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Antoniazzo Romano

(1452 -  1508 ) Wikipedia® : Antoniazzo Romano
ROMANO Antoniazzo Profile Portrait Of Cardinal Philippe De Lévis

Sotheby's
Jan 26, 2006
Find artworks, auction results, sale prices and pictures of Antoniazzo Romano at auctions worldwide.
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Variants on Artist's name :

Benedetto Aquili Di Antonio

 

Artworks in Arcadja
19

Some works of Antoniazzo Romano

Extracted between 19 works in the catalog of Arcadja
Antoniazzo Romano - Saint Francis Of Assisi

Antoniazzo Romano - Saint Francis Of Assisi

Original
Estimate:

Price:

Gross Price
Lot number: 128
Other WORKS AT AUCTION
Description:
Antoniazzo Romano (Rome before 1452-1508/12) Saint Francis of Assisi tempera and gold on panel, transferred to panel 63 1/8 x 23½ in. (160.2 x 59.6 cm.) inscribed 'CLEMENS.BRIGAI S.DE.COLVNNA' (lower edge)
Commissioned c. 1477 by Clemente Brigante Colonna (d. 1481) for the Cappella di San Francesco, Santa Maria Maggiore, Tivoli, whence transferred in the late 19th century to the private chapel of the Brigante Colonna family palace, Tivoli. with Constantini, Florence, by c. 1901, from whom acquired c. 1909 by Dan Fellows Platt (1873-1937), Englewood, New Jersey. with Wildenstein, London and New York. Anonymous sale; Christie's, London, 9 July 2003, lot 78 (£94,850), where acquired by the present owner.
PROPERTY FROM THE ESTATE OF BARBARA PIASECKA JOHNSON PROCEEDS TO BENEFIT THE BARBARA PIASECKA JOHNSON FOUNDATION
Fra C. da Roma, Memorie Istoriche delle Chiese e Conventi dei Frati Minori della Provincia Romana, Rome, 1744, pp. 353-354. F.A. Sebastiani, Viaggio a Tivoli antichissima città latino-sabina fatto nel 1825, Foligno, 1828, p. 36. F. Bulgarini, Notizie storiche antiquarie statistiche agronomiche, intorno all'antichissima città di Tivole e il suo territori, Rome, 1848, p. 77, as Anonymous, 15th Century. F. Gori, Viaggio pittorico-antiquario da Roma a Tivoli e Subiaco sino alla famosa grotta di Colleparto descritto la prima volta, Rome, 1848, p. 77, as Anonymous, 15th Century. R. del Re, Tivoli e i suoi monumenti antichi e moderni, Rome, 1886, p. 32, as Anonymous. F.M. Perkins, 'Dipinti italiani nelle raccolte americane', Rassegna d'arte umbra, X, 1910, p. 100. F.M. Perkins, 'Tre dipinti di Antoniazzo Romano', Rassegna d'arte, 1911, XI, p. 36, note 1. F.M. Perkins, 'Dipinti italiani della raccolta Platt', Rassegna d'arte, 1911, p. 6. J.A. Crowe and G.B. Cavalcaselle, A History of Painting in Italy, New York, 1914, V, p. 280, note 1. S. Reinach, Répertoire de peintures du moyen âge et de la renaissance, Paris, 1923, VI, p. 45. Fogg Art Museum: Collecion of Mediaeval and Renaissance Paintings, Cambridge, Mass., 1927, p. 157. R. Longhi, 'In favore di Antoniazzo Romano', Vita artistica, II, 1927, p. 233. B. Berenson, Italian Pictures of the Renaissance, Oxford, 1932, p. 26. R. van Marle, The Development of the Italian Schools of Paintings, The Hague, 1934, XV, p. 254. B. Berenson, Pitture italiane del rinascimento, Milan, 1936, p. 22. B. Berenson, Italian Pictures of the Renaissance: Central and North Italian Schools, London, 1968, I, p. 15. G.D. Noehles, Antoniazzo Romano, Ph.D. dissertation, unpublished, Westfälischen Wilhelms Universität, Munster, 1973, no. 58, fig. 49B. B. Nicolson, 'Current and Forthcoming Exhibitions: Helikon Gallery', Burlington Magazine, CXVI, July 1974, p. 418, fig. 73. G.S. Hedberg, 'Antoniazzo Romano and his School', Ph.D. dissertation, unpublished, New York University, 1980, I, pp. 34, 87 note 161, 168, no. 19; II, fig. 20. R. Cannatà in Un'Antologia di restauri, Rome, 1982, p. 32 note 13. B. Forastieri, 'Un S. Francesco "Tiburtino", Antoniazzo Romano e la committenzo Colonna', Alma Roma, XXX, no. 1/2, January-April 1991, pp. 3-15. A. Cavallaro, Antoniazzo Romano e gli Antoniazzeschi: Una generazione di pittori nella Roma del Quattrocento, Udine, 1992, pp. 68, pl. XXI, 189-190, no. 14, 316, fig. 31. A. Paolucci, Antoniazzo Romano: Catologo completo dei dipinti, Florence, 1992, p. 87, no. 22.
New York, Wildenstein, Italian Paintings, 1947, no. 36. Charlotte, North Carolina, Mint Museum of Art, 14 September-12 December 1956, on loan. London, Wildenstein, Paintings by Rembrandt, Boucher, Cezanne, Hals, Guardi, Gauguin and Others, 17 June-1 August 1959, no. 13. London, Helikon, Exhibition of Old Masters, June-September 1974 (catalogue by G. Algranti).
Antoniazzo Romano - Madonna And Child

