Bernardino Luini, nach vor Sept. 1482 Dumenza (Varese) - 1532 Mailand (?) Mary with the Child and the apple Oil auf panel. 53.5 x 44.5 cm. Cradling. Restored. Damaged. After the painting in the Staatliche Museen zu Berlin, Gemäldegalerie, inventory number 217.
German Hand-Painted Porcelain Plaque, "The Infant Jesus with a Lamb" late 19th century painted after Bernardino Luini (Italian, 1480-1532) 5 1/2 x 4 inches (plaque) 8 3/4 x 6 3/4 inches (frame)
A Noteworthy 19th and 20th Century Medals Octet including: Painter Bernardino Luini (c.1480-1532); Artist Freidrich Loos; Otto Liebetrau; Czeck President Tomas G. Masarykin in the original box; as well as other early prize and participation medals. A total of 8 pieces and all are quite handsome. From the Augustana Collection. Est. $160.
BERNARDINO LUINI, bottega di (Luini 1480/85 - Milano 1532) SAN GIOVANNINO Olio su tavola, cm. 52 x 37 Sigla 'CB', al retro della tavola PROVENIENZA Famiglia romana CONDITION REPORT Tavola in noce con due barre di supporto orizzontali. Punti di restauro quasi ossidati sugli incarnati, alcune linee di restauro a destra e sinistra nel fondo
BERNARDINO LUINI (LUINI 1480/85-1532 LUGANO) The Nativity, with the Journey to Egypt beyond tempera and oil on panel 46 3/4 x 35 3/8 in. (118.7 x 89.8 cm.)
MARIA MIT DEM KINDE NACH EINER NELKE GREIFEND Öl auf Leinwand. 149 x 100 cm. In schmaler Goldleiste. Obwohl er heute nicht mehr so bekannt ist, galt Luini einst als der führende Maler der norditalienischen Region Lombardei. Er wurde um 1480 geboren und erhielt seine Ausbildung bei mehreren lokalen Meistern. Sein Leben und seine Kunst wurden jedoch durch die Begegnung mit dem Werk von Leonardo da Vinci verändert, der Mailand einmal im späten 15. und erneut kurz im frühen 16. Jahrhundert besuchte. Leonardo Da Vinci malte als junger Künstler in Florenz Bilder mit dem selben Thema: das Christuskind, das nach einer Blume greift. Ersichtlich ist, dass Luini nicht nur dieses ergreifende Thema, sondern auch andere Aspekte des Gemäldes Leonardo zu verdanken hat: der dunkle Hintergrund, die Weichheit der Formen, die Hell-Dunkel-Modellierung, die süße Stimmung der Figuren, die sich drehende Haltung des Kindes. Luini war ein großer Maler religiöser Bilder, darunter Fresken, Holztafeln, große Altarbilder und kleine Andachtsbilder für den Hausgebrauch. Zu seiner Zeit war er offensichtlich sehr beliebt, denn es gibt unzählige Kopien seiner Gemälde. Im 19. Jahrhundert wurde er wieder populär, als der berühmte Kritiker John Ruskin entschied, dass Luini größer sei als Leonardo, und viele Leser nach Italien reisten, um seine Werke zu suchen. (1360942) (13) Bernardino Luini, ca. 1480/ 85 Runo – 1532 Milan, follower of MARY WITH THE CHILD REACHING FOR A CARNATION Oil on canvas. 149 x 100 cm.
Spanish Follower of Bernardino Luini (Italian, 1470-1532) The Christ Child and the Infant Saint John with a Lamb Oil on canvas 32 x 23 inches (81.3 x 58.4 cm) Inscribed lower center: CASPAR PROVENANCE: Raydon Gallery, New York; Black Rock Galleries, Bridgeport, Connecticut, March 17, 2013, lot 380 (as Spanish School, 18th Century); Private collection, Chicago, Illinois, acquired from the above. The present work is closely based on a painting by Bernardino Luini, a Lombard artist in the circle of Leonardo da Vinci, in the National Gallery of Canada, Ottawa (inv. 3454). Measuring a very similar size (29 13/16 x 22 5/8 inches), that work, originally on a panel support, was transferred onto canvas sometime prior to its purchase in 1927 by the Ottawa museum. Luini's original painting in Ottawa has traditionally been equated with a painting of the same subject that was recorded in inventories of the Spanish Royal Collections in the seventeenth and eighteenth centuries, where it was sometimes ascribed to Leonardo da Vinci. (No inventory numbers appear on the paint surface of the Ottawa picture to corroborate that history.) However, when Luini's original was recorded in the collection of Alexander Baring, 1st Baron Ashburton, it was said to have been removed from the Royal Palace in Madrid by Joseph Bonaparte when he was King of Spain ( Art-Union, London, 1847, p. 126; cited in M. Laskin, Jr., and M. Pantazzi, Catalogue of the National Gallery of Canada, Ottawa: European and American Painting, Sculpture, and Decorative Arts, Ottawa, 1987, II, p. 175). In addition, one scholar has hypothesized that it is identical with a painting in the Alcazar Palace (inventories of 1666 and 1686) and in the Palacio Real, Madrid (inventory of 1747) and in the new Palacio Real (inventory of 1789; for a discussion, see J.M. Ruiz Manero, Pintura italiana del siglo XVI en España, I, Leonardo y los Leonardescos, Madrid, 1996, pp. 66-67). The present painting may well have been executed by a Spanish painter (named Caspar) after Luini's original when the latter once belonged to the Spanish Royal Collections in Madrid. When this work was undergoing conservation treatment at Buffalo State College, State University of New York in 2016, the removal of an old, darkened varnish in the area below the Christ Child's proper right foot revealed the name CASPAR, which may in fact be a partial signature. (The Treatment Report from the Art Conservation Department, Buffalo State College [State University of New York], April 21, 2016, is available upon request.) This hypothesis may explain the presence of a torn label with Spanish printing that was affixed to the present work's old lining canvas until ca. 2014. Microscopic analysis of this painting's ground performed in 2016 very clearly indicated materials consistent with its pre-industrial age, although a firm date for the painting was not established. HID01801242017
