Art before 1500
2009 SOLD 68 K€ including premium
The artist of the antiquity had some preferred subjects. The animal, realistic or fantastic, was represented in a variety of materials. In bronze, it is often used to decorate utensils or ornaments for domestic or liturgical practice.
Thus, the bronze lion that Piasa offers for sale in Paris on May 27 seems to come from the depths of time. It is a container, of a variety known as aquamanile, used for washing hands. Very popular in Islamic art 1,000 years ago, it reached the medieval West, and this copy was made in Lower Saxony in the late thirteenth century.
The filling is done by opening the top of the skull by a hinged lid with a ring. The spout is a cylinder in the wide open mouth. A handle links the head and the tail. The piece measures 27 cm long by 26 cm high, but it is high on legs: the useful part is a cylinder about 7 cm in diameter, and its capacity is approaching the half-liter (according to my calculations!) .
This patinated bronze in very good condition is estimated 60 K €.
POST SALE COMMENT
At 68 K € premium included, the aquamanile has been sold around the low estimate. It is a good point for the auction house, because the estimation of rare objects is always difficult to build.
The Virgin of the Bridgettines
2013 SOLD 2.55 M£ including premium
Science does not locate the origins of objects, but this piece was most likely made somewhere between Picardy and Wallonia. Attitudes are Romanesque following the Byzantine tradition, with some more specific characteristics such as the pleasant gesture of the blessing child.
It is thus a contemporary of the wonderful Provençal ivory on the same theme, sold for € 6.3 million including premium by Christie's on November 16, 2011, where the smooth movement of the child to the mother clearly anticipates the Renaissance.
The statuette for sale by Sotheby's belonged to the nuns of a Bridgettine community in their first monastery in Middlesex and they brought it in their wanderings of several centuries to escape war and persecution. It then entered the prestigious collection of the Alton Towers, but went out of sight after a final exhibition in 1873.
A Bridgettine tradition documented in 1723 assigns a miraculous origin to a statuette that is certainly this one. One evening at supper time, the nuns heard the doorbell. Upon opening the door, they found the statuette. The reasons and conditions of its arrival were never identified.
Their monastery had been inaugurated in 1415, and the date of the miracle was not recorded. The radiocarbon dating now confirms its much earlier making as suggested by its style.
POST SALE COMMENT
Ivory statuettes of this style are rare on the art market. This one was sold for £ 2.55M including premium.
1310-1330 Scenes from the Death of the Virgin
2013 SOLD 2.8 M£ including premium
Their effort tends towards a realism that captures the attention of devotees. These images, even when the subject is dramatic, are not sad. The period from the reign of Louis IX until the beginning of the Hundred Years War is particularly creative, kindness is often present and humor is never far away.
Patrons also desire to own some pieces of devotion for their private liturgy. The portable triptych is the ideal form. It is closed when the object is not exhibited, ensuring an effective protection of the image.
The triptych of paintings is common. The ivory version is rarer. Its dimensions were necessarily small, and the carvers had to deploy a skill of miniaturist to match the beauty of the large models of the cathedrals.
A superb ivory is estimated £ 2.5 million, for sale by Sotheby's in London on July 2. It is constituted with nine images covering the history of the Death of the Virgin from the Annunciation by the angel to the Coronation.
The many characters are shown in flexible and varied attitudes, with full rounded heads in high relief. Angels and musicians give cheer to this event more solemn than tragic.
This piece 27 cm high was polychrome and retains significant traces of gilding. Here is the link to the catalog. It was made before 1330, perhaps as early as 1310, probably in Paris.
POST SALE COMMENT
This rare ivory was sold for £ 2.8M including premium, in the region of its lower estimate.
1370-1380 the head of a french queen
2014 sold for € 1.15M including premium
The specialized sculptors are the tombiers. During the reign of Charles V the Wise, these monuments are commissioned to two competing artists : André Beauneveu and Jean de Liège.