Antoniazzo Romano - Madonna And Child

Original
Estimate:

Price:

Gross Price
Lot number: 26
Other WORKS AT AUCTION
Description:
LOT 26

- ANTONIO DI BENEDETTO AQUILIO, CALLED ANTONIAZZO ROMANO
ROME BEFORE 1452- 1508/12
MADONNA AND CHILD

gold ground, tempera on panel, within an engaged frame

40,000—60,000 USD
measurements note
25 by 40 1/2 in.; 102.8 by 63.4 cm.
Cardinal Paccas sale, Rome (as by Pinturicchio); Casa Vasconcellas, Piazza d'Azeglio, Florence; By whom sold circa 1929.
G. Noehles, Antoniazzo Romano, unpublished dissertation, Westfalischen Wilhelms University, Münster 1973, no. 40, fig. 30C; G. Hedberg, Antoniazzo Romano and His School, Ph.D dissertation, New York University, New York 1980, p. 226, no. 105, reproduced fig. 103.
Romano had a thriving workshop in Rome and received prestigious commissions from the papal court and nobility as well as numerous requests from the growing bourgeoisie. The most popular theme requested by these patrons was that of the Madonna and Child, pictured with and without saints and donors. The facture of many of these compositions recalls motifs found in medieval and Byzantine iconography. In the present Madonna and Child the figures are solitary and placed within a solid gold background without any recession of space. However, the tender expressions of both Madonna and Child are evocative and reflect the influence of Romano's contemporaries, Perugino and Pinturicchio.
This painting relates in composition, in reverse sense and with some slight differences, to a painting in the Museum of Fine Arts, Houston (see A Cavallaro, Antoniazzo Romano e Gli Antoniazzeschi, Pasian di Prato 1992, p. 187, cat. no. 11, reproduced, fig. 27). Both Madonnas have very gentle and serene expressions and their hands are in an almost identical position. Other works related to our picture are in the Institute of Art, Detroit; Pinacoteca di Fermo among others (see Cavallaro op cit., figs. 129, 132).
Antoniazzo Romano - Madonna And Child With St. Catherine And St. Barbara

Antoniazzo Romano - Madonna And Child With St. Catherine And St. Barbara

Original
Estimate:

Price:

Gross Price
Lot number: 512
Other WORKS AT AUCTION
Description:
Of Antonio Di Benedetto Aquilio, Called Antoniazzo Romano (c.1395-1455) - MADONNA AND CHILD WITH ST. CATHERINE AND ST. BARBARA
Mis: 99 by 99 cm..
inscribed with a coat-of-arms on the exterior of the wingsgold ground, tempera on panel, triptych

CONDITION NOTE
The exterior is distressed and peeling in areas; the paint surface of the panels is fairly stable; there is a restored split in panel in the center panel; some repaint on the figures; the gold ground is rubbed and thin; the panels have worm holes.We are pleased to provide you with a general report of the condition of the property described in our catalogue. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSION CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE CATALOGUE.

