Neri di Bicci Paintings & Artwork for Sale | Neri di Bicci Art Value Price Guide

Oct. 08, 2024
Neri Di Bicci (Italian, 1419-1491) Saint Sebastian and Saint Apollonia (a group of two) each 44 x 16in (111.7 x 40.6cm)
Est: $50,000 - $70,000
Neri Di Bicci (Italian, 1419-1491) Saint Sebastian and Saint Apollonia (a group of two) each inscribed with title (lower edge) tempera on panel each 44 x 16in (111.7 x 40.6cm)
Bonhams
Nov. 22, 2023
Neri di BICCI Florence, 1419 - 1491 La Vierge à l'Enfant Huile sur panneau, une planche
Est: €150,000 - €200,000
Neri di BICCI Florence, 1419 - 1491 La Vierge à l'Enfant Huile sur panneau, une planche Cadre probablement composé d'éléments anciens (Restaurations) The Virgin and child, oil on panel, by N. di Bicci h: 74,50 w: 52 cm Provenance : Collection Michel van Gelder, château Zeecrabbe, Uccle ; Collection particulière européenne Expositions : 'Italiaansche Kunst in Nederlandsch Bezit', Amsterdam, Stedelijk Museum, 1er juillet - 1er octobre 1934, p. 90-91, n° 252 Bibliographie : Raimond van Marle, 'The Development of the Italian Schools of painting', t. X, La Haye, 1928, p. 533-534 Commentaire : Fils de l'artiste florentin Bicci di Lorenzo et représentant la troisième génération d'artistes peintres, Neri di Bicci nait en 1419 dans une cité en pleine période d'émulation culturelle et artistique. Très vite il prend la direction de l'atelier dont l'intense activité nous est décrite par le précieux 'Ricordanze', journal tenu quotidiennement entre 1453 et 1475. Ce journal est aujourd'hui le document le plus complet et riche de multiples informations nous renseignant sur l'activité d'un atelier au XVe siècle (1). Une vingtaine de collaborateurs sont mentionnés dans les périodes les plus intenses de productions, l'on y découvre les noms de Cosimo Rosseli ou encore Francesco Botticini. L'important rendement de l'atelier explique que plusieurs versions d'une même composition existent. C'est ainsi le cas de notre Vierge à l'Enfant dont on connaît une autre version en Angleterre dans la collection de Lord Lee of Fareham. 1 - Neri di Bicci, 'Le Ricordanze' (10 mars 1453 - 24 avril 1475), B. Santi ed., Pisa, 1976 Estimation 150 000 - 200 000 €
Artcurial
Nov. 18, 2014
Neri di Bicci Florence, 1419 - 1491 La Vierge à l'Enfant entourés d'anges, sommé d'un fronton contenant l'Annonciation Huile sur pa
Est: €20,000 - €30,000
Neri di Bicci Florence, 1419 - 1491 La Vierge à l'Enfant entourés d'anges, sommé d'un fronton contenant l'Annonciation Huile sur panneau, de forme cintrée en partie supérieure Porte un cachet à la cire rouge au verso (Restaurations) 'THE MADONNA AND CHILD WITH ANGELS AND THE ANNUNCIATION SCENE', OIL ON PANEL, CURVED AT THE TOP, BY NERI DI BICCI h: 54 w: 34,50 cm Provenance : Galerie Sanct Lucas, Vienne, en 1953 ; Chez P. de Boer, Amsterdam, en 1955 ; Acquis auprès de cette galerie par les grands-parents des actuels propriétaires ; Collection particulière, Belgique Commentaire : Fils de l'artiste florentin Bicci di Lorenzo et représentant la troisième génération d'artistes peintres, Neri di Bicci nait en 1419 dans une cité en pleine période d'émulation culturelle et artistique. Très vite il prend la direction de l'atelier dont l'intense activité nous est décrite par le précieux Ricordanze, journal