Bartolomeo Montagna Paintings & Artwork for Sale | Bartolomeo Montagna Art Value Price Guide

May. 23, 2023
BARTOLOMEO CINCANI DETTO MONTAGNA (ORZINUOVI 1449/1450 - VICENZA 1523) ATTRIBUITO
Est: €8,000 - €12,000
Bartolomeo Cincani detto Montagna (Orzinuovi 1449/1450 - Vicenza 1523) attribuito Cristo risorto Olio su tela 70,5 x 55,5 cm Per una comparazione stilistica, si vedano le opere pubblicate nel testo intitolato Bartolomeo Cincani detto Montagna, a cura di Mauro Lucco. In particolare si veda: San Giovanni Battista e Santi (fig. 37 a pag. 195) e Cristo tra Santi (fig. 79 a pag. 257). L'opera denota un linguaggio pittorico colto e articolato, che intreccia varie influenze oltre a quella di Bellini, piuttosto ovvia nel Veneto di quel tempo. Esemplari risultano le parole di Lucio Grossato a proposito del pittore: “Nel 1469 è registrata la sua presenza a Venezia, forse per impararvi il mestiere o per perfezionarlo; del 1476 e del 1481 sono le prime commissioni di cui abbiamo notizia, ma per opere che non ci sono pervenute (Zorzi, 1916, pp. 103, 162-164; Mantese, 1964). Nel successivo 1482 è testimoniato il prestigio assunto ormai dal Cincani presso la Serenissima, dato che per la Scuola Grande di S. Marco gli furono commissionati due “teleri” con la illustrazione di due episodi della Genesi, distrutti nell'incendio del 1485 (Paoletti, 1894, pp. 11 s.; 1929, p.132). Fu certamente in conseguenza di questi soggiorni veneziani che si andò formando e consolidando il linguaggio figurativo dei Cincani, quale si manifesta fin dalle prime opere giunte a noi: mezze figure di Madonna col Bambino e pale con Madonna in trono fra santi, nelle quali si sono indicate le evidenti ascendenze del Giambellino e di Antonello da Messina, ed insieme con esse altre componenti: quella mantegnesca, forse tramite i veronesi Morone e Bonsignori; mentre quella di Alvise Vivarini, un tempo ritenuta fondamentale e quasi esclusiva, risulta oggi più limitata, e quella carpaccesca, indubitabile, è avvertibile in una fase successiva e va forse intesa più nel senso di dare e avere. Tutti questi elementi furono, comunque, dal Cincani assimilati e fusi in un linguaggio che si fece via via sempre più personale; e le opere che ne sortirono ebbero tale originale potenza da farlo emergere come una delle figure più valide della pittura veneta del secondo Quattrocento, subito dopo quelle, certamente più prestigiose e determinanti, del Giambellino e del Carpaccio.” (Treccani, Dizionario Biografico degli Italiani - Volume 25, 1981). Bartolomeo Cincani called Montagna (Orzinuovi 1449/1450 - Vicenza 1523) attributed Risen Christ Oil on canvas 70,5 x 55,5 cm For a stylistic comparison you should see the artworks published in Bartolomeo Cincani called Mountain by Mauro Lucco, in particular: St. John the Baptist and Saints (fig. 37 page 195) and Christ among Saints (fig. 79 page 257).
Lucas Aste
May. 18, 2023
BARTOLOMEO CINCANI detto il MONTAGNA e BOTTEGA
Est: €5,000 - €8,000
(Orzinuovi, 1449/1450 ; Vicenza, 1523) Madonna con il Bambino Olio su tavola, cm 64,5X51,5 Provenienza: Milano, collezione privata L'opera trova confronto con la versione conservata al Courtauld Institute di Londra (olio su tavola, cm 84,2X68,5; Cfr. Lucco 2014, pp. 382-383, n. 95). Ne esistono altre due redazioni riferite alla bottega del Cincani, di cui una simile con lievi varianti che presenta anch'essa una pera e due ciliegie sul piano del parapetto, già attribuita al maestro e successivamente a Giovanni Speranza, è da Lucco ricondotta alla bottega di Cincani (Cfr. Lucco 