The identification of the represented person does not allow a precise dating. On one hand, some monuments have been completed or redone long after the death. As an example the monument of Marie de France who died in her youth in 1341 was completed by an assistant to Jean de Liège after the death of the artist which occurred in 1381. Conversely, the recumbent statue of Charles V was commissioned in his lifetime to Beauneveu as early as 1364.
The double corpse monument of Charles V, died in 1380, and of his wife Jeanne de Bourbon, died in 1378, was one of the most opulent in the royal funerary basilica of Saint-Denis. During the exhumation of the kings of France in 1793, the statue of the king was saved but the queen's was dismantled, certainly to facilitate a commercial use of the fragments.
On December 11 in Paris, PIASA sells a marble head of a woman from a gisant, lot 26, estimated between € 500K and 1M.
The idealized lines of the face do not allow an identification but their style enables the attribution to Jean de Liège or his workshop. The high forehead and the braided hairstyle are in the fashion iof the 1370s and the relatively large scale is the same as for the Beauneveu statue of the king. All these elements converge to consider that this fragment 23 x 21 x 19 cm recently rediscovered is the head of the gisant de corps of Queen Jeanne in Saint-Denis.
The press release from the auction house is linking to an important dossier in French and English by the specialist Laurence Fligny.
1390 The Passion on Linen Fabric
2012 SOLD 1.1 M£ including premium
Christian art had a great development in the Trecento. The faithful are overwhelmed by the frescoes that adorn the most prestigious places of worship. Some use of that time is also to transport devotional images to accompany theowner or to illustrate the processions. Portable triptychs are fashionable.
Another technique appears at the end of this period in competition with the woven images of banners and tapestries.New for Europe, it will have the greatest future in the history of art: the painting on canvas.
From a single series of scenes of the Passion, four paintings on linen fabrics executed around 1390, probably in Florence, still remain together.
They are in square format, between 90 x 90 and 100 x 100 cm, which is close to procession artworks. The identification of their role remains mysterious, because the pictorial matter is thick and does not invite to fold or roll the canvases for frequent travel, an observation that correlates with their remarkable state of preservation. They would rather have been designed to replace a fresco.
These works are lavish, with vibrant colors in tempera of gold and lapis lazuli blue, and silver leaf that has degraded.The exaggerated expression of many characters, however, is more oriented towards the devotion of the people than tothe aristocracy.
The experts gave the name of the fresco maker Niccolo di Pietro Gerini as the most likely author or foreman of this series. If this is the case, why this master did choose to work on fabric? The hypothesis of a modello is not proposed,perhaps because the materials used are too precious.
The set is sold, of course as a single lot, at Sotheby's in London on December 5. It is estimated £ 800K. Here is the link to the catalog.
POST SALE COMMENT
Good result, £ 1.1 million including premium, for this atypical lot of considerable interest for the understanding of the art of the Trecento.
1400 The Portable Triptych, an Object of Devotion from Ancient Ages
2008 SOLD 1.9 M£ including premium
The press release of Sotheby's, published on May 2, teaches us that this artwork had passed for the first time at auction in 1971. It was then bought by the collector of which estate the ten most important lots come to be sold in London on July 9.
The estimate is very open: 300 to 500 K£, which is a sign that this lot can go up higher. Anyway, being in a succession, one can take for sure that it will leave at its right price.
This object of devotion, low-sized (42x21 cm for the central panel), in the shape of a Gothic chapel, was designed to be portable. Dated circa 1400, it is an interesting witness of obsolete practices of private devotion. Let us add on the historical level that Taddeo worked in Siena and followed the tradition of the Lorenzettis who preceded him of half a century in that city.
It appears to me of a good practice to limit research of anteriority, when I can, to the auction house where I located a lot. It is thus at Sotheby's that I tracked for you Italian portable triptychs dated 1400 or former. The prices below include the fees.
Made in Padova about 1335, a triptych of altar, larger but still identified as portable, with very charged imaging, sold 740 K$ in New York on January 22, 2004.
