MARSEILLE, CIRCA 1500 - Lot 43

Lot 43
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Estimation :
10000 - 15000 EUR
MARSEILLE, CIRCA 1500 - Lot 43
MARSEILLE, CIRCA 1500 A holy bishop appearing in a dream to a pope Pine panel (three boards, reinforced) 52.5 x 49 cm - 20 11/16 x 19 5/16 in. A holy bishop appearing in a dream to a pope, pine panel PROVENANCE: Collection of Count Pierre de Demandolx-Dedons (1866-1955); then by descent to the present day. EXHIBITIONS Marseille Colonial Exhibition April 16 - November 19, 1922. L'Exposition des Primitifs méditerranéens, Bordeaux, May 15 - July 15, 1952. BIBLIOGRAPHY: Léon Honoré de LABANDE, Les primitifs français. Peintres et peintres-verriers de la Provence occidentale, Marseille, 1932, pp. 187-188, pl. 73 (dated 1490-1500, Catalan influences are noted and the work is linked to the "Midi de la France"). Charles STERLING, La peinture française: les peintures du Moyen Age, Paris, 1941, Répertoire A, p. 18, no. 28 as attributed to a Spanish painter, perhaps active in Provence in the mid-15th century. Roland CATY, Elisabeth MOGNETTI, "Une collection de peintures du Moyen Age et de la Renaissance à Marseille dans la première moitié du XXe siècle", in Mécènes et collectionneurs : Lyon et le Midi de la France, actes du colloque (Nice, 26-31 octobre 1996), Paris, 1999, p. 195-223, part. p. 203 (reprinted and completed by E. Mognetti, Une collection de peintures du Moyen Age et de la Renaissance à Marseille dans la première moitié du XXe siècle). Mognetti, Une collection de peintures du Moyen Age et de la Renaissance à Marseille dans la première moitié du XXe siècle, January 24, 2013, p. 12 [ill. NB] (Online: accessed February 21, 2023) as "Saint Nicolas apparaissant en songe à l'Empereur Constantin" and attributed to the 15th-century Valencian school. The subject of this composition remains a mystery for the time being. The panel shows a holy bishop appearing in a dream to a pope. It would have belonged to the predella of an altarpiece dedicated to this saintly bishop, but remains isolated for the time being. It was probably produced in the South of France around 1500 rather than in Spain, perhaps in Marseille itself, where this type of archaic, graphic language would be represented by painters such as Antoine Ronzen (14..-1525?). We would like to thank Professor Frédéric Elsig (University of Geneva) for his kind and invaluable help in attributing the work, compiling its bibliography and writing the notice.
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