2014, p. 405, n. 115). Detto ciò, l'esistenza di diverse redazioni di un dipinto non deve sorprenderci e tantomeno indurci a considerare queste opere con gli occhi della mentalità moderna, in cui il concetto di originalità ha assunto parametri ben diversi. In epoca antica, infatti, era consuetudine che le sempre più numerose committenze alle quali gli artisti di fama erano chiamati, obbligava loro ad affidare parte dell'esecuzione a collaboratori, si è già fatto notare come dalla metà degli anni Novanta accanto al Montagna lavorassero i figli Paolo e Filippo, ai quali si aggiungeva certo Benedetto e che il capo bottega sovrintendesse all'esecuzione apponendo alle opere gli ultimi ritocchi, dipingendo il cartiglio con la firma per certificarne l'originalità. Bibliografia di riferimento: B. Berenson, Italian Pictures of the Renaissance. Venetian School, Londra 1957, v. I p. 115 L. Puppi, Bartolomeo Montagna, 1962, p. 168 M. Lucco, Bartolomeo Cincani detto Montagna. Dipinti, Treviso 2014, pp. 404-405, nn. 114-115
Wannenes Art Auctions
Jul. 16, 2019
BARTOLOMEO CINCANI dit MONTAGNA (1450-1523), attribué Vierge à l'Enfant
Est: €15,000 - €20,000
BARTOLOMEO CINCANI dit MONTAGNA (1450-1523), attribué Vierge à l'Enfant Huile sur panneau renforcé Anciennes étiquettes au dos Dimensions : 50,5 x 38,5 cm Peintre et graveur italien né à Brescia, Bartolomeo Cincani adopte dès son plus jeune âge le pseudonyme Montagna. Il est formé par Domenico Morone à Vérone ou il peint des façades et exécute des décorations pour la chapelle Dei Santi Nazzaro et Celso. Il devient rapidement une figure importante du Quattrocento et le chef de file de Vincenza, dans un style vénitien. Principaux musées : Le Louvre Paris, Metropolitan New-York, National Gallery Washington, Royal Collection, National Gallery et Courtauld Institute Londres, Musée Poldi Pezzoli, Les Offices Florence, Pinacothèque Brera, Rijksmuseum Amsterdam, Thyssen-Bornemisza Madrid, etc.
Accademia Fine Art
Jul. 02, 2019
Bartolomeo Cincani, Il Montagna (Orzinuovi or Biron circa 1450-1523 A woman standing on a grassy knoll, holding a fruit point of the brush and grey wash, pen and brown ink heightened with white, on blue paper 13 3/8 x 8 7/8 in. (33.8 x 22.5 cm)
Est: £1,000,000 - £1,500,000
Bartolomeo Cincani, Il Montagna (Orzinuovi or Biron circa 1450-1523 Vicenza) A woman standing on a grassy knoll, holding a fruit with inscription 'Gaudencio' and 'Gaudenzio da [...]' and with illegible inscription (verso) point of the brush and grey wash, pen and brown ink heightened with white, on blue paper 13 3/8 x 8 7/8 in. (33.8 x 22.5 cm)
Christie's
Jul. 05, 2017
Bartolomeo Cincani, Il Montagna (Orzinuovi - The Martyrdom of Saint Blaise
Est: £100,000 - £150,000
Bartolomeo Cincani, Il Montagna (Orzinuovi The Martyrdom of Saint Blaise black chalk, point of the brush and watercolour, pen and brown ink 11½ x 7¼ in. (29.3 x 18.4 cm.)
Christie's
Sep. 27, 2016
Bartolomeo Montagna (1450-1523)-attributed, Portra
Est: €800 - €2,000
Bartolomeo Montagna (1450-1523)-attributed, Portrait of a praying man in front of a landscape view with mountains, trees and a town in the distance; tempera or oil on wooden panel, with tears and age cracks; on the reverse old wooden panel support and paper label.
Deutsch Auktionen
Jan. 27, 2010
Bartolomeo Montagna (Vicenza c.1450-1523)
Est: $40,000 - $60,000
Bartolomeo Montagna (Vicenza c.1450-1523) Christ Blessing signed and dated 'Opus. Bar*olom..Montag.di 24 Sep..mbris 1507' (lower center) tempera (?) and oil on panel 25¾ x 20 in. (65.4 x 50.8 cm.)
