Sandro Botticelli (1445-1510) was a famed Florentine Early Renaissance painter who worked in tempera and oils. Sandro Botticelli's artwork includes life-size depictions of allegories and myths, such as his masterpieces The Birth of Venus, Venus and Mars, and Primavera. The subjects of Sandro Botticelli's portraits were often members of his patron Medici family and their inner circle.
Famous Sandro Botticelli artwork encompasses the frescoes on the walls of the Sistine Chapel, Events of the Life of Moses, and The Temptation of Christ, as well as a series of papal portraits. Many of his pieces are attributable to his workshop under his full name of Alessandro di Mariano di Vanni Filipepi.
Original Sandro Botticelli paintings are highly prized, but many original pieces after or in the manner of Botticelli are available as collectible works, particularly various scenes of the Madonna and Child. Explore other transcendent religious paintings for sale at Invaluable.
BOTTICELLI Sandro (1445 - 1510). D'après. Aquarelles "Vierge à l'Enfant" aquarelle sur papier. D'après Botticelli. Monogrammé en bas à gauche HW. Ecole italienne. Epoque: XIXème. Dans un très bel encadrement architecturé en bois sculpté et doré. (Petits *). Dim.(aquarelle):+/-77,5x37,5cm. Dim.(encadrement):+/-110x66,5cm.
Ambit of Alessandro Filipepi known as 'Sandro Botticelli' (Florence 1445-1510) "The Holy Family with St. John the Baptist" oil on panel (diameter 87 cm) inscribed on verso 'ALESSIO/BALDOVINETI/PINXIT' framed (defects) IT Ambito di Alessandro Filipepi detto "Sandro Botticelli" (Firenze 1445-1510) "La Sacra Famiglia con San Giovanni Battista" olio su tavola (diametro cm. 87) iscritto al verso "ALESSIO/BALDOVINETI/PINXIT" in cornice (difetti)
Reproduction of Sandro Botticelli's "Portrait of a Young Man Holding a Rondel". In an English burlwood frame made by The Rowley Gallery Ltd, Kensington. Mid 20th century. Dimensions: Frame H 24.5" x W 18". Board H 21.25" x W 14.75". Condition: Small dents and scuffs to painting, minor signs of craqueler. Some scuffs and dings to frame. Wear consistent with age and display.
La Madonna di Castel Sant'Angelo Tempera on wood, probably 1482 69.8 x 48 cm Limited circle of bidders, see information on this below. The Mother of God sits in a loggia and holds the unclothed Infant Jesus on her knees. An elderly monk kneels before them with a crucifix in his adoringly held hands. In the background the view falls through a double arch onto a river landscape in which a fort rises to the left. In all certificates, the fort and the bridge are linked to Castel Sant'Angelo and the Tiber Bridge in Rome. Roberto Longhi identified the kneeling monk as St. Giovanni Gualberto (995-1073). However, since he is depicted without a halo, it could also be another monk. All experts consider Sandro Botticello to be the painter of the painting, only Freuler attributes it to his workshop. It was probably painted in Rome in 1482 and from there came to the Franciscan church in Montevarchi, from where it came into the possession of the Bartolini family after the 17th century. The church archives record that there was a Madonna di Castel Sant'Angelo painted by Botticelli. The Madonna up for auction here is the only surviving work by Botticelli that shows the castle in the background. Iconographically and stylistically similar works by Botticelli are a Madonna (lot 4) auctioned at Sothebys (London) on July 3, 2019 and the so-called Rockefeller Madonna (lot 148), which was auctioned at Christie's (New York) on January 30, 2013. Provenance: Probably: Franciscan church in Montevarchi After the 17th century: Bartolino Bartolini art collection (Montevarchi, Italy) Christies (New York), May 31, 1988, lot 111A Christies (London), July 6, 1991, lot 71 Koller Auktionen, March 27, 2009, lot 3002 (withdrawn) Private property in Switzerland Certificates:: 1946 (?): Prof. Roberto Longhi 1965: Prof. Roberto Longhi Without year: 1. Prof. Carlo Hautmann 2. Prof. Kurt Steinbart Father Pietro Di Sestiano Prof. Stefano Bottari 1996: Technical report from ETH Zurich 1996: Technological report from the Swiss Institute of Art Science 2009: Prof. Freuler 2018: H.W. Stolz-Lölliger 2021: Dr. Bernd Noack Lit.: see QR-code Attention: If you would like to bid on this painting, we ask you to register yourself for this catalog number by email or telephone 72 hours before the start of the auction. Otherwise your bids, whether written or live online, cannot be accepted.
