Null Francesco Manno
Glory with the Trinity and Saints (recto); and architectura…

Description

Francesco Manno Glory with the Trinity and Saints (recto); and architectural studies (verso) pen and brown ink on paper 256 x 168 mm collector's mark with unidentified leaf in the lower right corner (Lugt 3539) PROVENANCEGiancarlo Sestieri Collection, Rome.

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Francesco Manno Glory with the Trinity and Saints (recto); and architectural studies (verso) pen and brown ink on paper 256 x 168 mm collector's mark with unidentified leaf in the lower right corner (Lugt 3539) PROVENANCEGiancarlo Sestieri Collection, Rome.

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Estim. 10 000 - 12 000 EUR

LIBERI, Peter. Venus, nymphs and putti. Eternal Father with little angels. Drawings.1605 - 1687 Two drawings on a sheet of mm. 286x332. Sanguine pastel. Strong laid ivory paper. "Three crescent moons" watermark. Collection stamp. Good condition. These are two important preparatory drawings: on the recto the Venus with cherubs, in shaded bleeding, is a theme that Liberi frequents in different ways and that he uses for refined oil paintings; to the Eternal Father, in perspective from below, is a study for the altarpiece of the Salute church in Venice, and allows us to date the sheet, certainly before 1656. Crispo: "The growing success of Liberi's manner, with his careful blend of Baroque language and cultured quotations from the Venetian tradition, persuaded the Provveditori above the votive temple of the Salute to commission him the altarpiece with suppliant Venice and Saint Anthony of Padua who intercedes at the Trinity for the cessation of the siege of Candia, 1652- 1656, in which Liberi takes up the monumental staging and the lightened palette of Veronese. " Alberto Crispo, DBI, 65, 2005. See Stefania Mason Rinaldi, file a239, in Venice and the defense of the Levant. From Lepanto to Candia 1570-1670, exhibition catalog, Venice 1986, pp. 155-156. For the watermark: Briquet, II, pp. 314-25. Provenance: unidentified collection stamp.

Estim. 4 000 - 5 000 EUR

MASUCCI, Augustine. Enthroned Madonna with Child and Two Saints. Bucolic scene. Drawings. 1691-1758 Sheet of mm. 289x213. Two drawings, front and back, in sanguine. Good conditions. The sacred image is depicted within an oval: the two saints seem to be Saint Anthony and Saint Bartholomew, with their attributes, the lily and the knife. In the pastoral scene, full page, a seated young man and a girl converse in a rural setting: in the foreground, at the boy's feet, a crouched dog. The Roman painter Agostino Masucci, a pupil of Carlo Maratta, was a friend of Filippo Juvarra and Luigi Vanvitelli and obtained important commissions both in Rome and in various Italian and European courts. Especially in the second drawing the Arcadian academicism typical of 18th century Roman painting is expressed.

Estim. 4 000 - 4 500 EUR

CASOLANI, Alexander. Coronation of the Virgin with Angels and Cherubs. 1552 - 1607 Watercolor drawing on paper. 444x325 mm. Black pen and monochrome watercolor on hazelnut tones. reinforced. Good conditions. Grand and complex representation, with the Holy Trinity crowning the Virgin, venerated by two kneeling cherubs. In the foreground, on the sides, two musical angels with lute and harp. The central scene is framed by a crowd of angels and cherubs emerging from the clouds. The Sienese painter, influenced by Barocci and Veronese, was an eminent representative of the mannerism of the late sixteenth century.

Estim. 5 000 - 8 000 EUR

century]. Interesting large fragment of an antiphonary from the French-Italian area, illustrated with 56 large illuminated initials and numerous minor initials. The work opens with the Introitus and closes with the Ascension Responsory (Ascendens in altum... psalm 67). The chants are in consecution and follow the numbering: 1 ; 4, 6 (missing 5) with modern pencil numbering, 7 ; 166 (missing 65) with ancient numbering on the verso, 167-175 modern pencil numbering. The ancient numbering in Latin follows the following scheme: II-XC, XI to the recto C to the verso, I to the recto C to the verso, II; LVIII, XIX and C to the verso, LXXX to the recto C to the verso, LXXIX, LXXVIII LXXVII, in descending order to LXXI. Folio, vellum manuscript, (525 x 370mm). 173 (of 175?) leaves 3 later leaves added, 56 large illuminated initials, numerous minor initials, text in black and incipt in red, 7 lines of text, 4-line neugmatic notation (some woodworm paths at first and last leaves). Unbound, leaves loose without gatherings, without binding, contained within a 20th century morocco case. Provenance: on spine stated as 'Ligurian antiphonary'. (1)

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