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Auktionsarchiv: Los-Nr. 4

VIRGILIUS MARO, Publius (70-19 BCE). Eclogues, Georgics, Aeneid , in Latin, ILLUMINATED MANUSCRIPT ON VELLUM

Auction 13.06.2002
13.06.2002
Schätzpreis
500.000 £ - 800.000 £
ca. 741.710 $ - 1.186.736 $
Zuschlagspreis:
1.326.650 £
ca. 1.967.980 $
Auktionsarchiv: Los-Nr. 4

VIRGILIUS MARO, Publius (70-19 BCE). Eclogues, Georgics, Aeneid , in Latin, ILLUMINATED MANUSCRIPT ON VELLUM

Auction 13.06.2002
13.06.2002
Schätzpreis
500.000 £ - 800.000 £
ca. 741.710 $ - 1.186.736 $
Zuschlagspreis:
1.326.650 £
ca. 1.967.980 $
Beschreibung:

VIRGILIUS MARO, Publius (70-19 BCE). Eclogues, Georgics, Aeneid , in Latin, ILLUMINATED MANUSCRIPT ON VELLUM [?Rome and Florence, 1460s] 285 x 192mm. 218 leaves: 1-2 1 0, 8 8, 4-22 1 0, COMPLETE, remains of signature marks, letter followed by arabic numeral, in outer lower corners of some folios, later quire letters A-X on final versos, 31 lines written in brown ink in an upright humanistic hand on 31 horizontals ruled in grey ink and between two pairs of verticals ruled in brown, justification: 182 x 92mm, pin-prick from ruling device at bottom right of text, rubrics in pink capitals, FIVE ILLUMINATED INITIALS three- to five-lines high of burnished gold on grounds of blue, pink and green with white decoration and ELEVEN WHITE-VINE INITIALS with staves of burnished gold, EIGHTEEN HISTORIATED INITIALS WITH WHITE-VINE BORDERS with highly burnished gold bars and reserved-parchment tendrils against grounds of pink, blue and green dotted white, with gold disks, fruit and flowers into the margin and inhabited by putti, butterflies, birds or deer (two wormholes in first dozen leaves not affecting text or decoration, extremities of borders very slightly cropped, folio 1 with darkening to outer margins, a pale stain at top corner of outer border and small strip repaired at bottom corner). English 19th-century blindstamped calf inset with LEATHER COVERS FROM THE ORIGINAL BINDING of panelled brown goatskin tooled in blind with multiple fillets bounding ropework border and inner panel, central section with a pointed quadrilobe containing knotted ropework and framed by arcs of annular dots, some annular disks painted gold, page-edges gilt and gauffered to a lattice design and VIRGILIUS written in brown ink on lower edges (slight scuffs, a little wear to upper joint). Green morocco box gilt (scuffed). A QUINTESSENTIAL RENAISSANCE MANUSCRIPT: THE WORKS OF THE GREATEST ROMAN POET ILLUSTRATED BY THE FAVOURITE ILLUMINATOR OF THE DE' MEDICI PROVENANCE: 1. The arms of the original owner, or owners, were originally contained within a wreath in the middle of the lower border of folio 1; they have been meticulously erased and replaced with the arms of Beriah Botfield. The manuscript is likely to have been illuminated in Florence, where Francesco di Antonio del Chierico is known to have worked, but it may have been written in Rome. The script is the upright roman hand of Antonio Tophio as seen in the first part of an Aulus Gellius with the coat of arms of Ludovico Maria Sforza, Duke of Bari (BL, Burney 175): see A.C. de la Mare, 'New Research on Humanistic Scribes in Florence' in Miniatura fiorentino del rinascimento 1440-1525 , ed. Annarosa Garzelli (1985), p.439 and A. Fairbank, 'Antonio Tophio', The Journal of the Society of Italic Handwriting , 45 (1965), pp.8-14. Tophio provided colophons, in Latin or Greek, identifying his work in several manuscripts: the Greek colophon in a Montpellier copy of Petrarch's poems is preceded with THE END, in Greek, in exactly the same way as he finishes the Virgil. The colophons often reveal Tophio's place of work to have been Rome. Mgr J. Ruysschaert recognised that Antonio Tophio was identical with the Antonius Dominici de Toffi who wrote manuscripts for, and was a member of the household of, Pope Paul II. Among Tophio's works surviving in the Vatican is the Dionysius of Halicarnassus (Vat. Lat. 1819) written for Paul II in 1469-70: J. Ruysschaert, 'Le Liber juramentorum de la Chambre Apostolique sous Paul II', Miscellanea in memoria d G. Cencetti (1973), pp. 285-291. Paul II combined his political objectives of checking Turkish expansion and establishing control throughout the papal states with extensive artistic patronage. He was the first pontiff to undertake the preservation of ancient monuments in Rome, and commissioned restorations of the Pantheon, the Arches of Titus and Septimus Severus and the statues of Alexander and Bucephalus and Marcus Aurelius. Already when still a cardinal he had begun to re

