14th Century
See also : China Southern Song and Yuan Chinese art Song to Yuan porcelain Egypt Renaissance Ancient Germany Madonna and Child Manuscript Religious texts Judaica Chinese calligraphy Buddhism Mountains in China Horse Cats
around 1300 Western Ashkenazic Mahzor
2021 SOLD for $ 8.3M by Sotheby's
The so called Luzzatto High Holiday Mahzor is a medieval Hebrew book gathering traditional prayers and hymns for the use of the Western Ashkenazic community during the holy festivals of Rosh Hashanah and Yom Kippur.
This thick book of 451 equalized folios 31 x 24 cm was prepared in parchment in current day Bavaria by a scribe artist who identified himself as 'Abraham' in several places. It is highly rare that such a manuscript was illustrated by a Jew at a time when the best pigments were not provided to them by the Christian illuminators.
No date is inscribed. Its terminus post quem is determined as 1264 CE after a paleographic comparison with Ashkenazic codices. The terminus ante quem is slightly after 1300 CE by the use of a lead point, a precursor to the graphite pencil.
It is illustrated with multiple small figures in bright colors featuring praying Jews. A few of them have animal heads for complying with an Ashkenazic prohibition of portrait images.
It was later cleanly annotated in margins with additional prayers by its owners, providing a unique view of the rituals subsequently in Franconia, Alsace, Constance, Northern Italy and France. As an example it includes from Constance a prayer against the anti-Jewish violence during the Black Death.
The Luzzatto Mahzor is in an exceptionally fine condition. It was sold for $ 8.3M from a lower estimate of $ 4M by Sotheby's on October 19, 2021, lot 1. The Alliance Israélite Universelle is selling it to fund its educational mission. Please watch the video shared by the auction house.
This thick book of 451 equalized folios 31 x 24 cm was prepared in parchment in current day Bavaria by a scribe artist who identified himself as 'Abraham' in several places. It is highly rare that such a manuscript was illustrated by a Jew at a time when the best pigments were not provided to them by the Christian illuminators.
No date is inscribed. Its terminus post quem is determined as 1264 CE after a paleographic comparison with Ashkenazic codices. The terminus ante quem is slightly after 1300 CE by the use of a lead point, a precursor to the graphite pencil.
It is illustrated with multiple small figures in bright colors featuring praying Jews. A few of them have animal heads for complying with an Ashkenazic prohibition of portrait images.
It was later cleanly annotated in margins with additional prayers by its owners, providing a unique view of the rituals subsequently in Franconia, Alsace, Constance, Northern Italy and France. As an example it includes from Constance a prayer against the anti-Jewish violence during the Black Death.
The Luzzatto Mahzor is in an exceptionally fine condition. It was sold for $ 8.3M from a lower estimate of $ 4M by Sotheby's on October 19, 2021, lot 1. The Alliance Israélite Universelle is selling it to fund its educational mission. Please watch the video shared by the auction house.
Medieval Hebrew prayer book expected to fetch up to $6m at auction https://t.co/kM1Y5OECDY
— Guardian culture (@guardianculture) September 2, 2021
1305 Giotto stopped at Rimini
2014 SOLD 5.7 M£ including premium
At the end of the thirteenth century, the small town of Rimini gained a political importance when Malatesta became its podesta. The condottiero embellished the city: Giotto realized for the cathedral the frescoes that were destroyed around 1450.
The date when Giotto was in Rimini is not documented but is certainly after his Assisi frescoes made in 1298. Through considerations on the evolution of his art, it is known that his work at Rimini is prior to his long stay in Padua started in 1303.
Giotto was one of the greatest innovators of Christian art. Superseding the stiff Byzantine style, he provided clever compositions featuring characters in flexible and communicating attitudes.
The beginning of the Rimini school relies on the images by Giotto. At that time when artistic innovations were slowly spreading, Rimini long remained limited in the intermediate style of the maestro before the innovations of Padua.
On July 9 in London, Sotheby's sells a sumptuous panel made between 1300 and 1305 in tempera on gold made by a follower of Giotto. In an exceptional condition of preservation, it is estimated £ 2M, lot 17.
