Ambrogio da Fossano Paintings & Artwork for Sale | Ambrogio da Fossano Art Value Price Guide

Sep. 26, 2023
Ambrogio Bergognone ( 1470-1523)-follower
Est: €400 - €800
Ambrogio Bergognone ( 1470-1523)-follower, Portrait of a male martyr with female founder. Oil on panel in arched gilded frame. 130 x 65 cm.
Deutsch Auktionen
Jul. 12, 2023
Ambrogio da Fossano, known as il Bergognone, attributed
Est: €3,000 - €5,000
Fossano 1453 - Milan 1523, 95x53cm., "The Virgin and Child", fresco fragment on wood, framed
Colasanti Casa d'Aste
Dec. 15, 2022
IL BORGOGNONE JACQUES COURTOIS (Attr.) Painting "BATTLE"
Est: €6,000 - €8,000
IL BORGOGNONE JACQUES COURTOIS (Attr.) (Sant'Ippolito 1621-Roma 1676). Oil painting on canvas depicting "BATTLE". In carved and gilded frame. IL BORGOGNONE JACQUES COURTOIS (Attr.) (Sant'Ippolito 1621-Roma 1676). Dipinto olio su tela raffigurante "BATTAGLIA". In cornice intagliata e dorata.
Viscontea Casa d'Aste s.r.l.
Jun. 14, 2022
Attributed to Ambrogio da Fossano, called Il Bergognone, Saint Peter; Saint John the Baptist | Attribué à Ambrogio da Fossano, dit le Bergognone, Saint Pierre ; Saint Jean-Baptiste
Est: €40,000 - €60,000
Attributed to Ambrogio da Fossano, called Il Bergognone Fossano 1453 - 1523 Milan Saint Peter; Saint John the Baptist A set of two, both oil on panel (i) 37,9 x 12,9 cm ; 14⅞ by 5⅛ in. ; (ii) 38 x 12,5 cm ; 15 by 4⅞ in. (2) ___________________________________________ Attribué à Ambrogio da Fossano, dit le Bergognone Fossano 1453 - 1523 Milan Saint Pierre ; Saint Jean-Baptiste Huile sur panneau, ensemble de deux (i) 37,9 x 12,9 cm ; 14⅞ by 5⅛ in. ; (ii) 38 x 12,5 cm ; 15 by 4⅞ in. (2) Bid on Sotheby's
Sotheby's
Jun. 09, 2022
AMBROGIO DI STEFANO DA FOSSANO, CALLED BERGOGNONE (MILAN C. 1453-1523) The
Est: $400,000 - $600,000
AMBROGIO DI STEFANO DA FOSSANO, CALLED BERGOGNONE (MILAN C. 1453-1523) The Penitent Saint Jerome tempera and oil on panel 20 7/8 x 16 3/4 in. (53 x 42.6 cm.)
Christie's
Nov. 30, 2021
Ambrogio da Fossano detto il Bergognone (1453 circa - 1523) e bottega
Est: €8,000 - €12,000
Ambrogio da Fossano detto il Bergognone (1453 circa - 1523) e bottega Battesimo di Cristo Olio su tavola ottagonale 44,5 x 35 cm L'opera è corredata di uno studio del dottor Franco Moro, disponibile su richiesta via email. L’opera sarà pubblicata a cura del dottor Franco Moro. La splendida opera in esame è testimonianza dell’arte lombarda tra XV e XVI secolo. Evidentemente, l’opera è da ricondurre ad Ambrogio da Fossano e la sua bottega. I particolari che ci permettono questa attribuzione vanno ricercati nel paesaggio del tutto simile de “L’incoronazione dell’Assunta”, oggi a Brera, nonché nelle fisionomie dei due angeli, facilmente riscontrabili sia nel “Compianto del Cristo con monaco e angeli” della Fondazione Paolo VI di Gazzada (VA), sia nella “Pietà con due angeli” delle Civiche Raccolte del Castello Sforzesco di Milano. Non si conosce nulla della sua formazione: per analogie stilistiche si ipotizza una formazione sotto l’influenza di Vincenzo Foppa, di cui può esser stato alunno. Nelle sue opere non mancano citazioni della scuola fiamminga e provenzale, acquisita grazie la frequentazione di Bugatto, Antonello da Messina e altri. Tra il 1488 e il 1495 Bergognone è il principale pittore attivo presso la Certosa di Pavia, realizzando, oltre ai tanti affreschi, nove pale d'altare. Lasciata Pavia intorno al 1495, nel massimo della sua fama, esegue diverse opere per Milano, Lodi e Bergamo, influenzato dall'opera di Leonardo e dal Bramante. Ambrogio da Fossano also know as Bergognone (c. 1453 - 1523) and workshop Baptism of Christ Oil on octagonal panel 44,5 x 35 cm
Lucas Aste
Nov. 13, 2019
Attribué à Ambrogio Stefani da FOSSANO, dit il BERGOGNONE Fossano, 1453 - Milan, vers 1522 Saint Pierre et un enfant et Saint Jean-B...
