Lorenzo (1460) Costa Paintings & Artwork for Sale | Lorenzo (1460) Costa Art Value Price Guide

May. 29, 2024
Old Master Costa Lorenzo Oil On Board Painting
Est: $1,000 - $3,000
Italy,Ca. 16th century Oil on cradled wooden panel of Crucifixion scene. Attributed to Costa Lorenzo 1460 - 1535. In an ornate gilded early 19th century frame.
Bruneau & Co. Auctioneers
Dec. 09, 2021
Lorenzo Costa d. Ä., um 1460 Ferrara – 1535 Mantua
Est: €20,000 - €30,000
ANBETUNG DES KINDES MIT SAN NICOLA DA TOLENTINO, UM 1491/93 Öl auf Weichholz, verso Festigungsleisten. Ehemals oben abgerundet, Ecken entsprechend angesetzt. 50 x 41,5 cm. Verso alter Aufkleber „Auktion Lempertz Nov. 1961, Kat. 466, Nr. 161“ (dort noch als Piemonteser Meister geführt). Im Ädikularahmen. Expertise von Dr. Alessandro Delpriori, Universität Florenz. Hier weitere Einzelangaben und Werkvergleiche. Das Tafelbild, seiner Maße wegen wohl Auftragsgemälde für eine Hauskapelle, thematisiert die Geburt Christi im Stall von Bethlehem. Maria und das am Boden auf einer Matte liegende Kind sind ins Bildzentrum gesetzt, rechts daneben steht Josef, barfüßig, auf einen Stock gestützt. Den Hintergrund bildet der hölzerne Stall mit Brettervordach, darunter die Hauptfiguren, dahinter Esel und Ochs. Links eine hügelige Landschaft, aus der der hier dargestellte Heilige Nikolaus von Tolentino in Mönchskutte und kniender Haltung gezeigt wird. Der Mönch und Prediger (um 1245-1305) wurde 1446 kanonisiert. Der Augustinerheilige hält hier ein Kreuz und ist durch sein Attribut - ein Stern, der ihn der Legende nach bei seinen Predigten begleitete - gekennzeichnet. Dem Gemälde ist eine ausführliche gutachterliche Beschreibung beigegeben. Danach wird das Werk in die Frühphase des Malers eingeordnet, also wohl noch vor der Begegnung mit dem Bolognesen Francesco Francia (1447-1517) und dessen ausgeprägter Feinmalerei. So herrscht hier noch eine gewisse Herbheit, die nähere Verwandtschaft mit seinen Lehrern Francesco del Cossa (1435-1495) oder Cosmé Tura (um 1430-1495) zeigt. Dagegen wird der Bologneser Einfluss spürbar, nachdem Costa - auf der Flucht von der Pest - dorthin zog, um am Hof von Giovanni Bentivoglio zu wirken. 1483 wird ein „Costa“ im Zusammenhang mit dem Palazzo Bentivoglio als Maler dokumentiert. Aus öffentlichen Sammlungen sei hier an die „Kreuzigung mit Stifter“ im Lindenau-Museum Altenburg genannt, in Ferrara um 1480 entstanden. Wenngleich das Werk Costas nicht die dynamische Bewegtheit seines Zeitgenossen Ercole de´ Roberti zeigt, so sei doch an Gemeinsamkeiten des vorliegenden Bildes mit dessen „Anbetung des Kindes“ (National Gallery London) erinnert, mit ähnlichem Aufbau des Stallgebäudes in Bethlehem. A.R. Provenienz: Privatsammlung. Literatur: Rolf Toman, Barbara Borngässer, Alexander Rauch, Uwe Geese, Malerei, in: Renaissance. Kunst und Architektur des 15. und 16. Jahrhunderts in Europa, Bath u.a. 2011. Emilio Negro, Nicosetta Roio, Lorenzo Costa (1460-1535), Modena 2001. Philip Hendy, Die National-Galerie London, Gütersloh 1978. (12903118) (11) Lorenzo Costa the Elder, ca. 1460 Ferrara – 1535 Mantua THE ADORATION OF THE CHRIST CHILD WITH SAN NICOLA DA TOLENTINO, CA. 1491/93Oil on softwood, with parquetting slats on the reverse. 50 x 41.5 cm. Old label from Lempertz auction on the reverse, Nov. 1961, cat. 466, no. 161 (listed as Piedmontese master). Expert‘s report by Dr Alessandro Delpriori, Florence University enclosed. More details and work examples of comparison are given in the report. As a work held in a public collection, the “Crucifixion with Donor” at Lindenau Museum Altenburg, which originated in Ferrara in ca. 1480, should be mentioned here. Even though Costa‘s work does not show the dynamic emotion of his contemporary Ercole de‘Roberti, we should nevertheless recall the similarities between the present painting and his “Adoration of the Christ Child” (National Gallery London), which shows a similar structure of the stable building in Bethlehem. Provenance: Private collection. Literatur: Rolf Toman, Barbara Borngässer, Alexander Rauch, Uwe Geese, Malerei, in: Renaissance. Kunst und Architektur des 15. und 16. Jahrhunderts in Europa, Bath et al. 2011. Emilio Negro, Nicosetta Roio, Lorenzo Costa (1460-1535), Modena 2001. Philip Hendy, Die National-Galerie London, Gütersloh 1978.