The author is probably Giovanni da Rimini, one of the earliest Rimini painters best known for a copy dated 1309 from a Crucifix by Giotto and who tentatively must not be confused with Giovanni Baronzio.
This panel 53 x 34 cm shows biblical and hagiographic scenes in a bold composition joining vertically at the left side the upper two registers. It is the left wing of a diptych separated in the eighteenth century. The right wing displays in a stricter composition six episodes from the life of Christ. It is kept at the Galleria Nazionale d'Arte Antica in Rome.
POST SALE COMMENT
This exceptional and very ancient painting was sold for £ 5.7M including premium.
The date when Giotto was in Rimini is not documented but is certainly after his Assisi frescoes made in 1298. Through considerations on the evolution of his art, it is known that his work at Rimini is prior to his long stay in Padua started in 1303.
Giotto was one of the greatest innovators of Christian art. Superseding the stiff Byzantine style, he provided clever compositions featuring characters in flexible and communicating attitudes.
The beginning of the Rimini school relies on the images by Giotto. At that time when artistic innovations were slowly spreading, Rimini long remained limited in the intermediate style of the maestro before the innovations of Padua.
On July 9 in London, Sotheby's sells a sumptuous panel made between 1300 and 1305 in tempera on gold made by a follower of Giotto. In an exceptional condition of preservation, it is estimated £ 2M, lot 17.
The author is probably Giovanni da Rimini, one of the earliest Rimini painters best known for a copy dated 1309 from a Crucifix by Giotto and who tentatively must not be confused with Giovanni Baronzio.
This panel 53 x 34 cm shows biblical and hagiographic scenes in a bold composition joining vertically at the left side the upper two registers. It is the left wing of a diptych separated in the eighteenth century. The right wing displays in a stricter composition six episodes from the life of Christ. It is kept at the Galleria Nazionale d'Arte Antica in Rome.
POST SALE COMMENT
This exceptional and very ancient painting was sold for £ 5.7M including premium.
Yuan - The Good Life of the Ancient Princes
2016 SOLD for RMB 303M yuan including premium
2020 SOLD for HK$ 307M including premium
PRE 2020 SALE DISCUSSION
On November 29, 2009, Christie's sold for HK $ 46.6M including premium a painting by Ren Renfa titled Five Drunken Kings Return on Horses, lot 815.
Before Christie's sale, I had discussed this unusual and nice picture as follows :
"It is a hand scroll 2.10 m long and 35 cm high painted in ink and colors. There are nine characters overall. The kings are riding in vacillating attitudes and four grooms attend to assure that their honorable masters will not fall.
"The artist was named Ren Renfa and lived under the Yuan dynasty 700 years ago. He was following a tradition dating back to the Tang dynasty for pictures of horses of great beauty.
"The irreverent nature of the theme is a proof of wittiness rare in art history suggesting an artistic freedom at the time of the Mongolian rule."
Although his work is not uncommon, Ren Renfa was probably not a professional artist : he made his career as an imperial official in charge of the regulation of rivers.
This item was sold for RMB 303M including premium by Poly on December 4, 2016, lot 4050. It had been reported by ChinaDaily as the highest paid Chinese artwork at auction that year. The Poly catalogue had provided detailed informations.
It is in a very good contrast in spite of its age and has been carefully analyzed. The paper is conformant to the Song patterns and is earlier than the Ming. The scroll includes ancient colophons as well as the seals of three Qing emperors.
According to the opinion of a Ming scholar official, the drunken characters are the five sons of a Tang emperor. The leading prince riding a magnificent black horse is the future emperor Xuanzong whose love of pleasures will much later trigger a civil war against his dynasty.
The procession of drunken princes by Ren displays revealing similarities in its composition with an elegant promenade of women painted two centuries earlier by the Song artist Li Longmian and preserved at the Taiwan Museum.
The scroll of the Drunken Princes is now estimated HK$ 80M for sale by Sotheby's in Hong Kong on October 8, lot 2575. Please watch the video shared by the auction house.
On November 29, 2009, Christie's sold for HK $ 46.6M including premium a painting by Ren Renfa titled Five Drunken Kings Return on Horses, lot 815.