Created about 1340, a Florentine triptych, of more sober form, was sold 90 K£ in London on July 10, 2003, almost the same price as a reliquary triptych from Umbria, in London also, on July 12, 2001.
Another Florentine piece, attributed to Bicci di Lorenzo, got 170 K£ in London on July 4, 2007.
Ours is the only one among all above which is signed, and this signature is that of a renowned Master. It is an undeniable asset.
POST SALE COMMENT
In this very successful sale for which I included six lots in my previews and four of them in my analyses, there is a result which is particularly gratifying:
£ 1.9 million including fees for a triptych of the late 14th or early 15th century, it is more than a success. It is the setting of the primitive painting at its right place, that we had a tendency to devalue compared with the star artists of later centuries.
1435 Monks and Saints of the New Thebaid
2012 SOLD 550 K€ including premium
On October 27 in Marseille, Damien Leclere sells a painting with tempera on wood panel whose antiquity is not in doubt, one of those examples that make the study of ancient works the most exciting theme of the artistic expertise.
It is a fragment, 28 x 38 cm, showing the buildings of a monastery animated by a few groups of characters. Studied a few years ago by Michel Laclotte, former director of the Musée du Louvre, this work is the bottom center of a set ofestimated total size 46 x 92 cm, whose four corners were made up of scenes from the life of Church Fathers.
The panel was split into probably six pieces more than two centuries ago. The four scenes of saints, belonging to four different museums, had previously been a puzzle to researchers who wanted to consider them as the elements of a predella but did not understand why the sky did not appear. The middle top fragment, probably without character, cannot be retrieved.
As a whole, this image looks like the page of an illuminated book. The central part shows a special care of the artistfor the disposition of the space, but the proportions of small monks and big saints reveal an anecdotal goal without anintention of realism.
For two centuries, the four hagiographic scenes are assumed having been made around 1435 by Fra Angelico. It is difficult to definitely state about the autographic quality of the whole artwork. The Museum of Philadelphia, owner ofone of the fragments, is describing it as made by a follower of Fra Angelico and does not exhibit it.
Bibliography (not illustrated): The Church and Desert Fathers in Early Renaissance Florence, pages 221-234: Further Thoughts on a "New" Thebaid, by Anne Leader, online on academia.edu.
The image of the fragment for sale is included in the article shared by Le Figaro.
The estimate is also published. It is very open, which is normal for such a unique piece: € 200K to 400K.
POST SALE COMMENT
The result, 445K € before fees, 550K including premium, is good, especially when considering that this artwork is a fragment.
I invite you to play the video prepared by the auctioneer along with the specialist René Millet on DailyMotion :
1475 A ST. Jerome from the Ancient Times
It is a painted terracotta 72 cm high. Thermoluminescence tests show that it has been fired several centuries ago, but the base is later.
It shows Saint Jerome at mid-length. The very realistic attitude shows the saint gazing to the heavens, and does not give him the intelligent look normally earned by one of the top Doctors of the Church. The beard is spectacular.
We are in the mid Italian Renaissance, probably in Padua circa 1475, some twenty years after Donatello had left the city. Two names stand out about that time, Andrea Riccio and Giovanni de Fondulis, and our statue is regarded as a work of the latter.
Donatello's shadow is a definite asset in the auctions. On 24 January 2008 at Sotheby's in New York, a superb gilt terracotta of the master showing the Madonna and Child sold $ 5.6 million including expenses. She was also represented at mid-length.
Our Saint Jerome is to sell at the same auction house on January 30, an estimated 800 K $.
1485-1494 Virgin nursing Child by Hans memling
Born in region of Frankfurt, Hans Memling moved to Bruges about 1465. The intellectual Europe was then a reality, as demonstrated by the fabulous development of illuminated manuscripts and of printed books. It was the same for the Europe of art, and Memling was at the crossroads of all the influences of his time.