Hampel Fine Art Auctions
Oct. 14, 2021
LORENZO COSTA (FERRARA 1460-1535 MANTUA) AND STUDIO The Holy Family oil on
Est: $80,000 - $120,000
LORENZO COSTA (FERRARA 1460-1535 MANTUA) AND STUDIO The Holy Family oil on panel 32 ½ x 22 ½ in. (80.7 x 57.2 cm.)
Christie's
Oct. 02, 2021
Lorenzo Costa (1460 Ferrara – 1535 Mantua), Adoration of the Child and Saint Nicholas of Tolentino, c.
Est: €20,000 - €25,000
In front of the ruined hut, is the Holy Family. Jesus, naked, is lying on the ground on a mat folded on one side to build a pillow for the little one. In front of him are the Virgin, kneeling with her hands crossed on her chest in an evident gesture of adoration to the Son, and Saint Joseph; old as if tired, dressed in yellow and leaning on his staff. More than a Nativity, it is a real Adoration of the Child; a customary iconography in the fifteenth century, especially after the story of the Vision of Santa Brigida. In this case, however, the saint is not present but an Augustinian friar, recognisable by the black habit, on which stands an anthropomorphic sun that identifies him as St. Nicholas of Tolentino, the most important thaumaturge of that order, canonised in 1446. Behind the saint opens a sunny landscape that gently slopes towards the horizon. This splendid painting enjoys an almost perfect state of preservation which makes it easy to read and study, revealing a quality sustained in many points and above all in the faces of the characters. One of the highest Renaissance painters in Ferrara is the author of this panel, Lorenzo Costa, who may have painted this Adoration in his youth, perhaps at the time of his apprenticeship with Francesco Francia.
Fine Antiques Prague s.r.o.
Sep. 18, 2021
Lorenzo Costa (1460 Ferrara – 1535 Mantua), Adoration of the Child and Saint Nicholas of Tolentino, c.
Est: €20,000 - €25,000
In front of the ruined hut, is the Holy Family. Jesus, naked, is lying on the ground on a mat folded on one side to build a pillow for the little one. In front of him are the Virgin, kneeling with her hands crossed on her chest in an evident gesture of adoration to the Son, and Saint Joseph; old as if tired, dressed in yellow and leaning on his staff. More than a Nativity, it is a real Adoration of the Child; a customary iconography in the fifteenth century, especially after the story of the Vision of Santa Brigida. In this case, however, the saint is not present but an Augustinian friar, recognisable by the black habit, on which stands an anthropomorphic sun that identifies him as St. Nicholas of Tolentino, the most important thaumaturge of that order, canonised in 1446. Behind the saint opens a sunny landscape that gently slopes towards the horizon. This splendid painting enjoys an almost perfect state of preservation which makes it easy to read and study, revealing a quality sustained in many points and above all in the faces of the characters. One of the highest Renaissance painters in Ferrara is the author of this panel, Lorenzo Costa, who may have painted this Adoration in his youth, perhaps at the time of his apprenticeship with Francesco Francia.
Fine Antiques Prague s.r.o.