(Firenze, 1445 - 1510) Madonna del Magnificat Olio su tavola, diam. cm 73 Provenienza: Roma, collezione Stenbock-Fermor La tavola qui presentata deriva dal celebre tondo raffigurante la Madonna col Bambino e angeli, meglio conosciuto come Madonna del Magnificat, realizzato intorno al 1483 da Sandro Botticelli per una committente ancoraggi ingota. Acquistato dagli Uffizi nel 1784 da una collezione privata, la composizione avrà un notevole successo come ben dimostrano le composizioni si medesimo soggetto replicate da allievi e aiutanti di bottega del maestro, come quella conservata al Louvre, alla Pierpont Morgan Library di New York e quella nella collezione Hahn a Francoforte.
(Florence 1444/45–1510) Madonna and Child with the Infant Saint John the Baptist, oil on panel, 82 x 66.5 cm, framed *Associate means: a work created within the artist’s close sphere of influence Provenance: Albizzi Family, Florence; by descent to Gherardo di Albizzo degli Albizzi, until 1950; with Nicholas Acquavella, New York, 1950; Bruno Pagliai and his wife Merle Oberon (1911–1979), USA, 1950–1979; Mr. and Mrs. Bravo Valdes Pagliai, Mexico, 1979–1986; sale, Christie’s, London, 22 April 1988, lot 19 (as Circle of Botticelli); Collection of Steve (1944–2007) and Peggy Fossett (1944–2017), Chicago; art market, USA; private collection; where acquired by the present owner Exhibited: Los Angeles County Museum of Art, on loan from 1966–10 July 1975, no. L.2559.66.13 (as Sandro Botticelli, Madonna degli Albizzi) Literature: A. Lusini, Un inedito di Sandro Botticelli. La ‘Madonna degli Abizzi’, in: Arti, Rassegna bimestrale di Pittura, Scultura e Architettura, November – December 1950, pp. 5–9 (as Sandro Botticelli); H. Trimborn, 24 Great Paintings Go on Loan to Museum, in: Los Angeles Times, 22 September 1966, p. 2 (as Botticelli) The present painting was published in 1950 by Aldo Lusini as a work by Sandro Botticelli and was compared to works from the artist’s mature period now in the Uffizi, Florence, as well as the frescoes in the loggia of Villa Tornabuoni, Florence. The panel was exhibited as a work by Botticelli when on loan to the Los Angeles County Museum of Art. This attribution has not been endorsed in recent times, nevertheless stylistic elements that derive from Botticelli are apparent in this composition of the Madonna and Child with the Infant Saint John the Baptist: the delicate faces of the protagonists, the drapery, as well as the elegant poses of the figures. Mauro Lucco, after examining the present work in the original, has suggested that the depiction of the landscape in the background appears to be by the hand of Gherardo di Giovanni di Miniato, called Gherardo di Giovanni del Fora. The composition also displays stylistic elements inspired by other artists of the Florentine Renaissance such as Ghirlandaio, Verrocchio and Lorenzo di Credi. Gherardo di Giovanni del Fora was born in Florence in circa 1445 and probably trained among the artists active around the Opera del Duomo in Florence, where his father worked as a sculptor. In the refined environment of the Medici court, the young artist dedicated himself to miniature painting and the skilful production of mosaics, winning the appreciation of Lorenzo de’ Medici. He was also a talented musician and versed in Latin, learned by frequenting the circle of Angelo Poliziano and other Florentine intellectuals of the time. Giorgio Vasari dedicated a biography to him, emphasising the artist’s relationship with Ghirlandaio and his study of prints, particularly those of Albrecht Dürer, from where his singular landscapes probably derive (see Giorgio Vasari, Le Vite de’ più eccellenti architetti, pittori, et scultori italiani, da Cimabue, insino a’ tempi nostri, vol. I, Florence 1550, pp. 471–472, ed. by L. Bellosi and A. Rossi). An extremely versatile artist, Gherardo is documented primarily as a miniaturist painter, but he also painted in fresco and on panel. His corpus of panel paintings was greatly increased following his identification in the studies with the so-called Master of the Triumph of Chastity, author of the work now in the Galleria Sabauda in Turin, the panel with the Combat between Love and Chastity in the National Gallery, London (inv. no. NG1196) and three panels once in Genoa in the Adorno collection (see E. Fahy, Some followers of Domenico Ghirlandaio, New York-London 1976, pp. 21–33, 113–125). The work presented here, which dates to the last years of the fifteenth century, can be stylistically compared to Gherardo di Giovanni del Fora’s Madonna in Adoration of the Child with an Angel conserved in Palazzo Barberini, Rome (inv. no. 1658) and to a tondo painting of the same subject today conserved in the Seattle Art Museum (inv. no. 53.86). The present Madonna boasts an illustrious provenance from