(Dumenza circa 1481–1532 Milan) The Crucifixion, oil on panel, 91 x 73.2 cm, framed Bears date and monogram on the reverse: 1519/B. L. F Provenance: possibly Collection of Vitaliano Crivelli (1806–1873) and Agostino Comerio (1784–1834), Milan; Collection of Jacob Friedrich de Clerck (1769–1834), Vienna, circa 1810; Collection of Baron Johann Baptist Puthon (1773–1839), Vienna; Eduard Hirschler collection, Vienna; sale, E. Hirschler & Comp., Vienna, 2 April 1906, lot 66 (as Bernardino Luini); Collection of Marcel Fleischmann (1891–1984), Zurich; sale, Christie’s, London, 28 March 1969, lot 65 (as Circle of Luini); Private European collection Exhibited: Milan, Palazzo Reale, Il Cinquecento lombardo: da Leonardo a Caravaggio, 4 October 2000 – 25 February 2001, no. III. 49 (as Bernardino Luini, with measurements 95 x 75 cm) Literature: T. von Frimmel, Geschichte der Wiener Gemäldesammlungen. Einleitung und Geschichte der Kaiserlichen Gemäldegalerie, vol. 1,1, Leipzig 1899, p. 56 (as early Bernardo Luini); T. von Frimmel, Geschichte der Wiener Gemäldesammlungen. Abschlussbände mit übersichtlichen Zusammenstellungen. Buchstabe A bis F, vol. 1, Munich 1913, p. 258 (as Luini); T. von Frimmel, Geschichte der Wiener Gemäldesammlungen. Abschlussbände mit übersichtlichen Zusammenstellungen. Buchstabe G bis L, vol. 2, Munich 1914, p. 167 (as Bernardo Luini); W. Angelelli, A. G. De Marchi, Pittura dal Duecento al primo Cinquecento nelle fotografie di Girolamo Bombelli, Milan 1991, p. 188 (as Bernardino Luini, with incorrect provenance); G. Calegari, in: F. Caroli (ed.), Il Cinquecento lombardo: da Leonardo a Caravaggio, exhibition catalogue, Milan 2000, pp. 168–169, cat. no. III.49 (as Bernardino Luini, previously unpublished); Tatiana Kustodieva, Susanna Zatti (eds.), Leonardeschi. Da Foppa a Giampietrino: dipinti dall’Ermitage di San Pietroburgo e dai Musei Civici di Pavia, Milan 2011, p. 60, mentioned under cat. no. I.15 (as ‘un’altra composizione simile’); C. Quattrini, Bernardino Luini: catalogo generale delle opere, Turin 2019, pp. 328–330, mentioned under cat. no. 121 (as a copy and ‘terza versione’) The present painting is registered in the Fototeca Zeri under no. 79686 (as Bernardino Luini). Mauro Lucco considers the present painting to be a fully autograph work by Bernardino Luini and he intends to include it in a forthcoming publication. The present painting relates to the Crucifixion (90 x 73.5) given to Bernardino Luini in the Hermitage, Saint Petersburg (inv. no. ГЭ-2591899, p. ) which is almost the same size. The painting in the Hermitage was also originally on panel, but it was transferred to canvas in 1887. Another version is documented, now lost, previously in the Benigno Crespi collection and sold in 1914 (see G. Calegari, in literature; A. Venturi, La Galleria Crespi di Milano. Note e raffronti di Adolfo Venturi, Milan 1900, pp. 245–247, figs. 46, 47). Cristina Quattrini included this work under ‘copie’ (see literature). Lucco dates the present painting towards the end of the second decade of the sixteenth century. Luini was to revisit the figure of the Crucifixion in fresco for the church of Santa Maria degli Angeli, Lugano, executed a decade later, between 1528 and 1530 (see R. Charles, Bernardino Luini: Milan, in: The Burlington Magazine, vol. 156, no. 1338, September 2014, pp. 626–627). This painting on panel represents Christ Crucified between Saint Paul and the Virgin, and Saint John and Saint Francis, with Saint Mary Magdalen embracing the Cross just below Christ’s feet. The extensive landscape that opens out beyond the sacred scene is animated by horsemen and people who appear to be going about their daily chores. Beyond the rolling hills in the middle-ground a city characterised by classical buildings silhouetted against the blue sky with distant mountains beyond. The references to work of Leonardo, especially in the landscape, are also evident of Lombard realism which is also apparent in the works of Bramantino and Zanale. Bernardino Luini was born at Dumenza, Lake Como, in the early 1480s; his reputation was established in Milan and its environs, toward the end of the first decade of the sixteenth century, when he worked for various important religious patrons, such as for the church of Santa Maria della Passione and the Abbey of Chiaravalle. A fresco painter in the finest Lombard tradition, he also worked extensively as a painter on panel, achieving the same masterful results. Luini successfully managed to achieve a fusion of Leonardesque influences, interpreted in an intimate and domestic manner, with currents of Venetian art, and especially those from terra-ferma artists like Lorenzo Lotto and Cima da Conegliano. Provenance: This painting may be the work documented as by Luini ‘rappresentante G. Cristo in croce ai piedi della quale havvi la B.V., S. Maria Madd. S. Gio. S. Paolo e S. Francesco’ [‘representing J. Christ on the cross at whose feet are the B.V. S. Mary Magd. S. John. S. Paul and S. Francesco’] that belonged to Vitaliano Crivelli (1806–1873) and the painter Agostino Comerio (1784–1834). The painting was recorded by Crivelli in a note before Comerio’s death in 1834 (Archivio di Stato di Milano, Fondo Crivelli-Giulini, Crivelli, Araldica, 87 fasc. 21, n. 15). Some of the painting’s provenance is recorded by a series of labels, stamps and wax seals on the back of the panel. On the lower right, near the lower supporting strut is a customs stamp which can be identified as that recording the picture’s departure from the ‘dogana