a codiological examination, Diss. Maryland 1984, p. 10. - Gaudenz Freuler, Manifestatori delle cose mircolose. Arte Italiana del 300 e del 400 da collezioni in Svizzera e Liechtenstein (Exh. Cat Lugano, Fondazione Thyssen) Einsiedeln 1991, p. 208. - Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, pp. 244-247. Further cited literature: - Gaudenz Freuler in: Lorenzo Monaco dalla Tradizione Giottesca al Rinascimento, Florence 2006, p. 138. - Gaudenz Freuler, in: L'eredità di Giotto. Arte a Firenze 1340-1375, Cat. Florence Galleria degli Uffizi, Florence 2008, pp. 236-239. This imposing Florentine initial, conceived in the style of a monumental wall painting, narrates the Adoration of the newborn Jesus the Redeemer by his parents and the shepherds who have approached the scene The authorship of this fragment cut from a antiphonary, as that of the Sienese Camaldolese brother Don Simone Camaldolese, remains undisputed since it was first published by Boskovit (1975). Various fragments scattered amongst the most famous museums relate to further dispersed cimelia by this illuminator, whose fame reached beyond Florence to the court of Visconti and Gonzaga

Sold for CHF 30 000 (including buyer’s premium)
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MASTER OF THE BEFFI ALTAR Historiated initial B from an antiphonary with the Virgin Mary at prayer. Vellum. Abruzzo, ca.1410-1420. 183 x 177 mm. Provenance: - from a Benedictine monastery on the lands of the Aquaviva family (Teramo, Atri). - Since ca. 1830-40, Edinburgh, collection of Lord James Dennistoun of Dennistoun (1805-55). - Thence to a family collection. - Subsequently in the collection of the Bishop of Durham, Durham Castle Bishop Auckland (Durham). - Since 1933, Saltwood Castle (Kent), Collection of Lord Kenneth Clark (1903-1983), Lord of Saltwood Castle. - London Sotheby's 1984, 3 July, lot 86/2. - 1985, New York, H.P. Kraus. - 1989, London, Sam Fogg. - In the current collection since ca. 1990. Bibliography: - Medieval & Renaissance Miniature Painting, Cat Sam Fogg, Bruce Ferrini, London 1989, No. 12. - Francesca Manzati, in: Illuminare l'Abruzzo. Codici Miniati tra medioevo e Rinascimento, Pescara, 2012, pp. 233-239. - Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, pp.216-217. Further relevant literature: - 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.60-61. - Francesca Manzati, Il Messale Orsini per la chiesa di San Francesco a Guardiagrele, pescara 2007. This simple but generous initial B, set against a ground of gold and blue, may have opened the antiphonary of the first nocturn for Candlemass (Purificatio Virginis, 2 Feb) The Beffi master was one of the leading artistic figures in Abruzzo and was also sought after as a painter of frescoes. The distinctly iconographic arrangement around the Virgin, leads us to assume that the dispersed antiphonary came from a Benedictine monastery within the district of Acquaviva dedicated to the Virgin.

MASTER OF THE BEFFI ALTAR Historiated initial B from an antiphonary with the Virgin Mary at prayer. Vellum. Abruzzo, ca.1410-1420. 183 x 177 mm. Provenance: - from a Benedictine monastery on the lands of the Aquaviva family (Teramo, Atri). - Since ca. 1830-40, Edinburgh, collection of Lord James Dennistoun of Dennistoun (1805-55). - Thence to a family collection. - Subsequently in the collection of the Bishop of Durham, Durham Castle Bishop Auckland (Durham). - Since 1933, Saltwood Castle (Kent), Collection of Lord Kenneth Clark (1903-1983), Lord of Saltwood Castle. - London Sotheby's 1984, 3 July, lot 86/2. - 1985, New York, H.P. Kraus. - 1989, London, Sam Fogg. - In the current collection since ca. 1990. Bibliography: - Medieval & Renaissance Miniature Painting, Cat Sam Fogg, Bruce Ferrini, London 1989, No. 12. - Francesca Manzati, in: Illuminare l'Abruzzo. Codici Miniati tra medioevo e Rinascimento, Pescara, 2012, pp. 233-239. - Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, pp.216-217. Further relevant literature: - 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.60-61. - Francesca Manzati, Il Messale Orsini per la chiesa di San Francesco a Guardiagrele, pescara 2007. This simple but generous initial B, set against a ground of gold and blue, may have opened the antiphonary of the first nocturn for Candlemass (Purificatio Virginis, 2 Feb) The Beffi master was one of the leading artistic figures in Abruzzo and was also sought after as a painter of frescoes. The distinctly iconographic arrangement around the Virgin, leads us to assume that the dispersed antiphonary came from a Benedictine monastery within the district of Acquaviva dedicated to the Virgin.