the Albizzi family of Florence, major rivals and later allies of the Medici, who owned the present painting until the mid-20th century. The painting was known as the Madonna degli Albizzi after arriving in America and was part of the collection of the industrialist Bruno Pagliai and his wife, the celebrated actress Merle Oberon. Technical analysis by Gianluca Poldi: The present painting is typical of the "pictorial modus operandi" that characterises works by Botticelli and some of his workshop. This panel was prepared with a layer of gesso and the graphic outline of the composition was drawn on it, but this was not the simple transposition by pouncing of the 1:1 model of the cartoon, already finished on paper: as the composition was modified, balanced by small movements of some figures, by the redefinition of details, to find its final form. IR reflectography allows the graphic outline of both the current final composition and the first version, which was modified especially in the figures of the two children, while the Madonna substantially followed the original underdrawing, except for a few corrections in her left hand, where the fingers were longer. The veil behind her head appears to have been longer. The landscape, studied in light and shade contrast behind the two openings, remains unchanged and no drawing was detected. In some areas it is possible to see a thin underdrawing, followed by a second, larger and more flowing drawing, brushed in black ink, which outlines an intermediate version of the Madonna´s left hand and the first version of the children. The Christ Child and the Infant Saint John were originally drawn closer together, and the blessing arm of the former almost touched the face of the latter: both were moved back to their current position, carefully redrawing their profiles with the same medium. Consequently, the Child’s head and right hand were lower, and the thin cross - placed a few centimeters further to the right - almost touching him. The Madonna’s right hand was not visible, while two interrupted lines at the height of Christ’s chest suggest that the painter briefly had the idea of partially covering this area. Some changes also occur in Christs’ legs, and his belly and genitals were carefully drawn a little lower; while The Infant Saint John’s right arm was chubbier, as if it belonged to a smaller child, but was ultimately positioned further back. All this planning and adaptation is found in works by Botticelli himself, although usually created with slightly different graphic methods. Some linear incisions into the gesso preparatory layer, created with a straightedge and metal stylus and frequently found in Botticelli's works, can be noticed in the cross and in the architecture. As for the pigments, numerous non-invasive investigations revealed the use of natural ultramarine blue in the sky, the landscape and the Madonna’s mantle, mixed with lead white and spread in a thin layer over a chromatic blue-greenish base containing non-pure azurite, a choice that allows the painter to obtain peculiar chromatic tones. Under many areas, including blues, a pinkish-brown priming can be identified under microscopy above the white preparation. Azurite, verdigris and rare grains of red lake are used in the dark vegetation of the background, while verdigris is used in the green lapel of the mantle. The red robe contains mainly vermilion, shaded with lake, but in the craquleur it is possible to see a first layer based on a high-quality red lake, with which the artist possibly initially wanted to paint the robe. Vermillion and lead white constitute the flesh tones, mixed with small amounts of ochre, and, in the lips, with some particles of lapis lazuli to achieve the purplish hue. The painting technique is compatible with the late 15th and early 16th century working practice of Florentine painting and especially for Botticelli and some of his workshop.
FOLLOWER OF SANDRO BOTTICELLI OF THE PROBABLY 19TH CENTURY ('Also Alessandro di Mariano Filipepi or Sandro di Mariano di Vanni Filipepi') 1 March 1445 Florence - 17.05.1510 buried there THE CALUMNY OF THE APELLES Oil on panel (cradled). 61 x 91 cm (F. 85 x 113 cm). Verso: inscribed on the panel: 'V. Bianchini Studio viale Petrarca, Firenze'. Part. slightly old rest., min. old retouching. Frame. Provenance: South German private collection. SANDRO BOTTICELLI (FOLLOWER OF THE PROBABLY 18./19.TH CENTURY) ('Auch Alessandro di Mariano Filipepi oder Sandro di Mariano di Vanni Filipepi') 1. März 1445 Florenz - 17.05.1510 beerdigt ebenda DIE VERLEUMDUNG DES APELLES Öl auf Holztafel (parkettiert). 61 x 91 cm (R. 85 x 113 cm). Verso: Auf der Tafel bezeichnet: 'V. Bianchini Studio viale Petrarca, Firenze'. Part. leicht altrest., min. Altretuschen. Rahmen. Provenienz: Süddeutsche Privatsammlung.
