Marco d'Oggiono Sold at Auction Prices

b. 1475 - d. 1530

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    • Marco d’Oggiono
      Apr. 24, 2024

      Marco d’Oggiono

      Est: €50,000 - €70,000

      (Oggiono circa 1467–1524 Milan) Christ Crowned with Thorns, oil on panel, 45 x 34.5 cm, framed Provenance: possibly Trivulzio Collection, Milan, mid-19th Century; Private collection, until 2011; where acquired by the present owner Literature: possibly C. Cantù, Milano e il suo territorio, vol. II, Milan 1844, p. 280 (as ‘un Salvatore mezza figura di Marco d’Oggiono’); C. Geddo, Un inedito ‘Volto di Cristo’ di Marco d’Oggiono, forthcoming publication We are grateful to Cristina Geddo for confirming the attribution of the present painting after examination in the original and for her help in cataloguing this lot. She dates this work to the artist’s mature period, between 1500–1505. The present panel is a recent addition to the oeuvre of Marco d’Oggiono, one of the most important followers of Leonardo in Milan in the early 16th century. In his lifetime he was praised for his talent and diligence and as one of the most skillful exponents of Leonardo’s style. Among his patrons was Giuliano della Rovere, later Pope Julius II, who commissioned a series of works from him for Nostra Signora di Castello in Savona in 1500–02, as well as a version of Leonardo’s Madonna of the Rocks now conserved in the Castello Sforzesco, Milan. In the present composition Christ is shown frontally before a dark background, with the crown of thorns piercing his forehead. His face is sculpted by a strong chiaroscuro and is marked by suffering. With his symmetrical features, dark hair and beard, Christ corresponds to the vera icon, the image of Jesus Christ perceived as authentic portrait according to the codification of Flemish painting during the 15th century, such as examples by Jan Van Eyck, Rogier van der Weyden and later Hans Memling and Dirk Bouts. In fact, the depiction of Christ with his inclined head and gaze to the right might refer to a lost prototype by Dirk Bouts which is known through numerous versions by his collaborators, such as an Ecce Homo in the National Gallery, London (inv. no. NG712). Another version is conserved in the Pinacoteca di Varallo Sesia (as anonymous painter, 15th century) and was originally located in the Milanese church Sacri Monti. It is plausible that Marco d’Oggiono knew this work. The present painting also relates to a fresco by Ambrogio da Fossano, called il Bergognone in the Certosa di Pavia. In addition, Christ’s physiognomy in the present work can be compared to another work by Marco d’Oggiono, the young Salvator Mundi in the Galleria Borghese, Rome (inv. no. 435), especially apparent in the depiction of the skin, as well as the drapery of the red tunic. Technical analysis by Gianluca Poldi: The work is painted on a single board, probably poplar, with a sub-tangential cut, 1.7 to 2 cm thick, well preserved. The painter is capable of constructing a painting with the Leonardesque perfection of thin layers spread in oil over the white preparation, based on an essential palette of pigments and an underlying drawing that is probably very accurate. In fact, no change emerges from IR images. This underdrawing is almost completely invisible in reflectography, as other times occurs in works by Marco d'Oggiono, perhaps because it is extremely thin and done with a silver metallic tip or red chalk - widely used in Leonardo's workshop in Milan - or other material not easily identifiable despite the wide band of IR radiation used. Very thin graphic traces can be seen along the edge of the yellow collar of the robe, while a long parallel hatching (already in the pictorial phase?) can be read in the shadow that the robe projects on the chest, carefully cast in a chiaroscuro created essentially with black pigment. The under-modelling of the hair is very accurate, for which space had been reserved compared to the black background, which was painted first.However, some of the hair overflows above the background, with a series of curls. Some of the curls surmounting the flesh tones were worked with dark brushstrokes, probably black, and a black profile with a brush, not thin, traced the limits of the neck and shoulders, and part of Christ's face on his left side. The only slight uncertainty is in the irises, which are slightly corrected during the finishing phase so that they are perfectly centred. The synthetic precision of the painter can also be seen in the choice of pigments, in preferring finely ground black and lead white to the more usual green pigments for the crown of thorns, with the final effect of a dark metallic grey-blue colour. The complexion, as evidenced in microscopy and spectrometry, is rendered with a mixture of lead white, finely ground vermilion, yellow ochres, rare particles of red lake and a little black to lower the tone. Yellow-orange ochre, parts of vermilion and probably red lead are used in the yellow-brown edge of the robe. Red lake is used above the brilliant red of cinnabar, in the liquid shadows of the robe, reinforced by parts of black as in use among Leonardo's students. The rendering of the drops of blood is notable: a touch of vermilion for the light, red lake (very probable madder) for the dark and the shadow above the skin painted in brown glaze to give the effect of three-dimensionality.