Before Christie's sale, I had discussed this unusual and nice picture as follows :
"It is a hand scroll 2.10 m long and 35 cm high painted in ink and colors. There are nine characters overall. The kings are riding in vacillating attitudes and four grooms attend to assure that their honorable masters will not fall.
"The artist was named Ren Renfa and lived under the Yuan dynasty 700 years ago. He was following a tradition dating back to the Tang dynasty for pictures of horses of great beauty.
"The irreverent nature of the theme is a proof of wittiness rare in art history suggesting an artistic freedom at the time of the Mongolian rule."
Although his work is not uncommon, Ren Renfa was probably not a professional artist : he made his career as an imperial official in charge of the regulation of rivers.
This item was sold for RMB 303M including premium by Poly on December 4, 2016, lot 4050. It had been reported by ChinaDaily as the highest paid Chinese artwork at auction that year. The Poly catalogue had provided detailed informations.
It is in a very good contrast in spite of its age and has been carefully analyzed. The paper is conformant to the Song patterns and is earlier than the Ming. The scroll includes ancient colophons as well as the seals of three Qing emperors.
According to the opinion of a Ming scholar official, the drunken characters are the five sons of a Tang emperor. The leading prince riding a magnificent black horse is the future emperor Xuanzong whose love of pleasures will much later trigger a civil war against his dynasty.
The procession of drunken princes by Ren displays revealing similarities in its composition with an elegant promenade of women painted two centuries earlier by the Song artist Li Longmian and preserved at the Taiwan Museum.
The scroll of the Drunken Princes is now estimated HK$ 80M for sale by Sotheby's in Hong Kong on October 8, lot 2575. Please watch the video shared by the auction house.
Yuan Dynasty - Letters by Zhao Mengfu
2019 SOLD for RMB 270M including premium by China Guardian
narrated in 2020
Zhao Mengfu was the best artist and calligrapher in the transition period between the Southern Song and the Yuan. This literati belonged to the imperial Song family and his allegiance to the Yuan was severely criticized by his relatives.
In terms of calligraphy, his writing gradually evolves to take example from the two very great masters of the Jin era, Wang Xizhi and Wang Xianzhi, who had established the perfect synthesis of the various styles 950 years earlier. Zhao's writing is considered one of the best models of regular script.
On November 19, 2019, China Guardian sold a lot of two autograph letters by Zhao for RMB 270M including premium. This set is illustrated in the press release shared after the sale by the auction house.
In one of the two letters, Zhao acknowledges the ambivalence of his political position and the embarrassment it arouses among his friends. Of course, he shows himself in his best light and considers that his attitude is courageous. He seems to have really wanted to reconcile the interests of the fallen Song and of their Mongol successors. This letter has for terminus post quem the political conversion of Zhao, around 1290 CE, and for terminus ante quem his death in 1322.
The second letter of this lot describes his support and sympathy for his friends in that time of economic difficulty and his feeling of loneliness during his stay in the capital city.
One of Zhao's main occupations was the calligraphic copy of the Buddhist scriptures. A Heart Sutra was sold for RMB 190M including premium by Poly on December 17, 2017. The five 29 x 12 cm pages of this album are illustrated in the post-sale press release shared by The Value.
In terms of calligraphy, his writing gradually evolves to take example from the two very great masters of the Jin era, Wang Xizhi and Wang Xianzhi, who had established the perfect synthesis of the various styles 950 years earlier. Zhao's writing is considered one of the best models of regular script.
On November 19, 2019, China Guardian sold a lot of two autograph letters by Zhao for RMB 270M including premium. This set is illustrated in the press release shared after the sale by the auction house.
In one of the two letters, Zhao acknowledges the ambivalence of his political position and the embarrassment it arouses among his friends. Of course, he shows himself in his best light and considers that his attitude is courageous. He seems to have really wanted to reconcile the interests of the fallen Song and of their Mongol successors. This letter has for terminus post quem the political conversion of Zhao, around 1290 CE, and for terminus ante quem his death in 1322.
The second letter of this lot describes his support and sympathy for his friends in that time of economic difficulty and his feeling of loneliness during his stay in the capital city.