Jun. 05, 2021
Old Master, Lorenzo Costa (1460 Ferrara – 1535 Mantua), Adoration of the Child and Saint Nicholas of Tolentino, c. 1491-1493
Est: €35,000 - €40,000
In front of the ruined hut, is the Holy Family. Jesus, naked, is lying on the ground, on a mat folded on one side to build a pillow for the little one, in front of him are the Virgin, kneeling and with her hands crossed on her chest, in an evident gesture of adoration to the Son, and Saint Joseph, old and as if tired, all dressed in yellow, leaning on his staff. More than a Nativity, it is a real Adoration of the Child, a customary iconography in the fifteenth century, especially after the story of the Vision of Santa Brigida. In this case, however, the saint is not present but an Augustinian friar, recognizable by the black habit, on which stands an anthropomorphic sun that identifies the character with St. Nicholas of Tolentino, the most important thaumaturge of that order, canonized in 1446. Behind the saint opens up a sunny landscape that gently slopes towards the horizon. Splendid painting enjoys an almost perfect state of conservation which makes it easy to read and even to study, revealing a quality sustained in many points and above all in the faces of the characters. One of the highest Renaissance painters in Ferrara is the author of this panel, Lorenzo Costa, who may have painted this Adoration in his youth, perhaps at the time of his apprenticeship with Francesco Francia.
Fine Antiques Prague s.r.o.
Jun. 02, 2021
Lorenzo Costa: Ecce Homo
Est: €7,000 - €10,000
COSTA, LORENZO 1460 Ferrara - 1535 Mantua Circle Title: Ecce Homo. Technique: Oil on wood. Mounting: Parquetted. Measurement: 56,5 x 45cm. Provenance: Private ownership, Germany.
Van Ham Kunstauktionen
May. 22, 2021
Lorenzo Costa (1460 Ferrara – 1535 Mantua), Adoration of Saint Nicholas of Tolentino, c. 1491-1493
Est: €35,000 - €40,000
In front of the ruined hut, is the Holy Family. Jesus, naked, is lying on the ground, on a mat folded on one side to build a pillow for the little one, in front of him are the Virgin, kneeling and with her hands crossed on her chest, in an evident gesture of adoration to the Son, and Saint Joseph, old and as if tired, all dressed in yellow, leaning on his staff. More than a Nativity, it is a real Adoration of the Child, a customary iconography in the fifteenth century, especially after the story of the Vision of Santa Brigida. In this case, however, the saint is not present but an Augustinian friar, recognizable by the black habit, on which stands an anthropomorphic sun that identifies the character with St. Nicholas of Tolentino, the most important thaumaturge of that order, canonized in 1446. Behind the saint opens up a sunny landscape that gently slopes towards the horizon. Splendid painting enjoys an almost perfect state of conservation which makes it easy to read and even to study, revealing a quality sustained in many points and above all in the faces of the characters. One of the highest Renaissance painters in Ferrara is the author of this panel, Lorenzo Costa, who may have painted this Adoration in his youth, perhaps at the time of his apprenticeship with Francesco Francia.
Fine Antiques Prague s.r.o.
Dec. 17, 2020
Circle of Lorenzo Costa (Ferrara circa 1460-1533 Mantua) Christ at the Column
Est: £10,000 - £15,000
Circle of Lorenzo Costa (Ferrara circa 1460-1533 Mantua) Christ at the Column oil on panel 56.7 x 40.5cm (22 5/16 x 15 15/16in). For further information on this lot please visit the Bonhams website
Bonhams
Dec. 08, 2020
Circle of Lorenzo Costa (1460-1535) The Presentation in the Temple pen and
Est: £2,000 - £3,000
Circle of Lorenzo Costa (1460-1535) The Presentation in the Temple pen and brown ink, watermark fleur-de-lys (cf. Briquet 7301, datable 1520) 3 ¾ x 4 7/8 in. (9.3 x 12.4 cm)
Christie's
Oct. 20, 2020
ATTRIBUTED TO LORENZO COSTA (FERRARA C. 1460-1535 MANTUA),
Est: $20,000 - $30,000
ATTRIBUTED TO LORENZO COSTA (FERRARA C. 1460-1535 MANTUA) The Penitent Saint Jerome oil on panel 13 1/8 x 17 in. (33.3 x 43.2 cm.) ,
Christie's
Oct. 15, 2020
Attributed to Lorenzo Costa (Ferrara 1460-1535 Mantua) - Portrait of a gentleman, bust length, in a green doublet, a red and gold coat...
