Null NOT COMING. Four PANELS
Grisaille

Description

NOT COMING. Four PANELS Grisaille

222

NOT COMING. Four PANELS Grisaille

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Estim. 900 - 1 000 EUR

Russian icon from the Old Believers' Workshops, 19th century. "The Virgin of Burning Bush". Tempera on panel. It presents losses in the pictorial layer. Measures: 31,5 x 26,5 cm. The Virgin of the Burning Bush is one of the most complex and symbolic Marian icons in Orthodox iconography. It alludes to the homonymous passage of the Old Testament. At the symbolic level it develops different facets of Christian worship related to the appearance of Christ, based on the Old Testament stories. This Old Testament Epiphany was commemorated with the creation of a chapel in honor of the Burning Bush, which was built behind the altar of the Cathedral of the Monastery of St. Catherine, at the foot of Mount Sinai. The iconography is known from proto-Christian times, when the Praying Virgin, or in some cases the Odigidria, was depicted enclosed in the Burning Bush, together with Moses contemplating her on his knees. In the middle of the 16th century, coinciding with the rule of Ivan the Terrible, the icon of the Virgin of the Burning Bush changed its appearance, enriched with symbols and allegories. In those times Old Russia was experiencing a significant expansion of the territory towards Siberia, Astrakhan and Kazan. Russia has become the most important Orthodox center in the world. Likewise, the Virgin and the Burning Bush came to be represented half-length, holding the Child Jesus in her arms, within a bicolor eight-pointed star, which is composed of two rectangles, red, symbol of the Burning Bush, and green, which in some cases can be emerald-green, as in the case of the icon auctioned, symbolizes the growing bush. In the corners of the green rectangle we find the angels, protectors of the Virgin, and on the green clouds rest the elements of nature. In the corners of the red rectangle are the tetramorphs, and in the red clouds the corresponding evangelists. In the corners of the icon rest four independent miniatures, alluding to different prophets, which in turn enrich and complete the Epiphany. Variations can be found. In the case of the icon of interest, these are Moses, in the upper left corner, prophet Isaiah, in the upper right corner, Ezekiel, in the lower right corner, and, finally, Jacob's ladder, in the lower left corner. On the sides there are abundant inscriptions, which accompany the visual iconography, explaining each scene. This interest in explaining biblical scenes by means of inscriptions developed in Moscow around the middle of the 16th century in intellectual ecclesiastical circles and became very popular in the iconography of the Old Believers. Another more obvious symbol, which indicates that this icon belongs to the workshops of the Old Believers, is the blessing with two fingers.

Estim. 100 - 150 EUR

Jean AJALBERT (1863-1947). L.S. and L.A.S., Laubade par Sorbets September 1930, to Louis Anquetin; 13pages in-8, vignettes and letterhead, envelope. About tapestry commissions by the Manufacture de Beauvais to Anquetin. [Beauvais (of which Ajalbert was director) had ordered a series of four tapestries from Anquetin, inspired by the Great War, of which he was only able to produce the first two cartoons: Le Départ ou la Mobilisation (delivered in January 1926) and Le Retour (delivered in September 1919)] September 8. Ajalbert responds point by point to Anquetin's recriminations. "As a thank-you, I'm looking forward to being shouted at. I'm used to it. When I came to you in 1917 and, after much effort, finally got the order, I can see myself climbing your stairs. You hadn't done anything for a long time. I was hoping for a flash of joy. The only thanks I got was: "Oh, the bastards, it took them a long time to make up their minds. That was all. No doubt you don't owe the State any gratitude. But I thought I'd obliged you. And even if I was wrong, you couldn't make me feel that strongly. I swallowed my sensitivities and gave my all to the realization of your work. If it remains incomplete, with two panels - and if you haven't done all four, is it my fault? What a lot of useless steps, trying to get the brush back in your hand!"... Etc. - September 25th. After new and lengthy explanations, Ajalbert concludes: "In the end, would you please tell me that this discussion has no bearing on our friendship. If there were no admiration and friendship on my part, I would not have been moved by your complaints, which were painful to me, treating me like a careless, forgetful bureaucrat, or one acting in bad faith!"... Attached is the autograph draft of Anquetin's reply to the first letter (3p. in-fol. in pencil), responding to Ajalbert's reproaches: "And on top of that you accuse me of being a proud man, a man of money - and of having made you cash in on my bad temper for twelve years"....