Sold for CHF 19 000 (including buyer’s premium)
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BARTOLO, ANDREA DI (Siena circa 1360 - 1428 ibid.) Fragment of a leaf of an antiphonary with a fragmentary historiated initial L and a depiction of Saint Lawrence in the prison of Hippolytus, dispensing alms to the needy. Vellum. Siena, ca. 1400-05. 171 x 163 mm Provenance: - Siena, San Martino (?). - Since ca. 1830-40, Edinburgh, collection of Lord James Dennistoun of Dennistoun (1805-55). - Thence to a family collection and consequently to the collection of the Bishop of Durham Castle Bishop Auckland (Durham). - Since 1933, Saltwood castle (Kent), collection of Lord Kenneth Clark (1903-1983), Lord of Saltwood Castle. - London Sotheby's 1984, 3 July, lot 91. - 1985, New York, H.P. Kraus. - London art dealer - Since ca.1990 in the current collection. Bibliography: - Gaudenz Freuler, Manifestatori dell cose mircolose. Arte Italiana del 300 e del 400 da collezioni in Svizzera e Liechtenstein (Ausstellungskatalog Lugano, Fondazione Thyssen) Einsiedeln 1991, p. 84. - Gaudenz Freuler in: Ada Labriola, Cristina De Benedictis, Gaudenz Freuler, La miniatura senese.1270-1420, Milan 2002, p. 188-197. - Gaudenz Freuler, Studi recenti sulla miniatura medievale: Emilia, Veneto, Toscana. Appunti su una mostra americana (parte II), in: Arte Cristiana XCII, 2004, pp. 157- 170. - Gaudenz Freuler, Ancora sulla miniatura senese dei secoli XIII-XV. Postille ad un libro (parte I), in: Arte Cristiana, XCVII 2009, pp. 279-289, 232-233. - Gaudenz Freuler, in: L' Arte di Francesco. Capolavori d'Arte Italiana e Terre d'Asia dal XII al XV secolo (Exh. Cat), Florence, Galleria dell'Accademia, 31.3-11.Oct.2015), Florence 2015, pp. 226-233. This leaf fragment from the famous former Dennistoun collection was identified not long ago as the work of the Sienese painter Andrea di Bartolo, who may be regarded as a leading illuminator of the last decade of the 14th century This most finely painted miniature may well be contemporaneous with the choir books made for Henry IV, or from very shortly before then, and reveals the illustrator to be a leading illuminator in Siena at the turn of the 15th century.

BARTOLO, ANDREA DI (Siena circa 1360 - 1428 ibid.) Fragment of a leaf of an antiphonary with a fragmentary historiated initial L and a depiction of Saint Lawrence in the prison of Hippolytus, dispensing alms to the needy. Vellum. Siena, ca. 1400-05. 171 x 163 mm Provenance: - Siena, San Martino (?). - Since ca. 1830-40, Edinburgh, collection of Lord James Dennistoun of Dennistoun (1805-55). - Thence to a family collection and consequently to the collection of the Bishop of Durham Castle Bishop Auckland (Durham). - Since 1933, Saltwood castle (Kent), collection of Lord Kenneth Clark (1903-1983), Lord of Saltwood Castle. - London Sotheby's 1984, 3 July, lot 91. - 1985, New York, H.P. Kraus. - London art dealer - Since ca.1990 in the current collection. Bibliography: - Gaudenz Freuler, Manifestatori dell cose mircolose. Arte Italiana del 300 e del 400 da collezioni in Svizzera e Liechtenstein (Ausstellungskatalog Lugano, Fondazione Thyssen) Einsiedeln 1991, p. 84. - Gaudenz Freuler in: Ada Labriola, Cristina De Benedictis, Gaudenz Freuler, La miniatura senese.1270-1420, Milan 2002, p. 188-197. - Gaudenz Freuler, Studi recenti sulla miniatura medievale: Emilia, Veneto, Toscana. Appunti su una mostra americana (parte II), in: Arte Cristiana XCII, 2004, pp. 157- 170. - Gaudenz Freuler, Ancora sulla miniatura senese dei secoli XIII-XV. Postille ad un libro (parte I), in: Arte Cristiana, XCVII 2009, pp. 279-289, 232-233. - Gaudenz Freuler, in: L' Arte di Francesco. Capolavori d'Arte Italiana e Terre d'Asia dal XII al XV secolo (Exh. Cat), Florence, Galleria dell'Accademia, 31.3-11.Oct.2015), Florence 2015, pp. 226-233. This leaf fragment from the famous former Dennistoun collection was identified not long ago as the work of the Sienese painter Andrea di Bartolo, who may be regarded as a leading illuminator of the last decade of the 14th century This most finely painted miniature may well be contemporaneous with the choir books made for Henry IV, or from very shortly before then, and reveals the illustrator to be a leading illuminator in Siena at the turn of the 15th century.