Est: $60,000 - $80,000
Attributed to Lorenzo Costa (Ferrara 1460-1535 Mantua) Portrait of a gentleman, bust length, in a green doublet, a red and gold coat... tempera and oil on panel, transferred to board 18 7/8 x 13 in. (47.9 x 33 cm.)
Christie's
Nov. 02, 2019
Costa, Lorenzo (Ferrara 1460-1535 Mantua): Maria mit dem Kind, Renaissance, Italien, um 1550
Est: -
Öl auf Leinwand auf Lw. doubliert, orig. Renaissancerahmen der Zeit, geschnitzt, gefasst und orig. vergoldet, Gemälde wurde fachgerecht gereinigt, keine sichtbaren Retuschen , Maße: 57 x 46 cm. Eine Version dieses Gemäldes wurde im Juni 1992 bei Sotheby´s Monaco versteigert, erworben bei Schuler, Schweiz.
Daniel Meyer
Dec. 15, 2017
Costa, Lorenzo
Est: CHF3,000 - CHF5,000
Costa, Lorenzo (Ferrara 1460–1535 Mantua) Nachfolger Madonna mit Kind. Öl auf Leinwand. 57,5x49,5 cm. - Doubliert. Starting Bid: CHF 3000
Schuler Auktionen
Mar. 31, 2016
Lorenzo Costa Ferrare, 1460 - Mantoue, 1536 Saint Jérôme au désert Huile sur panneau, une planche, renforcé
Est: €30,000 - €40,000
Lorenzo Costa Ferrare, 1460 - Mantoue, 1536 Saint Jérôme au désert Huile sur panneau, une planche, renforcé 'ST. JEROME IN THE DESERT', OIL ON PANEL, BY L. COSTA h: 33 w: 43,50 cm Expositions : 'Dipinti del XV e del XVI secolo', Milan, Il Gabinetto delle stampe, mai-juin 1975 'Primitifs et maniéristes italiens (1370-1570)', G. Sarti, Paris, Catalogue n° 2, Londres, 2000, p. 136-143, n° 17 (notice par Filippo Todini) Commentaire : Ce tableau témoigne du soin extrême qu'apportait Lorenzo Costa dans la réalisation des commandes d'œuvres de dévotion privée. Le traitement minutieux appréciable seulement de près et les dimensions du tableau laissent à penser qu'il fut en effet réalisé à la demande d'un ecclésiastique ou d'un pieux laïc fortuné ; et fut conçu comme une œuvre autonome et non comme l'élément de la prédelle d'un retable. Saint Jérôme pénitent, dont l'iconographie est abondamment nourrie par la Légende dorée de Jacques de Voragine, est un thème récurrent dans la peinture italienne du XVe siècle. Lorenzo Costa, peintre né à Ferrare en 1460, l'a traité à plusieurs reprises et d'une façon bien personnelle. Certes les attributs du chapeau cardinalice, de la Vulgate que l'ermite traduisit, du lion qu'il guérit, des mémentos mori… sont traditionnels. Mais la mise en page est en revanche réellement novatrice: l'ouverture par la perspective aérienne sur un magnifique paysage maritime aux montagnes bleuâtres annonce les œuvres plus tardives de Patinir. Cette formule de la représentation de Saint-Jérôme pénitent en méditation devant le crucifix semble avoir eu un certain succès. Notre tableau est en effet à rapprocher du Portrait d'un cardinal dans son bureau avec Saint Jérôme de l'Institute of Art de Minneapolis, peint peu après 1510 à Mantoue. (fig.1). Si la composition du Saint Jérôme, scène sur laquelle ouvre la fenêtre du studiolo du prélat, semble plus archaïque, de fortes affinités dans la construction, le dessin et le traitement général tendent à rapprocher les deux œuvres. Cette contribution de Lorenzo Costa à l'évolution de la peinture italienne vers le classicisme, cette capacité à faire évoluer son style pour atteindre une vision plus ample, plus cosmique et moins anecdotique des scènes représentées sont parfaitement illustrées par notre tableau. Filippo Todini date notre tableau des années 1510, période de maturité de l'artiste, lorsqu'il séjourne à Mantoue à la cour des Gonzague.
