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拍品 4
CHORISTERS SINGING, historiated initial 'C' cut from an ILLUMINATED MANUSCRIPT CHOIRBOOK ON VELLUM
已結束2012年11月21日
成交價
GBP 5,000
更多資訊
CHORISTERS SINGING, historiated initial 'C' cut from an ILLUMINATED MANUSCRIPT CHOIRBOOK ON VELLUM
[Ferrara, c.1470]
124 x 115mm. The verso with 6 lines from the hymn 'Summae Parens clementiae' in a round gothic bookhand in black ink (slight smudging of the background, lectern and book). Provenance: stamp GW on verso and a note on the mount 'Ex Coll. de Burlet', presumably refering to the Berlin and Basel dealer and collector of paintings and drawings Charles Albert de Burlet (1882-1956).
No doubt illustrating the opening of Psalm 97, 'Cantate domino' in a Psalter/Hymnal, this initial is the work of the great Ferrarese illuminator Guglielmo Giraldi (fl. 1450-1490). His work for Lionello (1441-1450), Borso (1450-1471) and Ercole d'Este (1471-1505), along with his commissions for the Cathedral and for the Charterhouse of San Cristoforo brought him great renown. The decorative vocabulary and structure of the initial corresponds precisely to his work in the early 1470s before he left Ferrara for Mantua and the patronage of Federico da Montefeltro.
[Ferrara, c.1470]
124 x 115mm. The verso with 6 lines from the hymn 'Summae Parens clementiae' in a round gothic bookhand in black ink (slight smudging of the background, lectern and book). Provenance: stamp GW on verso and a note on the mount 'Ex Coll. de Burlet', presumably refering to the Berlin and Basel dealer and collector of paintings and drawings Charles Albert de Burlet (1882-1956).
No doubt illustrating the opening of Psalm 97, 'Cantate domino' in a Psalter/Hymnal, this initial is the work of the great Ferrarese illuminator Guglielmo Giraldi (fl. 1450-1490). His work for Lionello (1441-1450), Borso (1450-1471) and Ercole d'Este (1471-1505), along with his commissions for the Cathedral and for the Charterhouse of San Cristoforo brought him great renown. The decorative vocabulary and structure of the initial corresponds precisely to his work in the early 1470s before he left Ferrara for Mantua and the patronage of Federico da Montefeltro.
CHORISTERS SINGING, historiated initial 'C' cut from an ILLUMINATED MANUSCRIPT CHOIRBOOK ON VELLUM
[Ferrara, c.1470]
124 x 115mm. The verso with 6 lines from the hymn 'Summae Parens clementiae' in a round gothic bookhand in black ink (slight smudging of the background, lectern and book). Provenance: stamp GW on verso and a note on the mount 'Ex Coll. de Burlet', presumably refering to the Berlin and Basel dealer and collector of paintings and drawings Charles Albert de Burlet (1882-1956).
No doubt illustrating the opening of Psalm 97, 'Cantate domino' in a Psalter/Hymnal, this initial is the work of the great Ferrarese illuminator Guglielmo Giraldi (fl. 1450-1490). His work for Lionello (1441-1450), Borso (1450-1471) and Ercole d'Este (1471-1505), along with his commissions for the Cathedral and for the Charterhouse of San Cristoforo brought him great renown. The decorative vocabulary and structure of the initial corresponds precisely to his work in the early 1470s before he left Ferrara for Mantua and the patronage of Federico da Montefeltro.
[Ferrara, c.1470]
124 x 115mm. The verso with 6 lines from the hymn 'Summae Parens clementiae' in a round gothic bookhand in black ink (slight smudging of the background, lectern and book). Provenance: stamp GW on verso and a note on the mount 'Ex Coll. de Burlet', presumably refering to the Berlin and Basel dealer and collector of paintings and drawings Charles Albert de Burlet (1882-1956).
No doubt illustrating the opening of Psalm 97, 'Cantate domino' in a Psalter/Hymnal, this initial is the work of the great Ferrarese illuminator Guglielmo Giraldi (fl. 1450-1490). His work for Lionello (1441-1450), Borso (1450-1471) and Ercole d'Este (1471-1505), along with his commissions for the Cathedral and for the Charterhouse of San Cristoforo brought him great renown. The decorative vocabulary and structure of the initial corresponds precisely to his work in the early 1470s before he left Ferrara for Mantua and the patronage of Federico da Montefeltro.
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