KING DAVID PLAYING THE VIOL and KING DAVID INDICATING, two historiated initials cut from a Choir Psalter, ILLUMINATED MANUSCRIPT ON VELLUM [northern Italy, probably Ferrara or Emilia, c.1475-85] 123 x 124mm. King David in half-length, dressed in a yellow-lined pink mantle and green robe, bowing a viol, with his eyes raised towards a radiance to the right, is silhouetted against a blue sky and scudding, rolling clouds in the infill of an initial 'E' with staves of blue, an inner frame of yellow and scrolling leaves of pink, blue and green, all against a ground of burnished gold (slight cracking in the gold, a few tiny pigment losses). Framed. 120 x 121mm. King David in half-length pointing to his mouth with his left hand, dressed in a blue mantle and a rose robe, a landscape with trees and distant mountains behind him in the infill of a rose initial 'D' with white hairline decoration, an inner frame of ochre and leaves of green, blue, orange and rose, all against a ground of burnished gold (cracking of the gold, slight repaint of mantle and on sleeve of robe). Framed These initials would have opened Psalm 80 E[xultate Deo] and Psalm 52 D[ixit insipiens] in a Choir or liturgical Psalter. The crisp definition of the foliage, clouds and the drapery folds of these handsome initials recalls the style of the illuminators working for the d'Este court in Ferrara in the second half of the 15th century. The delicacy and precision of handling of David in the inital E is worthy of the finest of these artists and is especially evocative of the work of Martino da Modena in the Gradual (Gradual I; Bologna, San Petronio) for which he was paid in 1478: M. Levi d'Ancona in Illuminations in the Robert Lehman Collection , (New York 1997) pp.188, fig.26.2. Martino is presumed to be the son of the illuminator Giorgio d'Alemagna and his style reveals the influence of Guglielmo Giraldi with whom he and his father collaborated on many undertakings. he worked on several series of choirbooks for in Emilia in the 1470s and 80s: La miniatura a Ferrara dal tempo di Cosm Tura all'Eredita di Ercole de' Roberti , ed. F. Toniolo (Ferrara 1998), pp.236-247 & 275-279. (2)
KING DAVID PLAYING THE VIOL and KING DAVID INDICATING, two historiated initials cut from a Choir Psalter, ILLUMINATED MANUSCRIPT ON VELLUM [northern Italy, probably Ferrara or Emilia, c.1475-85] 123 x 124mm. King David in half-length, dressed in a yellow-lined pink mantle and green robe, bowing a viol, with his eyes raised towards a radiance to the right, is silhouetted against a blue sky and scudding, rolling clouds in the infill of an initial 'E' with staves of blue, an inner frame of yellow and scrolling leaves of pink, blue and green, all against a ground of burnished gold (slight cracking in the gold, a few tiny pigment losses). Framed. 120 x 121mm. King David in half-length pointing to his mouth with his left hand, dressed in a blue mantle and a rose robe, a landscape with trees and distant mountains behind him in the infill of a rose initial 'D' with white hairline decoration, an inner frame of ochre and leaves of green, blue, orange and rose, all against a ground of burnished gold (cracking of the gold, slight repaint of mantle and on sleeve of robe). Framed These initials would have opened Psalm 80 E[xultate Deo] and Psalm 52 D[ixit insipiens] in a Choir or liturgical Psalter. The crisp definition of the foliage, clouds and the drapery folds of these handsome initials recalls the style of the illuminators working for the d'Este court in Ferrara in the second half of the 15th century. The delicacy and precision of handling of David in the inital E is worthy of the finest of these artists and is especially evocative of the work of Martino da Modena in the Gradual (Gradual I; Bologna, San Petronio) for which he was paid in 1478: M. Levi d'Ancona in Illuminations in the Robert Lehman Collection , (New York 1997) pp.188, fig.26.2. Martino is presumed to be the son of the illuminator Giorgio d'Alemagna and his style reveals the influence of Guglielmo Giraldi with whom he and his father collaborated on many undertakings. he worked on several series of choirbooks for in Emilia in the 1470s and 80s: La miniatura a Ferrara dal tempo di Cosm Tura all'Eredita di Ercole de' Roberti , ed. F. Toniolo (Ferrara 1998), pp.236-247 & 275-279. (2)
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.jpg "Quelle: Christie's")
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