Artcurial
Jun. 17, 2015
ATTRIBUÉ À LORENZO COSTA | Le repos pendant la fuite en Egypte
Est: €20,000 - €30,000
Tempera sur panneau Au revers la marque de la collection de la duchesse de Berry
Sotheby's
Oct. 21, 2014
The Head of a Woman, A Lady with a Lap-Dog
Est: £60 - £100
Set of two lithographic prints comprising:lithographic print of drawing by Leonardo da Vinci entitled The Head of Leda, originally drawn c.1504-6Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Pen and ink over black chalk. This is a study, four of which survive, for the head of Leda in the painting Leda and the Swan. The theme is based on the mythical tale of Leda seduced by Jupiter in the form of a swan. Leonardo demonstrates his attention to detail with the whorls and braids of the hairstyle, not dissimilar to forms created by water. The painting itself does not survive, having been destroyed in the eighteenth century.Print size inches: 6 x 7.2 together with lithographic print of painting by Lorenzo Costa entitled A Lady with a Lap-Dog, originally painted c.1500-1505Probably purchased by Charles II (1630-85), recorded in the collection of Charles II at Whitehall c.1666.Oil on poplar panel. The style of costume and head band is typical of the costume of Northern Italy 1490-1505. Although the sitter remains unidentified there is speculation that she may be a member of the Bolognese or Mantuan Court. The left edge of the panel is bevelled at the back, an indication that suggests it may once have been hinged to form the right wing of a diptych, possibly celebrating a marriage. Were this to be the case, the lap dog would symbolise fidelity.Print size inches: 7.2 x 9.4
William George & Co
Oct. 21, 2014
A Lady with a Lap-Dog, Portrait of a Man
Est: £60 - £100
Set of two lithographic prints comprising:lithographic print of painting by Lorenzo Costa entitled A Lady with a Lap-Dog, originally painted c.1500-1505Probably purchased by Charles II (1630-85), recorded in the collection of Charles II at Whitehall c.1666.Oil on poplar panel. The style of costume and head band is typical of the costume of Northern Italy 1490-1505. Although the sitter remains unidentified there is speculation that she may be a member of the Bolognese or Mantuan Court. The left edge of the panel is bevelled at the back, an indication that suggests it may once have been hinged to form the right wing of a diptych, possibly celebrating a marriage. Were this to be the case, the lap dog would symbolise fidelity.Print size inches: 7.2 x 9.4 together with lithographic print of painting by Titian entitled Portrait of a Man, originally painted 1518 (c.1514-18)Acquirer Charles II (1630-85). Among the pictures presented to Charles II in 1660 by the States of Holland and West Friesland.Oil on canvas. Dated variously as from 1511 to early 1520s, the vestments and hairstyle worn by the sitter would indicate a date closer to 1513. Although the sitter is unknown, the pose with his finger marking a page in the book, suggests a writer or humanist the most likely of whom being the Neapolitan poet Jacopo Sannazaro (1458-1530) and is listed as such in The Queen's Collection.Print size inches: 7.7 x 9.3
William George & Co
Oct. 21, 2014
Lorenzo Costa Lithographic Print
Est: £30 - £50
Lithographic print of painting by Lorenzo Costa entitled A Lady with a Lap-Dog, originally painted c.1500-1505Probably purchased by Charles II (1630-85), recorded in the collection of Charles II at Whitehall c.1666.Oil on poplar panel. The style of costume and head band is typical of the costume of Northern Italy 1490-1505. Although the sitter remains unidentified there is speculation that she may be a member of the Bolognese or Mantuan Court. The left edge of the panel is bevelled at the back, an indication that suggests it may once have been hinged to form the right wing of a diptych, possibly celebrating a marriage. Were this to be the case, the lap dog would symbolise fidelity.Print size inches: 7.2 x 9.4
William George & Co
Jun. 11, 2013
Circle of Lorenzo Costa (Ferrara c. 1460-1535
Est: €15,000 - €20,000
Circle of Lorenzo Costa (Ferrara c. 1460-1535 Mantua), The Holy Family in a landscape, oil on panel, 78 x 64.5 cm, unframed We are grateful to Dr. Vilmos Tátrai for suggesting an attribution to Domenico Panetti (active in Ferrara, c. 1460-before 1513).
