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Michele Di Matteo Da Bologna

XV Century - 
MICHELE DI MATTEO DA BOLOGNA Christ As The Man Of Sorrows, Flanked By The Madonna And Saint John The Evangelist

Christie's
Dec 7, 2011
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Variants on Artist's name :

Lamberti Michele Di Matteo Da Bologna

 

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Jacopo Da Firenze
Artworks in Arcadja
6

Some works of Michele Di Matteo Da Bologna

Extracted between 6 works in the catalog of Arcadja
 Michele Di Matteo Da Bologna - A Deacon Saint Holding A Martyr's Palm

Michele Di Matteo Da Bologna - A Deacon Saint Holding A Martyr's Palm

Original -
Estimate:

Price:

Lot number: 134
Other WORKS AT AUCTION
Description:
Lot Description

Michele di Matteo da Bologna (active Bologna 1410-1469) A deacon saint holding a martyr's palm on gold ground panel, unframed 11 5/8 x 4 3/8 in. (29.5 x 11 cm.)

Lot Condition Report

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 Michele Di Matteo Da Bologna - Christ As The Man Of Sorrows

Michele Di Matteo Da Bologna - Christ As The Man Of Sorrows

Original
Estimate:

Price:

Gross Price
Lot number: 56
Other WORKS AT AUCTION
Description:
Michele di Matteo da Bologna (active Bologna 1410-1469) Christ as the Man of Sorrows, flanked by the Madonna and Saint John the Evangelist oil on gold ground panel, unframed 14¾ x 25 3/8 in. (37.5 x 64.5 cm.)
We are grateful to Everett Fahy for proposing the attribution, on the basis of photographs. He suggests a date of circa 1450-1460, comparing it with Michele di Matteo's panels of the Mater dolorosa and the Mourning Saint John the Evangelist in the Kress Collection of the Museum of Art, University of Columbia, Missouri (F.S. Shapley, Paintings from the Samuel H. Kress collection; Italian schools XIII-XV century, London, 1966, figs. 193-194).
 Michele Di Matteo Da Bologna - Christ As The Man Of Sorrows, Flanked By The Madonna And Saint John The Evangelist

Michele Di Matteo Da Bologna - Christ As The Man Of Sorrows, Flanked By The Madonna And Saint John The Evangelist

Original
Estimate:

Price:

Lot number: 142
Other WORKS AT AUCTION
Description:
Michele di Matteo da Bologna (active Bologna 1410-1469) Christ as the Man of Sorrows, flanked by the Madonna and Saint John the Evangelist on gold ground panel, unframed 14¾ x 25 3/8 in. (37.5 x 64.5 cm.)
We are grateful to Everett Fahy for proposing the attribution, on the basis of photographs. He suggests a date of circa 1450-1460, comparing it with Michele di Matteo's panels of the Mater dolorosa and the Mourning Saint John the Evangelist in the Kress Collection of the Museum of Art, University of Columbia, Missouri (F.S. Shapley, Paintings from the Samuel H. Kress collection; Italian schools XIII-XV century, London, 1966, figs. 193-194).
 Michele Di Matteo Da Bologna - Saint Stephen

Michele Di Matteo Da Bologna - Saint Stephen

Original
Estimate:

Price:

Gross Price
Lot number: 204
Other WORKS AT AUCTION
Description:
Michele di Matteo da Bologna (active in Bologna and Venice,1416-1448)
Saint Stephen
tempera and gold on panel
9½ x 3½ in. (24.2 x 8.9 cm.)
Provenance
Anonymous sale; Sotheby's, New York, 29 January 2005, lot 16.
Lot Notes
Michele di Matteo produced a large number of panels depictingsaints on this small scale. A signed altarpiece in the Accademia,Venice, contains 48 of the panels and several others are in theGemäldegalerie, Berlin (see M. Boskovits, Gemäldegalerie Berlin:Katalog der Gemälde, frühe Italienische Malerei, Berlin, 1988, pp.137-140).
 Michele Di Matteo Da Bologna - Saint Stephen

Michele Di Matteo Da Bologna - Saint Stephen

Original
Estimate:

Price:

Gross Price
Lot number: 16
Other WORKS AT AUCTION
Description:
DESCRIPTION
gold ground, tempera on panel
Condition Note:
Painting is fitted into a shadow box and we have not been able to see the reverse of the panel. however, it has been placed into a modern framing element. overall, the painting has nice detail and retains some of the mordant gilding on the saint's blue drapery. the main condition issue is the gold in the background which has been largely reworked, with the original gesso layer all around the figure thinned down and re-gilt. the punch work around the saint's head has similarly suffered on the right side, but is somewhat better on the left side. the pigments overall seem to be reasonably well preserved, with some cracks, buckling and losses as can be expected for a painting of this age.
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