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Bartolomeo I Ramenghil Bagnacavallo

Italy (1485 -  1542 )
RAMENGHI IL BAGNACAVALLO Bartolomeo I The Holy Family With Saint Mary Magdalen

Christie's /Oct 30, 1998
Not disclosed
56,529.52

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Artworks in Arcadja
21

Some works of Bartolomeo I Ramenghil Bagnacavallo

Extracted between 21 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

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Lot number: 32
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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.) Provenance 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 Exhibited 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

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Gross Price
Lot number: 599
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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

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Lot number: 28
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Point of the brush and brown wash, heightened with white, over black chalk, on paper washed gray-green; on two joined sheets; bears old attribution in pen, lower center: Antonio da Coreggio PROVENANCE Bears collector's mark, perhaps Dr. A. Tardieu, (L.183b); Nicos Dhikeos, bears his mark (not in Lugt) lower left; acquired in 1990 CATALOGUE NOTE 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 Raphael'.1 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 Raphael. 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. 54 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

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Lot number: 66
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The Holy Family with Saint Mary Magdalen oil on panel Provenance 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

Original
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Gross Price
Lot number: 213
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