Est: €40,000 - €60,000
Attribué à Ambrogio Stefani da FOSSANO, dit il BERGOGNONE Fossano, 1453 - Milan, vers 1522 Saint Pierre et un enfant et Saint Jean-Baptiste et un enfant Paire de tempera sur panneaux Anciennes étiquettes portant le numéro '340' au verso 38,50 x 13 cm (15,16 x 5,12 in.) et 38,50 x 12,50 cm (15,16 x 4,92 in.) (Restaurations) Sans cadres Saint Peter and Saint John the Baptist with children, tempera on panel, a pair, attr. to Bergognone Provenance : Collection Wilhelm E. Suida, New York, une ancienne étiquette au verso de chaque panneau Bibliographie : Bernard Berenson, 'Italian Paintings of the Renaissance : Central Italian and North Italian Schools', New York, 1968, t. I, p. 45 (comme Bergognone) Commentaire : La scène lombarde ne se résume pas au séjour de Léonard de Vinci et à la floraison de son enseignement mais fut marqué bien avant par de grands talents comme Vincenzo Foppa et Il Bergognone. Ce dernier fut profondément influencé par Foppa et sa première œuvre datée de 1488 témoigne d'un début d'activité encore trop peu documenté. Nos deux petits panneaux se rattachent à l'influence de Foppa que nous distinguons sur les œuvres du Bergognone : typologie des visages, clair-obscur des carnations à légers reflets gris, membres et mains étirés. Tous ces éléments nous portent à rattacher nos deux panneaux à la période de production de l'artiste située dans les années 1480, avant le début de l'activité du Bergognone à la Chartreuse de Pavie vers 1488-1489. Nous pouvons rapprocher nos deux panneaux de la Crucifixion du Courtauld Institute de Londres (fig.1). Le visage de notre saint Jean-Baptiste est très proche de celui du Christ et les visages des deux enfants de nos panneaux présentent des similitudes avec celui du saint Jean du Courtauld. Les deux panneaux faisaient partie à l'origine d'une composition plus grande et entouraient probablement une Vierge à l'Enfant en trône, sommée d'un baldaquin dont les rideaux sont retenus par nos figures juvéniles positionnées aux extrémités. Nous ne savons à quelle époque fut démantelé le panneau d'origine ni si nous devons cet outrage au travail d'insectes xylophages ou à la cupidité de soldats napoléoniens. Estimation 40 000 - 60 000 €
Artcurial
May. 31, 2014
Manner of Ambrogio Borgognone (Italian, 1455-1523)
Est: $600 - $800
The Virgin of the Veil. Oil on canvas. Signed illegibly (l.l.). Canvas size 24 x 17 inches. Framed.