Dorotheum
Sep. 24, 2010
Lorenzo COSTA (Ferrare 1460 - Mantoue 1535)
Est: €20,000 - €30,000
Lorenzo COSTA (Ferrare 1460 - Mantoue 1535) Portait d'homme en buste Vers 1490 Huile sur panneau de peuplier, cadre en bois doré et sculpté dans le goût Renaissance 40x28 cm Etat Panneau : fente visible en haut à gauche Surface picturale : Usures et Restaurations Provenance Collection Liechtenstein, Vienne et Vaduz n°870 Galerie F.A Drey, Londres Galerie Wildenstein New York Bibliographie Emilio Negro, Nicosetta Roio, Lorenzo Costa, Modène 2001, p. 97-96, cat. 17, repr. Historique En 1912 G. Frizzoni le premier publiait ce Portrait d'homme appartenant alors à la collection du prince de Liechtenstein à Vienne et l'attribuait à Lorenzo Costa suivi en cela par la critique postérieure à l'exception de Heineman qui le donnait à Filippo Mazzola. Dans leur ouvrage cité ici en référence, E. Negro et N. Roio ont étudié ce panneau et rendu compte de la bibliographie critique précédente le concernant. Ces auteurs publient alors pour la première fois un panneau (op. cit. cat.n.17R repr.) comportant les arm iries de la famille d'Este, panneau qui selon eux, serait le revers du portrait « Liechtenstein » et représenterait l'un des membres de cette famille ferraraise, justifiant ainsi l'attribution à Costa. Or notre panneau ne comporte aucune armoirie à son revers et ne semble pas avoir été dédoublé, les galeries d'insectes n'étant pas ouvertes. Il faut vraisemblablement penser à une erreur de la part des auteurs d'autant plus qu'ils signalent la localisation inconnue de ce portrait d'homme, ce qui laisse supposer qu'ils ne l'ont pas vu. De plus, ces armoiries étant celles d'un cardinal ne peuvent pas correspondre à l'homme du portrait « Liechtenstein » qui ne présente aucun signe vestimentaire de cette dignité ecclésiastique mais est habillé à la mode laïque contemporaine comme le prouvent les nombreux portraits d'hommes peints par des artistes italiens dans la dernière décennie du XVe siècle (par exemple Francesco Francia, Lorenzo Costa ou Giovanni Bellini) Ces armoiries ont peut-être pu orner le revers d'un autre tableau, (ce que nous ne pouvons pas assurer par manque d'information) indiquant à la rigueur la marque de collection de l'un des deux cardinaux de la famille d'Este vivant à la même époque soit Hippolyte I d'Este (20 Mars 1479-3 Septembre 1520, fils d'Hercule I d'Este et d'Eléonore d'Aragon, cardinal en 1509) ou son neveu Hippolyte II (1509-2 Décembre 1572, fils d'Alphonse Ier d'Este et de Lucrèce Borgia, cardinal en 1538) Style Le cadrage particulièrement serré de ce portrait d'homme, vu de trois-quarts tourné vers la gauche, ne laisse voir que la tête coiffée d'un bonnet et le haut des épaules ; ces éléments vestimentaires éclairés par le bord blanc de la chemise émergeant au bord du cou et le fond sombre sur lequel ce personnage se détache, renforcent l'éclat du visage frappé en pleine lumière. Les traits légèrement creusés par deux rides de part et d'autre des ailes du nez proéminent et rectiligne, le creux de la joue droite où l'on devine une petite fossette et les cernes soulignant les yeux, trahissent l'âge mûr de cet homme ; la couleur châtain de sa chevelure mi-longue retombant en rouleau sur les épaules et de la petite frange bordant le front, permettent de penser qu'il n'excède pas une trentaine d'années. L'identification de ce personnage demeure conjecturale. Le modèle regardant avec insistance l'observateur avec une certaine suffisance, il s'agit d'un portrait indépendant et non celui d'un donateur d'un volet de diptyque religieux. L'artiste fait montre ici de son sens de l'observation et de sa volonté d'exprimer au plus près la réalité du personnage, son âge, son apparence extérieure, sa vérité psychologique. C'est