Ducato di Milano’ during the reign of Ferdinand I, Austro-Hungarian Emperor and King of Lombardy and the Veneto between 1838 and 1848. This work was in Vienna with Eduard Hirschler (1828–1891), whose oval wax seal is also on the back of the picture beneath the upper supporting strut with the inscription ‘E./Hirschler/& Comp’ and on a label the number ‘4488’. Hirschler specialised as a still-life painter of flowers at the Vienna Academy of Fine Arts but from 1873 he began to deal in art, opening a gallery called ‘E. Hirschler & Comp; this was continued by his sons Rudolf and Paul. The work was sold at auction at E. Hirschler & Co. on 2 April 1906, lot 66 (the illustration of the painting in the sale catalogue shows the painting without the skull, which was presumably covered by overpaint). The catalogue records the provenance as: ‘Clerk, Baron Pouthon’. There are two wax seals on the reverse, one is surmounted by a Baronial coronet, and the other with the interlocking letters – ‘J.P.B.’ – in the form of a monogram which refer to this collector. A typed label on the upper left documents the painting in the collection of Marcel Fleischmann. Technical analysis by Gianluca Poldi: The work is painted on a panel with an average thickness of less than 1 cm, gouged vertically following the orientation of the wood fibres. The reverse side is in an excellent state of conservation, with almost no evidence of woodworm, and contains wax seals. Some inscriptions on the back have been highlighted by multispectral analysis, and in particular UV fluorescence (UVF) images have made it possible to read the date '1519' better, that precedes the initials 'B.L.F', both of which were painted with a brush in the same metal-gallic ink. Regarding the painted surface, as can be seen in the X-ray, the areas with the largest cracks are those furthest from the main axis, where the rings are wider and more porous, and the periodic mechanical oscillations of the wood are therefore greater. Similar cracks can be seen in various works by Bramantino in the early 16th century. Despite the accurate IR analysis, carried out in two high-resolution spectral bands, there is no particular evidence of an underdrawing, although there must have been one, presumably executed with a medium that is largely transparent to IR radiation, such as red chalk or metal-gall ink. In some details, however, especially in the broad band (1000-1700 nm), some thin, poorly contrasted lines can be seen, which can be referred to underdrawing: along the legs of Christ, at the ends of the horizontal axis of the cross, along the profile of Magdalene's cheek and in her left hand, in the face of the Virgin. It is important to emphasise that underneath certain works by Bernardino Luini, analysed using the same methodologies, in several cases only very limited signs of drawing were found. The little or no evidence of the underlying drawing in IRR is also typical of certain Leonardesque painters, indicating a sharing of working methods. On the other hand, there are no signs of carry-over that could refer to processes of copying or transferring the subject from another source. The absence of such signs is consistent with known Luinesque practices. The small figures animating the landscape appear to be painted “alla prima”. The X-ray, although contrasted, shows very little of the painting, the unevenness of X-ray absorption by the panel prevailing, while in IR one notices minimal adjustments: in the outline of Christ, at the ends of the crossbeam of the cross, probably in the profile of Magdalene's face towards the cross, perhaps in some drapery.
Bernardino (1480 - 1532) und Aurelio Luini (1530 - 1593) - Schule, "Madonna mit Kind und den Heiligen Bernhard von Siena und Stephanus", Öl auf Leinwand, doubliert (2. Hälfte 16. Jh.), 66.5 x 52 cm, Rahmen der Zeit. 2017 restauriert, Restaurierungsbericht vorliegend. Provenienz: Galerie Stuker, Bern, dort auf Auktion um 1950 erworben; Privatbesitz, Rheinland; durch Erbfolge in Privatbesitz, Süddeutschland. Bernardino Luini, der zum Zeitpunkt seines Todes wohl einer der bedeutendsten Künstler in Mailand war, gilt als einer der wichtigsten Anhänger Leonardo da Vincis im frühen 16. Jh.. Ende der 1510er Jahre führte Luini eine erfolgreiche Werkstatt, in der er vor allem Gemälde mit religiösen Motiven für die private Andacht herstellte. Hier lehrte Bernardino Luini auch seine vier Söhne, die ebenfalls das Malerhandwerk ausübten. Unsere detailreiche und fein gemalte Darstellung der Sacra Conversazione ist eingebettet in eine sommerliche, norditalienische Landschaft. Das Gemälde zeigt eine sitzende, demütig die Augen senkende Madonna mit dem Jesusknaben auf ihrem Schoß. Flankiert wird die Darstellung der beiden durch die beiden Heiligen Bernhard von Siena und Stephanus, zu erkennen an den Gewändern und den Attributen Sonne und Märtyrerpalme. Stilistisch nähert sich der Künstler, der wohl aus dem nahen Umkreis der Luini Familie stammt, in diesem wundervollen Gemälde Leonardo Da Vincis Sfumato Technik an. Spannenderweise diente diesem Werk sehr wahrscheinlich ein anderes Gemälde als Untergrund. An den Rändern ist ein ca. 0.5 cm breiter Steifen zu erkennen, der sich farblich deutlich von dem Gemälde unterscheidet. So liegt entweder ein anderes Gemälde unter der heute sichtbaren Malschicht oder unsere Darstellung wurde stark in der Komposition geändert. Womöglich lohnt sich hier ein zweiter Blick, um die genauen Hintergründe dieses über 500 Jahre alten Gemäldes zu ergründen. Einen Blick gilt es auch dem fein geschnitzten Rahmen zu schenken, welcher aus der Zeit stammt.