Capo Auction
Mar. 13, 2014
Ambrogio da Fossano detto il Bergognone (Fossano 1453 - Milano 1523), attribuito a Santo Brunone
Est: €20,000 - €25,000
Ambrogio da Fossano detto il Bergognone (Fossano 1453 - Milano 1523), attribuito a Santo Brunone olio su tavola, cm 91x33 "Il quadro è accompagnato da una scheda di Marco Rosci che lo attribuisce al Bergognone" 499Ambrogio da Fossano detto il Bergognone (Fossano 1453 - Milano 1523), attribuito a Santo Brunone olio su tavola, cm 91x33 "Il quadro è accompagnato da una scheda di Marco Rosci che lo attribuisce al Bergognone"
Cambi Casa d'Aste
Jan. 29, 2009
Ambrogio di Stefano da Fossano called il Bergognone , ?Milan circa 1453 - 1523 Milan Saint Peter and an Attendant Page; Saint John the Baptist and an Attendant Page a pair, oil and tempera on panel with gilt, fragments
Est: $70,000 - $90,000
a pair, oil and tempera on panel with gilt, fragments Quantity: 2
Sotheby's
Jan. 29, 2009
- Ambrogio di Stefano da Fossano called il Bergognone , ?Milan circa 1453 - 1523 Milan Madonna and Child oil on panel
Est: $400,000 - $600,000
oil on panel
Sotheby's
Jan. 25, 2007
AMBROGIO DI STEFANO DA FOSSANO CALLED IL BERGOGNONE ?MILAN CIRCA 1453 - 1523 MILAN
Est: $200,000 - $300,000
THE VIRGIN AND CHILD IN A LANDSCAPE measurements note diameter: 21 in.; 53.3 cm. oil on panel, circular, with a trompe l'oeil decorative border and within an integral frame the reverse carved with radiating grooves, partially punched in gold leaf NOTE Until the large monographic show on the artist in 1998, Bergognone was little known outside of Lombardy and he was perhaps remembered most for his activity at the Certosa di Pavia. He was, in fact, an extremely versatile artist who produced small devotional panels for private patrons, large altarpieces for churches, frescoes in the Certosa, and cartoons for the wooden intarsia of the choir in the same church. It is perhaps in small-scale easel paintings such as this one, however, that Bergognone's quiet tenderness and deep religious feeling is best interpreted. The figures of the Madonna and Christ Child are typical of Bergognone and find parallels in a number of other works by him: the Christ Child resembles that in the painting of The Madonna and Child with Saint Catherine of Siena and a donor in the Pinacoteca di Brera, Milan, datable to the second half of the 1480s,υ1 and the Madonna is just like that in The Adoration of the Christ Child in the Fondazione Berenson, Villa I Tatti, Settignano, where she wears a similar dark blue cloak decorated with gold stars.υ2 The style of the Tatti panel and this painting both recall that of Bergognone's master Vincenzo Foppa and, given that the Tatti painting is generally considered to be amongst Bergognone's first works, the latter is also likely to have been painted early in his career, that is circa 1475-1485. The Tatti painting has a similar background, with stick-like figures visible in the distance, and it too is painted on a small scale, almost certainly for private devotion. Bergognone, like his contemporaries in Umbria or Tuscany, liked to give detail to his landscape backgrounds and he often depicts churches or monasteries with monks wandering around their daily business: compare, for example, his Madonna and Child before a Parapet in the National Gallery, London, datable to circa 1490.υ3 This painting is particularly interesting for its rare iconography and its highly unusual format, not only in Bergognone's own work but in Milanese Quattrocento painting in general. The Madonna passes the Christ Child a small bag, in which there appears to be a small book (presumably the Bible or the Gospels). The book is traditionally thought to have represented the 'Libro della Sapienza' (Book of Wisdom) which prophesied Christ's coming, His Passion and Resurrection. The painting's form is unique in Bergognone's oeuvre. Circular panels on this scale were normally produced as deschi da parto (or 'birth trays') but this was principally a Tuscan tradition, not a Lombard one. The panel was clearly intended to be seen from both sides: its decorative border and integral frame, as well as the elaborate carving and punchwork on the reverse, both suggest it was to be viewed and admired front and back. Indeed the painting was intended as a birth tray, its subject and iconography were aptly chosen: a mother, shown passing her wisdom on to her child, and this is no less than 'Mater Sapientiae', the mother of God. The fact that the carving, punchwork and gilding stops in an area of the verso might indicate that this is where the tray would have been held (the grooves would have made it difficult to carry). Furthermore the superficial damages and scratches to the painted surface are characteristics often found on cassoni (chests) and deschi, largely due to their practical function within a household and the fact that they would have been handled frequently. The attribution to Bergognone has been endorsed by Everett Fahy. 1 Inv. no. 1776; see N. Righi, in Ambrogio da Fossano detto il Bergognone. Un pittore per la Certosa, exhibition catalogue, Pavia, Castello Visconteo Certosa di Pavia, April 4 - June 30, 1998, pp. 198-201, cat. no. 21, reproduced in color. 2 Reproduced in N. Righi, op. cit., p. 124, fig. 1. 3 Inv. no. 1410; see L. de Fanti, in Ambrogio da Fossano... (ibid.), pp. 208-9, cat. no. 26, reproduced in color.
Sotheby's