Estim. 15 000 - 20 000 EUR

PAIR OF 18th CENTURY PLAQUES Attributed to Enrico Hugford (1695-1771) In scagliola on a slate background, depicting harbor views animated by architecture, in later gilded wood frames, red wax armorial stamps damaged on reverse. Marks (on one): the inscription "salottino vicino al salone N°4", and "(...)ford", a printed label numbered "100". Marks on reverse (on the other): inscription "salottino piccolo vicino al salone N°3". Dimensions (unframed):17.5 x 48.5 cm (6 ¾ x 19 in.) Provenance: Former Azzoni collection, Siena. A pair of 18th century scagliola plaques, attributed to Enrico Hugford (1695-1771) This pair of plates can be attributed to Enrico Hugford (1695-1771), one of the most talented masters of scagliola in the 18th century. Born of English parents who moved to Italy around 1686 and entered the service of Grand Duke Cosimo III de Medici, Enrico Hugford (1695-1771) and his brother Ignazio (1703-1778) were important figures in mid-eighteenth-century Florence. Enrico entered the Vallombrosa Abbey in 1711 as a monk. Trained in the art of scagliole by the monks of the Abbey of Santa Reparata in Marradi, he returned to Vallombrosa, where his talent was soon appreciated and recognized. Enrico Hugford played a fundamental innovative role in the art of scagliole. Thanks to his refined technique, he achieved extreme precision. His subjects included landscapes, sea and river views with architecture and figures (cfr. A.M. Massinelli, Scagliola:l'arte della pietra di luna, Rome, 1997, pp.28-32), flowers, animals, genre scenes, portraits and stories of saints. His elegant views draw on the repertoire of 18th-century Veduism, to which he had access through the graphic works preserved in the library of the Vallombrosa monastery and among the drawings and paintings collected and marketed by his brother. Indeed, it is well known that his brother Ignazio, a passionate collector, dealer, restorer and eminent figure in 18th-century Florence, succeeded in promoting and distributing Enrico's scaglioles, particularly in the Tuscan capital. The spread of his work was also made possible by the visit of English and other Europeans to the Vallombrosa monastery on their Grand Tour. Immediately after his death in 1771, Hugford's works became sought-after collectors' items: one of his sea views was offered to Pope Clement XIV by Monsignor Cesare Massa Salazzo of Tortona and placed in the Vatican Museums. The Grand Duke of Tuscany, Pietro Leopoldo, also purchased four landscapes for the Uffizi Gallery in 1779, through the then director Giuseppe Pelli Bencivenni, from the heirs of his brother Ignazio. An aristocratic Sienese provenance On the backs of the panel frames are two fragmentary red wax stamps, which, when reconstituted, reveal the coat of arms of the Azzoni family of Siena. The ancestors of this illustrious family were Azzone di Tocchi and Pietro di Ghino, who gave rise to the Ghinazzoni branch. The presence of the Azzonis is attested as early as the 14th century in Monticiano, in the territory of Siena, where they had developed a profitable iron mining and steelmaking business. In 1380, they financed the construction of the façade of the Augustinian convent church in Monticiano, and lived in a palace in the town's main square. We would like to thank Dr. Anna Maria Massinelli for her research, which enabled us to write this note. This pair of plates can be attributed to Enrico Hugford (1695-1771), one of the most talented masters in the art of scagliole in the 18th century. Born of English parents who moved to Italy around 1686 and entered the service of Grand Duke Cosimo III de Medici, Enrico Hugford (1695-1771) and his brother Ignazio (1703-1778) were important figures in mid-eighteenth-century Florence. Enrico entered the Vallombrosa Abbey in 1711 as a monk. Trained in the art of scagliole by the monks of the Abbey of Santa Reparata in Marradi, he returned to Vallombrosa, where his talent was soon appreciated and recognized. Enrico Hugford played a fundamental innovative role in the art of scagliole. Thanks to his refined technique, he achieved extreme precision. He treated a wide range of subjects, including landscapes, sea and river views with architecture and figures (cfr. A.M. Massinelli, Scagliola:l'arte della pietra di luna, Rome, 1997, pp.28-32), flowers, animals, genre scenes, poetry (cfr. A.M. Massinelli, Scagliola:l'arte della pietra di luna, Rome, 1997, pp.28-32).

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