LUINI BERNARDINO (1480-1532) Bernardino Scapi detto Bernardino Luini Dumenza (?) 1480/1482 (?) ' Milano (?) ante 1 luglio 1532 Madonna con il Bambino olio su tavola 68 x 55 cm Provenienza Milano collezione Litta Modignani Il dipinto è opera autografa di Bernardino Luini uno dei maggiori pittori del Rinascimento lombardo. Eseguito probabilmente all'apice della carriera è una delle versioni più originali di un soggetto molto frequentato dall'artista e anche un ottimo esempio di quella maniera soave e accattivante che nell'Ottocento ne fece un insuperato modello di stampo purista. La Vergine è seduta con uno scialle sul capo la veste rossa e il mantello azzurro foderato di arancio; con la mano sinistra sfiora il petto del bambino sdraiato sul grembo che sgambetta e sorride. Nello sfondo sul lato destro un drappo verde si apre su uno specchio d'acqua e sui monti. Per questa ariosa scenografia non occorre scomodare la formazione veneta dell'artista perché era un motivo diffuso anche in Lombardia (Foppa Bergognone) e fra i pittori leonardeschi milanesi (Solario Rizzoli e altri). Una tenda verde scostata sul paesaggio compare per esempio nella Madonna della mela di Brera e nella Madonna con il Bambino della Galleria Borghese del Giampietrino. Qui sullo sfondo domina una casa a graticcio incrociato con un porticato in legno un edificio rurale molto frequente a nord delle alpi che non doveva mancare neppure nella campagna lombarda. Luini lo raffigura anche negli affreschi della villa Pelucca (Morte dei primogeniti) e ancora più simile nello Scherno di Cam (entrambe le opere sono a Brera) dove la casa ha lo stesso porticato ma la costruzione è a graticcio lineare. Il volto della Vergine con le sopracciglia arcuate gli zigomi forti e il mento affusolato - sintesi di un tipo raffaellesco e leonardesco - è una delle morfologie ricorrenti del pittore (per esempio nella Maddalena di Washington). La gamma vivace dei colori (verde smeraldo azzurro rosso vermiglio giallo arancio) stesi con effetto di smalto e con delicati passaggi di chiaroscuro è tipica di Luini e della pittura lombarda della prima metà del Cinquecento. La mano che sfiora lo sterno del piccolo di taglio con il mignolo piegato è uno stilema ricavato dalle mani in preghiera che può vedersi fra gli altri nella Vergine del Compianto giovanile di Budapest. La postura vivace con il bambino sorridente riflette l'enorme impatto dei 'moti' leonardeschi sulla scuola locale. Il piccolo Gesù che ride non molto frequente è un'espressione consentanea al pittore (il Bambino con un gioco di Peterborough per esempio) che la addolcisce sempre nei limiti del decoro. Come ha notato Giovanni Agosti (Bernardino Luini e i suoi figli Trento 2014 p. 260) nel Luini la dinamica espressiva leonardesca finisce quasi sempre per risolversi in una posa; è un movimentare la scena cioè da parte di un pittore votato alla compostezza. Mentre il bimbo che gioca con la veste ritorna nella Madonna del palazzo Liechtenstein a Vienna l'artista riutilizza l'insolito motivo della gamba destra accavallata almeno un'altra volta nella Madonna con il Bambino già a Filadelfia comparsa presso Christie's a New York nel 1989 (Quattrini 2019 n. 100). In particolare la competizione è con i piccoli sgambettanti del Solario (Madonna dal cuscino verde del Louvre Madonna che allatta del Poldi Pezzoli) e con una soluzione simile nel Bramantino (Sacra famiglia di Carzago Riviera collezione Sorlini). Il dipinto si può collegare a una serie dello stesso soggetto (spesso con l'aggiunta del San Giovannino) che l'artista concepisce nella prima metà degli anni Venti (Quattrini 2019 nn. 82-85). Come è già stato notato il riscontro più diretto è con la Madonna con il Bambino della Wallace Collection di Londra (Ibidem n. 122) e in misura minore con quella del Nivaagaard Museum in Danimarca (Ibidem n. 123)....
BILDNIS DER HEILIGEN MARIA MAGDALENA Öl auf Leinwand. Doubliert. 65 x 52 cm. Ungerahmt. Beigegeben eine Expertise von Didier Bodart vom 14. April 2001, darin Zuweisung an Bernardino Luini. Die jugendliche Heilige im Halbbildnis hält in der linken Hand das Salbgefäß, die Rechte an den Gürtel gelegt. Kopf mit Blick nach links gewendet. Im Bildaufbau und in der Farbgebung eindeutig die Schule Leonardo da Vincis (1452-1519) erkennbar. (†) (13220015) (11) Bernardino Luini, ca. 1480/85 Runo – 1532 Milan, attributed PORTRAIT OF SAINT MARY MAGDALENEOil on canvas. Relined. 65 x 52 cm. Unframed. Accompanied by an expert´s report by Didier Bodart dated 14 April 2001 with attribution to Bernardino Luini. The youthful saint is shown in half-portrait and holds the ointment vessel in the left hand while her right hand is placed on her belt. Her gaze is turned to the left. The composition and colouration clearly shows the School of Leonardo da Vinci (1452-1519). (†)
Bottega/seguace di Bernardino Luini (Dumenza 1481 circa - Milano 1532) del XVI secolo Gesù benedicente Olio su tavola 44,5 x 37,5 cm L’opera in questione ripropone il Cristo benedicente, tempera e olio su tavola di 43 x 37 cm, di Luini conservato presso la Pinacoteca Ambrosiana di Milano. Per la sua evidente qualità, l'opera si ascrive alla bottega del maestro o quale opera realizzata da un suo seguace, attivo nell’ambito dei pittori cosiddetti Leonardeschi, nel corso del Cinquecento. Workshop/follower of Bernardino Luini (Dumenza c. 1481 - Milan 1532) of the 16th century Blessing Jesus Oil on panel 44,5 x 37,5 cm
LUINI, BERNARDINO 1480/85 Luini (?) - 1532 Milan follower Title: Virgin and Child, Infant Saint John the Baptist, St. Anthony of Padua and St. Catherine of Siena. Technique: Oil on wood. Measurement: 32 x 45cm. Frame/Pedestal: Framed. Provenance: Private ownership, Germany.
RefOld13921 MARIA MIT DEM KIND UND DEM JOHANNESKNABEN Öl auf Buchenholz. 30 x 24 cm. Um 1515/16. Verso zwei alte rote Lacksiegel mit Doppeladler. In breitem vergoldetem altem, wohl original Rahmen.Bereits der erste Eindruck des Gemäldes lässt den enormen Einfluss der Werke Leonardos erkennen. Schon der bergige Hintergrund erinnert an Leonardos berühmte Mona Lisa, darüber hinaus auch die Sfumato-Technik, die in vorliegendem Bild vor allem im Antlitz der Mariendarstellung zum Tragen kommt. Dargestellt ist Maria in rotem Kleid und blauem Umhang vor einem dunkelgrünen Vorhang, der beiseite gerafft ist und links eine Landschaft mit Bergen und einem Kirchengebäude als Fensterausblick zeigt. Rechts sitzt das Jesuskind leicht erhöht, links, tiefer gesetzt, der kindliche Johannesknabe. Er überreicht dem Jesuskind eine Akeleiblüte. Symbolisch steht diese Pflanze für Demut, was hier bedeuten soll, dass sich Johannes in Demut dem Jesusknäblein zuwendet. Luini hat das Thema der Maria mit Kind in zahlreichen Werken aufgegriffen. Im Prado-Museum Madrid etwa findet sich sein Gemälde der „Heiligen Familie“, immer jedoch ist der Stil Leonardos zu sehen. Wichtiger, als der Vergleich etwa mit dem Madonna-mit-Kind-Bild in der National-Gallery Washington ist hier der Hinweis auf eine Bilddarstellung Luinis, die sich im Museo Diocesano Milano befindet. Dort sind nahezu gleiche Körperhaltungen von Maria und Kind zu sehen. A. R. Literatur: Vgl.Christina Quattrini, Bernardino Luini. Catalogo Generale delle opere, Turin 2019. Vgl. Giovanni Agosti, Il Rinascimento nelle aterre ticinesi. Da Bramantino a Bernardino Luini. Catalogo e itinerari, catalogo Jacopo Stoppa, Marco Tanzi (Hrsg.), 17 ott. 2010-9 genn. 2011, Pinacoteca cantonale Giovanni Züst, Mailand 2011. Vgl. Piero Chiara, Sacro e profano nella pittura Bernardino Luini, Mailand 1975. (1281042) (2) (11)Bernardino Luini, 1480/85 – 1532, attributed THE VIRGIN AND CHRIST CHILD WITH SAINT JOHN THE BAPTIST Oil on beech wood panel. 30 x 24 cm. Ca. 1515/16. The painting reveals the obvious influence by Leonardo at first glance. The hilly background is reminiscent of Leonard´s famous Mona Lisa, as is the sfumato technique, which comes into effect in the face of the Virgin in the painting on offer for sale here. Luini painted the subject of the Virgin and Christ Child numerous times, as for example in The Holy Family at the Museo del Prado in Madrid. The style of Leonardo is always obvious. A comparison with a painting by Luini of the Virgin and Child at the National Gallery of Washington is of interest, and more importantly, a painting by him held at the Museo Diocesano in Milan, which shows almost identical postures of the Virgin and Child. Literature:Compare C. Quattrini, Bernardino Luini. Catalogo Generale delle opere, Turin, 2019.Compare G. Agostino, J. Stoppa, M. Tanzi (eds.), Il Rinascimento nelle terre ticinesi. Da Bramantino a Bernardino Luini, exhibition catalogue, 17 October 2010-9 January 2011, Pinacoteca cantonale Giovanni Züst, Milan, 2011.Compare P. Chiara, Sacro e profano nella pittura Bernardino Luini, Milan 1975.
BERNARDINO LUINI, seguace di (Dumenza 1481 ca. - Milano 1532) SANTA CATERINA D'ALESSANDRIA Olio su tavola, cm. 38 x 28 PROVENIENZA Villa di nobile famiglia romana CONDIZIONI DEL DIPINTO Tavola con due barre di rinforzo orizzontali. Leggeri restauri integrativi nella parte bassa. Il dipinto è in buono stato di conservazione CORNICE Cornice modanata in legno dorato, del XIX secolo
Bernardino Scapi detto Bernardino Luini (Dumenza 1481 circa - Milano 1532) bottega-workshop "Venerabile Maria Caterina Brugora" Olio su tavola "Venerable Maria Caterina Brugora" Oil on panel 61,4 x 44,7 cm Si ringrazia il Professore Michele Danieli per aver confermato l’attribuzione Si ringrazia il Professore Alessandro Delpriori per aver confermato l’attribuzione La Venerabile Maria Caterina Brugora è ritratta in puro stile rinascimentale, ossia a mezzo busto, con la sua veste da monaca benedettina. Sul capo porta una corona di spine, come segno di partecipazione alla Passione di Cristo. Nella mano destra tiene il Sacro Cuore di Gesù e il Crocifisso, mentre l’altra mano, poggiata sulle sacre scritture, regge una palma. Sulla spalla compare una colomba bianca, a simboleggiare la sua purezza. Sullo sfondo è raffigurato quanto riporta il cartiglio posto alla sommità della tavola, ovvero gli accadimenti del 1524 occorsi al Pusterla, alleato di Francesco II Sforza che, caduto in mano alle truppe francesi, riesce a fuggire miracolosamente e portarsi in salvo con l’intercessione della Brugora. L’opera viene riferita a Luini grazie ad un documento di un autore anonimo redatto tra il 1627 e il 1638, stagione nella quale inizia il processo di beatificazione della monaca benedettina. In questa scrittura si cita esplicitamente l’esistenza del dipinto eseguito da "ab excellentissimo eorum temporum pictore Lovino", che raffigura la beata Brugora assieme alla raffigurazione del miracolo che la monaca fece al nobile milanese Giovanni Battista Pusterla. Il dipinto ritenuto originale dalla critica, ovvero quello sopraccitato, già presso il complesso di San Simpliciano è conservato dal 2012 nei locali della Facoltà di Teologia a Milano. Altre versioni ritenute di bottega si trovano presso Villa Cagnola-Fondazione Ambrosiana Paolo VI a Gazzada; una realizzata su tela è conservata nei depositi della Galleria d’arte Moderna di Milano (inventario 5259)
Bernardino Luini (Luini 1480/1485-1532 Lugano) The Nativity, with the Journey to Egypt beyond tempera and oil on panel 46 ¾ x 35 3/8 in. (118.7 x 89.8 cm.)
Follower of Bernardino Luini Salomé Antique wonderful miniature Dimensions: 13.5x22 cm. Provenance: Italian private collection. Condition Report: Good general conditions, normal signs of aging. __ My sales tags: Leonardo Da Vinci, Leonardeschi, Old Master, Giovan Pietro Rizzoli called Giampietrino, Bernardino Luini, Daniele Crespi, Andrea Solari, Giovanni Antonio Boltraffio, Francesco Melzi, Sofonisba Anguissola, Artemisia Gentileschi, Gian Giacomo Caprotti, Salaì, Cesare da Sesto, Perugino, Guercino, Carracci, Cagnacci, Quentin Massys, Carlo Dolci. Ecce Homo, Mona Lisa, St. John the Baptist, Italy, Florence, Florentine painting, Flemish painting, Renaissance, Italienischer Maler, Flämische Schule, Caravaggist, Niederländischer, Lombardischer, scuola veneta, Venetian school, Jusepe De Ribera, Jacopo Negretti detto Palma il Giovane, Simone Cantarini, Salvator Rosa, Rubens
BERNARDINO LUINI, workshop of (Dumenza 1481 - Milan 1532) PENITENT MARY MAGDALENE Oil on panel, cm. 71,5 x 52 PROVENANCE Collection of illustrious family, Livorno CONDITIONS OF THE PAINTING Spread restoration points on the ground, on the skin tones and on the drapery BERNARDINO LUINI, bottega di (Dumenza 1481 - Milano 1532) MARIA MADDALENA PENITENTE Olio su tavola, cm. 71,5 x 52 PROVENIENZA Collezione di illustre famiglia, Livorno CONDIZIONI DEL DIPINTO Punti di restauro sparsi sul fondo, sugli incarnati e sul pann
(Milano, 1480/85 - 1532) Madonna con il Bambino che scrive Olio su tela, cm 81,2X58,8 Le creazioni di Bernardino Luini furono esemplari per gli artisti lombardi, grazie ai suoi esiti figurativi controllati e semplici, orientati verso un classicismo misurato e affabile. Questa delicatezza sentimentale è frutto di una felice rilettura dell'arte centro-italiana e raffaellesca sedimentatasi sugli esempi del leonardismo milanese. Su questi presupposti non sorprende affatto che le sue composizioni a carattere devozionale furono considerate veri e propri modelli. Questa diffusione dei modelli e delle tipologie espressive del maestro milanese è ben individuabile nella tela in esame, specialmente se osserviamo il volto della Vergine.
LUINI, BERNARDINO (Dumenza vor 1482 - 1532 Milan) Three putti. Oil on panel. 60 x 75 cm. Provenance: - Christie's, London, 18.5.1990, Lot 45. - European private collection. Listed in the 1990s as the work of a follower of Bernardino Luinis, this work has been identified by Dr. Cristina Quattrini as clearly by the hand of Bernardino Luini, and will be included in the forthcoming catalogue raisonne. --------------- LUINI, BERNARDINO (Dumenza vor 1482 - 1532 Mailand) Drei Putti. Öl auf Holz. 60 x 75 cm. Provenienz: - Auktion Christie's, London, 18.5.1990, Los 45. - Europäische Privatsammlung. Diese Tafel mit drei Putti, die noch in den 1990er Jahren als die Arbeit eines Nachfolgers Bernardino Luinis bezeichnete wurde, identifiziert Dr. Cristina Quattrini eindeutig als eine eigenhändige Arbeit des Meisters und wird es in das zu erscheinende Werkverzeichnis von Bernardino Luini publizieren.
SEGNENDER CHRISTUS Öl auf Holz (leicht gewölbt). 75 x 52 cm. Zwei ehemalige Einschubleisten herausgenommen. Halbbildnis, frontal vor einem offenen Steinrahmen mit Wolkenhintergrund. Bei dem Gemälde dürfte das Selbstbildnis Albrecht Dürers nicht ohne Einfluss gewesen sein. Feinmalerei unter Verwendung des Sfumato-Effektes, jedoch mit klarer Konturabgrenzung in den ornamentalen Details, vor allem in den Bordüren des Kleides. (1070245) (10) North Italian School, ca. 1500 follower of Bernardino Luini (1480/1485 - 1532) or the Leonardo School CHRIST BLESSING Oil on panel (slightly warped). 75 x 52 cm. Two former slide-in slats removed.
LUINI, BERNARDINO (17TH CENTURY FOLLOWER) (Dumenza c. 1480 - 1532 Milan) The Madonna and Child with St. John. Oil on canvas. 42.3 x 34.4 cm. Provenance: Private collection, Switzerland --------------- LUINI, BERNARDINO (NACHFOLGER DES 17. JAHRHUNDERTS) (Dumenza um 1480 - 1532 Mailand) Maria mit Jesus und Johannes. Öl auf Leinwand. 42,3 x 34,4 cm. Provenienz: Schweizer Privatsammlung.