On January 25 in New York, Christie's sells a tondo on panel 17 cm in diameter on the theme of the Virgin Marynursing the Christ Child.
Executed between 1485 and 1494, this oil on a gilded background seems archaic. The plain background should notmake us regret the innovations that made the glory of Memling, including carefully detailed landscapes and interiors.
Indeed, this composition is rather to be regarded as a tribute by a great master to his predecessors, particularly to the Master of Flémalle whom Memling had been unable to meet because he worked half a century before him. Through theMaster of Flémalle, the gentleness and serenity of the Virgin refers to the piety of the Byzantine icons.
The work is not a simple copy. Modern techniques have revealed the detailed preparation by the artist of the expression of the Child. Busy sucking, he has a superb gaze, well alive but not directed.
It is estimated $ 6M.
It is also shared from Christie's catalogue on Wikimedia (dated 1487-1490).
> 1487 thoughtful madonnas by botticelli
2017 sold for € 630K including premium
Since the vision of Beatrice by Dante, a pretty woman who dies prematurely is a symbol of perfection because her beauty is inaccessible and unalterable. At the court of the Medici, Simonetta got such a posthumous role : she died in 1476 at 22 and her memory continued to enchant the artists.
The perfect face of the young woman with long blond hair is thoughtful or sad. When Botticelli uses that figure on a nude such as The Birth of Venus around 1485, there is no vulgarity : her modest attitude is inspired by the ancient sculpture and by its Florentine reinterpretation.
The same face also personalizes Mary as in the Madonna of the Pomegranate, a 143 cm tondo in tempera on panel painted circa 1487. The Virgin and Child are surrounded by angels but mystical symbols are virtually nonexistent in this work where the characters are dressed in the fashion of the court of Florence.
Appreciated in Florence until the cultural revolution of Savonarola, Sandro's religious works are copied for use of private devotion on rectangular panels by the master assisted by his workshop. A Madonna of the Pomegranate enhanced with some gold on arched panel 90 x 59 cm is estimated € 500K for sale on November 29 by Audap et Mirabaud in Paris, Hôtel Drouot, lot 31.
The attitudes of the Madonna and Child are very similar to the tondo model. The naked child looks up in communion with the sad thoughts of his mother preoccupied by the presentiment of the Passion symbolized by the red fruit. The other characters have disappeared, replaced by a pleasant landscape through a window.
□ Une œuvre inédite de #Botticelli bientôt aux enchères □— Interencheres (@interencheres) November 22, 2017
Stéphane Pinta, expert au cabinet Turquin, nous présente rapidement ce chef-d'oeuvre avant sa mise en vente par @AudapMirabaud !
➡ Pour en savoir plus : https://t.co/SJUdxJgpmC pic.twitter.com/8F2anL654f
1490s the workshop of memling
2016 sold for € 1.2m including premium
The similarity of this artwork is striking with the left wing of the triptych in smaller scale made by Memling in 1479 for Jan Floreins. The Virgin is almost identical even in the folds of her dress. The other characters are arranged with slight differences and the background landscape is not the same.
The rediscovered painting can not be regarded as a mere copy. The attention to detail is extreme, and at some places it results from successive trials. The artist had not however all the experience of the master and this work is obviously not autograph. The painting technique is contemporary of Memling.
The painting was analyzed by infrared reflectography and X rays. It had been prepared by underdrawings in chalk that further enhance the comparison with Memling and have certainly been made from model drawings available in his workshop. Memling used this sketching technique since his apprenticeship with Rogier van der Weyden.
This interesting example of the Flemish Renaissance in very good condition is estimated € 1.2M for sale on April 19 in Vienna by Dorotheum, lot 12.
The auction house is questioning the reason why a work performed with such care is not autograph. Two explanations are possible: a high work load in this workshop very busy at the end of Memling's career or the achievement of an order still pending at the master's death in 1494.
I invite you to watch the video shared by Dorotheum: