The Ascension of Christ in a large initial on a leaf from an illuminated manuscript choirbook on parchment [Italy (Bologna), first half of fourteenth century] Single large leaf, with a large initial 'P' (opening "Post passionem suam ...", the second responsory of the first nocturn on the feast of the Ascension), in soft white, with coloured acanthus leaves and baubles at its midpoints and extremities, all on dark blue and light brown grounds heightened with white penwork, enclosing a scene of male figures, both bearded and clean shaven, with gold haloes and wearing robes and gazing up as Christ disappears into the clouds above (just his feet visible here), the initial extending into 3 margins with luscious coloured acanthus leaves and large simple bezants (one curl of foliage infilled with light brown grounds and white openwork), one red initial with contrasting penwork, red rubrics, 6 lines of rounded text with music on a 4-line red stave (rastrum: 31mm.), some small chips to paint and ink flaking from text in places on reverse, marks to edges of reverse from last framing, a little discoloured overall, else in good condition, 540 by 360mm.; in card mount This leaf is in the style of the B18 Master (formerly named the Second Master of San Domenico), and has his distinctive squat human figures with flatly modelled features formed from broad strokes of colour. He was the driving force behind a large series of choirbooks produced between 1307 and 1324/26 for the Dominican church of San Domenico, Bologna (see G. Freuler, The McCarthy Collection I, Italian and Byzantine Miniatures , 2018, no. 32). However, this leaf is more probably attributable to an associate of his, as it is almost certainly from another dispersed series of antiphonaries from the workshop of the B18 Master, produced at the same time as the producers of the San Domenico choirbooks, partly by the same team of artists, and often sharing the same scheme of illumination. The surviving leaves from this second series have been recorded and discussed by Freuler in The McCarthy Collection , no. 33 (but without the present leaf). There he suggests that they may have been produced for a female Dominican convent, probably those of San Giovanni Battista in Bologna.
The Ascension of Christ in a large initial on a leaf from an illuminated manuscript choirbook on parchment [Italy (Bologna), first half of fourteenth century] Single large leaf, with a large initial 'P' (opening "Post passionem suam ...", the second responsory of the first nocturn on the feast of the Ascension), in soft white, with coloured acanthus leaves and baubles at its midpoints and extremities, all on dark blue and light brown grounds heightened with white penwork, enclosing a scene of male figures, both bearded and clean shaven, with gold haloes and wearing robes and gazing up as Christ disappears into the clouds above (just his feet visible here), the initial extending into 3 margins with luscious coloured acanthus leaves and large simple bezants (one curl of foliage infilled with light brown grounds and white openwork), one red initial with contrasting penwork, red rubrics, 6 lines of rounded text with music on a 4-line red stave (rastrum: 31mm.), some small chips to paint and ink flaking from text in places on reverse, marks to edges of reverse from last framing, a little discoloured overall, else in good condition, 540 by 360mm.; in card mount This leaf is in the style of the B18 Master (formerly named the Second Master of San Domenico), and has his distinctive squat human figures with flatly modelled features formed from broad strokes of colour. He was the driving force behind a large series of choirbooks produced between 1307 and 1324/26 for the Dominican church of San Domenico, Bologna (see G. Freuler, The McCarthy Collection I, Italian and Byzantine Miniatures , 2018, no. 32). However, this leaf is more probably attributable to an associate of his, as it is almost certainly from another dispersed series of antiphonaries from the workshop of the B18 Master, produced at the same time as the producers of the San Domenico choirbooks, partly by the same team of artists, and often sharing the same scheme of illumination. The surviving leaves from this second series have been recorded and discussed by Freuler in The McCarthy Collection , no. 33 (but without the present leaf). There he suggests that they may have been produced for a female Dominican convent, probably those of San Giovanni Battista in Bologna.
.jpg "Quelle: Christie's")
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.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
