Fra Angelico Paintings & Artwork for Sale | Fra Angelico Art Value Price Guide

Jun. 09, 2022
FRA GIOVANNI DA FIESOLE, CALLED FRA ANGELICO (VICCHIO C. 1395-1455 ROME) Sa
Est: $4,000,000 - $6,000,000
FRA GIOVANNI DA FIESOLE, CALLED FRA ANGELICO (VICCHIO C. 1395-1455 ROME) Saint Dominic and the Stigmatization of Saint Francis tempera and gold on panel 6 1/4 x 3 3/4 in. (15.9 x 9.5 cm.)
Christie's
Dec. 04, 2021
Fra Angelico (1395 - 1455) After
Est: -
Fra Angelico (1359 - 1455 Rome) After - Flight into Egypt, ca 1460, oil on panel, 39 x 37 cm Provenance: The Collection of Lord Northwick, Cheltenham (Inv.-No. 1639); Sir Thomas Phillipps, Baronet, Cheltenham, 1859 (label on the reverse); Private ownership, Germany. Literature: J.R. Northwick, Catalog of the Late Lord Northwick's Extensive and Magnificent Collection of Ancient and Modern Pictures, Cabinet of Miniatures and Enamels (1859), p. 84, No. 914 (there attributed to Michael Wolgemut). The present panel is based on a composition that Fra Angelico created for the "Armadio degli Argenti" cycle of pictures commissioned by Piero de Medici around 1450 for the Basilica della Santissima Annunziata in Florence and now in the Museo di San Marco.
Auktionshaus Weiner
May. 07, 2021
FRA ANGELICO (EIGTL. PIETRO, GUIDO DI), Nach - After: Flucht nach Ägypten.
Est: CHF3,000 - CHF4,500
FRA ANGELICO (EIGTL. PIETRO, GUIDO DI) (Vicchio/Florenz um 1359 - 1455 Rom); Nach - After : Flucht nach Ägypten; Öl auf Holz; 39x37 cm
Dobiaschofsky Auktionen AG
Jun. 07, 2020
after FRA ANGELICO (Italian 1395-1455) A TONDO PAINTING, "Detail of Trumpeting Angels from Coronation of the Virgin," EARLY 20TH CENTURY,
Est: $250 - $450
after FRA ANGELICO (Italian 1395-1455) A TONDO PAINTING, "Detail of Trumpeting Angels from Coronation of the Virgin," EARLY 20TH CENTURY, sgraffito gesso, gilt and oil on mahogany wood panel. Diameter: 12" Provenance: Property from a Prominent River Oaks Estate Collection, Houston, Texas Property from a Prominent River Oaks Estate Collection, Houston, Texas
Simpson Galleries, LLC
Feb. 13, 2016
ECCLESIASTICAL PAINTING - Grand Tour Italian Oil on Gilt Panel of an Angel with Trumpet, after Fra Angelico (c1395-1455), in a handcarved gilt architectural Florentine frame. 27" x 10". Good condition.
Est: $600 - $800
ECCLESIASTICAL PAINTING - Grand Tour Italian Oil on Gilt Panel of an Angel with Trumpet, after Fra Angelico (c1395-1455), in a handcarved gilt architectural Florentine frame. 27" x 10". Good condition.
Thomaston Place Auction Galleries
Dec. 15, 2015
After Fra Angelico (Italian, 1395-1455): A 19th century tri
Est: -
After Fra Angelico (Italian, 1395-1455): A 19th century triptych in walnut frame
Bonhams
May. 31, 2015
After Fra Angelico, Trumpeting Angels, egg tempera
Est: $400 - $600
(Italian, 1400-1455). Egg tempera on gilt panels in carved giltwood Gothic style architectural frames, appoximately 26 x 9 1/2 in.
Alex Cooper
Jan. 29, 2015
MANNER OF FRA ANGELICO, (ITALIAN C. 1400-1455), MUSICAL ANGELS
Est: $2,000 - $3,000
MANNER OF FRA ANGELICO (italian c. 1400-1455)/span MUSICAL ANGELS Set of four oils with gold ground on panel; set in architectural frames Two: 12 1/4 x 5 1/8 in. (31.1 x 13cm) Two: 11 x 4 1/4 in. (27.9 x 10.8cm) (4) provenance: /spanPrivate Collection, Philadelphia, Pennsylvania.