Tableaux Huile sur panneau de peuplier "La Vierge et saint Jean-Baptiste". D'après un modèle de Sandro Botticelli. Ecole italienne. Portant au dos deux cachets de cire dont un portant les inscriptions "Palmaroli - Roma" ainsi qu'une étiquette de l'Union Soviétique. (Ecaillements). Dim.:+/-33x28,5cm. BOTTICELLI Sandro (1445 - 1510). D'après.
Sandro Botticelli (1445-1510)-school. Portrait of an elegant lady in court dress. Oil or tempera on wooden panel in a classical gilded and carved collectors frame. 33X22 cm.
STEHENDER FRAUENAKT, UMHÜLLT MIT GRÜN WEHENDEM TUCH VOR MEERESKÜSTE Farbdruck. 120 x 90 cm. In vergoldetem breitem Rahmen. Anmerkung: Die Darstellung entfernt an die Geburt der Venus von Sandro Botticelli (um 1445-1510) erinnernd. (1360055) (18)
An antique colored mezzotint print, chine colle on fabric. The artwork represents a female portrait after Sandro Botticelli, 1445 to 1510, an Italian painter of the early Renaissance. Inscription London Published 1911 by H.C. Dickens, 26 Regent Street SW underneath. Illegibly signed by the printmaker in the lower right. Harry C. Dickens was a British publisher active from 1882 until 1929. Wooden frame. Collectible European Graphic Art For Interior Decor.
After Sandro Botticelli (Italian, 1444-1510) Head of Saint Mary Oil and tempera on multi-layered and gessoed panel 13-1/4 x 9-3/4 inches (33.7 x 24.8 cm) PROVENANCE: Private collection, Chicago, Illinois. The present work is a study of the head of the central figure, Saint Mary, from The Virgin and Child with Saint John and an Angel, attributed to the workshop of Sandro Botticelli. The original tondo dates to the 15th century, and is currently housed in the National Gallery of Art in Washington, D.C. HID01801242017
ALESSANDRO FILIPEPI, CALLED SANDRO BOTTICELLI (FLORENCE 1444/5-1510) Madonna of the Magnificat tempera, oil and gold on panel, tondo Diameter: 24 3/4 in. (62.9 cm.) *Please Note: Estimate upon request
1st item: Printed reproduction on canvas of the original painting "Madonna of the Magnificat" by Sandro Botticelli (Italian, 1445-1510) with gilt details. Housed in an ornately carved circular giltwood frame with bead course and foliate decoration. Sight: 19 5/8" dia. Framed: 26 1/2" dia. 2nd item: Printed reproduction on canvas of the original painting "Swan Maidens" by Hermann Prell (Germany, 1854-1922) depicting angels and men with horses in a garden. Housed in a carved giltwood frame with gadrooning. Sight: 7 1/2" H x 12 1/4" W. Framed: 12 3/4" H x 17 1/2" W. 3rd item. Small printed copy on a wood plaque of the original painting "The Marriage of Federico and Eleanora of Portugal" by Bernardino Pinturicchio (Italian, 1454-1513). Plaque painted and incised with foliate and gilt decoration and symbolic motifs. 9 1/2" H x 6 7/8" W x 1" D. 4th-5th items: Two (2) printed on plaque reproductions after Fra Angelico (Italian, 1395-1455) depicting angels with trumpets. One is housed in a simple circular frame under glass. Sight: 5 1/2" dia. Framed: 6 1/4" dia. The other is housed in a Greek revival style gilt frame flanked by foliate columns. Sight: 5 1/4" H x 3 1/2" W. Framed: 9 1/4" H x 7 1/8" W. 6th item: Miniature gothic style monstrance or altar shrine with a small image of the crucifixion in the center, composed of aluminum. 7" H x 2 3/4" W x 1" D. All items European, 20th century.