Auktionsarchiv: Los-Nr. 4
Auktion:
Datum:
13.06.2002
Auktionshaus:
Christie's
London, King Street
Beschreibung:

VIRGILIUS MARO, Publius (70-19 BCE). Eclogues, Georgics, Aeneid , in Latin, ILLUMINATED MANUSCRIPT ON VELLUM [?Rome and Florence, 1460s] 285 x 192mm. 218 leaves: 1-2 1 0, 8 8, 4-22 1 0, COMPLETE, remains of signature marks, letter followed by arabic numeral, in outer lower corners of some folios, later quire letters A-X on final versos, 31 lines written in brown ink in an upright humanistic hand on 31 horizontals ruled in grey ink and between two pairs of verticals ruled in brown, justification: 182 x 92mm, pin-prick from ruling device at bottom right of text, rubrics in pink capitals, FIVE ILLUMINATED INITIALS three- to five-lines high of burnished gold on grounds of blue, pink and green with white decoration and ELEVEN WHITE-VINE INITIALS with staves of burnished gold, EIGHTEEN HISTORIATED INITIALS WITH WHITE-VINE BORDERS with highly burnished gold bars and reserved-parchment tendrils against grounds of pink, blue and green dotted white, with gold disks, fruit and flowers into the margin and inhabited by putti, butterflies, birds or deer (two wormholes in first dozen leaves not affecting text or decoration, extremities of borders very slightly cropped, folio 1 with darkening to outer margins, a pale stain at top corner of outer border and small strip repaired at bottom corner). English 19th-century blindstamped calf inset with LEATHER COVERS FROM THE ORIGINAL BINDING of panelled brown goatskin tooled in blind with multiple fillets bounding ropework border and inner panel, central section with a pointed quadrilobe containing knotted ropework and framed by arcs of annular dots, some annular disks painted gold, page-edges gilt and gauffered to a lattice design and VIRGILIUS written in brown ink on lower edges (slight scuffs, a little wear to upper joint). Green morocco box gilt (scuffed). A QUINTESSENTIAL RENAISSANCE MANUSCRIPT: THE WORKS OF THE GREATEST ROMAN POET ILLUSTRATED BY THE FAVOURITE ILLUMINATOR OF THE DE' MEDICI PROVENANCE: 1. The arms of the original owner, or owners, were originally contained within a wreath in the middle of the lower border of folio 1; they have been meticulously erased and replaced with the arms of Beriah Botfield. The manuscript is likely to have been illuminated in Florence, where Francesco di Antonio del Chierico is known to have worked, but it may have been written in Rome. The script is the upright roman hand of Antonio Tophio as seen in the first part of an Aulus Gellius with the coat of arms of Ludovico Maria Sforza, Duke of Bari (BL, Burney 175): see A.C. de la Mare, 'New Research on Humanistic Scribes in Florence' in Miniatura fiorentino del rinascimento 1440-1525 , ed. Annarosa Garzelli (1985), p.439 and A. Fairbank, 'Antonio Tophio', The Journal of the Society of Italic Handwriting , 45 (1965), pp.8-14. Tophio provided colophons, in Latin or Greek, identifying his work in several manuscripts: the Greek colophon in a Montpellier copy of Petrarch's poems is preceded with THE END, in Greek, in exactly the same way as he finishes the Virgil. The colophons often reveal Tophio's place of work to have been Rome. Mgr J. Ruysschaert recognised that Antonio Tophio was identical with the Antonius Dominici de Toffi who wrote manuscripts for, and was a member of the household of, Pope Paul II. Among Tophio's works surviving in the Vatican is the Dionysius of Halicarnassus (Vat. Lat. 1819) written for Paul II in 1469-70: J. Ruysschaert, 'Le Liber juramentorum de la Chambre Apostolique sous Paul II', Miscellanea in memoria d G. Cencetti (1973), pp. 285-291. Paul II combined his political objectives of checking Turkish expansion and establishing control throughout the papal states with extensive artistic patronage. He was the first pontiff to undertake the preservation of ancient monuments in Rome, and commissioned restorations of the Pantheon, the Arches of Titus and Septimus Severus and the statues of Alexander and Bucephalus and Marcus Aurelius. Already when still a cardinal he had begun to re

Auktionsarchiv: Los-Nr. 4
Auktion:
Datum:
13.06.2002
Auktionshaus:
Christie's
London, King Street
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