Giovanni del Biondo Sold at Auction Prices

b. 1356 - d. 1399

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    • GIOVANNI DEL BIONDO (ACTIVE FLORENCE 1356-1399) Two panels from a polyptych
      Jan. 31, 2024

      GIOVANNI DEL BIONDO (ACTIVE FLORENCE 1356-1399) Two panels from a polyptych

      Est: $120,000 - $180,000

      GIOVANNI DEL BIONDO (ACTIVE FLORENCE 1356-1399) Two panels from a polyptych: Saint Peter, with Saint Ursula above; and Saint... tempera on gold ground panel, pointed top the first, 48 1⁄8 x 16 ½ in. (122.3 x 42 cm.); the second, 48 ¼ x 16 5⁄8 in. (122.4 x 42.2 cm.) (2)

      Christie's
    • GIOVANNI DEL BIONDO (ACTIVE FLORENCE 1356-1399) Two panels from a polyptych
      Jul. 06, 2023

      GIOVANNI DEL BIONDO (ACTIVE FLORENCE 1356-1399) Two panels from a polyptych

      Est: £120,000 - £180,000

      GIOVANNI DEL BIONDO (ACTIVE FLORENCE 1356-1399) Two panels from a polyptych: Saint John the Evangelist, with Saint Margaret... tempera on gold ground panel, pointed top the first: 48 3/8 x 17 1/2 in. (122.7 x 44.5 cm.); the second: 48 1/4 x 17 1/2 in. (122.5 x 44.5 cm.) (2)

      Christie's
    • Giovanni del BIONDO Actif à Florence et dans les environs de 1356 à sa mort en 1398 Madone allaitant l'Enfant entre saint Jean-Bapti..
      Nov. 13, 2019

      Giovanni del BIONDO Actif à Florence et dans les environs de 1356 à sa mort en 1398 Madone allaitant l'Enfant entre saint Jean-Bapti..

      Est: €50,000 - €80,000

      Giovanni del BIONDO Actif à Florence et dans les environs de 1356 à sa mort en 1398 Madone allaitant l'Enfant entre saint Jean-Baptiste, saint Paul, saint Pierre, saint François d'Assise, cinq chérubins et quatre séraphins Panneau unique de dévotion, peinture à l'œuf et fond d'or sur panneau de bois, arcade en tiers points Un cachet à la cire rouge au verso Sans cadre The Madonna and Child with saints, tempera and gold on panel, by G. del Biondo h: 83 w: 53 cm Bibliographie : en rapport : Richard Offner, Klara Steinweg, 'A Critical and Historical Corpus of Florentine Painting', section IV, vol. V, part II : The Fourteenth Century, Giovanni del Biondo, New York, 1969 Miklos Boskovits, 'Pittura fiorentina alla vigilia del Rinascimento 1370-1400', Florence, 1975, p. 304-316 Commentaire : Au centre de la composition, se détachant sur le fond d'or, la Vierge tient entre ses bras l'Enfant qu'elle allaite. Sous son large manteau bleu doublé de fourrure, on entrevoit sa robe rouge ornée de motifs dorés. L'Enfant vêtu d'un manteau jaune agrippe de ses deux mains le sein de la Vierge tout en dirigeant son regard vers le spectateur. Les quatre saints intercesseurs reconnaissables à leurs attributs entourent et vénèrent deux par deux ce groupe central. L'ensemble des personnages dominé par la mandorle protectrice de la cohorte angélique repose sur un sol tapissé de fleurs et de plantes. Ce panneau récemment réapparu sous le nom de Giovanni del Biondo, peintre dont l'activité s'est exercée à Florence après le bouleversement de la peste de 1348, principalement au sein de l'atelier de trois frères : Andrea Orcagna, Nardo di Cione et Jacopo di Cione. Ces peintres à la personnalité marquée, tentent de renouer avec la tradition giottesque dans un style plus cassant chez Andrea, plus affable et tendre chez Nardo et quelque peu conventionnel chez Jacopo. Vers 1356, Giovanni se trouve aux côtés de Nardo sur le chantier de la chapelle Strozzi à Santa Maria Novella et à la mort de ce dernier en 1366, il se rapproche de Jacopo ; ainsi pour notre Madone allaitant, Giovanni a pu s'inspirer des modèles de ce peintre entre autres la Madone et l'Enfant de l'ancienne collection Stoclet à Bruxelles (Vente, Londres, Sotheby's, 30 juin 1965, n° 20) datée de 1362 ou celle de la galerie Sacerdoti1 dont il reprend en particulier l'attitude guindée de l'Enfant et la préciosité ornementale. Deux Madones à l'Enfant signées et datées, l'une de 1377 (Sienne, Pinacoteca Nazionale, n°584) et l'autre de 1392, centre d'un triptyque (Figline Val d'Arno, église San Francesco) ont permis d'établir le catalogue pléthorique des œuvres de Giovanni del Biondo, catalogue dû essentiellement à Richard Offner et Miklos Boskovits. Cette production particulièrement abondante se caractérise par un style étiré, un modelé linéaire des formes qui s'accommode difficilement des amples accents plastiques de la tradition giottesque mais s'attache particulièrement au travail technique de qualité, haut en couleurs émaillées. Notre panneau peut s'insérer dans la période tardive de Giovanni proche de la Madone citée de 1377 (Sienne) dont il reprend l'ample silhouette, l'attitude sereine, la typologie du visage aux grands yeux noirs et celle de l'Enfant. Mais la juxtaposition des saints et des anges autour du groupe marial central laissant peu de place à l'évocation de l'espace et l'attention toute particulière à l'exécution technique du sgraffito des ailes des anges, de l'ornementation des auréoles et du sol, fidélité à la facture si chère à l'atelier des Cione, permettrait d'avancer la datation quelques années avant 1377. 1. Voir M. Boskovits, 'Pittura fiorentina alla vigilia del Rinascimento', Florence, 1975, figs. 48, 93 Estimation 50 000 - 80 000 €