Sandro Botticelli Florence 1445 - 1510 Florence “Primavera” Quality academic repetition after the world famous painting of the artist in the Uffizi Gallery in Florence Ca. 1880/90 Oil on canvas, relined 128 x 200 cm, with frame 149 x 222 cm
"Detail from Venus and the Graces II" by Sandro Botticelli, 1994 Unsigned Offset Lithograph. Paper size is 20 x 16 inches, with an image size of 12.75 x 11.5 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated A-: Near Mint, very light signs of handling. Additional details: Published by Bruce McGaw Graphics, Inc.
SANDRO BOTTICELLI HAND EMBELLISHED TONDO PRINT TITLED "MADONNA OF THE MAGNIFICAT" 10 3/4" X 10 3/4" FRAME 16" X 16" All items Located in Hollywood Florida Warehouse. Thank you for your inquiry about shipping your precious item/items purchased at Puckett Auctions. Please note that we are a family owned and operated UPS Store since 1991, we are located 1/2 mile from the Gallery and have daily pickups at the Gallery. Puckett Auctions has trusted us in being their preferred shipper and we ask that you do the same. Being that we are a family run store, my brother and I will always be the ones to pick up your items from the Gallery. We hand pack the items ourselves to ensure all packing and shipping guidelines are followed so your items arrive intact and to the correct location. Please also note that we provide all Puckett Auction customers our family discount and our quote below shall reflect such. You are more than welcome to call Brian or Mark with any questions at 954.963.2222
Botticelli, Sandro - Successor — Tondo with the Madonna del Magnificat (Florence 1445-1510 ibid.) The Virgin Mary writing in a book about the Gospel of Luke ''Magnificat anima mea Dominum'', the Child Jesus sitting on her lap, both embracing a pomegranate, surrounded by five angels holding the book and the crown of Mary respectively, in the background view of a vast landscape. Tempera/wood. Ø 53,5 cm. - Crack. - The much larger original from 1481 is in the Uffizi Gallery in Florence. // Botticelli, Sandro - Nachfolger — Tondo mit der Madonna del Magnificat — (Florenz 1445-1510 ebd.) Die Muttergottes Maria schreibt in ein Buch über das Lukasevangelium "Magnificat anima mea Dominum", das Jesuskind sitzt auf ihrem Schoß, beide umfassen einen Granatapfel, umgeben von fünf Engeln, die das Buch bzw. die Marienkrone halten, im Hintergrund Blick in eine weite Landschaft. Tempera/Holz. Ø 53,5 cm. - Riss. - Das wesentlich größere Original aus dem Jahr 1481 befindet sich in den Uffizien in Florenz.
After Sandro Botticelli (Italian Renaissance Painter) (1445-1510), Mary Mother of Jesus, fine antique copy decorated with hand painting, signed by pencil on its lower part, measurements: 49X44 cm. Wear and age marks: along the edges there are old cellutape marks as well as light tears to the upper edges, diagonal tear mark to the lower part about 11 cm in size, slightly fragile paper.
HIERONYMUS IN DER EINÖDE Öl auf Leinwand. Doubliert. 66 x 55 cm. In profiliertem und vergoldetem Rahmen. Beigegeben ein Gutachten von Prof. Giuseppe Fiocco in Kopie, der das vorliegende Werk Sandro Botticelli selbst zuordnet und um 1485 datiert. Prof. Kurt Steinbart, der das vorliegende Werk ebenfalls als von der Hand Sandro Botticellis erkennt und das Bild um 1490 datiert. Ein Felsvorsprung, der von drögem Grün bewachsen ist und spärlichem Geäst Halt bietet, dient zusammen mit einer hügeligen italianisierenden Landschaft mit antikisierender Architekturstaffage als Kulisse für die dargestellte Szene. Diese lebt neben den umlaufenden Attributen, wie Kardinalshut und Totenschädel, von dem im Bildzentrum befindlichen Gesicht des Kardinalsheiligen, das kontemplativ auf das vor ihm befindliche Kruzifix ausgerichtet ist und in besonderer Weise ausgearbeitet ist. Ähnliches kann von Botticellis „Heiligem Hieronymus“ in der Eremitage in St. Petersburg (Inv.Nr. 4077) gesagt werden. Das Format ist etwas höher gewählt, sodass der rückwärtige Hügel in seiner