The Master of Saint Ivo
![The Master of Saint Ivo - Obrazy starých mistrů The Master of Saint Ivo - Obrazy starých mistrů](/fileadmin/lot-images/38A190430/normal/meister-von-st-ivo-6154203.jpg)
(Florence, active circa 1390–1415)
Madonna and Child with Saint John the Baptist and Julian the Hospitaller,
tempera on gold ground panel, arched top, overall 62 x 36.5 cm, framed
Provenance:
Collection of Ina Therese Campbell (1855–1952), Santa Barbara (as unknown Follower of Agnolo Gaddi);
her donation to the Santa Barbara Museum of Art, California, 1953 (as Master of Saint Ivo);
their sale, Christie’s, New York, 11 January 1991, lot 3 (as Master of Saint Ivo),
where acquired by the present owner
Literature:
B. B. Fredericksen, F. Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge 1972, p. 220 (as Florentine, 14th Century);
C. Baldini, Il Maestro di Sant’Ivo. Ritratto di un pittore fiorentino a cavallo tra XIV e XV secolo, Rome 2004, p. 42, 101, no. 44;
C. Baldini, Il Maestro di Sant’Ivo: profilo di un pittore fiorentino a cavallo tra XIV e XV secolo, in: Arte Cristiana, Milan 2005, XCIII, 829, pp. 267-268 and appendix p. 276, no. 44
The present painting is registered in the Fototeca Zeri (no. 3352) as ‘Maestro di Sant’Ivo’.
In the present painting, the throne on which the Madonna is seated is backless and only its centrally positioned podium can be seen: this offers the sole indication of spatial depth in the picture. With her right hand, the Madonna offers her breast to the Child, who is striking thanks to the vitality of his movements. This compositional formula of the Madonna Lactans emerged during the 1360s and 70s in the ambit of the studio of Orcagna; from here it became more broadly diffused, particularly during the years spanning the fourteenth and fifteenth centuries.
The present work, which is datable to circa 1410, is close to the Madonna and Child enthroned between Saints Catherine and Francis in the Museo Stibbert, Florence (inv. 12917) and the Madonna and Child enthroned between Saints John the Baptist, Vescovo, Catherine and Dorotea, formerly in the collection of Enrico Frascione and now in a private collection. These are works in which the Master displays a late Gothic style with a tender and affectionate expressionism, combined with poses of refined elegance. Indeed, he ‘proposes dynamic figures that wear ample robes with deep folds and through effective mimesis he communicates the figures’ expression of feelings in a play of exchanged glances. His models were likely works such as the Madonna and Child with Saints and Angels by Lorenzo Monaco, dated 1408, in the Galleria dell’ Accademia, Florence (inv. 470), or the now dispersed polyptych by Mariotto, executed that same year for the Florentine church of Santo Stefano in Pane’ (Baldini 2005, p. 268).
The painter was notably active in Florence during the late Trecento and the first two decades of the Quattrocento. The first art historian to study the Master of Saint Ivo was Federico Zeri, who in 1967 grouped a number of works together under the name ‘Maestro della Madonna della Christ Church Gallery’, Oxford. Subsequently in 1975 Miklos Boskovits united thirty-five paintings dated between 1380 and 1420, while more recent studies have been conducted by Costanza Baldini.
The name of this anonymous master derives from a panel of Saint Ivo administering Justice conserved in the Palazzo di Parte Guelfa, Florence. It is likely that the Master of Saint Ivo received his training in the studio of Agnolo Gaddi and that he was influenced by Mariotto di Nardo and Lorenzo di Niccolò (see M. Boskovits, Pittura fiorentina alla vigilia del Rinascimento: 1370-1400, Florence 1975, pp. 376). During the 1380s he executed frescoes for the Cappella Maggiore in Santa Croce in Florence. He subsequently specialised in the devotional paintings on panel, such as the present painting.
Technical analysis:
A thin accurate under-drawing outlines the figures precisely followed by a soft brush for colouring.
A precious ultramarine blue, obtained by grinding lapis lazuli stone, was used in the blue areas: the Madonna’s cloak, Saint Julian’s clothes and the light blue on Child’s robe. Green hues are mainly obtained by mixing lead-based yellow and azurite. A good quality coccid-derived red lake was used in the Madonna’s dress and in John the Baptist’s cloak. Gold was accurately applied for the decorations on the clothes, and on the step of the throne.
We are grateful to Gianluca Poldi for the technical examination of the present painting.
