Lot 10

Three Maries and the Fiery Angel at the Tomb, an exceptionally large historiated initial from an illuminated choir book, manuscript on vellum [Italy (Bologna), c.1310]

Estimate

12,000 - 18,000 GBP

bidding is closed

Description

Vellum

a cutting, 244mm. by 162mm., with a large initial 'A' in soft blues, greens and flesh pink with large acanthus-leaves and foliage, enclosing in its lower compartment the angel seated on the lid of the empty tomb as the three Maries enquire about the whereabouts of Christ's body, all with burnished gold haloes, all on vivid blue background with white tracery, 3 lines of text with music on 4-line red stave on verso, scuffing to edges, some damage to gold, a smudge to part of angel's face and a scratch to upper part of initial, overall in good condition, laid down in a card mount

Provenance

Provenance: Christie's, 16 May 1986, lot 213.

Literature

Exhibited, Nasher Museum, Sacred Beauty, 2009, plate on front cover.

Catalogue Note

This great initial 'A', as large as a small panel painting, doubtless illustrated the opening antiphon 'Alleluia' at Compline on Easter day; the text on the verso is from the antiphon which follows it, "[Ego dormivi et somnum coepi et re]surrexi q[uia domi]nus susce[pit me], alleluia". The monumental painting is attributable to the celebrated Bolognese illuminator Nerio da Bologna, with his distinctive deep olive-greens, pale pea green and chocolate brown, and the shadowed features and strong brow-ridges of the figures. For Nerio, see A. Conti, La miniatura bolognese, 1981, pp.63-5, and M. Medica in Bollati, Dizionario biografico dei miniatori italiani, 2004, pp.820-21. Close comparison can be made with two other cuttings, one in the New York, Metropolitan Museum of Art, Rogers Fund, 1912, 12.56.1, and the other in Munich, Staatliche Graphische Sammlung, 40096 Z (both reproduced Boehm, Choirs of Angels, 2008, p.37). The dark terracotta-red skin and the white robes of the angel echo the corresponding text of Matthew 28:3, 'His countenance was like lightning, and his raiment white as snow', and reflect the Byzantine influence in early Bolognese illumination.