tenu quotidiennement entre 1453 et 1475. Ce journal est aujourd'hui le document le plus complet et riche de multiples informations nous renseignant sur l'activité d'un atelier au XVe siècle (1). Une vingtaine de collaborateurs son mentionnés dans les périodes les plus intenses de productions, l'on y découvre les noms de Cosimo Rosseli ou encore Francesco Botticini. Notre panneau a la particularité d'avoir préservé sa lunette avec L'Annonciation en partie supérieure. Sur une même planche les deux scènes sont représentées. Au cours de la vie de tels petits panneaux de dévotion privés, les différentes scènes étaient généralement séparées. 1 - Neri di Bicci, Le Ricordanze (10 mars 1453 - 24 avril 1475), B. Santi ed., Pisa, 1976
Artcurial
Oct. 27, 2010
Neri di Bicci Florentine, 1419-1491 Tobias and the Angel
Est: $10,000 - $15,000
Neri di Bicci Florentine, 1419-1491 Tobias and the Angel Tempera on panel transferred to panel 26 x 19 1/2 inches (66 x 49.5 cm) Provenance: Roberto I. Nevin (probably) Sale, Galleria San Giorgio, Rome, Apr. 23, 1907, lot 150, as Scuola di Neri di Bicci, secolo XV (catalogue prepared by F. Mason Perkins) Purchased by F. Mason Perkins for Dan Fellows Platt, Englewood, New Jersey by 1911 Thence by inheritance to Mrs. Dan Fellows Platt Sale, Parke-Bernet Galleries, New York, January 9, 1947, lot 26 Acquired from the above by Wildenstein Galleries, London Mrs. Wilton D. Cole, Fox Hollow, Morristown, New Jersey, acquired in 1968 Thence by descent in Mrs. Cole's family to a private owner Sale, Christie's, New York, January 23, 2004, lot 39 Exhibited: London, Wildenstein Gallery, Religious Themes in Painting from the Fourteenth Century Onwards, March 16-May 5, 1962, no. 11, pl. 11 Literature: F. Mason Perkins, "Dipinti della Raccolta Platt," Rassegna d'arte, Jan. 1911, XI, pp.1-2 Bernard Berenson, Italian Pictures of the Rennaissance, Oxford, 1932, p. 386 Bernard Berenson, Pitture italiane del rinascimento, Milan, 1936, p. 332 Bernard Berenson, Italian Pictures of the Renaissance, Osford, 1953, pp. 385-9
DOYLE Auctioneers & Appraisers
Jun. 03, 2010
NERI DI BICCI
Est: $50,000 - $70,000
NERI DI BICCI FLORENCE 1419 - 1491 THE NATIVITY gold ground, tempera on panel, arched top 30 1/2 by 18 in.; 77.5 by 45.7 cm.
Sotheby's
Jan. 28, 2010
NERI DI BICCI
Est: $10,000 - $15,000
TOBIAS AND THE ANGEL
Sotheby's
Dec. 03, 2008
Neri di Bicci (Florence 1419-1492)
Est: £25,000 - £35,000
Neri di Bicci (Florence 1419-1492) The Madonna dell'Umiltà with Saint Catherine of Alexandria and Tobias and the Angel on gold ground panel 16¼ x 14 in. (41.5 x 35.5 cm.)
Christie's
Dec. 02, 2008
Neri di Bicci (Florence 1419-1492)
Est: £50,000 - £80,000
Neri di Bicci (Florence 1419-1492) The Madonna and Child gold ground panel, arched top, in an engaged frame, with a later base 33 5/8 x 24 in. (85.4 x 61 cm.)
Christie's
Jul. 10, 2008
- Neri di Bicci , Florence 1419 - 1491 saint anthony of padua tempera on panel, a fragment, unframed
Est: £8,000 - £12,000
tempera on panel, a fragment, unframed
Sotheby's
Jul. 08, 2008
The Martyrdom of Saint Januarius: panel from a predella
Est: £70,000 - £100,000
Neri di Bicci (Florence 1419-1492) The Martyrdom of Saint Januarius: panel from a predella on gold ground panel 10 5/8 x 18 7/8 in. (27 x 47.9 cm.)