la leçon que tire l'artiste de la connaissance qu'il eut certainement de la peinture flamande dont les portraits étaient représentés de trois-quarts depuis les débuts du XVe siècle et dont les exemples étaient présents à la cour de Ferrare. En effet, Lorenzo Costa était originaire de Ferrare où il fit son apprentissage. Dès la fin de 1483 il fut appelé auprès du seigneur de Bologn , Giovanni Bentivoglio II pour décorer la chapelle familiale que ce dernier fit ériger dans l'église San Giacomo Maggiore : l'artiste réalisa là deux toiles importantes en 1490 le Triomphe de la Mort et le Triomphe de la Renommée et deux ans auparavant en 1488 le grand tableau votif avec Vierge et l'Enfant en trône entourés des membres de la famille Bentivoglio (cf. Negro, Roio, op. cit respectivement cat.12b, 12c, 12a) La similitude de notre portrait avec les membres masculins de cette famille ou avec ceux de certains protagonistes des Triomphes a permis à la critique d'en situer l'exécution aux alentours de 1490. De même les rapprochements avec le joueur de luth du Concert (Londres National Gallery, n°2486, Negro, Roio, op. cit cat. 9) placé vers 1488, corroborent cette datation.
Boisgirard-Antonini
Sep. 24, 2008
In the Manner of Lorenzo Costa Italian (1460-1535)
Est: $500 - $700
In the Manner of Lorenzo Costa Italian (1460-1535) HEAD OF A MAN tempra on paper 16 x 12 in.
Maynards Fine Art & Antiques
Jul. 09, 2002
Lorenzo Costa (Ferrara circa 1460-1535 Mantua)
Est: $93,600 - $124,800
Alternative studies of figures pulling a triumphal car, with attendants and horsemen numbered '105' pen and brown ink, watermark A (cf. Briquet 7922, Italian, circa 1500), the lower left corner irregularly cut 6 3/8 x 101/4 in. (163 x 260 mm.) LITERATURE M. Faietti, 'L'influsso della cultura Fiorentina nell'evoluzione stilistica del disegno bolognese tra la fine del Quattrocento e gli inizi del Cinquecento', in Elizabeth Cropper ed., Florentine drawing at the time of Lorenzo the Magnificent, Villa Spelman Colloquia 4, Florence, 1992, p. 209, note 39. NOTES The attribution to Lorenzo Costa has kindly been confirmed by Everett Fahy in a letter dated 21 January 2002. The drawing can be most closely related to two horizontal studies of figures in procession formerly in the C.R. Rudolf Collection, sold Sotheby's, London, 21 May 1963, lots 5 (for which the attribution was originally suggested by Meder and Benesch) and 6 (now in the J.B. Speed Museum of Art, Louisville, Kentucky). Marzia Faietti suggests that the present drawing is a version of the group to the right of lot 5 in the Rudolf sale, and dates both to Costa's activity in Mantua after 1506, M. Faietti, op. cit., p. 209. Despite Faietti's suggestion that the present drawing dates from late in the artist's career, it is of note that the motif of processions with chariots moving between low hills was used repeatedly by Costa in his frescoes of The Triumph of Death and The Triumph of Glory for the Bentivoglio Chapel in San Giacomo Maggiore, Bologna, painted in 1488-90, R. Varese, Lorenzo Costa, Milan, 1967, pls. III-IV. Further comparable drawings, in similarly strong pen and ink and without wash, are in the British Museum (A.E. Popham and P. Pouncey, Italian Drawings in the Department of Prints and Drawings in the British Museum, The Fourteenth and Fifteenth Centuries, London, 1950, no. 44, pl. XXXIX), at Christ Church, Oxford (J. Byam Shaw, Drawings by Old Masters at Christ Church, Oxford, Oxford, 1967, no. 862, pl. 526), in the National Gallery of Canada, Ottawa (A.E. Popham and K.M. Fenwick, The National Gallery of Canada, Catalogue of European Drawings, Toronto, 1965, no. 4) and at the Pierpont Morgan Library, New York (Fairfax Murray publication, I, 1905, pl. 42, as Bramantino).
Christie's