THE CREATION OF EVE, miniature cut from an illuminated Antiphonal on vellum [Florence, c.1360s] An entrancing and unusual miniature by a flamboyant Florentine artist working in the ambit of Andrea Orcagna (c.1308-c.1368), heavily influenced by the Master of the Dominican Effigies (active 1325-1355). 110 x 131mm. Verso with two lines of text and music (smudge and loss of pigment to landscape and Adam’s body, minor losses to foliage). Double-sided mount. Provenance : One of nineteen surviving cuttings identified by Gaudenz Freuler as belonging to a now dismembered luxury Antiphonal volume produced in Florence in the 1360s. Fourteen are at the Berlin Kupferstichkabinett; one is in Paris, Musée Marmottan, Wildenstein Collection MS 6115; three others are in private collections – Dr Jacob Hirsch (1874-1955), exhibited at the Los Angeles County Museum, Mediaeval and Renaissance Illuminated Manuscripts ; A Loan Exhibition, November 25, 1953–January 9, 1954 , no 119 Los Angeles: Los Angeles County Museum, 1953 – Jörn Günther, Mittelalterliche Handschriften und Miniaturen , 1995, no 36. Previously attributed to the Neapolitan artist Cristoforo Oromina on the basis of the richness and complex ornamentation of the composition and the Giottesque qualities of the figures, Freuler has more recently situated the style within the context of Florentine illumination of the mid-14th century, and in particular the oeuvre of Pacino di Bonaguida and the Master of the Dominican Effigies. The artist of the present miniature seems also to have been responsible for the illumination of Antifonario 564 of the Museo di San Marco in Florence (see G. Freuler, L’eredità di Giotto. Arte a Firenze 1340-1375 , Florence, 2008, pp. 224-231 cat. 54 and essay on pp.77-85).
THE CREATION OF EVE, miniature cut from an illuminated Antiphonal on vellum [Florence, c.1360s] An entrancing and unusual miniature by a flamboyant Florentine artist working in the ambit of Andrea Orcagna (c.1308-c.1368), heavily influenced by the Master of the Dominican Effigies (active 1325-1355). 110 x 131mm. Verso with two lines of text and music (smudge and loss of pigment to landscape and Adam’s body, minor losses to foliage). Double-sided mount. Provenance : One of nineteen surviving cuttings identified by Gaudenz Freuler as belonging to a now dismembered luxury Antiphonal volume produced in Florence in the 1360s. Fourteen are at the Berlin Kupferstichkabinett; one is in Paris, Musée Marmottan, Wildenstein Collection MS 6115; three others are in private collections – Dr Jacob Hirsch (1874-1955), exhibited at the Los Angeles County Museum, Mediaeval and Renaissance Illuminated Manuscripts ; A Loan Exhibition, November 25, 1953–January 9, 1954 , no 119 Los Angeles: Los Angeles County Museum, 1953 – Jörn Günther, Mittelalterliche Handschriften und Miniaturen , 1995, no 36. Previously attributed to the Neapolitan artist Cristoforo Oromina on the basis of the richness and complex ornamentation of the composition and the Giottesque qualities of the figures, Freuler has more recently situated the style within the context of Florentine illumination of the mid-14th century, and in particular the oeuvre of Pacino di Bonaguida and the Master of the Dominican Effigies. The artist of the present miniature seems also to have been responsible for the illumination of Antifonario 564 of the Museo di San Marco in Florence (see G. Freuler, L’eredità di Giotto. Arte a Firenze 1340-1375 , Florence, 2008, pp. 224-231 cat. 54 and essay on pp.77-85).
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Suchauftrag anlegen.jpg "Quelle: Christie's")
