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Zacharias and the Angel, historiated initial 'N' cut from an illuminated Gradual on vellum [Italy, Florence, c.1340-45)
Details
Pseudo-Master of San Giovanni Fuorcivitas (active c.1330-50)
Zacharias and the Angel, historiated initial 'N' cut from an illuminated Gradual on vellum [Italy, Florence, c.1340-45)
An emotionally charged miniature by an engaging Pisan artist working under the influence of Pacino di Buonaguida and the Maestro Daddesco.
81 x 70mm. The historiated initial 'N' with the Angel announcing the birth of John the Baptist to Zacharias, likely opening the introit to the Vigil of John the Baptist 'Ne timeas Zacharia' in a Gradual, reverse with one line of text and music on a four-line stave, the rubric in red introducing the introit for the Invention of the head of St John the Baptist (light smudge to the pink backdrop, a small diagonal crease running from the edge of the stave to Zacharias' arm, in good condition). Mounted and framed.
Provenance:
(1) Gaudenz Freuler has recently suggested that this anonymous artist was associated with the Vallombrosan church and monastery of San Paolo a Ripa d'Arno in Pisa (see G. Freuler, The McCarthy Collection Vol I: Italian and Byzantine Miniatures, 2018, no 64, pp.199-202). It was for this order that he produced a highly important set of antiphonals of which 25 leaves and cuttings survive in institutions and private collections across the world.
(2) Ader, 27 June 2019, lot 16, where attributed to the circle of Pacino di Buonaguida or the Master of the Dominican Effigies.
Illumination:
The accomplished artist responsible for this emotionally engaging miniature is not to be confused with the Master of San Giovanni Fuorcivitas, who illuminated the Antiphonals from San Giovanni Fuorcivitas in Pistoia, Archivio Capitolare, MSS s.s.a and s.s.b., inv. 488⁄100. Although both the Pistoia manuscripts and the series of antiphonals for San Paolo a Ripa d'Arno had initially been attributed to the same illuminator, recent scholarship has established them as two distinct personalities, with Freuler renaming our artist the Pseudo-Master of San Giovanni Fuorcivitas (see B. Keene, '(Re)-Naming a Renaissance Artist', blogpost, 2016; G. Freuler, The McCarthy Collection, 2018, no 64).
Characteristic of the Master are figures with dark-green grey flesh tones, confidently contoured features and highly emotional expressions – as is the case here, with a concerned Zacharias being told not to be afraid: his prayer has been heard. His style is influenced by contemporary Florentine illumination, specifically Pacino di Buonaguida's work in the 1340s, as well as the later work of the Maestro Daddesco. Freuler emphasises the artist's close contact with Florentine illuminators, but also, in the 'emotionally charged expressions' of many of his figures, underlines a close familiarity with Pisan illustrators working in the first half of the 14th century, namely the Master of Eufrasia Lanfranchi and the Master of the Dante di Petrarca. The suggestion is that our artist was a Pisan illuminator active for some time in Florence under the influence of Pacino di Buonaguida.
Zacharias and the Angel, historiated initial 'N' cut from an illuminated Gradual on vellum [Italy, Florence, c.1340-45)
An emotionally charged miniature by an engaging Pisan artist working under the influence of Pacino di Buonaguida and the Maestro Daddesco.
81 x 70mm. The historiated initial 'N' with the Angel announcing the birth of John the Baptist to Zacharias, likely opening the introit to the Vigil of John the Baptist 'Ne timeas Zacharia' in a Gradual, reverse with one line of text and music on a four-line stave, the rubric in red introducing the introit for the Invention of the head of St John the Baptist (light smudge to the pink backdrop, a small diagonal crease running from the edge of the stave to Zacharias' arm, in good condition). Mounted and framed.
Provenance:
(1) Gaudenz Freuler has recently suggested that this anonymous artist was associated with the Vallombrosan church and monastery of San Paolo a Ripa d'Arno in Pisa (see G. Freuler, The McCarthy Collection Vol I: Italian and Byzantine Miniatures, 2018, no 64, pp.199-202). It was for this order that he produced a highly important set of antiphonals of which 25 leaves and cuttings survive in institutions and private collections across the world.
(2) Ader, 27 June 2019, lot 16, where attributed to the circle of Pacino di Buonaguida or the Master of the Dominican Effigies.
Illumination:
The accomplished artist responsible for this emotionally engaging miniature is not to be confused with the Master of San Giovanni Fuorcivitas, who illuminated the Antiphonals from San Giovanni Fuorcivitas in Pistoia, Archivio Capitolare, MSS s.s.a and s.s.b., inv. 488⁄100. Although both the Pistoia manuscripts and the series of antiphonals for San Paolo a Ripa d'Arno had initially been attributed to the same illuminator, recent scholarship has established them as two distinct personalities, with Freuler renaming our artist the Pseudo-Master of San Giovanni Fuorcivitas (see B. Keene, '(Re)-Naming a Renaissance Artist', blogpost, 2016; G. Freuler, The McCarthy Collection, 2018, no 64).
Characteristic of the Master are figures with dark-green grey flesh tones, confidently contoured features and highly emotional expressions – as is the case here, with a concerned Zacharias being told not to be afraid: his prayer has been heard. His style is influenced by contemporary Florentine illumination, specifically Pacino di Buonaguida's work in the 1340s, as well as the later work of the Maestro Daddesco. Freuler emphasises the artist's close contact with Florentine illuminators, but also, in the 'emotionally charged expressions' of many of his figures, underlines a close familiarity with Pisan illustrators working in the first half of the 14th century, namely the Master of Eufrasia Lanfranchi and the Master of the Dante di Petrarca. The suggestion is that our artist was a Pisan illuminator active for some time in Florence under the influence of Pacino di Buonaguida.
Brought to you by
Eugenio Donadoni
Senior Specialist, Medieval & Renaissance Manuscripts