Freeman's | Hindman
Jan. 12, 2013
After Fra Angelico (Italian, c. 1400-1455), Reproduction of the Madonna della Stella, Unsigned, inscribed "Madonna della Stella/Beato F
Est: $1,000 - $1,500
After Fra Angelico (Italian, c. 1400-1455) Reproduction of the Madonna della Stella Unsigned, inscribed "Madonna della Stella/Beato Fra Angelico" on the reverse of the frame. Oil or tempera and gilding on panel within a tabernacle frame, 30 1/2 x 16 x 4 1/8 in. (77.3 x 40.3 x 10.3 cm) overall. Condition: Losses to gilt facing, cracking with areas of lifting, paint losses. N.B. Fra Angelico's original work, done in 1434, is in the collection of the Museo di San Marco in Florence.
Skinner
Jul. 09, 2011
Ocho óleos miniatura. Firmados por Leona Fici. Reproducciones de obras renacentistas. Florencia, Italia. Enmarcadas. a) Correggio. "Mad
Est: $5,000 - $7,000
Ocho óleos miniatura. Firmados por Leona Fici. Reproducciones de obras renacentistas. Florencia, Italia. Enmarcadas. a) Correggio. "Madonna in adorazione del bambino Gesù". Dimensiones: 11 x 9 cm. b) Murillo. "Madonna del Rosario". Dimensiones: 10 x 7 cm. c) Giotto. "Madonna in trono". Dimensiones: 14 x 9 cm. d) Fra Angelico. "Angelo Musicante". Dimensiones: 10 x 5 cm. e) Beato Angelico. "Angelo Musicante". Dimensiones: 10 x 5 cm. f) Beato Angelico. "Madonna de la Stella". Dimensiones: 10 x 5 cm. g) Rafael. "Madonna del Granduca". Dimensiones: 10 x 8 cm. h) Beato Angelico. "Madonna della Pace". Dimensiones: 10 x 5 cm. Ligeros detalles de conservación.
Morton Subastas
Jun. 16, 2011
Artwork by: Manner of Fra Angelico, late 19th
Est: €1,500 - €2,000
Artwork by: Manner of Fra Angelico, late 19th Century (Viccio between 1386 and 1400-1455 Rome),
Dorotheum
Jan. 28, 2011
CIRCLE OF GUIDO DI PIETRO OR FRA GIOVANNI DA FIESOLE, CALLED FRA ANGELICO
Est: $8,000 - $12,000
CIRCLE OF GUIDO DI PIETRO OR FRA GIOVANNI DA FIESOLE, CALLED FRA ANGELICO THE MADONNA AND CHILD ENTHRONED 25 by 14 1/2 in.; 63.5 by 36.8 cm.
Sotheby's
Jan. 31, 2009
Kopie nach Fra Angelico (1395 - 1455), nach Kopie
Est: -
Kopie nach Fra Angelico (1395 - 1455), nach Kopie von Enrico Bruschetti aus dem Jahre 1904 (so rücks. bez.), nach dem Original in Florenz, ...
Henry's Auktionshaus
Jul. 04, 2007
Roman School, circa 1625 , the madonna and child oil on canvas, in a carved and a gilt wood frame
Est: £60,000 - £80,000
oil on canvas, in a carved and a gilt wood frame
Sotheby's
Jul. 11, 2001
Guido di Piero, Fra Angelico (Vicchio c. 1395/1400-1455 Rome)
Est: $282,000 - $423,000
An angel in adoration on gold ground panel 151/4 x 8 in. (38.7 x 20.3 cm.) PROVENANCE Thierry de la Noue, Paris, 1909. Anon. Sale, Palais Galli‚ra, Paris, 14 June 1974. LITERATURE G. Migeon, Gazette des Beaux Arts, 1909, 4, 1, p. 412. S. de Ricci, Description raisonn‚e des peintures du Louvre, I, Paris, 1913, p. 58. R. van Marle, The Development of the Italian Schools of Painting, X, The Hague, 1928, p. 58. J. Pope-Hennessy, Fra Angelico, London, 1952, p. 203, 2nd edn., London, 1974, pp. 230-1. E. Morante and U. Baldini, L'Opera Completa dell'Angelico, Milan, 1970, p. 95, under no. 40. A. Brejon de Lavergn‚e and D. Thi‚baut, Catalogue Sommaire Illustr‚ des Peintures du Mus‚e du Louvre: Italie, Espagne, Allemagne, Grand-Bretagne et divers, Paris, 1981, p. 144. F. Scaglia, 'Contributo all'Angelico: Nuovi documenti per il Ciborio di San Domenico a Fiesole', Critica d'Arte, 55, nos. 