One of Zhao's main occupations was the calligraphic copy of the Buddhist scriptures. A Heart Sutra was sold for RMB 190M including premium by Poly on December 17, 2017. The five 29 x 12 cm pages of this album are illustrated in the post-sale press release shared by The Value.
Yuan Dynasty - Heart Sutra by Zhao Mengfu
2017 SOLD for RMB 190M including premium by Poly
narrated in 2020
The greatest masters of calligraphy pass on their knowledge to the literati. Under the Jin in the 4th century CE, Wang Xizhi achieves the supreme elegance with cursive calligraphy, to which his son Wang Xianzhi brings fluidity by writing each character in a single brush stroke.
Active after the fall of the Song in 1279 CE, Zhao Mengfu is a prince-artist who belongs to the fallen dynasty. Poet, jurist, painter and calligrapher, he combines the strict clarity of regular calligraphy with the expressiveness of semi-cursive calligraphy. Despite the ambiguity of his political engagement under the Yuan, his calligraphy has always been considered exemplary. Zhao is one of the greatest calligraphers of all time.
Zhao is a Buddhist. The Heart Sutra is perfect for serving as a model for two reasons. It is the shortest of the Sutras and its most classic version fits in five or six sheets. It is especially appreciated in China because its oldest known version is in Chinese language.
Several pieces calligraphed by Zhao are known. After a long career, he dies in 1322 CE at the age of 68, and these works cannot be dated with precision. An ancient legend shows the artist copying a Heart Sutra to exchange it with a monk for tea.
A Heart Sutra by Zhao Mengfu was sold for RMB 190M including premium by Poly on December 17, 2017, lot 3535. This piece is a five-sheet 28.6 x 12 cm album, with no drawing added. The five sheets are illustrated twice in the post-sale article by The Value.
Active after the fall of the Song in 1279 CE, Zhao Mengfu is a prince-artist who belongs to the fallen dynasty. Poet, jurist, painter and calligrapher, he combines the strict clarity of regular calligraphy with the expressiveness of semi-cursive calligraphy. Despite the ambiguity of his political engagement under the Yuan, his calligraphy has always been considered exemplary. Zhao is one of the greatest calligraphers of all time.
Zhao is a Buddhist. The Heart Sutra is perfect for serving as a model for two reasons. It is the shortest of the Sutras and its most classic version fits in five or six sheets. It is especially appreciated in China because its oldest known version is in Chinese language.
Several pieces calligraphed by Zhao are known. After a long career, he dies in 1322 CE at the age of 68, and these works cannot be dated with precision. An ancient legend shows the artist copying a Heart Sutra to exchange it with a monk for tea.
A Heart Sutra by Zhao Mengfu was sold for RMB 190M including premium by Poly on December 17, 2017, lot 3535. This piece is a five-sheet 28.6 x 12 cm album, with no drawing added. The five sheets are illustrated twice in the post-sale article by The Value.
1340-1345 The Major-domo of a Powerful Mamluk Emir
2011 SOLD 4.5 M£ including premium
In Egypt, the later reign of the Mamluk sultan An Nasir Muhammad was a short period of stability with the strengthening of the role of the viceroys who were emirs in charge of overseeing the territories of the kingdom. Being constantly on the field of war, the emirs left the direction of their home to mayors or major-domos who had their own place in the high nobility.
A Mamluk candlestick for sale by Sotheby's in London on April 6 reflects this hierarchical structure. It is estimated £ 2M.
The base is a truncated cone slightly curved, 34 cm in its largest diameter. It is topped by a stick that supports the candle holder, also a truncated cone, for a total height of 38 cm. This piece of brass inlaid with copper and silver is decorated on its whole surface with inscriptions, armorials and other animal, vegetal and geometric motifs.
The white eagles and cups in cartouches shaped as reversed teardrops are the blazon of the emir Tuquztamur, who was certainly famous in his time! The inscriptions testify to the faithfulness of the major-domo of his noble house.
The identification of the Emir enables to date the candlestick with some accuracy because his role of viceroy was limited to a period of five years (741-746 AH, 1340-1345 AD). Curiously, this information can not locate the object, since the emir executed several successive appointments in Egypt and Syria.
