Jacobello del Fiore Paintings & Artwork for Sale | Jacobello del Fiore Art Value Price Guide

Mar. 07, 2024
Attributed to Jacobello del Fiore or the Marches Region
Est: $20,000 - $30,000
(Italian, circa 1370-1439) Madonna and Child with Pomegranate, late 14th/early 15th century, tempera on punched and gilt wood panel, 25-1/4 x 18-1/8 in. (63.5 x 45.72 cm.); gilt wood tabernacle style frame, 38-1/2 x 32-7/8 x 5 in. Provenance: Collection of Dr. Von Jurie, Vienna; Collection of Albert Figdor, Vienna until 1930; sold at auction in September1930; Carlo Bianchini, Orvieto, Italy, purchased in 2013 for 35,000 EU; The Estate of Dr. J. Clayton Davie and Family Note: This painting has been attributed to Jacobello Del Fiore by two major scholars in the field, Leo Planiscig in 1926 and Max Friedlander in 1930 In 1970, Raimond Van Marle suggested the panel to be more likely from the Marches region. The Marches influenced Fiore's late 14th century work as he began to grow away from his father's influence into his own style. In a discussion of Marches region artist, Carlo Crivelli, Dr. Lauren Kilroy-Ewbank and Dr. Steven Zucker. state what is also true of Fiore's work in this panel, "The use of gold in many of his paintings, including this Madonna and Child, also indicates the importance of the two holy figures. There is gold on their halos and clothes. The gold also speaks to the global flow of materials at this time, with much of the gold in Europe coming from sub-Saharan Africa. Mary's elaborate brocade clothing also points to the textile trade at this time. The design on the painted brocade looks similar to designs found on textiles imported from the eastern or southern Mediterranean regions. In the 15th century, certain areas of Italy, including Florence, also became important centers of textile production, and often replicated designs of foreign textiles." The pomegranate is considered a symbol of Christ's passion, whose red kernels symbolize the blood shed by Jesus Christ for the salvation of humanity. Literature (accompanied by facsimiles): Planiscig, Von Leo, "Jacopello Dal Fiore", Jahrbuch der Kunsthistorischen Sammlungen in Wien. Neue Folge. Band I, Kunsthistorisches Museum Wien, Wien: Anton Schroll, 1926, pp. 85-91, ill. 87; Figdor, A., & Falke, O. von. (1930). Die sammlung Albert Figdor, Wien: Erster Teil. Artaria, Glu??ckselig, Paul Cassirer, lot 4, ill.; Marle, R. van. (1970). The development of the Italian schools of painting. Hacker, Vol. VII, p.319, p.352; Do you speak Renaissance? Carlo Crivelli, Madonna and child. (n.d.). https://www.khanacademy.org/humanities/renaissance-reformation/early-renaissance1/venice-early-ren/v/do-you-speak-renaissance.
Brunk Auctions
Jun. 30, 2020
Jacobello del Fiore (Venezia 1370-1439), Madonna con Bambino e angeli
Est: €20,000 - €25,000
olio su tavola a fondo oro, cm 80x72, Spettano a questo raffinato artista i meriti di aver saputo traghettare la cultura figurativa veneziana di primo Quattrocento dalla linguistica ancora bizantina e fortemente iconica di maestro Paolo Veneziano ad una nuova e più addolcita metrica gotico-internazionale. La sua poetica sensibilissima, attenta ai calligrafismi di Gentile da Fabriano e di Pisanello, si esprime qui nello sfumato trapasso tonale, nella ricca lavorazione dell'oro e nella minuzia quasi botanica impiegata per la resa del letto di fiori che accoglie la Vergine, suggerendoci per la tavola una datazione alla maturità di Jacobello intorno al terzo decennio del secolo.
Cambi Casa d'Aste
Oct. 17, 2018
JACOBELLO DEL FIORE | The Madonna of Humility
Est: £50,000 - £70,000
tempera and gold on panel
Sotheby's
Jul. 06, 2018
Attributed to Jacobello del Fiore (Venice active 1400-c. 1439) - The Madonna of Humility with Saint Dominic and another male saint
Est: £40,000 - £60,000
Attributed to Jacobello del Fiore (Venice active 1400-c. 1439) The Madonna of Humility with Saint Dominic and another male saint on gold ground panel 16 ½ x 25 ¼ in. (41.9 x 64.1 cm.)
Christie's
Jul. 07, 2017
Attributed to Jacobello del Fiore (Venice - The Madonna and Child surrounded by angels in a meadow
Est: £25,000 - £35,000
Attributed to Jacobello del Fiore (Venice The Madonna and Child surrounded by angels in a meadow tempera on gold ground panel 32 x 28 ½ in. (81.3 x 72.4 cm.)