2-3, 1990, pp. 34-40. J.T. Spike, Fra Angelico, New York, London, and Paris, 1997, pp. 241-242, under no. 91. G. Bonsanti, Beato Angelico, catalogo completo, Florence, 1998, p. 120. EXHIBITION Paris, Exposition Douanes. NOTES Since its initial publication in 1909, this picture has been recognised as the companion to the panel of an angel in profile to the right formerly in the collection of Walter Gay, now in the Louvre, Paris (inv. no. 1294B): this measures 38 by 26 cm. and clearly depends, in reverse, on the same cartoon. The present panel was thought, as van Marle records, to have belonged to a ciborium associated with the high altar of the church of San Domenico at Fiesole, the church of the Dominican Observants where Fra Angelico was received into that order in 1407. The ciborium is referred to by Vasari and a number of panels have been associated with this (see Pope-Hennessy, op. cit., pp. 166-7); its hypothetical components are not to be confused with those of Fra Angelico's early altarpiece of 1422-3 (main panels still in the church, predelle in the National Gallery, London, no. 663). Fra Angelico supplied two further altarpieces for the church, the Annunciation (Madrid, Prado, inv. no. 15) and the Coronation of the Virgin (Paris, Louvre, inv. no. 1290). Pope-Hennessy (1974, p. 230) specifically rejects the association with the ciborium. Scalia, who is followed by Bonsanti, considers that the two panels probably come from the San Domenico tabernacle, but this view is considered unlikely by both Keith Christiansen and Larry Kanter. The former inaccessibility of the present panel means that it has received less critical attention than its due. However, observations about the companion Angel are clearly relevant to it. Van Marle described the Louvre Angel as a 'superb fragment' and this was also accepted as an autograph work of Fra Angelico's by F. Schottm”ller ( Fra Angelico: des Meisters Gem„lde, Stuttgart, 1911, 2nd edn., 1924, p. 240), Berenson ( Italian Pictures of the Renaissance, Oxford, 1932, p. 22) and by U. Baldini ( L'opera Completa dell' Angelico, Milan, 1970, p. 95): M. Salmi ( Il Beato Angelico, 1958, p. 115) characterised it as ' questo nobile dipinto'. Pope-Hennessy in 1952, however, considered it to be from the workshop and, in 1974 (p. 231), slightly more flatteringly, as an 'attractive workshop product of good quality': but it should be borne in mind that his views about some lesser panels are now generally considered to be unnecessarily restrictive. Although the panel appears to depend on the same cartoon as the Louvre example, it is arguably the more refined of the two. Keith Christiansen (letter of 13 April 2001) considers, on the basis of photographs, that this is by 'a different, even finer hand' than the companion, noting the 'more delicately inflected profile and the drawing of the hands'. He proposes a date of circa 1433-5. Laurence Kanter (letter of 16 April 2001), also on the basis of photographs, suggests a date post 1430 and suspects that the two panels are autograph. Carl Strehlke (fax of 25 April 2001), again on the basis of photographs, agrees that this panel is of even higher quality than that in the Louvre. We are indebted to Keith Christiansen, Laurence B. Kanter and Carl B. Strehlke for their comments on the picture. SALESROOM NOTICE Please note that this lot has been withdrawn for private sale.