ganzen Höhe zu sehen ist und mehr Breite in Anspruch nimmt. In unserem Gemälde ist die Hintergrundfolie gestaucht - ein geschickter Zug des Künstlers, der damit die Figur des Heiligen näher an den Betrachter heranzuholen vermag und nun in der Lage ist, seinen Blick emporzurichten, da nun auch das Kreuz näher am Betrachter steht. Dadurch wird unserer Meinung nach der kontemplative Moment verstärkt. Das hier angebotene Gemälde zeigt anders als die St. Petersburger Tafel eine Hintergrundarchitektur, die als kompositorischer Ausgleich zum massivem Geschehen vorne links dient. Gut vergleichbar ist auch der Heilige Hieronymus auf einer Predella vom Altar von San Marco in Florenz. Die Predella wird unter der Inv.Nr. 8389 in den Uffizien in Florenz verwahrt. Wie in St. Petersburg ist das Kruzifix relativ niedrig angebracht, sodass der Blick, der Kopf und dadurch auch der Nimbus eine parallele Achsenführung zum linken den Stein haltenden Unterarm einnehmen. Bei unserem Gemälde bilden die beiden Unterarme eine Parallele. Der Blick hingegen verläuft parallel zum horizontalen Schulterblatt, welches anders als im Florentiner und St. Petersburger Gemälde frei liegt und so den Blick auf diese Achse ermöglicht. Durch diese kompositorische Besonderheit gewinnt das Bildzentrum, das horizontal wie vertikal mittig kreuzförmig zusammenläuft und somit das Bildthema suggestiv unterstützt, an Wichtigkeit. Ein weiterer Maler, der im Übrigen mit dem zwei Jahre jüngeren Sandro Botticelli bei Fra Filippo Lippi (1406-1469) seine Ausbildung erhielt, Jacopo del Sellaio (1442-1493), kommt für das vorliegende Gemälde in Frage. Seine schlanken kahlen Bäume, seine lebendigen Christuskörper an den Kruzifixen, seine abstrahierten Schädel und letztendlich auch der höhere Standpunkt desselben, sowie die abschließende Architekturstaffage und die horizontal auf dem Boden liegende klerikale Kopfbedeckung zeigen Parallelen zu seinen Gemälden, etwa in dem Gemälde mit dem Heiligen Hieronymus, Maria Magdalena und Johannes dem Täufer im Museo Bandini. Auch hier finden wir die Achsensymmetrie der Unterarme, den lebensecht wiedergegebenen Corpus Christi, die vergleichbare abschließende Architektur und den zunächst unmotiviert erscheinenden schlanken, doch blattlosen Baumbewuchs. (1290481) (2) (13) Sandro Botticelli ca. 1445 Florence – 1510 ibid., circle of SAINT JEROME IN THE WILDERNESSOil on canvas. Relined. 66 x 55 cm. A copy of an expert’s report by Professor Giuseppe Fiocco is enclosed. He attributes the present work to Sandro Botticelli himself and dates it to ca. 1485. Professor Kurt Steinbart, who also recognizes the present painting as an original by Sandro Botticelli dates the painting to ca. 1490. The cardinal’s face at the centre of the composition, gazing contemplatively at the crucifix in front of him, is painted elaborately, surrounded by attributes, while other parts of the painting are executed in a cursory manner according to their importance. This is similar to a painting titled “Saint Jerome” held at the State Hermitage in St Petersburg by Sandro Botticelli (inv.no. 4077). Unlike the Saint Petersburg panel painting, the work on offer for sale here shows a background architecture that serves as a compositional balance to the massive events in the front left. A good comparison is a painting of Saint Jerome on a predella from the altar of San Marco in Florence. The predella listed with inv. no 8389 at the Uffizi Gallery in Florence. Another painter, who incidentally trained with Fra Filippo Lippi together with Sandro Botticelli, who was two years his junior, could also be a possible creator of the present painting. His slender bare trees, his lively depiction of the body of Christ on the crucifix, his abstract skulls, the elevated viewpoint, the architectural staffage in the background and the clerical headgear positioned horizontally on the floor show parallels to his paintings, for example Saint Jerome, Mary Magdalene and John the Baptist held at the Museo Bandini.