POST SALE COMMENT
The great rarity and the complex decoration of the candlestick pushed it up to £ 4.5 million including premium.
It takes its place among the important pieces of ancient Islamic art.
A Mamluk candlestick for sale by Sotheby's in London on April 6 reflects this hierarchical structure. It is estimated £ 2M.
The base is a truncated cone slightly curved, 34 cm in its largest diameter. It is topped by a stick that supports the candle holder, also a truncated cone, for a total height of 38 cm. This piece of brass inlaid with copper and silver is decorated on its whole surface with inscriptions, armorials and other animal, vegetal and geometric motifs.
The white eagles and cups in cartouches shaped as reversed teardrops are the blazon of the emir Tuquztamur, who was certainly famous in his time! The inscriptions testify to the faithfulness of the major-domo of his noble house.
The identification of the Emir enables to date the candlestick with some accuracy because his role of viceroy was limited to a period of five years (741-746 AH, 1340-1345 AD). Curiously, this information can not locate the object, since the emir executed several successive appointments in Egypt and Syria.
POST SALE COMMENT
The great rarity and the complex decoration of the candlestick pushed it up to £ 4.5 million including premium.
It takes its place among the important pieces of ancient Islamic art.
1350 The Story of Ge Hong
2011 SOLD for RMB 400M including premium by Poly
narrated in 2020
The Chinese culture comes from a very strong literary tradition mixed with mysticism. In the 11th century CE, Mi Fu opened the way to the themes of the literate landscape, and for several centuries the graphic arts were often devoted to these ancient stories.
On June 4, 2011, Poly sold for RMB 400M including premium a hanging scroll painted in ink and wash circa 1350 CE by Wang Meng on the theme of the migration of Ge Hong to the sacred mountains. The provenance of this artwork has been established over six centuries. The image is shared by Wikimedia.
Born into a family of artists, Wang Meng is considered as one of the four literati masters of the Yuan dynasty. His graphic style is very dense, with the energy of a calligrapher.
Ge Hong, also named Ge Zhichuan, lived 1000 years before Wang in the Eastern Jin dynasty. Nicknamed the Little Immortal Old Man, he was an alchemist, a doctor and above all a Taoist master. He was going to study the secrets of immortality in the Luofu mountains. He stayed there for eight years. The image by Wang shows Ge and his suite passing through a valley under a very rocky landscape. Seven poems have been added.
The Palace Museum in Beijing has a 139 x 58 cm scroll by the same artist on the same theme, dated around 1360, with another landscape in an oblique perspective, showing in the best Chinese graphic tradition the smallness of a great sage in the immense nature.
On June 4, 2011, Poly sold for RMB 400M including premium a hanging scroll painted in ink and wash circa 1350 CE by Wang Meng on the theme of the migration of Ge Hong to the sacred mountains. The provenance of this artwork has been established over six centuries. The image is shared by Wikimedia.
Born into a family of artists, Wang Meng is considered as one of the four literati masters of the Yuan dynasty. His graphic style is very dense, with the energy of a calligrapher.
Ge Hong, also named Ge Zhichuan, lived 1000 years before Wang in the Eastern Jin dynasty. Nicknamed the Little Immortal Old Man, he was an alchemist, a doctor and above all a Taoist master. He was going to study the secrets of immortality in the Luofu mountains. He stayed there for eight years. The image by Wang shows Ge and his suite passing through a valley under a very rocky landscape. Seven poems have been added.
The Palace Museum in Beijing has a 139 x 58 cm scroll by the same artist on the same theme, dated around 1360, with another landscape in an oblique perspective, showing in the best Chinese graphic tradition the smallness of a great sage in the immense nature.
1350 Yuan Guan Jar
2005 SOLD for £ 15.7M by Christie's
After decades of fierce conquests, the Mongols invaded China. Now named Yuan, their dynasty succeeded the Song. After the perfection in material, robustness and geometry under the Song, the Chinese porcelain got a new artistic development with the Yuan.