Christie's
Jul. 09, 2001
BREVIARY, Dominican Use, DECORATED MANUSCRIPT ON VELLUM
Est: $14,100 - $21,150
[Florence, mid-fifteenth century] 242 x 168mm. ii + 209 leaves + ii: 1-7 8, 8 1 0, 9 8, 10 1 0, 11-23 8, 24 9(of 8 + ix, addition), 25 1 2, bifolios at beginning and end are the original pastedowns, each formed of one ruled folio placed sideways, apparently COMPLETE, catchwords in lower margins of most final versos, most pages 15 lines written in black ink in a gothic bookhand between two verticals and 16 horizontals faintly ruled in brown, long rubrics written in a smaller gothic bookhand in black ink in 30 lines, justification: 147 x 100mm, some pages written in six lines below three-line staves ruled in red with music of a square notation, antiphons written in two columns in six lines below three-line staves ruled in red with music of a square notation; shorter rubrics in red, text capitals touched yellow, two- to five-line initials alternately in blue flourished with red and red flourished with violet (edges of leaves rubbed, wormhole f.1). CONTEMPORARY RED-BROWN GOATSKIN tooled in blind, sides panelled with concentric rows of 'S' tools, a central divided square of 'S' tools and small stars on a field of ropework 'X's, spine with intersecting fillets and small stars, one early brass catchpin on lower cover (repaired and rebacked, new endpapers [original endpapers preserved as flyleaves], straps and one catchpin replaced by C. Philip Smith, his report 27 July 1958 inside lower cover). PROVENANCE: 1. The use is Dominican, and the Calendar includes, among many Dominican feasts, St Dominic (5 August) and his Translation (23 May), on both dates referring to him as patris nostri, our father; the book includes offices only relevant to a Dominican house, which was probably in Florence from the presence in the Calendar of St Reparata (8 October) and St Zenobius, added in a sympathetic hand (25 May), in the Litany of St Miniato, f.184, in the supplementary capitula of Sts Zenobius and Reparata, ff.191v-192, 193v, and from a prayer added in a contemporary hand to St Miniato, f.205. These Florentine saints were not normally celebrated in the Dominican rite, see W.R. Bonniwell, A History of the Dominican Liturgy, New York, 1945. The book, with its detailed rubrics, would be appropriate for a member of an Observant house, where great emphasis was placed on the full and proper recitation of the offices. Since no special status is accorded to St Mark, it may come from Fra Angelico's convent of S. Domenico, founded at Fiesole outside Florence in 1406, rather than from the daughter house of S. Marco within the city; S. Maria Novella remained the Florentine house of the Conventuals, who resisted the Observant Reform. 2. Baron Horace Landau (1824-1903): printed bookplate inside upper cover with nos 2264 and 2269; inherited by his niece Mme Hugo Finaly (d.1938) and then by her son (d.1945); Landau Sale, Sotheby's, 31 October 1949. Clipping from catalogue with price of œ68 after Landau Sale pasted inside upper cover. 3. Southport Libraries stamp on original pastedown/endleaf inside front cover, deaccessioned in 1992. CONTENT: Additions on blanks before Calendar: Converte nos with three-line stave ruled in red but never noted f.1; prayer to St Vincent Ferrer with space for large initial f.2; Calendar ff.3-8v; texts and music for the Office, opening converte nos deus, with instructions on variations in prayers, with examples, benedictions ff.9-18; Capitulary: Temporal ff.19-28v, Sanctoral ff.28v-39, Communal ff.39v-43v; Collectary: Temporal ff.43v-75, Sanctoral ff.75v-117; prayers for conventual offices and benedictions,ff.117-133v; Antiphonary: Temporal ff.133v-148v, Sanctoral ff.148v-154v; Communal ff.154v-156; Offices for sick, dying and dead friars, including Litany ff.157-174v; lessons and responses of the Office of the Dead, Dominican use ff.174v-182; Litany ff.182v-189; capitula ff.189v-194; prayers in different hand, including one on the translation of St Thomas Aquinas f.194r and v; antiphons, absolutions ff.195v-196v; benedictions on added leaf in a contemporary hand f.197; prayer to St Monica in a later hand f.197v, prayers in a contemporary hand, including St Vincent Ferrer and St Catherine of Siena ff.198-205; the later hand added a capitulum for the Transfiguration and prayers ff.208v-209v. This Breviary does not provide every element needed for the Office: the Psalter, Lectionary and Hymns must have been separately available. Whereas a complete Breviary has to be written in a small script on fine vellum to be contained in one volume, the large, elegant script and the clear structuring of the text by the flourished initials show that this book was intended for communal worship, when different members of the community, equipped with the appropriate volumes, would be assigned their parts in the Office or could share a set of volumes on a lectern. The detailed rubrics would need to be studied before the services began and so could be more compressed for individual perusal. It can be dated to the mid-15th century from the initial omission of the Dominican saints Vincent Ferrer, whose canonisation in 1455 was officially promulgated in 1458, and Catherine of Siena, canonised in 1461. Prayers to both are among those written in a different, contemporary hand in the final gathering. At this time the convents in Fiesole and Florence were recipients of lavish patronage from Cosimo de' Medici and his associates and both were involved in book production, commercially and for their own use. New foundations could not rely on earlier copies of essential liturgical texts. This handsome breviary was intended for regular use within the Dominican Order, to which the Observants had brought an intensified piety and new austerity; nonetheless, a handsome binding was thought necessary to preserve its contents and honour its function.
Christie's