11699 SANDRO BOTTICELLI MADONNA & CHILD CANVAS PRINTSandro Botticelli (Italian, 16th C.) Madonna and Child with Angels framed canvas lithograph with brass plaque.30 X 20", 35 X 25" Frame
MADONNA DEL MAGNIFICAT Öl auf Holz. Teilparkettiert. Durchmesser: 90 cm. In aufwändig gestaltetem, plastisch vegetabil verziertem und bronziertem Tondorahmen. Das vorliegende Gemälde, welches wir mit dem gleichen Titel versehen haben, wie dasjenige in den Uffizien in Florenz, da auch hier die Buchseite mit dem durch eine polychrom gestaltete Majuskel „M“ dekorierten Magnificat beginnt, stimmt in weiten Teilen mit dem etwas größeren Florentiner Vorbild überein, zeigt sich jedoch in einer weicher verstandenen, weniger der zeichnerischen, kontrastreichen unterlaufenen Auffassung der Malerei. Wir kennen die Umstände, unter denen die Originaltafel in Auftrag gegeben wurde, nicht, aber die kreisförmige Form des Gemäldes lässt uns an eine Arbeit denken, die für die private Andacht gefertigt wurde. Die im Tondo dargestellte Szene zeigt Maria, gekrönt von zwei Engeln, während sie damit beschäftigt ist, ein Buch über eine Passage aus dem Lukasevangelium zu schreiben „Magnificat anima mea Dominum“. Das Jesuskind sitzt auf ihrem Schoß und führt ihre schreibende Hand. Andere Engel halten das Buch und das Tintenfass und eine andere geflügelte Figur befindet sich hinter den beiden. Die Komposition passt sich perfekt der Form des Bildes an, indem sie die Augen des Betrachters auf das Buch und auf die Hände von Maria und Jesus zusammenführt. Im Hintergrund ein sich in den hügeligen Grund windender Wasserlauf und Architekturstaffage. Rest. Vergleiche: Die Komposition ist eine Wiederholung des Gemäldes in den Uffizien von ca. 1481-1485, das mit einem ähnlich schön gestalteten Rahmen aufwartet. Literatur: Vgl. Susan Schibanoff, Botticelli‘s „Madonna del Magnificat“ – Constructing the Woman Writer in Early Humanist Italy, in: PMLA: Publications of the Modern Language Association of America, März 1994, S. 190-206. (1270431) (13) Sandro Botticelli, 1445 Florence – 1510 ibid., circle of MADONNA DEL MAGNIFICAT Oil on panel. Partially parquetted. Diameter: 90 cm. The painting on offer for sale here has the same title as a painting held at The Uffizi Galleries in Florence. The book page also starts with the Magnificat decorated with a polychrome majuscule of the letter “M”. In many respects it is identical with the slightly larger Florentine version, but is executed in a softer, less graphic, contrasting style of painting. Examples of comparison: The composition is a replication of the painting held at The Uffizi dating to ca. 1481-1485, which is also displayed in a similarly designed frame. Literature: Compare S. Schibanoff, Botticelli’s “Madonna del Magnificat” – Constructing the Woman Writer in Early Humanist Italy, in: PMLA: Publications of the Modern Language Association of America, March 1994, pp. 190-206.
Paolo Toschi 1788 Parma – 1854 ebenda Sandro Botticelli 1445 Florenz – 1510 ebenda Bleistiftzeichnung, der Heiligenschein goldfarbenen gehöht, vollflächig auf feinem Untersatzpapier montiert. In Blei ligiert monogrammiert "PT del" u.re. In der Darstellung li. in Blei von fremder Hand bezeichnet "Aus einem Bilde von Sandro Botticceli". Verso mit dem Sammlungsstempel vom Erhard Oskar Kaps (Leipzig 1915–id. 2007, Lugt 3551) versehen.
Paar Madonnenbildnisse Gegenstücke. Brustbildnisse in fein gemalter Renaissancemanier nach Sandro Botticelli (1445-1510) von Altea Luzi (erwähnt 1. Hälfte 20. Jh.). Tempera auf Elfenbein. Rücks. Original-Etikett. Vergoldeter, stuckierter Rahmen. 7,5 cm x 6 cm. Die Florentinische Künstlerin Altea Luzi hat sich bei ihren Miniaturen auf die Wiedergabe berühmter Gemälde italienischer Künstler spezialisiert, allen voran Leonardo da Vinci. A pair of Italian ivory paintings after Sandro Boticelli (1445-1510) by Altea Luzi (mentioned first half 20th C.). Original label on the back. Italien. Florenz. Um 1920.
Majestic After Botticelli's "Venus & Mars" Oil / Canvas. Sandro Botticelli was a Renaissance artist (1445-1510). Piece is signed in bottom right corner by the artist of the reproduction. In gilt and ebony frame. Measures 43 inches high by 70.5 inches wide by 2 inches deep.