The Yuan sought to establish a synthesis of Mongolian and Chinese traditions, but they were foreigners. They strengthened their position by facilitating maritime and land communication with other Asian countries, reviving the Silk Road. At that time the Chinese ceramics, especially those from Jingdezhen, are the only ones that are hygienic enough to bring no health risk to the user.
The Jingdezhen kilns were already operational under the Tang and Song but their activity is much developed by the Yuan, experiencing a sustainable development towards the end of this dynasty, from around 1350 CE.
The painting under glaze and the cobalt blue are both imports made by the Yuan from the Muslim world for the porcelains of Jingdezhen. The white porcelain was painted on the moulded body with blue figures, and then glazed and fired. The excellent quality of the cobalt imported from Iran enabled a color gradation up to the deep blue, inviting to exquisite figurative motifs.
The globular guan shape, previously used in terracotta, was much appreciated for the top end Yuan porcelain jars.
Very fond of warlike feats, the Yuan Mongols enjoyed the zaju, a form of drama invented by their predecessors the Song. The zaju was a multidisciplinary staged show with recitations, songs, dance and mime. The Yuan zajus narrated the epic legends of the Han or the Tang.
Two forms of porcelain wares were favourable to illustrate the zaju : the guan jar used for the wine and the meiping vase for arranging plum blossom branches. The cobalt drawing filled a circular scene all around the body.
On July 12, 2005, Christie's sold for £ 15.7M a Yuan guan jar 33 cm high illustrated in an intense blue from the finest cobalt, lot 88. It is similar in its construction with seven other surviving jars probably from the same workshop in Jingdezhen ca 1350. All but one have a band of breaking waves on the short straight neck. It is similar in its skillful painting with a vase inscribed to the equivalent of 1351 CE.
Its hectic story, not otherwise known in the porcelains, had occurred when the presumably invincible state of Yan attempted to conquer the state of Qi, a theme that indeed appealed the Mongol conquerors of China. The cart of the Qi emissary is pulled by two felines. This figure was directly inspired from a woodblock print made in the 1320s.
The image is titled Guigu on a banner, referring to the home city of a strategist of the action.
The Yuan sought to establish a synthesis of Mongolian and Chinese traditions, but they were foreigners. They strengthened their position by facilitating maritime and land communication with other Asian countries, reviving the Silk Road. At that time the Chinese ceramics, especially those from Jingdezhen, are the only ones that are hygienic enough to bring no health risk to the user.
The Jingdezhen kilns were already operational under the Tang and Song but their activity is much developed by the Yuan, experiencing a sustainable development towards the end of this dynasty, from around 1350 CE.
The painting under glaze and the cobalt blue are both imports made by the Yuan from the Muslim world for the porcelains of Jingdezhen. The white porcelain was painted on the moulded body with blue figures, and then glazed and fired. The excellent quality of the cobalt imported from Iran enabled a color gradation up to the deep blue, inviting to exquisite figurative motifs.
The globular guan shape, previously used in terracotta, was much appreciated for the top end Yuan porcelain jars.
Very fond of warlike feats, the Yuan Mongols enjoyed the zaju, a form of drama invented by their predecessors the Song. The zaju was a multidisciplinary staged show with recitations, songs, dance and mime. The Yuan zajus narrated the epic legends of the Han or the Tang.
Two forms of porcelain wares were favourable to illustrate the zaju : the guan jar used for the wine and the meiping vase for arranging plum blossom branches. The cobalt drawing filled a circular scene all around the body.
On July 12, 2005, Christie's sold for £ 15.7M a Yuan guan jar 33 cm high illustrated in an intense blue from the finest cobalt, lot 88. It is similar in its construction with seven other surviving jars probably from the same workshop in Jingdezhen ca 1350. All but one have a band of breaking waves on the short straight neck. It is similar in its skillful painting with a vase inscribed to the equivalent of 1351 CE.
Its hectic story, not otherwise known in the porcelains, had occurred when the presumably invincible state of Yan attempted to conquer the state of Qi, a theme that indeed appealed the Mongol conquerors of China. The cart of the Qi emissary is pulled by two felines. This figure was directly inspired from a woodblock print made in the 1320s.
The image is titled Guigu on a banner, referring to the home city of a strategist of the action.