30.04.2019 - 17:00
- Dosažená cena: **
-
EUR 50.300,-
- Odhadní cena:
-
EUR 30.000,- do EUR 40.000,-
The Master of Saint Ivo
(Florence, active circa 1390–1415)
Madonna and Child with Saint John the Baptist and Julian the Hospitaller,
tempera on gold ground panel, arched top, overall 62 x 36.5 cm, framed
Provenance:
Collection of Ina Therese Campbell (1855–1952), Santa Barbara (as unknown Follower of Agnolo Gaddi);
her donation to the Santa Barbara Museum of Art, California, 1953 (as Master of Saint Ivo);
their sale, Christie’s, New York, 11 January 1991, lot 3 (as Master of Saint Ivo),
where acquired by the present owner
Literature:
B. B. Fredericksen, F. Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge 1972, p. 220 (as Florentine, 14th Century);
C. Baldini, Il Maestro di Sant’Ivo. Ritratto di un pittore fiorentino a cavallo tra XIV e XV secolo, Rome 2004, p. 42, 101, no. 44;
C. Baldini, Il Maestro di Sant’Ivo: profilo di un pittore fiorentino a cavallo tra XIV e XV secolo, in: Arte Cristiana, Milan 2005, XCIII, 829, pp. 267-268 and appendix p. 276, no. 44
The present painting is registered in the Fototeca Zeri (no. 3352) as ‘Maestro di Sant’Ivo’.
In the present painting, the throne on which the Madonna is seated is backless and only its centrally positioned podium can be seen: this offers the sole indication of spatial depth in the picture. With her right hand, the Madonna offers her breast to the Child, who is striking thanks to the vitality of his movements. This compositional formula of the Madonna Lactans emerged during the 1360s and 70s in the ambit of the studio of Orcagna; from here it became more broadly diffused, particularly during the years spanning the fourteenth and fifteenth centuries.
The present work, which is datable to circa 1410, is close to the Madonna and Child enthroned between Saints Catherine and Francis in the Museo Stibbert, Florence (inv. 12917) and the Madonna and Child enthroned between Saints John the Baptist, Vescovo, Catherine and Dorotea, formerly in the collection of Enrico Frascione and now in a private collection. These are works in which the Master displays a late Gothic style with a tender and affectionate expressionism, combined with poses of refined elegance. Indeed, he ‘proposes dynamic figures that wear ample robes with deep folds and through effective mimesis he communicates the figures’ expression of feelings in a play of exchanged glances. His models were likely works such as the Madonna and Child with Saints and Angels by Lorenzo Monaco, dated 1408, in the Galleria dell’ Accademia, Florence (inv. 470), or the now dispersed polyptych by Mariotto, executed that same year for the Florentine church of Santo Stefano in Pane’ (Baldini 2005, p. 268).
The painter was notably active in Florence during the late Trecento and the first two decades of the Quattrocento. The first art historian to study the Master of Saint Ivo was Federico Zeri, who in 1967 grouped a number of works together under the name ‘Maestro della Madonna della Christ Church Gallery’, Oxford. Subsequently in 1975 Miklos Boskovits united thirty-five paintings dated between 1380 and 1420, while more recent studies have been conducted by Costanza Baldini.
The name of this anonymous master derives from a panel of Saint Ivo administering Justice conserved in the Palazzo di Parte Guelfa, Florence. It is likely that the Master of Saint Ivo received his training in the studio of Agnolo Gaddi and that he was influenced by Mariotto di Nardo and Lorenzo di Niccolò (see M. Boskovits, Pittura fiorentina alla vigilia del Rinascimento: 1370-1400, Florence 1975, pp. 376). During the 1380s he executed frescoes for the Cappella Maggiore in Santa Croce in Florence. He subsequently specialised in the devotional paintings on panel, such as the present painting.
Technical analysis:
A thin accurate under-drawing outlines the figures precisely followed by a soft brush for colouring.
A precious ultramarine blue, obtained by grinding lapis lazuli stone, was used in the blue areas: the Madonna’s cloak, Saint Julian’s clothes and the light blue on Child’s robe. Green hues are mainly obtained by mixing lead-based yellow and azurite. A good quality coccid-derived red lake was used in the Madonna’s dress and in John the Baptist’s cloak. Gold was accurately applied for the decorations on the clothes, and on the step of the throne.
We are grateful to Gianluca Poldi for the technical examination of the present painting.
Horká linka kupujících
Po-Pá: 10.00 - 17.00
old.masters@dorotheum.at +43 1 515 60 403 |
Aukce: | Obrazy starých mistrů |
Typ aukce: | Salónní aukce |
Datum: | 30.04.2019 - 17:00 |
Místo konání aukce: | Wien | Palais Dorotheum |
Prohlídka: | 20.04. - 30.04.2019 |
** Kupní cena vč. poplatku kupujícího a DPH
Není již možné podávat příkazy ke koupi přes internet. Aukce se právě připravuje resp. byla již uskutečněna.