ATTRIBUTED TO SANDRO BOTTICELLI (FLORENCE 1445-1510) The Madonna and Child with the infant Saint John the Baptist tempera and oil on panel 21 3/8 x 16 3/8 in. (54.4 x 41.6 cm.)
The Medici Society Limited One beautiful book in a very good condition , Volume II London, England: The Medici Society , Boston & New York , 1925 Alessandro di Mariano di Vanni Filipepi (circa 1445-May 17, 1510), known as Sandro Botticelli, was an Italian painter of the Early Renaissance. He belonged to the Florentine School under the patronage of Lorenzo de' Medici, a movement that Giorgio Vasari would characterize less than a hundred years later in his VITA of Botticelli as a "golden age". Botticelli's posthumous reputation suffered until the late 19th century; since then, his work has been seen to represent the linear grace of Early Renaissance painting.
Sandro Botticelli (1445-1510)-follower, Scene from the story of Nastagio degli Onesti by Giovanni Bocaccio (1313-1375), oil on wooden panel, framed; on the reverse old Spanish and French paper labels.
AUFERSTEHUNG MARIENS Tempera, gefirnist, auf Nussholz. 71 x 41 cm. Verso zwei Parkettierleisten. Das Tafelbild oben spitzbogig geschlossen, vom Rahmen halbrund abgedeckt, zeigt den von links ins Bild hereinragenden, steinernen Sarkophag Mariens, die Abdeckplatte abgehoben und dahinter schräg an Felssteine gelegt. Davor die kniende Gestalt des Aposteljüngers Johannes, der Kopf stark in den Nacken zurückgelegt, mit Blick nach oben, der in Wolken thronenden Madonna entgegen. Beide Hände in deutlicher Gebärdensprache erhoben. Das Innere des Sarkophages mit Blumen bewachsen: weiße Lilien und rosafarbene Nelken, florale Attribute Mariens. Der obere Bildteil gänzlich von der Marienfigur eingenommen. Sie ist frontal zum Betrachter thronend dargestellt, der Kopf leicht geneigt, die linke Hand an die Brust gelegt, umgeben von vier ganzfigurigen Engeln, die ihre Hände an den Mantel Mariens legen, beziehungsweise ein Schriftband am oberen Bildabschluss halten, mit Aufschrift „GRATIA PLENA DOMINUS TECUM“ (= voll der Gnaden, der Herr ist mit dir). Zu Füßen der Maria drei Engelsköpfe mit roten Flügeln und weißen Lilienstängeln in den Händen. Die in der Himmelszone befindlichen Figuren sämtlich über kleinen dunklen Wolkenschatten. Insgesamt ist die Farbpalette weitgehend auf die Hauptfarben Grün und Rot reduziert. Dies ist als ein den Werken des Künstlervorbildes Botticelli höchstverwandtes Stilmerkmal zu sehen. Altersbedingt restauriert und teilweise übermalt, ist der original Eindruck eines seltenen Werkes der Botticelli-Nachfolge noch gut erkennbar. Rest. (1241075) (2) (11) Florentine School, 15th century, follower of Sandro Botticelli (ca. 1445 – 1510) THE RESURRECTION OF MARY Tempera, varnished on walnut. 71 x 41 cm. Verso two parquetting slats. Restored.
After Sandro Botticelli Madonna of the Magnificat Oil on canvas 22-1/2 inches (57.2 cm) The original painting is in the collection of the Galleria degli Uffizi, Florence, Italy. HID01801242017
D'après Sandro BOTTICELLI (c.1445-1510) La Mère et l'Enfant Miniature ovale probablement sur ivoire signée à gauche dans un cadre rectangulaire en écaille flamée serti de bouquets florales avec éçoincon. Haut total du cadre : 12 x 10 cm Haut miniature : 6,5 cm x 5,5 cm
Attributed to Sandro Botticelli (1445 - 1510) Oil on panel. Portrait of a gentleman. Multiple wax stamps verso. Old paper label verso. Dated 1501 in upper left corner. Housed in gilt frame. Appears to be unsigned. Provenance: Important Private Florida Collection. Sight Size: 8.25 x 5.5 in. Overall Size: 15.5 x 13 in. (J1669) This item is not at the gallery due to insurance liability, if you would like any additional images please let us know.