Maler der lombardischen Schule des 15./ 16. Jahrhunderts aus dem Umkreis von Bernardino Luini, um 1480/85 Runo – 1532 Mailand BILDNIS EINES KNABEN MIT ROTER KAPPE Öl auf Weichholz. Parkettiert. 26 x 19 cm. Brustbild nach rechts, der Knabe in schulterlangem, blond-braunem gewellten Haar, über dem eine rote seitlich hochgezogene Kappe liegt, die dem Rot der Kopfbedeckung entspricht. Der Blick gilt dem Betrachter, die Gesichtszüge mild und anmutig mit leichtem Sfumato. Dem Bildnis jegliche Art von Härte genommen, auch durch den beigefarbenen, zum Inkarnat korrespondierenden Hintergrund. Einige alte Retuschen. (1061411) (11) Lombard School, 15th/ 16th century from the circle of Bernardino Luini ca. 1480/85 Runo – 1532 Milan PORTRAIT OF A BOY WITH RED CAP Oil on softwood. Parquetted. 26 x 19 cm. With some old retouching.
Bernardino Luini, um 1480/85 – 1532, Kreis HEILIGE KATHARINA Öl auf Holz. Parkettiert. Ca. 75 x 68 cm. Die Heilige Katharina im Halbfigurenbildnis, an einem Tisch sitzend und in einem Buch lesend, wiedergegeben. Begleitet von zwei Putti, der eine die Märtyrerpalme, der andere das Rad, ihr Marterwerkzeug, haltend. Die edlen ruhigen Züge der Märtyrerin sowie das weiche Sfumato im Inkarnat deuten auf einen Maler aus dem Kreise des Bernardino Luini hin. Das vorliegende Gemälde entstand nach seiner "Heiligen Katharina" von 1527/31 (Eremitage, Sankt Petersburg). (10611317) (2) (12) Bernardino Luini, ca. 1480/85 - 1532, circle SAINT CATHERINE Oil on panel. Parquetted. ca. 75 x 68 cm.
nach. Die hl. Katharina von Alexandria. Öl auf Leinwand, doubliert. 55 x 45,5 cm. Wohl 16. Jh. Das Gemälde zeigt die in der katholischen Kirche als Märtyrerin hochverehrte Katharina von Alexandria, die zu den sogenannten Virgines capitales, den vier großen heiligen Jungfrauen gehört. Das in brillanten Farben ausgeführte Werk folgt einer Erfindung Bernardino Luinis, dem wohl bedeutendsten Künstler aus der Nachfolge Leonardos. Von Luinis Komposition existieren zwei eigenhändige Versionen in der Sammlung der Queen Elizabeth II. in Buckingham Palace, London, sowie im Statens Museum for Kunst, Kopenhagen. Den Erfolg dieser Darstellungen belegen ferner eine Anzahl von Wiederholungen teils namhafter Künstler im Museum der Schönen Künste, Budapest, der Cremer Sammlung, Dortmund, der Pinacoteca Comunale, Forli, im Museum in Le Mans, der Borromeo Sammlung, Mailand, dem Pushkin Museum, Moskau, der Galleria Borghese, Rom, sowie ehemals im Kunsthandel Robert Simon Fine Arts, New York (von der Hand Sassoferratos). - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
PORTRAIT OF THE HOLY FAMILY IN THE MANNER OF BERNARDINO LUINI (ITALIAN, 1480-1531). Oil on board, unsigned. Depicts the holy family in a warm embrace. 36'h. 35.5'w., in a molded frame, 48.5'h. 44.75'w.
MADONNA MIT KIND UND JOHANNESKNABEN Öl auf Pappelholz. 44,7 x 34,8 cm. Auf der Rückseite befindet sich ein Zollsiegel mit dem kaiserlich österreichischen Wappen. Dem Gemälde liegt eine Pigmentanalyse von Prof. Manfred Schreiner, Akademie der Bildenden Künste, Wien, vom Dezember 2015 vor, die das Alter des Gemäldes bestätigt. Dem Gemälde liegt zudem eine technische Analyse des wissenschaftlichen Labors des Museo d’Arte e Scienza in Mailand bei. Das Alter des Pappelholzes wird hier auf 450 bis 530 Jahren bestimmt. Dieses schöne Werk hat starke Anklänge an Leonardo, so dass man davon ausgehen kann, dass es sich hier um ein Gemälde aus der Lombardei handeln dürfte, das wahrscheinlich zwischen der zweiten und vierten Dekade des 16. Jahrhunderts entstand. Eindeutig kannte der Maler die Mailänder Meisterwerke von da Vinci wie die beiden Versionen der Vergine delle rocce (Paris, Louvre; London, National Gallery). Inspiriert wurde er jedoch mit Sicherheit von Bernardino Luini, dessen Anhänger der Autor ganz eindeutig war. Die Ähnlichkeiten mit Werken dieses großen lombardischen Meisters wie die „Sacra Famiglia con Sant’Anna e san Giovannino“ (Pinacoteca Ambrosiana, Mailand) - ein Gemälde, die Luinis Abhängigkeit von Leonardo mehr als deutlich macht - der Mittelgruppe der „Vergine col Bambino in trono, tra angeli, santi e Dio Padre“ in der Kirche San Salvatore e Magno in Legnano (Mailand) und der Madonna col Bambino im Istituto Piccolo Cottolegno Don Orione in Mailand. Allerdings ist auch nicht auszuschließen, dass es sich bei unserem Werk um eine Kopie aus den Werkstätten nach einem heute verschollenem Original von Luini handeln könnte. (1031671) (21) Bernardino Luini 1481/1482 Dumenza - 1532 Milan, circle of The Virgin Mary and Christ Child with the Young Saint John the Baptist Oil on poplar panel. 44.7 x 34.8 cm. Accompanied by a pigment analysis by Prof. Manfred Schreiner, Vienna. Furthermore a technical analysis of the laboratory of the Museo d’Arte e Scienza, Milan, dated 18 October 2013. Customs seal with the imperial coat of arms of Austria on the reverse. Accompanied by a technical analysis of the scientific laboratory of the Museo d’Arte e Scienza in Milan. This confirms the poplar wood to be 450 to 530 years old. This beautiful work shows strong similarities with Leonardo da Vinci, suggesting that the painting probably originates from Lombardy and was probably created between the second and fourth decade of the 16th century. It is obvious that the painter knew the Milan masterpieces of da Vinci, such as the two versions of the Vergine delle rocce (Paris, Louvre; London, National Gallery). He was certainly also inspired by Bernardino Luini and it is obvious that the creator of this work was one of his followers. The similarities with works by the great Lombardic master Luini, such as the Sacra Famiglia con Sant’Anna e san Giovannino (Pinacoteca Ambrosiana, Milan) - a painting that clearly also shows Luini’s dependence on Leonardo - the central group of the Vergine col Bambino in trono, tra angeli, santi e Dio Padre in the San Salvatore e Magno church in Legnano (Milan) and the Madonna col Bambino at the Istituto Piccolo Cottolegno Don Orione in Milan. It can, however also not be ruled out that our painting possibly is a workshop copy after an original by Luini that is lost today.
