Bartolo Di Fredi Sold at Auction Prices

b. 1330 - d. 1410

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  • Bartolo di Fredi (1330-1410)-school
    Sep. 26, 2023

    Bartolo di Fredi (1330-1410)-school

    Est: €900 - €1,800

    Bartolo di Fredi (1330-1410)-school, House Altar. Maria with Child and Godfather. Tempera on wooden panel surrounded by gilded plaster and wooden decorations. Turned coloumns. Described Ave Maria in base. Peaked top. 95 x 41 cm.

    Deutsch Auktionen
  • Bartolo di Fredi (1330-1410)-school
    Jul. 01, 2022

    Bartolo di Fredi (1330-1410)-school

    Est: €1,200 - €2,400

    Bartolo di Fredi (1330-1410)-school, Gold ground panel with Maria and child pounced border and halo peaked top and stepped base , tempera on wooden panel , damages part missing . 68X30 cm

    Deutsch Auktionen
  • BARTOLO DI FREDI | Saint Anthony Abbot
    Apr. 29, 2015

    BARTOLO DI FREDI | Saint Anthony Abbot

    Est: £40,000 - £60,000

    tempera on panel, gold ground, a fragment, unframed

    Sotheby's
  • Bartolo di Fredi Cini (Siena circa 1330-1410) The Madonna and Child
    Dec. 03, 2008

    Bartolo di Fredi Cini (Siena circa 1330-1410) The Madonna and Child

    Est: £40,000 - £60,000

    The Madonna and Child tempera on gold ground panel, shaped top 58.7 x 49.7cm (23 1/8 x 19 9/16in).

    Bonhams
  • BARTOLO DI FREDI SIENA 1330 (?) - 1410
    Jan. 25, 2007

    BARTOLO DI FREDI SIENA 1330 (?) - 1410

    Est: $50,000 - $70,000

    PROPERTY OF A PRIVATE COLLECTOR HEAD OF AN ANGEL measurements note 14 1/4 by 11 3/4 in.; 36.5 by 30 cm. tempera on panel, gold ground PROVENANCE August Lederer, Vienna, by inheritance to, Serena Lederer, Vienna, From whom confiscated in circa 1938, and later restituted to the family, Erich Lederer, Genf; From whose collection sold posthumously ('Property from the collection of the late Eric Lederer'), London, Sotheby's, July 3, 1997, lot 58, where acquired by the present collector. NOTE Although the painting was unknown to Dr. Gaudenz Freuler at the time of writing his monograph, the traditional attribution to Bartolo di Fredi was endorsed by Everett Fahy when the painting first appeared on the market in 1997 (see Provenance). The facial type of the angel is characteristic of Bartolo di Fredi's figures. The angel's stylised hair is very like that of the angel leading Saint John in the wilderness in the panel of 1382, today in the Museo Civico, Montalcino.υ1 A similar face of an angel, seen frontally and with slightly more broadly depicted features, appears on the fresco in the choir chapel of the church of Sant' Agostino in Montalcino.υ2 The function of this painting is not entirely clear. The presence of lilies in the angel's hair would suggest that he is the Archangel Gabriel and perhaps he would originally have formed part of a diptypch, the other panel representing the Virgin Annunciate. 1 See G. Freuler, Bartolo di Fredi Cini, Verlag 1994, cat. no. 37, reproduced on p. 170, fig. 164. 2 Freuler, op. cit., cat. no. 71, reproduced p. 254, fig. 233.

    Sotheby's
  • Andrea di Bartolo Cini (Siena 1358/64-1428)
    Jul. 10, 2002

    Andrea di Bartolo Cini (Siena 1358/64-1428)

    Est: $93,600 - $124,800

    The Angel of the Annunciation; and The Virgin Annunciate: pinnacles from an altarpiece on gold ground panel, marouflaged 20 x 101/4 in. (50.7 x 26 cm.); and 20 x 103/4 in. (50.7 x 27.3 cm.) two (2) EXHIBITION Zrich, Kunsthaus, no. 26 (according to label on reverse). NOTES Andrea di Bartolo was the son of Bartolo di Fredi Cini (d. 1410), the most forceful of the painters of Siena in the latter half of the trecento. A pupil of his father, he clearly worked as his assistant in the 1380s and his first documented commission, of 1389, was for work on an altarpiece in association with him and with Luca di Tomm‚. Andrea worked independently from circa 1390, refining a style in which the influence of his father was increasingly balanced by that of Spinello Aretino and his fellow Sienese artists, Martino di Bartolommeo and Taddeo di Bartolo. These panels were evidently the outer pinnacles of a polyptych and date from relatively early in the artist's career, perhaps from before 1400, like the stylistically comparable Madonna with Saints Philip and James at Siena (Pinacoteca Nazionale, no. 219). The action of the Angel's hand and the Madonna's right hand is very similar to that in the Annunciation at Buonconvento, also a relatively early work. The iconography of the Annunciation of the Death of the Virgin is often understandably confused with that of the Annunciation. A celebrated Sienese example is Ambrogio Lorenzetti's great panel from the Sala del Consistoro of the Palazzo Publico at Siena, now in the Pinacoteca, a picture of which Andrea must have been aware and which is indeed, in some respects, followed in his Buonconvento Annunciation. In this case the fact that the angel holds a palm rather than a lily and the implied age - and experience - of the Virgin may allude to the rarer subject, which is found in the circle of Spinello Aretino and of which the most celebrated example is the fresco in the cycle in the choir of S. Francesco at Arezzo by Piero della Francesca.

    Christie's
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