Sold for CHF 30 000 (including buyer’s premium)
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PAOLO, GIOVANNI DI (Siena 1403 - 1482 ibid.) Leaf from a sequentiar with the historiated initial V and the Easter Lamb on an altar. Vellum. Siena, ca. 1435-40. 574 x 393 mm. Provenance: - Lecceto, Eremo Agostiniano. - 1988, London Schuster Gallery. - 1990, Swiss private collection. - 1995, Akron (OH), Bruce Ferrini. - Since 1996 in the current collection. Exhibited: - Lugano, Fondazione Thyssen-Bornemisza,Villa Favorita, 7. April-30. June 1991, No. 80. Bibliography: - 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. 210-211. - Milvia Bollati, in: Filippo Todini (ed.) Una collezione di Miniature Italiane, Dal Duecento al Cinquecento, Milan 1993, pp. 51-55. - Diess., La Divina Commedia di Alfonso d' Aragona Re di Napoli, Modena 2006, p. 106. - Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, pp. 256-257. This initial V rendered in luminous bright colours, opens the sequence for the Easter Festival. For Giovanni di Paolo, the moment of greatest recognition as an illuminator came in 1445 when he received the prestigious commission to collaborate on the illustation of the splendid edition of the works of Dante for King Alfonso of Aragon (1398-1458). This Sienese artist was assigned the work of illuminating the 33 Canti for the Paradiso of the manuscript of Dante's Divina Commedia, now held at the British Library (MS Yates Thompson 38).

PAOLO, GIOVANNI DI (Siena 1403 - 1482 ibid.) Leaf from a sequentiar with the historiated initial V and the Easter Lamb on an altar. Vellum. Siena, ca. 1435-40. 574 x 393 mm. Provenance: - Lecceto, Eremo Agostiniano. - 1988, London Schuster Gallery. - 1990, Swiss private collection. - 1995, Akron (OH), Bruce Ferrini. - Since 1996 in the current collection. Exhibited: - Lugano, Fondazione Thyssen-Bornemisza,Villa Favorita, 7. April-30. June 1991, No. 80. Bibliography: - 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. 210-211. - Milvia Bollati, in: Filippo Todini (ed.) Una collezione di Miniature Italiane, Dal Duecento al Cinquecento, Milan 1993, pp. 51-55. - Diess., La Divina Commedia di Alfonso d' Aragona Re di Napoli, Modena 2006, p. 106. - Friedrich G. Zeileis Più ridon le carte (3.ed.), Rauris 2014, pp. 256-257. This initial V rendered in luminous bright colours, opens the sequence for the Easter Festival. For Giovanni di Paolo, the moment of greatest recognition as an illuminator came in 1445 when he received the prestigious commission to collaborate on the illustation of the splendid edition of the works of Dante for King Alfonso of Aragon (1398-1458). This Sienese artist was assigned the work of illuminating the 33 Canti for the Paradiso of the manuscript of Dante's Divina Commedia, now held at the British Library (MS Yates Thompson 38).

