LOT 18
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MICHELE DI MATTEO (ACTIVE BOLOGNA, 1416-1469) Saints John the Baptist and John the Evangelist, a wing of an altarpiece
作品估价：USD 200,000 - 300,000
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成交状态：未知
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图录号：
18
拍品名称：
MICHELE DI MATTEO (ACTIVE BOLOGNA, 1416-1469) Saints John the Baptist and John the Evangelist, a wing of an altarpiece
拍品描述：
MICHELE DI MATTEO (ACTIVE BOLOGNA, 1416-1469)
Saints John the Baptist and John the Evangelist, a wing of an altarpiece
tempera, oil and gold on panel, unframed
40 ¼ x 23 ½ in. (102.1 x 60.1 cm.)The Malvezzi-Lupari collection, Bologna, and by descent to,
Don Astorre Hercolani (1799-1828), V Prince Hercolani, Bologna (his crest on the reverse), and by descent to his wife,
Marchioness Maria Malvezzi Lupari (1780-1865), and by descent until,
[Paintings from the Malvezzi (Lupari) and Ercolani Collection of Bologna]; Hotel Drouot, Paris, 7 February 1868, lot 4, as Vitale da Bologna (with the wing depicting Saint Bartholomew and Emperor Heraclius, identified incorrectly as Saint André, as lot 5).
with Luigi Bellini, Florence.
Anonymous sale; Dorotheum, Vienna, 6 October 2009, lot 10.
Acquired in April 2012 by the present owner.F.A. Ghedini, 'Squarci della pittura bolognese', Atti e Memorie dell’Accademia Clementina di Bologna, VII, Bologna, 1960, p. 76.
M. Medica, 'Michele di Matteo,' in La pittura in Italia. Il Quattrocento, II, F. Zeri, ed., Milan, 1987, p. 711.
G. Freuler, 'Manifestatori delle cose Miracolose' Arte Italiana del '300 e '400 da collesioni in Svizzea e nel Liechtenstein, exhibition catalogue, Lugano, 1991, p. 160.
M. Medica, La quadreria di Gioacchino Rossini: il ritorno della Collezione Hercolani a Bologna, exhibition catalogue, Bologna, 2002, p. 52 and 54, illustrated.Michele di Matteo, sometimes known as ‘Michele da Bologna’ or ‘Lambertini’, is first documented in 1410, when he collaborated with Francesco Lola on decorations for the celebrations held in Bologna for the arrival of Antipope Alexander V. While little is known of his early career, he presumably trained in the workshop of Jacopo di Paolo given affinities with the artist’s handling of drapery, use of color and the articulation of hands (A. Galli, ‘Michele di Matteo’,
The Alana Collection: Italian Paintings from the 13th to 15th Century, I, Miklós Boskovits, ed., Florence, 2009, p. 125). By 1415, Michele di Matteo was registered in the Società delle Quattre Arti in Bologna and collaborated with Pietro Lianori and Giovanni da Modena, the city's leading painters in the first half of the fifteenth century. Massimo Medica notes the prevailing influence of both these artists in the present work, particularly in the figures' stern expressions and gestures (
loc. cit.).
This panel once formed part of a larger polyptych's whose central image,
a Madonna and Child Enthroned, is today in the Cotroceni National Museum, Bucharest. Another flanking panel, depicting
Saint Bartholomew and Emperor Heraclius, is in the Museo Civico, Pesaro (fig. 1). Gaudenz Freuler also identified various predella panels from the same altarpiece, representing scenes from Heraclius’ journey to recover the True Cross from the Persians, including works in the Musée du Petit Palais, Avignon; Galleria dell’ Accademia, Venice; Musée du Louvre, Paris, and a private collection (
loc. cit.).
Saints John the Baptist and John the Evangelist, a wing of an altarpiece
tempera, oil and gold on panel, unframed
40 ¼ x 23 ½ in. (102.1 x 60.1 cm.)The Malvezzi-Lupari collection, Bologna, and by descent to,
Don Astorre Hercolani (1799-1828), V Prince Hercolani, Bologna (his crest on the reverse), and by descent to his wife,
Marchioness Maria Malvezzi Lupari (1780-1865), and by descent until,
[Paintings from the Malvezzi (Lupari) and Ercolani Collection of Bologna]; Hotel Drouot, Paris, 7 February 1868, lot 4, as Vitale da Bologna (with the wing depicting Saint Bartholomew and Emperor Heraclius, identified incorrectly as Saint André, as lot 5).
with Luigi Bellini, Florence.
Anonymous sale; Dorotheum, Vienna, 6 October 2009, lot 10.
Acquired in April 2012 by the present owner.F.A. Ghedini, 'Squarci della pittura bolognese', Atti e Memorie dell’Accademia Clementina di Bologna, VII, Bologna, 1960, p. 76.
M. Medica, 'Michele di Matteo,' in La pittura in Italia. Il Quattrocento, II, F. Zeri, ed., Milan, 1987, p. 711.
G. Freuler, 'Manifestatori delle cose Miracolose' Arte Italiana del '300 e '400 da collesioni in Svizzea e nel Liechtenstein, exhibition catalogue, Lugano, 1991, p. 160.
M. Medica, La quadreria di Gioacchino Rossini: il ritorno della Collezione Hercolani a Bologna, exhibition catalogue, Bologna, 2002, p. 52 and 54, illustrated.Michele di Matteo, sometimes known as ‘Michele da Bologna’ or ‘Lambertini’, is first documented in 1410, when he collaborated with Francesco Lola on decorations for the celebrations held in Bologna for the arrival of Antipope Alexander V. While little is known of his early career, he presumably trained in the workshop of Jacopo di Paolo given affinities with the artist’s handling of drapery, use of color and the articulation of hands (A. Galli, ‘Michele di Matteo’,
The Alana Collection: Italian Paintings from the 13th to 15th Century, I, Miklós Boskovits, ed., Florence, 2009, p. 125). By 1415, Michele di Matteo was registered in the Società delle Quattre Arti in Bologna and collaborated with Pietro Lianori and Giovanni da Modena, the city's leading painters in the first half of the fifteenth century. Massimo Medica notes the prevailing influence of both these artists in the present work, particularly in the figures' stern expressions and gestures (
loc. cit.).
This panel once formed part of a larger polyptych's whose central image,
a Madonna and Child Enthroned, is today in the Cotroceni National Museum, Bucharest. Another flanking panel, depicting
Saint Bartholomew and Emperor Heraclius, is in the Museo Civico, Pesaro (fig. 1). Gaudenz Freuler also identified various predella panels from the same altarpiece, representing scenes from Heraclius’ journey to recover the True Cross from the Persians, including works in the Musée du Petit Palais, Avignon; Galleria dell’ Accademia, Venice; Musée du Louvre, Paris, and a private collection (
loc. cit.).