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Italian Manuscript Illuminations

Friday 18 September 2015, 01.30 PM



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BUCHMALER AUS DEM GEFOLGE DES MEO DA SIENA (MEISTER DES MONTELABATE KREUZES?)

Bildinitiale M mit den drei Marien am leeren Grab Christi. Perugia, ca. 1320-25.
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

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).
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.

Sold for CHF 48 500

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.

Rimini, ca. 1305
Bildinitiale A aus einem aufgelösten Antiphonar geschnitten mit Christus, flankiert von der Jungfrau und Johannes von drei Propheten angebetet. Pergament 193 x 182 mm.
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.
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.

Sold for CHF 46 100