Christie's
Nov. 13, 2015
Jacobello del Fiore Venise, vers 1370 - vers 1439 Madone d'humilité, panneau de dévotion Peinture à l'oeuf et fond d'or
Est: €80,000 - €120,000
Jacobello del Fiore Venise, vers 1370 - vers 1439 Madone d'humilité, panneau de dévotion Peinture à l'oeuf et fond d'or (Restaurations) Sans cadre 'THE MADONNA OF HUMILITY', TEMPERA AND GOLD ON PANEL, BY J. DEL FIORE h: 59,50 w: 45 cm Expositions : 'Pittura veneta: prima mostra d'arte antica nelle raccolte private veneziane', Venise, mars-avril 1947 Commentaire : Lors de l'exposition de Venise en 1947, le professeur Antonio Lazzarin a certifié avoir nettoyé et verni ce tableau et assuré l'attribution à Jacobello del Fiore (lettre du 22 avril 2004), attribution confortée par la commission scientifique de la Surintendance réunie à cet effet et formée des spécialistes de l'art vénitien : Vittorio Moschini, Rodolfo Pallucchini, Giuseppe Fiocco et Pietro Zampetti. C'est effectivement à Jacobello del Fiore que doit revenir l'exécution de cette Madone d'humilité, attribution confirmée par Federico Zeri (Fondazione Federico Zeri, fototeca, n. 24078). Ce thème marial où la Vierge tenant l'Enfant n'est plus assise sur un trône mais sur un coussin posé directement à terre (Humus) trouve son origine au milieu du XIVe siècle en Italie. Le siennois Simone Martini l'a rendu célèbre par sa fresque d'Avignon en 1344 et son succès dura jusqu'au milieu du XVe siècle dans l'Europe entière. A l'époque du style Gothique International de 1380 à 1420 environ, le thème évolue en plaçant la Vierge au sein d'une prairie fleurie. A partir de 1400 Jacobello se trouve à Venise où il rencontre Gentile da Fabriano, et les deux artistes exploiteront ce thème à plusieurs reprises. Nous rapprocherons le style de notre panneau de celui du Triptyque de la Madone de Miséricorde (Venise, Galerie de l'Académie) que Jacobello exécuta vers 1415 (celle de 1436 portée sur ce tableau est erronée) et de celui de la Sainte Catherine de la même époque (Florence, collection Longhi (1)). La confrontation entre les visages respectifs des deux madones et celui de la sainte permet d'évaluer les similitudes et autorise les rapprochements ; de même l'accentuation de la ligne fluctuante des vêtements et la richesse ornementale, typique de l'art vénitien à cette époque, confortent ces arguments. Cependant Jacobello demeure encore fidèle à sa première manière et à la tradition vénéto-byzantine par le traitement strié d'or du manteau de l'Enfant, permettant de dater notre panneau dans la première décennie du XVe siècle. 1. Voir M. Gregori, La Fondazione Roberto Longhi a Firenze, Milan, 1980, p.248, n°34, repr.
Artcurial
Jun. 09, 2011
JACOBELLO DEL FIORE
Est: $40,000 - $60,000
JACOBELLO DEL FIORE VENICE ACTIVE 1370-1439 THE MADONNA AND CHILD ('MADONNA OF HUMILITY') tempera on panel, gold ground, within an engaged frame 34 3/4 by 24 1/4 in.; 88.2 by 61.5 cm.
Sotheby's
Jan. 26, 2006
JACOBELLO DEL FIORE VENICE ACTIVE 1370-1439
Est: $200,000 - $300,000
MADONNA AND CHILD MADONNA AND CHILD measurements note 34 3/4 by 24 1/4 in.; 88.2 by 61.5cm gold ground, tempera on panel, within an engaged frame NOTE Jacobello del Fiore was one of the leading painters in the Veneto during the first third of 15th century. His early style harks back to Byzantine art and depictions of the Madonna. However, later in his career Jacobello integrated ideas and techniques from contemporaries such as Gentile da Fabriano. Jacobello, known for images of Madonnas, such as this Madonna of Humility, has imbued the composition with a sense of softness and tenderness rarely seen in Byzantine iconography. The formal eastern iconography of this subject, depicting the Madonna facing the viewer, holding a stiffly posed and fully clothed child, has been slightly modified by Jacobello. Here, the Madonna, seated on a grassy patch, is slightly turned towards the child with her head inclined to the right. The child, while still fully clothed, reaches out to his mother in a somewhat playful gesture. This more intimate portrayal is also apparent in another work by Jacobello, formerly in the Berenson collection, Florence (see B. Berenson, Italian Pictures of the Renaissance, Venetian School, vol. I, New York 1957, fig. 38).
Sotheby's