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Bartolomeo I Ramenghil Bagnacavallo

Italy (1485 -  1542 )
RAMENGHI IL BAGNACAVALLO Bartolomeo I Christ Among The Doctors

Jan 23, 2008
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Artworks in Arcadja

Some works of Bartolomeo I Ramenghil Bagnacavallo

Extracted between 22 works in the catalog of Arcadja
Bartolomeo I Ramenghil Bagnacavallo - The Mystic Marriage Of Saint Catherine Of Alexandria

Bartolomeo I Ramenghil Bagnacavallo - The Mystic Marriage Of Saint Catherine Of Alexandria



Lot number: 32
Lot Description

Bartolomeo Ramenghi, il Bagnacavallo (Bagnacavallo 1484-1542 Bologna)

The Mystic Marriage of Saint Catherine of Alexandria

oil on panel

24 ½ x 20 5/8 in. (62.2 x 52.4 cm.)


Sir Charles Turner, London; his sale, Lepke, Berlin, 17 November 1908, lot 12, where acquired by the following,

George Salting (1835–1909), London, by whom bequeathed to his niece,

Katherine (1871-1952), who married in 1892 Lord Binning, eldest son of the 11th Earl of Haddington, and by descent to,

The family of the Earls of Haddington at Tyninghame, East Lothian, Scotland, until sold by the following,

The Trustees of the Mellerstain Trust; Sotheby\’\’\’\’\’\’\’\’s, London, 8 July 1987, lot 3, as \‘Lorenzo Costa\’\’\’\’\’\’\’\’ (?99,000).

Anonymous sale; Christie\’\’\’\’\’\’\’\’s, London, 7 July 1995, lot 116, where acquired after the sale by the present owner.

Pre-Lot Text

The Property of a Family Company


London, Agnew's, The Collection of Pictures and Drawings of the late Mr. George Salting, 1910, no. 96.
View Lot Notes >
Bartolomeo I Ramenghil Bagnacavallo - Madonna With Child

Bartolomeo I Ramenghil Bagnacavallo - Madonna With Child



Gross Price
Lot number: 599
Bartolomeo Ramenghi il Vecchio, called Bagnacavallo Senior (Bagnacavallo 1484 – 1542 Bologna)
Madonna with Child, oil on panel, 57.5 x 46.5 cm, framed

We are grateful to Dr. Emilio Negro. Dr Nicosetta Roio and Dr. Vilmos Tatrai, for independently confirming the attribution of the present painting.

The present work is clearly influenced by Raphael., Francesco Francia and Lorenzo Costa. In the first decade of the 16th Century. Raphael´s altarpiece the Ecstasy of Saint Cecilia for the Duglioli Dall\’\’\’\’Olio Chapel in the church of San Giovanni in Monte arrived in Bologna (Bologna, Pinacoteca di Bologna) This altarpiece would greatly influenced the artistic development of the city. I

Bartolomeo Ramenghi, called Bagnacavallo, after the city of his birth, received his first training in Romagna, and afterwards with Francesco Francia in Bologna. From the 1520s onwards he executed works for Bologna\’\’\’\’s most important churches. In his devotional paintings the artist noticeably enriches the characteristic classicism of his teacher Francesco Francia with Tuscan stylistic elements mostly influenced by Raphael, but also by Innocenzo da Imola and Biagio Pupini. Bagnacavallo\‘s compositions are distinguished by their clarity and a love of colourful and costly fabrics with iridescent effects. These characteristics are clearly present in the present composition, with its palette of colours, quality and graceful expressiveness making it one of the best works of the artist\’\’\’\’s early mature period and thus dating it to the years shortly after 1525. Comparable works include the altarpiece Holy Family with St Bernard, Magdalene and Paul, (Bologna, Pinacoteca Nazionale) and the two similarly formatted panels of the Madonna and Child and Saint Francis (Forlì, Pinacoteca Civica) and the Holy Family (Bologna, Pinacoteca Nazionale). the present painting shares with these works the same facial types, the illuminating colouring and the fine echoes of Raphael, those characteristics which define the work of Bartolomeo Ramenghi called Bagnacavallo Senior most strikingly.

Bartolomeo Ramenghi´s son called Bagnacavallo Junior was also an artist. (see Lot 738 - Part II Old Master Paintings) We are grateful to Dr Emilio Negro for his assistance in the cataloguing of this lot.
Bartolomeo I Ramenghil Bagnacavallo - Christ Among The Doctors

Bartolomeo I Ramenghil Bagnacavallo - Christ Among The Doctors



Lot number: 28
Point of the brush and brown wash, heightened with white, over
black chalk, on paper washed gray-green; on two joined