      Dorotheum
    • D'Oggiono, Marco (Attrib.) oder Umkreis — Der heilige Rochus
      Nov. 25, 2022

      D'Oggiono, Marco (Attrib.) oder Umkreis — Der heilige Rochus

      Est: -

      D'Oggiono, Marco (Attrib.) or circle of: — Saint Roch (Oggiono c. 1475-c. 1530 Milan) The patron saint of plague sufferers, he is depicted as a full-length figure in contrapost with hands folded in prayer and carrying a walking stick. His left leg is bare and shows the plague bruise on his thigh. Oil/wood. 101,5 x 48 cm; not framed. - Minor losses of color. - The Lombard painter Marco d'Oggiono is also known as a copyist of works by Leonardo da Vinci and was an employee in his workshop around 1490. // D'Oggiono, Marco (Attrib.) oder Umkreis — Der heilige Rochus — (Oggiono um 1475-um 1530 Mailand) Der Schutzheilige der Pestkranken dargestellt als Ganzfigur im Kontrapost mit zum Gebet gefalteten Händen und Wanderstab, sein linkes Bein ist entblößt und zeigt die Pestbeule am Oberschenkel. Öl/Holz. 101,5 x 48 cm; unger. - Kleinere Farbverluste im unteren Bereich. - Der lombardische Maler Marco d'Oggiono ist auch als Kopist von Werken des Leonardo da Vinci bekannt und war um 1490 Mitarbeiter in dessen Werkstatt.

      Kunstauktionshaus Schlosser
    • OIL PAINTING BY MARCO D'OGGIONO
      Oct. 18, 2022

      OIL PAINTING BY MARCO D'OGGIONO

      Est: €70,000 - €100,000

      MARCO D'OGGIONO (Oggiono 1470 ca. - Milano 1524) SAN MICHELE ARCANGELO Olio su tavola, cm. 63 x 48 PROVENIENZA Già Galleria Menaguale, Verona Famiglia romana Lo studioso Carlo Volpe nella sua perizia riconosce nell'opera lo stile di Marco d'Oggiono e la inquadra cronologicamente intorno al 1495, periodo in cui l'artista risentì della cultura di Leonardo. Il dipinto inoltre è riportato nell'archivio fotografico della Fondazione Federico Zeri, nel fascicolo delle opere ascritte a Marco D'Oggiono. La cultura leonardesca in questa splendida tavola è ancora piuttosto viva come si evidenzia sia nella figura di San Michele, dal volto quasi plastico e affilato e dalla capigliatura bronzea, sia nell'onirico paesaggio di fondo che ritorna nel San Rocco dell'Accademia Carrara di Bergamo e nel San Sebastiano nel Museo Poldi Pezzoli. Il dipinto quasi si potrebbe definire un prototipo della pala raffigurante i tre arcangeli, datata tra il 1515 e il 1516 conservata alla Pinacoteca di Brera a Milano CONDIZIONI DEL DIPINTO Due barre di supporto orizzontali al retro della tavola recenti. Punti di restauro ossidati sparsi sul drappo rosso di San Michele e sul cartiglio. Il dipinto è in buono stato di conservazione Il dipinto è accompagnato dalla perizia di Carlo Volpe

      Casa d'Aste Babuino
    • D'Oggiono, Marco (Attrib.) oder Umkreis — Der heilige Rochus —
      Jul. 29, 2022

      D'Oggiono, Marco (Attrib.) oder Umkreis — Der heilige Rochus —

      Est: -

      D'Oggiono, Marco (Attrib.) or circle of: —Saint Roch (Oggiono c. 1475-c. 1530 Milan) The patron saint of plague sufferers, he is depicted as a full-length figure in contrapost with hands folded in prayer and carrying a walking stick. His left leg is bare and shows the plague bruise on his thigh. Oil/wood. 101,5 x 48 cm; not framed. - Minor losses of color. - The Lombard painter Marco d'Oggiono is also known as a copyist of works by Leonardo da Vinci and was an employee in his workshop around 1490. // D'Oggiono, Marco (Attrib.) oder Umkreis Der heilige Rochus (Oggiono um 1475-um 1530 Mailand) Der Schutzheilige der Pestkranken dargestellt als Ganzfigur im Kontrapost mit zum Gebet gefalteten Händen und Wanderstab, sein linkes Bein ist entblößt und zeigt die Pestbeule am Oberschenkel. Öl/Holz. 101,5 x 48 cm; unger. - Kleinere Farbverluste im unteren Bereich. - Der lombardische Maler Marco d'Oggiono ist auch als Kopist von Werken des Leonardo da Vinci bekannt und war um 1490 Mitarbeiter in dessen Werkstatt.