1350 Gothic Realism
2019 SOLD for € 6.2M including premium
Prince Wenceslas, heir to the kingdom of Bohemia and godson of King Charles IV of France, is in Paris from 1323 to 1330. It is the time of the first great Parisian illuminator, Jean Pucelle. Back in Prague, Wenceslas frequently exercises the regency for his father the King Knight John the Blind, to whom he succeeds in 1346 as Charles IV. He will be the first prince of the Luxemburg dynasty to become emperor, in 1355.
In the West the Hundred Years War breaks out in 1337. This international conflict aggravated by the risk of schism between Avignon and Rome is a very good opportunity for Charles IV to make Prague one of the most important cities in Europe, seat of an archdiocese from 1344.
Charles first rebuilds the cathedral. In the year 1348 altogether, he creates the first Germanic university in Prague, launches a major urban plan to modernize his capital and has the imperial castle of Karlstein built for his personal use.
This activity attracts artists from all over Europe. Most remained anonymous, with the exception of Master Theodoric who is the appointed painter of Charles IV throughout his reign. An important group of paintings made by this master for the Karlstein chapel has been preserved.
The paintings on wood from the reign of Charles IV are often made in very small formats, with an obvious search for humanism in the princely portraits and in the spontaneity of the attitudes. The minutia of the line shows that these painters were also illuminators.
An egg tempera 22 x 20 cm on wood 14 mm thick has just surfaced. This enthroned Madonna and Child is in the style of Bohemia, small and precious. The Child is dressed in a light tunic. His actions are innocent. The fingers of one hand grip his foot while the other hand gently holds the thumb of the mother. Their gazes communicate.
This scene is currently surrounded by a black paint dotted with paper stars, probably made in the nineteenth century. An X-ray inspection revealed that the original design was a vast architectural pattern in line with the ostentatious aims of Charles IV's art.
The experts recognized a similarity in the refinement of this painting with the restricted corpus of an anonymous artist designated as the Master of Vissy Brod, active in Bohemia around 1350.
It is estimated € 400K for sale by Cortot in Dijon on November 30, lot 52. Please watch the video shared by Artcento.
In the West the Hundred Years War breaks out in 1337. This international conflict aggravated by the risk of schism between Avignon and Rome is a very good opportunity for Charles IV to make Prague one of the most important cities in Europe, seat of an archdiocese from 1344.
Charles first rebuilds the cathedral. In the year 1348 altogether, he creates the first Germanic university in Prague, launches a major urban plan to modernize his capital and has the imperial castle of Karlstein built for his personal use.
This activity attracts artists from all over Europe. Most remained anonymous, with the exception of Master Theodoric who is the appointed painter of Charles IV throughout his reign. An important group of paintings made by this master for the Karlstein chapel has been preserved.
The paintings on wood from the reign of Charles IV are often made in very small formats, with an obvious search for humanism in the princely portraits and in the spontaneity of the attitudes. The minutia of the line shows that these painters were also illuminators.
An egg tempera 22 x 20 cm on wood 14 mm thick has just surfaced. This enthroned Madonna and Child is in the style of Bohemia, small and precious. The Child is dressed in a light tunic. His actions are innocent. The fingers of one hand grip his foot while the other hand gently holds the thumb of the mother. Their gazes communicate.
This scene is currently surrounded by a black paint dotted with paper stars, probably made in the nineteenth century. An X-ray inspection revealed that the original design was a vast architectural pattern in line with the ostentatious aims of Charles IV's art.
The experts recognized a similarity in the refinement of this painting with the restricted corpus of an anonymous artist designated as the Master of Vissy Brod, active in Bohemia around 1350.
It is estimated € 400K for sale by Cortot in Dijon on November 30, lot 52. Please watch the video shared by Artcento.
Une peinture primitive exceptionnelle a été découverte dans une maison dijonnaise. Attribuée au Maître de Vissy Brod, un peintre anonyme de la Bohème médiévale actif autour de 1350, elle est estimée à plus de 400 000 euros. https://t.co/gm20gTjCfu
— Interencheres (@interencheres) November 20, 2019
1366 Two Lions at the Feet of the King
2017 SOLD for £ 9.4M including premium
In the long line of the kings of France the succession of Jean II in 1364 during the Hundred Years War is one of the most disputed. The 26 year old dauphin had been régent while his father was a prisoner and he was clever. Having won this ruthless dynastic competition, he will be Charles V le Sage.