Sold for CHF 15 000 (including buyer’s premium)
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ANONYMOUS TUSCAN BOOK ILLUMINATOR, 15TH CENTURY. Two historiated initials from an antiphonary, a historiated initial T with Saints Philipp and James and historiated initial Q with the Princes of the Apostles, Peter and Paul. Vellum. Lucca, ca. 1410-1420. 185 x 180 mm, resp. 212 x 190 mm. Provenance: - Presumably originally from a Dominican convent in Lucca, thence to Certosa Santo Spirito. - Since ca. 1838, Edinburgh, Collection of Lord James Dennistoun of Dennistoun (1805-55). - Thence in a family collection (Mr Henley-Henson) and subsequently in the collection of the Bishop of Durham Castle Bishop Auckland (Durham). Since 1933, Saltwood Castle (Kent), collection of Lord Kenneth Clark (1903-1983), Lord of Saltwood Castle. - London Sotheby's 1984, 3 July, Lot numbers 94/2 and 94/32. - 1994, London, Sam Fogg. - Thence in the current collection. Bibliography: - William M.Voelkle, Roger S. Wieck, The Bernard Breslauer Collection of Art. Manuscript Illuminations, New York 1992, pp. 181-185. - Mittelalterliche Handschriften und Miniaturen, Katalog Jörn Günther Hamburg, Hamburg 1995, p. 220. - Milvia Bollati in: Sumptuosa tabula picta. Pittori a Lucca tra gotico e rinascimento, Lucca 1998, pp. 64-75, 217-218. - Gaudenz Freuler in: Ada Labriola, Cristina De Benedictis, Gaudenz Freuler, La miniatura senese.1270-1420, Milan 2002, pS. 196. Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, pp. 238-243. The initials of both leaf fragments of the letters T and Q form part of a larger series of fragments, which supposedly were purchased by James Dennistoun in 1838 from Certosa in Lucca. Having been bought by Kenneth Clark in 1933, they finally reappeared on the market in 1984 via Sotheby’s. The work of this group of illuminators, so strongly reminiscent of that of Nicolò di Giacomo and Martino di Bartolomeo active in Lucca in the final years of the 14th century, leads us to assume that the antiphonaries, from which this series of fragments came, were probably started around 1400.

ANONYMOUS TUSCAN BOOK ILLUMINATOR, 15TH CENTURY. Two historiated initials from an antiphonary, a historiated initial T with Saints Philipp and James and historiated initial Q with the Princes of the Apostles, Peter and Paul. Vellum. Lucca, ca. 1410-1420. 185 x 180 mm, resp. 212 x 190 mm. Provenance: - Presumably originally from a Dominican convent in Lucca, thence to Certosa Santo Spirito. - Since ca. 1838, Edinburgh, Collection of Lord James Dennistoun of Dennistoun (1805-55). - Thence in a family collection (Mr Henley-Henson) and subsequently in the collection of the Bishop of Durham Castle Bishop Auckland (Durham). Since 1933, Saltwood Castle (Kent), collection of Lord Kenneth Clark (1903-1983), Lord of Saltwood Castle. - London Sotheby's 1984, 3 July, Lot numbers 94/2 and 94/32. - 1994, London, Sam Fogg. - Thence in the current collection. Bibliography: - William M.Voelkle, Roger S. Wieck, The Bernard Breslauer Collection of Art. Manuscript Illuminations, New York 1992, pp. 181-185. - Mittelalterliche Handschriften und Miniaturen, Katalog Jörn Günther Hamburg, Hamburg 1995, p. 220. - Milvia Bollati in: Sumptuosa tabula picta. Pittori a Lucca tra gotico e rinascimento, Lucca 1998, pp. 64-75, 217-218. - Gaudenz Freuler in: Ada Labriola, Cristina De Benedictis, Gaudenz Freuler, La miniatura senese.1270-1420, Milan 2002, pS. 196. Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, pp. 238-243. The initials of both leaf fragments of the letters T and Q form part of a larger series of fragments, which supposedly were purchased by James Dennistoun in 1838 from Certosa in Lucca. Having been bought by Kenneth Clark in 1933, they finally reappeared on the market in 1984 via Sotheby’s. The work of this group of illuminators, so strongly reminiscent of that of Nicolò di Giacomo and Martino di Bartolomeo active in Lucca in the final years of the 14th century, leads us to assume that the antiphonaries, from which this series of fragments came, were probably started around 1400.