      Artcurial
    • GIOVANNI DEL BIONDO | The 'Madonna del Latte'
      Feb. 01, 2018

      GIOVANNI DEL BIONDO | The 'Madonna del Latte'

      Est: $250,000 - $350,000

      tempera on panel, gold ground, pointed top within an integral frame

      Sotheby's
    • Madonna and Child enthroned with Saint John the Baptist, Saint Peter, Saint Paul, and Saint Francis of Assisi
      Jul. 10, 2015

      Madonna and Child enthroned with Saint John the Baptist, Saint Peter, Saint Paul, and Saint Francis of Assisi

      Est: £100,000 - £150,000

      Giovanni del Biondo (active Florence, 1356-1399) Madonna and Child enthroned with Saint John the Baptist, Saint Peter, Saint Paul, and Saint Francis of Assisi inscribed 'Io / credo / nella / santa / chiesa / catto / lica / n..' (centre left, on the book) on gold ground panel, arched top, unframed 32 7/8 x 21 1/8 in. (83.5 x 53.7 cm.)

      Christie's
    • f - GIOVANNI DEL BIONDO DOCUMENTED IN FLORENCE 1356 - 1399
      Jul. 05, 2006

      f - GIOVANNI DEL BIONDO DOCUMENTED IN FLORENCE 1356 - 1399

      Est: £400,000 - £600,000

      PROPERTY FROM A PRIVATE COLLECTION THE 'MADONNA DEL LATTE' measurements note 81.3 by 61 cm.; 32 by 24 in. tempera on panel, gold ground, pointed top, within an integral frame PROVENANCE Acquired by Heinz Kisters, Kreuzlingen, in 1965. LITERATURE Meisterwerke der Malerei aus Privatsammlungen im Bodenseegebiet, exhibition catalogue, Bregenz, Künstlerhaus Palais Thurn und Taxis, 1965, p. 43 (as Giovanni del Biondo; an attribution first suggested by Federico Zeri); R. Offner & K. Steinweg, A Corpus of Florentine Painting, section IV, vol. V, New York 1969, p. 30, reproduced plate V; M. Boskovits, Pittura fiorentina alla vigilia del Rinascimento,1370-1400, Florence 1975, p. 311 (as datable to 1375-80). NOTE "The composition and colouring of the panel single it out as one of Giovanni del Biondo's most beautiful works": thus begins Offner and Steinweg's critical analysis of this impressive panel. The painting's composition combines standard three-quarter-length representations of the Madonna and Child with the easily-recognisable iconography of the Virgin Mary suckling the Christ Child (commonly known as the "Madonna del Latte"). Offner remarked upon the panel's adherence to Florentine Trecento models, making particular reference to a panel by the Master of the Dominican Effigies.1 The Christ Child's pose and the fact that He is enveloped in the Virgin's embroidered robe both find parallels in Niccolò di Tommaso's painting of 1362 formerly in the Stoclet collection, Brussels,2 but Giovanni del Biondo has succeeded in giving "a new and individual solution to the composition". His Christ Child is held in a more naturalistic way by the Madonna, His upper body emerging from her tender embrace, thus simplifying the composition for greater emotional and pictorial impact. Giovanni del Biondo is first recorded in a document of 1356, where he is described as "de Casentino" and granted Florentine citizenship. Not much is known of his early artistic training although he is thought to have been apprenticed to the Orcagna workshop, assisting Nardo di Cione on the frescos of the Strozzi Chapel in the church of Santa Maria Novella, Florence. Del Biondo probably began to work independently from 1360 onwards and most of his securely dated works are from the 1360s and '70s. The present panel is likely to date from the artist's maturity and can be closely compared to Del Biondo's Madonna and Child in the Pinacoteca Nazionale, Siena, which is signed and dated 1377.3 Both paintings demonstrate the influence of Ambrogio Lorenzetti, not only in the pose of the Madonna and the unusual patterning of Her robe (the latter more characteristic of Sienese than Florentine painting), but also in the physiognomical types of both mother and child. The Siena panel also shows the Madonna in half-length, with Her drapery falling in distinctive folds beside Her, and the connection between the two works led Offner and Steinweg to suggest a similar date of execution, proposing a slightly earlier date for the present painting. 1. See R.Offner & K. Steinweg, under Literature, sec. III, vol. VII, reproduced plate XI and p. 34n. 2. Sold by Mme. Michèle Stoclet, from the collection formed by Adolphe Stoclet, London, Sotheby's, 30 June 1965, lot 20. 3. Inv. 584; reproduced in R. Fremantle, Florentine Gothic Painters from Giotto to Masaccio. A guide to painting in and near Florence, 1300 to 1450, London 1975, p. 248, fig. 496.

      Sotheby's
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