Christie's
Jul. 10, 2002
Neri di Bicci (Florence 1419-1492)
Est: $156,000 - $234,000
A Triptych: The Assumption of the Virgin with Saint Thomas receiving the Girdle, with Saints Jerome, Margaret, Bridget [Birgitta] of Sweden and Catherine of Sweden; the left wing: The Nativity, with the Annunciation to the Shepherds beyond, the Angel of the Annunciation above; the right wing: Saint John the Baptist in the Wilderness, the Virgin Annuciate above; the outer faces of the two wings with trompe l'oeil grained decoration on gold ground panel 20 x 23 in. (50.8 x 58.5 cm.), the wings extended PROVENANCE Painted for a nun in the convent of S. Salvatore e S. Brigida (called Paradiso), Florence. Anon. Sale, Fischer, Lucerne, 12-16 June 1956, lot 1443, as 'Florentine School, mid-15th Century'. Anon. Sale [The Property of a Lady], Christie's, London, 17 December 1999, lot 32 (unsold). LITERATURE Neri di Bicci, Le Ricordanze, ed. B. Santi, Pisa, 1972, p. 180, no. 355 and p. 219, no. 432. G. Freuler, catalogue of the exhibition Knder der wunderbaren Dinge, frhe italienische Malerie aus Ssammlungen in der Schweiz und in Lichtenstein, Museum Thyssen-Bornemisza, Lugano, April-June 1991, no. 97, illustrated. NOTES First published in the 1991 exhibition catalogue, the charm of this small altarpiece is enhanced by the atmospheric rendering of the landscape that surrounds the figures. Set among bare rocks and under a night sky, they appeal to the viewer's sentiment in a manner characteristic of many of the artist's works, explaining his success amongst his fairly conservative group of patrons. As in the work of the stylistically-related Giovanni di Ser Giovanni, Neri's eclectic style is possessed of a particularly innocent charm on a small format, that is sometimes lost in larger-scale works. Although stylistically recalling Pesellino and Fra Filippo Lippi, Neri here reveals the influence of his father, Bicci di Lorenzo. The composition displays the influence of other artists: the Madonna in the Mandorla derives from Duccio's design for a window of the Duomo in Florence, which had in turn been popularised by Don Silvestro dei Gherarducci (Pinacoteca Vaticana, no. 161); whilst the figure of God the Father in an aureole of seraphim, and the foreshortened angel over the empty sarcophagus, owe to Filippo Lippi. A later version in the National Gallery of Canada, Ottawa, further develops the themes represented here, under the influence of Neri's Florentine contemporaries, although the figure of Saint Thomas is repeated unaltered. As Neri's style hardly changed through his career, it is hard to date this work accurately. However, given the continuing influence of his father, a date in his middle period would seem likely. In his Ricordanze, a document that covers his professional and private life from 1453-75, Neri relates: Sabato a di 13 di marzo 1461 [i.e. 1462, as in Florence the New Year began on 25 March, Annunciation Day] Richordo che a di detto rendei a Pietro Tazi orafo uno tabernachuluzo a sportegli drentovi quatro istoriette: Asunzione di Nostra Dona, diserto, messo d'oro fine, lavorata di fini azuri e tuta ornata a mia spesa; de' f. 4 larghi dare d'achordo f. quatro larghi; portgliele Tonino ist mecho detto di, fattone chonto d'achordo in questo a c. 92: l [ ire ] 21, A libroD a c 77 This 'tabernacholuzo' depicting the same subjects as the present work is presumably the same as that mentioned in a subsequent passage: Mercholedi a di 18 di genaio 1463 Ragione chon Pietro Tazi Richordo ch'el sproadetto di fatto chonto chon Pietro Tazi orafo in Merchato Nuovo d'una fetta paonaza gli bende'insino a di 5 d'aghosto 1460 l. 3 s. 6 d. 1, e 2 grani d'oro l. 1 s. 16 e d'uno tabernacholo gli missi d'oro e ornai una Vergine Maria in marmo e missi d'azuro in certi luoghi tuto a mia ispesa d'achordo l. venti e d'uno tabernacholetto drentovi molte figure gli fe' pr una monicha del Paradiso d'achordo l 21, dove tute l. 46 s. 2... The altarpiece that in both entries has the same price of 21 lire was meant for a nun of the convent of San Salvatore e Santa Brigida, called Paradiso, of the Bridgettine Order, towards the southern end of the city of Florence. This explains not only the presence of the two founders of the order, Bridget and her daughter, Catherine, on the central panel, but also the depiction of the Nativity, the subject of one of Saint Bridget's most important visions. The image of the youthful Baptist, the patron Saint of Florence, completes the iconography.
Christie's