      Kunstauktionshaus Schlosser
    • MARCO D'OGGIONO (attr. a)
      Nov. 29, 2018

      MARCO D'OGGIONO (attr. a)

      Est: €8,000 - €12,000

      (Oggiono, 1475 circa - Milano, 1530 circa) Madonna con il Bambino e Santi Tempera su tavola, cm 50X42 Il dipinto per i caratteri di stile e scrittura si può circoscrivere ad una datazione di inizio Cinquecento con esiti che evocano l'attribuzione a Marco d'Oggiono. Il pittore, di cultura leonardesca e attivo a Milano durante i primi decenni del XVI secolo, fu indubbiamente il maggiore artista che abbia avuto i natali nel territorio lecchese. La sua presenza nella bottega vinciana è documentata nel periodo in cui il maestro toscano prestava servizio presso la corte sforzesca tra il 1482 e il 1499. Tuttavia, già nel 1490 il nostro svolgeva la sua attività in piena autonomia, come attesta la commissione sottoscritta con Giovanni Antonio Boltraffio per la pala raffigurante 'La Resurrezione di Cristo tra i Santi Leonardo e Lucia', destinata all'Oratorio di San Leonardo presso la Chiesa di San Giovanni sul Muro e ora al Bode Museum a Berlino. Indubbia è la notorietà che il pittore raggiunse, facendo proprie anche le influenze raffaellesche e del classicismo centro-italiano. Tipico del suo repertorio è l'iconografia della Madonna del latte, tema più volte affrontato come si vede scorrendo il corpus raccolto dal Sedini. Bibliografia di riferimento: D. Sedini, 'Marco d'Oggiono, tradizione e rinnovamento in Lombardia tra Quattrocento e Cinquecento', Milano-Roma 1989, ad vocem

      Wannenes Art Auctions
    • MARCO D'OGGIONO - Madonna mit Kind
      Jun. 13, 2012

      MARCO D'OGGIONO - Madonna mit Kind

      Est: CHF2,000 - CHF3,000

      MARCO D'OGGIONO Oggiono bei Mailand 1475-um 1530 Mailand Madonna mit Kind Öl auf Holz, 57 x 44 cm Rückseitig altes Siegel.

      Galerie Fischer Auktionen AG
    • Ription Marco d'Oggiono (Oggiono c. 1475 - 1530
      Apr. 15, 2008

      Ription Marco d'Oggiono (Oggiono c. 1475 - 1530

      Est: €30,000 - €40,000

      Ription Marco d'Oggiono (Oggiono c. 1475 - 1530 Milan), attributed to Christ as the Redeemer, oil on panel, 43.5 x 33.5 cm, framed, (Wo) The sacristy of the Chiesa della Salute in Venice preserves another version of the present painting that has traditionally been attributed to Marco d' Oggiono (Bertarelli, p. 280). In 1989 Sedini, in his monograph on D'Oggiono, questioned the attribution of the painting in Santa Maria della Salute (Sedini, cat. 30). He acknowledged the composition to be satisfactory, but due to weaknesses in the execution and certain stylistic features he did not consider the attribution to be justified. The present painting is probably the hitherto unknown original that served as a model for the painting in the Chiesa della Salute. Due to the traditional attribution of the Venetian version, the present painting may be assigned to the oeuvre of Marco d'Oggio While our painting shows a delicately drawn, elegant face with great eyes characteristic of Leonardo's students and particularl of D'Oggiono, the facial features in the version in Venice are rather crude. Nevertheless the relationship of the two paintings is obvious, as is suggested by the composition, the curled hair, the clothing decorated with banderoles, and the drapery. It is particularly the banderoles in our work that are superior to those in the painting in Venice. Whereas in our painting the clothing is decorated with meticulously executed christological verses, the floral border in the Venetian painting, although similar at first glance, is rather flat and plain, constituting a tremendous simplification of an extraordinary composition. Among Leonardo's numerous students, Marco d'Oggiono, who came from Milan, was one of his most faithful followers. In his early period, he executed several copies of his master's works and in his paintings frequently quoted the latter's compositions. Countless depictions of the blessing or redeeming Christ that originated in the master's circle go back to Leonardesque examples. In D'Oggiono's oeuvre there are several depictions of the Redeemer as well. The juvenile Christ in three-quarter profile rendered in the present composition is thus a citation of the young Christus Salvator Mundi, although, because of the plain and impressive conception of the bust, the picture represents an autonomous and extremely rare type. Literature: Comp. Luigi Vittorio Bertarelli, Guida d'Italia - Le tre Venezie, vol. I, Milan 1920; Domenico Sedini, Marco d'Oggiono, Milan 1989; N.N., The Legacy of Leonardo, Painters in Lombardy 1490 - 1530, Milan 1998

      Dorotheum
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