PROVENANCE
Sale: Sotheby's, New York, November 4, 1982, lot 53, illustrated
Antoniazzo Romano - Profile Portrait Of Cardinal Philippe De Lévis

Antoniazzo Romano - Profile Portrait Of Cardinal Philippe De Lévis

Original 1475
Estimate:

Price:

Gross Price
Lot number: 33
Other WORKS AT AUCTION
Description:
tempera on panel
PROVENANCE
Commissioned from the artist by Cardinal Philippe de Lévis in
1475; with Gustavo Volterra, Florence, from whom purchased in July 1923
by an American private collector; By descent until given to the present owner.
LITERATURE AND REFERENCES
P. Cellini, La Madonna di S. Luca in S. Maria Maggiore,
Rome 1943, pp. 33-35, reproduced, figs. 13- 17; G. Noehles, Antoniazzo Roman.Studien zur
Quattrocentomalerei in Rom, Munster 1973, p. 228, no. 82 (as
Circle of Antoniazzo); G. Hedberg, Antoniazzo Romano and his School, New York 1980
p. 261, no 213 (as Circle of Antoniazzo); E.D.Howe, "The miraculous Madonna in fifteenth-century roman
painting," Explorations in Renaissance Culture, VIII-IX,
1982-83, pp. 11-12; A. Cavallaro, Antoniazzo Romano e gli Antoniazzeschi, Udine 1992, p.216, cat. no. 45, illus., fig. 103 (as Studio of
Antoniazzo).
CATALOGUE NOTE
This striking portrait, which is in a remarkable state of
preservation, is an important and rare example of portraiture in
Antoniazzo's oeuvre, and one of the few in that genre that
can be dated with certainty. It was last traced in the early
1920's, and its reappearance allows its reassessment as a fully
autograph and important work by the artist.
The portrait once formed part of a triptych depicting the
so-called "Madonna di San Luca," with the wings comprising images
of Saints Peter and Paul, along with this portrait and the sitter's
coat of arms (see Fig. 1). This triptych was dismembered and
separated prior to 1923 (by when this portrait was acquired by an
American private collector), and the present panel is all that is
extant. Based on the photograph of the triptych made when it was
still intact while with Gustavo Volterra in Florence, the painting
was inscribed and dated: HANC.S.IMAGI/NEM DE: PINGE/RE. FECIT-
MCCCC.LXXV. The grammar of the incomplete inscription confirms
that the name of the artist and patron were given on the left wing
of the triptych. The restorer Pico Cellini (see Literature below)
was the first to publish and correctly attribute this panel to
Antoniazzo (it has been given previously to Melozzo da Forlì and to
Bastiano Mainardi by Bernard Berenson in a letter dated June 24,
1923).
The Madonna di San Luca was one of the most venerated
images of the Virgin in Rome, sometimes referred to as the
"Salus Populi Romani [the Well-being of the Roman
People]." It was said to have been painted by Saint Luke himself;
in actuality, it appears to have been painted in the 11th Century,
either in the Greek East or by a Byzantinizing artist active in
Rome. Whatever its exact provenance, the picture was by the 13th
Century considered to be one of the most important religious
artifacts in Rome and was placed on the tabernacle of the Basilica
of Santa Maria Maggiore where it became the focus of pilgrimage;
the Florentine merchant Giovanni Rucellai noted it as such on his
visit to Rome during the jubilee year of 1450. During the reign of
Honorius III (reg. 1216-27), the original panel had been fitted
with two wings, depicting Saints Peter and Paul (the patron saints
of Rome and thus the most appropriate choice for an icon so sacred
to the city), and at some point during the 15th Century, the
triptych was encased in an elaborately chased silver casing. This
was commissioned by the Cardinal Guillaume d'Estouteville and
depicted the arms and the portrait of the patron (see P. de
Angelis, Basilicae S. Mariae Maioris de urbe descriptio et
delineatio, 1621, p. 250). This was preserved until the Sack
of Rome in 1537, when it was apparently stripped off as booty.
Antoniazzo Romano specialized in such cult images; the artist's
first documented commission in 1461 had in fact been for a copy of
the same Madonna di San Luca for Alessandro Sforza, Lord
of Pesaro. By the 1470's, Antoniazzo's reputation had been
established, and it is not surprising that Cardinal de Lévis gave
him such a specific commission. De Lévis, (created cardinal by
Sixtus IV in 1473) was the archbishop of Arles and had a connection
to Santa Maria Maggiore. Both he and his brother were later buried
in the nave of the Basilica (see Fig. 2). Antoniazzo's replica of
the most sacred image in the church, including an imitation of the
embellishments made by de Lévis' fellow Frenchman Cardinal
d'Estouteville, would have most likely been for the Cardinal's
private devotion. De Lévis, however, died on November 11, 1475,
shortly after he commissioned the painting.
Antoniazzo Romano - Recto:

Antoniazzo Romano - Recto:

Original 1508
Estimate:

Price:

Gross Price
Lot number: 64
Other WORKS AT AUCTION
Description:
bears an old inscription in pen and brown ink on the

verso
:
Dicano di baldassari
(partly erased
)/
no(n) di baldassarre ma/di maestro/Delantoniazzo/a a l c
Don/Eu s...frone
on the
recto
bears lettering:

M M/Man... E a

recto
and
verso:
pen and brown ink

LITERATURE AND REFERENCES

Christa Gardner von Teuffel, 'New light on the Cross: Cardinal
Pedro Gonzáles de Mendoza and Antoniazzo Romano in Sta.Croce in
Gerusalemme, Rome', in
Coming about... Festschrift for John
Shearman,
Cambridge, Mass., 2001, pp. 49-55;

the drawing will also be included in the same author's forthcoming
publication:
From Duccio's Maestá to Raphael's Transfiguration:
Italian Altarpieces and Their Settings.

CATALOGUE NOTE

This very important and rare work, first recognized and
subsequently published by Christa Gardner
,
is the only
known drawing by Antonio Acquili, called Antoniazzo Romano, and is
connected with one of his more important works. It is a preparatory
study for the ambitious fresco cycle depicting the legend of the
discovery of the True Cross, with Christ in Glory, executed
sometime after 1491 by Antoniazzo, with the assistance of his
workshop, in the apse of the Roman church of Santa Croce in
Gerusalemme (see Gardner,
op. cit.,
p. 53, reproduced fig.
5). No documents for the commission have survived, and both Spanish
cardinals who were Titulars of the church, Pedro Gonzales de
Mendoza (1492-95) and Bernardino Lopez de Carvajal (1495-1523),
have been credited with it. The attribution of the cycle to
Antoniazzo and his workshop was first made by August Schmarsow in
1886, but was questioned by Mancini in 1956, followed by other
scholars who assigned it to different artists: Pinturicchio,
Palmezzano, Bernardino Fungai and Fiorenzo di Lorenzo. This
critical history is summarized by Gregory Hedberg, who convincingly
argues that Antoniazzo, then in his sixties, was probably assisted
by his sons Marcantonio and Bernardino and his nephew Evangelista
in the execution of the fresco, but that he himself was primarily
responsible for the design (see G. Hedberg,
Antoniazzo Romano
and his School
, PhD dissertation, New York University, 1980,
p. 95, note 239 and pp. 184-7).

The discovery of this drawing, with the slightly later
inscription on its
verso
which reads:
Dicano di
Baldassari /non di Baldassare/ ma di maestro/Delantoniazzo,

adds strong documentary evidence for Antoniazzo's involvement in
the design and execution of the cycle (see detail:
verso

fully illustrated in C. Gardner,
op. cit.,
p. 51, fig. 2).
As Christa Gardner has also pointed out, the mention of Baldassarre
Peruzzi is interesting as he was commissioned to restore the
mosaics in the chapel of St. Helena, also in Santa Croce in
Gerusalemme, for Cardinal Lopez de Carvajal, before 1509. This
inscription is the earliest known document associating Peruzzi with
the church.

The drawing depicts the lower level of the fresco where, in an
Umbrian landscape, Antoniazzo illustrates the succession of events
leading to the finding of the True Cross. Starting at the left, St.
Helena addresses Judas who points towards the spot where the three
Crosses are to be found. Next, St. Helena and her companions
witness the testing of the True Cross; soldiers observe the single
combat between Chosroes and Heraclius on the bridge; the victorious
Heraclius, holding the True Cross, rides towards Jerusalem at the
upper right, before approaching the city gate in penance, on foot.
The drawing records an earlier stage of the composition, prior to
the insertion of the figure of the kneeling cardinal which prompted
a number of important changes in the central section of the fresco.
It is difficult to know the extent to which the appearance of the
ancient apse, which was formerly covered by mosaics donated by the
Emperor Valentinian III (419-455), may have conditioned
Antoniazzo's design. He obviously adopted the subdivision of the
absidal surface in horizontal bands and most probably made separate
studies for the upper part of the semi-dome. The spirited and
spontaneous execution of this drawing shows Antoniazzo's narrative
qualities, mixed with a certain ingenuous charm, a characteristic
shared by a number of artists of the
quattrocento.
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