Sold for CHF 34 000 (including buyer’s premium)
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MASTER OF THE OSSERVANZA (SANO DI PIETRO) (active circa 1440-1480) Historiated initial L from an antiphonary: Augustin grants the monastic rule. Vellum. Siena, ca. 1430-1435. 145 x 112 mm. Provenance: - Florence, Enrico Frascione. - 1997 to the current collection. Exhibited: - Da Jacopo della Quercia a Donatello. Le Arti a Siena nel Primo Rinascimento, Siena Santa Maria della Scala; Pinacoteca di Siena; Siena Opera Metropolitana, 26 March – 11 July 2010, No C 32 c. Bibliography: - Enrico Frascione, Il Maestro dell' Osservanza e l' Antifonario agostiniano, Ipotesi per la ricostruzione di un codice miniato, in "Gazzetta Antiquaria", n.s., 27, 1995, pp. 36-41. - Gaudenz Freuler, Studi recenti sulla miniatura rinascimentale italiana. Appunti su una mostra americana (parte III), in "Arte Cristiana", XCII, 2004, pp. 397-408. - Gaudenz Freuler, in: Max Seidel (ed.), Da Jacopo della Quercia a Donatello. Le Arti a Siena nel Primo Rinascimento, Siena 2010, pp.260-262. - Gaudenz Freuler, in: Gabriele Fattorini (ed.) Sano di Pietro. Qualità, devozione e pratica nella pittura senese del Quattrocento, Milan 2012, pp. 25-42. - Nigel Morgan, Stella Panayotova, Suzanne Reynolds (ed.),A Catalogue of Western Book Illumination in the Fitzwilliam and the Cambridge Colleges, London 2011, S. 62. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, pp. 252-255. Further cited literature: - The Robert Lehman Collection, IV Illuminations, New York, Princeton 1997. - Maria Falcone, "La giovinezza dorata di Sano di Pietro: Un nuovo document per la 'Natività della Vergine' di Asciano", Prospettiva, n. 138, April 2010, pp. 28-34. This initial depicts the bestowal of the Augstinian Order by the founder of the order himself, Saint Augustin. This is one of the earliest examples of the work of the illuminator Sano di Pietro.

MASTER OF THE OSSERVANZA (SANO DI PIETRO) (active circa 1440-1480) Historiated initial L from an antiphonary: Augustin grants the monastic rule. Vellum. Siena, ca. 1430-1435. 145 x 112 mm. Provenance: - Florence, Enrico Frascione. - 1997 to the current collection. Exhibited: - Da Jacopo della Quercia a Donatello. Le Arti a Siena nel Primo Rinascimento, Siena Santa Maria della Scala; Pinacoteca di Siena; Siena Opera Metropolitana, 26 March – 11 July 2010, No C 32 c. Bibliography: - Enrico Frascione, Il Maestro dell' Osservanza e l' Antifonario agostiniano, Ipotesi per la ricostruzione di un codice miniato, in "Gazzetta Antiquaria", n.s., 27, 1995, pp. 36-41. - Gaudenz Freuler, Studi recenti sulla miniatura rinascimentale italiana. Appunti su una mostra americana (parte III), in "Arte Cristiana", XCII, 2004, pp. 397-408. - Gaudenz Freuler, in: Max Seidel (ed.), Da Jacopo della Quercia a Donatello. Le Arti a Siena nel Primo Rinascimento, Siena 2010, pp.260-262. - Gaudenz Freuler, in: Gabriele Fattorini (ed.) Sano di Pietro. Qualità, devozione e pratica nella pittura senese del Quattrocento, Milan 2012, pp. 25-42. - Nigel Morgan, Stella Panayotova, Suzanne Reynolds (ed.),A Catalogue of Western Book Illumination in the Fitzwilliam and the Cambridge Colleges, London 2011, S. 62. - Friedrich G. Zeileis, Più ridon le carte (3.ed.), Rauris 2014, pp. 252-255. Further cited literature: - The Robert Lehman Collection, IV Illuminations, New York, Princeton 1997. - Maria Falcone, "La giovinezza dorata di Sano di Pietro: Un nuovo document per la 'Natività della Vergine' di Asciano", Prospettiva, n. 138, April 2010, pp. 28-34. This initial depicts the bestowal of the Augstinian Order by the founder of the order himself, Saint Augustin. This is one of the earliest examples of the work of the illuminator Sano di Pietro.

Sold for CHF 14 000 (including buyer’s premium)
All information is subject to change.