PORTRAIT OF THE HOLY FAMILY IN THE MANNER OF BERNARDINO LUINI (ITALIAN, 1480-1531). Oil on board, unsigned. Depicts the holy family in a warm embrace. 36"h. 35.5"w., in a molded frame, 48.5"h. 44.75"w.
Papier mâché, black lacquer ground with polychrome oil painting after Bernardino Luini (1480-1532) Brunswick, first third of the 19th century Presumably Stobwasser Factory (1740-1863) - Manufacturer for lacquer goods On the inside of the lid titled by hand in red 'Christus in templo docens. - / Luini. - '(Christ teaching in the Tempel) Round box with the portrait of Christ in a red robe decorated with precious stones Diameter: 9.5 cm Very good condition A tobacco box of excellent quality with a religious theme The fine box, presumably made by the Stobwasser manufactory, depicts the portrait of Christ after a painting by Bernardino Luini titled 'Christ among the Doctors' and now at the National Gallery in London (inventory number NG18). With this example the background has been abstracted, putting the focus on the high-quality portrait painting. Comparable pieces are listed in Richter's online catalog raisonné of Brunswick lacquer ware. Literature: cf. Detlev Richter, Lackdosen, München 1988, p. 95, fig. 90 The tobacco box is titled by hand in red 'Christus in templo docens. - / Luini. - ' on the inside of the lid. It is in very good condition with light signs of age and wear. There is light craquelure to the surface of the lid with a small white paint stain to the face of the figure. The diameter is 9.5 cm. Stobwasser Factory (1740-1863) The manufactory Stobwasser was established in 1740 by Georg Siegmund Eustachius Stobwasser. Georg Stobwasser started trading haberdashery; the trading of lacquered goods was introduced by his son Johann Heinrich Stobwasser in 1757. In the 1760s the Bayreuth margrave Friedrich III commissioned a large number of lacquered boxes as well as drinking vessels and cups. In 1762 the entire Stobwasser family moved to Brunswick on the wish of the Duke Carl I., who promised them some money for production, citizenship as well as free accommodation. After having a few difficulties, business soon picked up and the repertoire of lacquered goods extended. Shell pouches, drinking vessels, snuff boxes and even furniture was part of their range. In 1768 Stobwasser was commissioned to lacquer the state carriage of Friedrich the Great. Thereon the company gained the sole privilege of calling their goods 'Brunswick lacquer ware'. The products were laboriously crafted from papier mâché, wood and rolled tin plate and iron sheet. To guarantee the high quality of the décor Stobwasser opened its own painting school in 1780 run by the renowned Brunswick artist Pascha Johann Friedrich Weitsch (1723-1803). (tfa) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
Bernardino Luino (b. 1951): The Box and the Colors Oil on canvas, 1976, signed 'Luino' lower center, signed, dated and inscribed 'Livorno' on the reverse. 19 5/8 x 19 in., 26 1/4 x 25 3/4 in. (frame). Literature: Architectural Digest, March 1986, "Fassaden unserer Wirklichkeit," illustrated p. 12. Provenance: Gallery Henoch, New York, NY. Property Removed from Brookbound
AFTER BERNARDINO LUINI (italian 1475-1532) "VANITY AND MODESTY" Oil on canvas 27 7/8 x 30 7/8 in. (70.8 x 78.4cm) provenance: Private Collection, Delaware.
Circle of Bernardino Luini (Italian, 1475-1532) The Madonna and Child, with the Christ Child Holding an Apple and a Flower oil on panel h:33 w: 24 cm Provenance: Richmond Powell, Old Dover House, Canterbury, Kent, by the mid 19th Century, and by descent. Other Notes: The colours, the sentiments of the figures and the powerful influence of Leonardo suggest a follower of the work of Bernardino Luini, a Milanese follower of Leonardo. The prime version of this subject may be lost or in a private collection. The apple held in the hand of the Christ Child is traditionally the fruit of the Tree of Knowledge, and therefore alludes to him as the future Redeemer of mankind from Original Sin.
Luini, Bernardino 1480/85 Luini (?) - 1532 Milan (?) - follower Maria with the Young Jesus and John the Baptist. Oil on wood. 92 x 115cm. Framed. Verso: Old inventory numbers and a collector's mark. German Text Luini, Bernardino 1480/85 Luini (?) - 1532 Mailand (?) - Nachfolge Maria mit den Christus- und Johannesknaben. Öl auf Holz. 92 x 115cm. Rahmen. Rückseitig: Auf der Tafel alte Inventarnummern sowie Sammlungszeichen.