The divine authority claimed by the legitimate heir is not sufficient to preserve and protect his power. Upon his accession Charles V multiplies the symbols of his superiority and of his prosperity. The lion is his emblem.
To maintain the chain of legitimacy they must also rehabilitate the ineffective Jean II. In the very first year of his reign Charles V decides to build the funerary monuments of Jean and of Jean's parents in the traditional necropolis of the Capétiens at Saint-Denis. He adds the commission for his own tomb, which is a considerable innovation for the time.
The contractor of the four monuments is the best sculptor of that period, known from a royal document as Andreu Bauneveu, André Beauneveu in modern French. The king is powerful and must be honored as a priority : his gisant (recumbent) is the best of the four with a beautiful polishing of the white marble. Beauneveu worked until 1366 on that site.
The royal monuments of Saint-Denis were dismantled in 1793. The outstanding pieces were recovered by the archaeologist Alexandre Lenoir, founder at the request of the government in 1791 of the Musée des Monuments Français for collecting artworks confiscated to the clergy by the Révolution. During the Restauration in 1816 King Louis XVIII obliged Lenoir to relocate to Saint-Denis what remained from the monuments of the necropolis including the gisant of Charles V by Beauneveu.
The monument of Charles V included a group of two addorsed lions which was placed at the feet of the king. This group was only known from one sketch drawing made by an antiquarian scholar. It has just been rediscovered in the descendance of an English collector who had acquired it in 1802, certainly bought to Lenoir whose financial backing was low at that time.
This group of lions is a marble of the same quality as its gisant and certainly executed by the same artist. The fixing points of this statue match exactly the distance of the associated points on the feet of the gisant.
The Beauneveu lions, 45 x 29 x 12 cm, will be sold as lot 10 by Christie's in London on July 6. Please watch the video shared by the auction house.
The divine authority claimed by the legitimate heir is not sufficient to preserve and protect his power. Upon his accession Charles V multiplies the symbols of his superiority and of his prosperity. The lion is his emblem.
To maintain the chain of legitimacy they must also rehabilitate the ineffective Jean II. In the very first year of his reign Charles V decides to build the funerary monuments of Jean and of Jean's parents in the traditional necropolis of the Capétiens at Saint-Denis. He adds the commission for his own tomb, which is a considerable innovation for the time.
The contractor of the four monuments is the best sculptor of that period, known from a royal document as Andreu Bauneveu, André Beauneveu in modern French. The king is powerful and must be honored as a priority : his gisant (recumbent) is the best of the four with a beautiful polishing of the white marble. Beauneveu worked until 1366 on that site.
The royal monuments of Saint-Denis were dismantled in 1793. The outstanding pieces were recovered by the archaeologist Alexandre Lenoir, founder at the request of the government in 1791 of the Musée des Monuments Français for collecting artworks confiscated to the clergy by the Révolution. During the Restauration in 1816 King Louis XVIII obliged Lenoir to relocate to Saint-Denis what remained from the monuments of the necropolis including the gisant of Charles V by Beauneveu.
The monument of Charles V included a group of two addorsed lions which was placed at the feet of the king. This group was only known from one sketch drawing made by an antiquarian scholar. It has just been rediscovered in the descendance of an English collector who had acquired it in 1802, certainly bought to Lenoir whose financial backing was low at that time.
This group of lions is a marble of the same quality as its gisant and certainly executed by the same artist. The fixing points of this statue match exactly the distance of the associated points on the feet of the gisant.
The Beauneveu lions, 45 x 29 x 12 cm, will be sold as lot 10 by Christie's in London on July 6. Please watch the video shared by the auction house.
Medieval re-discovery: Marble lions from the tomb of King Charles V of France lead our July Exceptional Sale https://t.co/koBGpTxseZ pic.twitter.com/Pjb4ckDSrf
— Christie's (@ChristiesInc) February 21, 2017