bears old attribution in pen, lower center:
Antonio da
Bears collector's mark, perhaps Dr. A. Tardieu, (L.183b); Nicos Dhikeos, bears his mark (not in Lugt) lower left; acquired in 1990
Given the scale and conception of this impressive drawing, it
seems likely that it was made as a modello for one of a group of
small panels depicting the life of Christ, that would have flanked
a central altarpiece. The same composition, with variants, is known
from two further surviving drawings: a previously anonymous sheet,
now kept under the name of Bagnacavallo, in the Louvre (inv. no.
10079), and a compositionally less complete drawing in the British
Museum, catalogued by Pouncey and Gere as 'presumed to be after
In their catalogue entry for the British Museum drawing, Pouncey
and Gere pointed out that this composition was well known and much
admired in Emilia at the beginning of the sixteenth century. A
number of related drawings and paintings by influential Bolognese
and Ferrarese artists have survived, and a section of the same
vaulted architecture seen in the present drawing appears in
Bagnacavallo's fresco of The Visitation, painted for the
church of SS. Vitale and Agricola, Bologna.2 Pouncey and
Gere also, however, noted that this popularity does not necessarily
imply that the design originates from these cites. Indeed, they
argued that its originality and its grand conception of
architectural space were worthy of the invention of Raphael, and
stressed the close parallels -- in terms of the grouping of the
figures and their questioning expressions -- with the
Disputa in the Stanza della Segnatura. According to Vasari,
Bagnacavallo visited Rome 'ne tempi di Raffaelle' (probably
between 1516 and 1520) with Biagio Pupini, with whom he shared not
only some important commissions but also a deep devotion to
Pouncey and Gere were also first to suggest that the version of
this composition in the Louvre was not far from the style of
Bagnacavallo. The Paris sheet is the closest to the present
drawing, but it does not appear to be of similarly high quality,
because of the weaker execution of the figures and the poor
understanding of their relationship to the architecture. The
Horvitz drawing is also much freer in execution, has extensive
chalk underdrawing, and shows a few noticeable pentimenti;
the left arm and hand of the man at the bottom of the staircase to
the far left have, for example, been significantly altered. The
Louvre drawing includes a number of figures at the top of the
staircase on the right that match the group on the left, but in the
present study the artist has only freely sketched these figures,
and the staircase itself, in black chalk.
Other works Inspired by the same source as the Horvitz drawing
include Mazzolino's study of Christ Disputing (Pierpont
Morgan Library, New York), his painting of the same subject
(Staatliche Museen, Berlin), a panel painting by Garofalo (Galleria
Sabauda, Turin), and perhaps most significantly a drawing of
Christ disputing in the Temple (Galleria Estense, Modena),
by Bagnacavallo's son, Giovanni Battista Ramenghi.3 This
last work was first published by C. Bernardini, who recognized it
as a preparatory study for one of the small scenes of the Life
of Christ surrounding the altarpiece of the Madonna del
Rosario (1585) in the Dominican Church of Santa Maria del
Carmine. The Modena composition is rather simplified and
reorganised -- focusing on the immediate group of Doctors around
Christ -- but it includes a number of significant quotations,
leaving no doubt that it also derives from this famous lost
composition, presumably by Raphael, whose popularity was
perpetuated by the next generation of Emilian artists.
1. See respectively: Dominique Cordellier and Bernadette Py,
Raphael, son atelier, ses copistes, Paris 1992, p. 65,
reproduced fig. 55; P. Pouncey and J.A. Gere, Raphael and his
Circle, London 1962, vol. I, pp. 43-4, reproduced vol. II, pl.
2. C. Bernardini in Pittura Bolognese del '500, vol. I,
reproduced p. 134
3. See respectively S. Zamboni, Ludovico Mazzolino, Milan
1968, reproduced figs. 43 and 40; A.M. Fioravanti Baraldi, Il
Garofalo, Rimini 1993, p. 182, no. 113, reproduced; M. di
Giampaolo, Disegni Emiliani del Rinascimento, Milan 1989, p.
194, reproduced
Bartolomeo I Ramenghil Bagnacavallo - The Holy Family With Saint Mary Magdalen

Bartolomeo I Ramenghil Bagnacavallo - The Holy Family With Saint Mary Magdalen



Gross Price
Lot number: 66
The Holy Family with Saint Mary Magdalen
oil on panel
Saint Nicholas' Church, Uphill, circa 1900.
Lot Notes
Bagnacavallo probably entered the workshop of Francesco Franciawhen he arrived in Bologna in 1503. Although his earliest securelydated work is from 1522, Bagnacavallo was already a wellestablished painter in Bologna by the beginning of the seconddecade of the century. In 1511 he was commissioned, together withBiagio Pupini, to paint frescoes in the Church of San Pietro inVincoli, Faenza. Throughout Bagnacavallo's career, the two artistscollaborated on numerous projects; according to Vasari, theytravelled to Rome together during Raphael's sojourn there(1508-20). The treatment of the facial features, in particular thedowncast eyes and the colours, show a great affinity with the styleof Biagio Pupini (see Pupini's Madonna and Child appearing toSaints sold in these Rooms, 10 July 1998, lot 58).
The present picture can be compared with Bagnacavallo's Madonna andChild enthroned in Heaven in the Church of Santa Maria dellaMisericordia in Bologna, and with the Holy Family with Saint Jeromein the Galleria Nazionale in Parma. In her monograph on the artist,Bernardini assigns those two pictures to the 1530s and it istherefore likely that the present picture is also a mature work bythe artist (C. Bernardini, Il Bagnacavallo Senior, Rimini, 1990,pp. 106-109, nos. 29-30, illustrated).
We are grateful to Professor Federico Zeri for confirming theattribution on the basis of a photograph.
Bartolomeo I Ramenghil Bagnacavallo - Madonna Con Il Bambino, San Giacomo Maggiore E Sant'antonio Abate

Bartolomeo I Ramenghil Bagnacavallo - Madonna Con Il Bambino, San Giacomo Maggiore E Sant'antonio Abate



Gross Price
Lot number: 213
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