Christie's
Jan. 25, 2006
* BARTOLOMEO MONTAGNA ORZINUOVI CIRCA 1450 - 1523 VENICE
Est: $100,000 - $150,000
THE BEHEADING OF ST. BLAISE measurements note 304 by 193mm; 12 by 7 9/16 in point of the brush and colored washes and pen and brown ink PROVENANCE Mrs Alfred Noyes EXHIBITED Venice, Fondazione Giorgio Cini, Disegni veneti di collezioni inglesi, 1980, no. 6, reproduced. LITERATURE T. Borenius, 'Two Drawings from the Circle of Bartolomeo Montagna', Old Master Drawings, September 1931, no.22, p. 19, pl. 17; L. Puppi, Bartolomeo Montagna, Venice 1962, p. 132 (as possibly a copy after the fresco). NOTE This extremely rare colored drawing is preparatory for one of the four scenes from the legend of St Blaise which Bartolomeo Montagna painted in the apse of the chapel dedicated to the Saint, in the church of SS. Nazzaro and Celso, Verona (fig. 1). This cycle of frescoes was executed in 1504-06. All the frescoes, including the Beheading of St. Blaise, are in a damaged condition and seem to have been so for quite a long time. The present sheet seems to be an elaborately executed modello for one of the compositions in the cycle. Although the condition of the fresco makes a precise reading of its details difficult, there are clearly numerous and important differences between the present drawing and the final work. Using the photograph in Venturi, Storia dell' Arte Italiana (the most legible of the available sources), the most striking of these differences are the following: in the fresco the hands of Saint Blaise are joined in prayer; the position of the sword and the arm of the executioner have been moved forward to avoid being too close to the horseman behind to the left; the head of the horse to the right is turned and rider's sword lies along his left leg; there are two decapitated heads, not one, and they lie further to the left. There are also many small changes evident in the group of soldiers and onlookers behind the main figures, and the architecture too has been significantly revised. In the drawing, the procession of dignitaries coming out of the main gate of the castle is more prominent. Also, in the drawing there is a clearer understanding and description of the rocky ledge in the foreground where the execution takes place. Borenius, who first published this drawing, wrote: ' I think it is quite possible that it may be a preparatory study for the fresco, from which it differs in so many respects that it is hard to imagine that it could be a copy'. Although Puppi, who never saw the drawing in the original, described it as possibly a copy in his 1962 monograph, at the time of the Venice exhibition of 1980, scholars agreed with the original opinion of Borenius, that this is a unique example of a modello by Montagna himself for his Verona fresco. On a smaller scale, the stylistic details of the drawing also support the attribution, and the rather finished figures in the foreground are drawn with the point of the brush in many parallel strokes in a manner very characteristic of Montagna's graphic style. Though very consistent in terms of handling with the small number of surviving drawings by Montagna, this drawing is without parallel in the artist's surviving work in being a rather finished modello for a fresco. It is therefore a very important addition to our understanding both of this important artist's working methods, and of the practice of making modelli and presentation drawings in the Veneto at the very beginning of the 16th century.
Sotheby's
Jan. 23, 2002
Bartolomeo Cincani, il Montagna (c.1450-1523)
Est: $500,000 - $700,000
The Risen Christ brush and grey ink, grey wash heightened with white on grey-blue paper, the top of the cross on an attached piece of paper, watermark fish (?) 141/4 x 9 1/8 in. (362 x 230 mm.) PROVENANCE W. Mayor (L. 2799). J. Whitehead; Helbing's, Munich, 19 June 1897, lot 9. The Prince of Liechtenstein, Feldsberg. with P.& D. Colnaghi, 1953, no. 14. Major and Mrs. S.V. Christie-Miller. LITERATURE Original Drawings and Sketches by the Old Masters... formed by the late Mr. Wiliam Mayor, London, 1875, no. 26 (as Boltraffio). J. Schonbrunner and J. Meder, Handzeichnungen alter Meister aus der Albertina und anderen Sammlungen, Vienna, 1896-1908, IV, pl. 433 (as School of Bartolomeo Montagna) T. Borenius, The Painters of Vicenza, London, 1909, pp. 102-3 (as Bartolomeo Montagna, 'or at an rate [it] stands very near to [the elder] Montagna'). A.M. Hind, Catalogue of Early Italian Engravings in the British Museum, London, 1910, p. 476 (as Benedetto Montagna). K.T. Parker, 'Benedetto Montagna', Old Master Drawings, September 1928, pp. 23-4 (as Benedetto Montagna). L. Puppi, 'Appunti su Benedetto Montagna pittore', Arte Veneta, 1958, p. 58 (as Benedetto Montagna). L. Puppi, Bartolomeo Montagna, Venice, 1962, p. 150 (as Benedetto Montagna). EXHIBITION Edinburgh, The Merchant Hall, Italian 16th Century Drawings from British Private Collections, 1969, no. 46 (as Bartolomeo Montagna). Washington, National Gallery of Art, Circa 1492: Art in the Age of Exploration, 1992, ex-catalogue (as Bartolomeo Montagna). NOTES Professor W.R. Rearick has kindly confirmed the attribution of the present drawing to Bartolomeo Montagna in a letter dated 14 November 2001. Professor Rearick adds that 'The physical type is his, even though it is oddly mannered in a highly fluttery style that seems to suggest Lombard or perhaps Emilian influence. However, the splendidly assured handling of his typical wash medium is of the finest quality [...]. My impression, however, is that it is a late work, one done after about 1510-1514 when more recent developments in draftsmanship such as Titian had rendered Montagna's position a bit old-fashioned. Its somewhat flaccid character no longer has the decisiveness or vigor of his drawings of the end of the Quattrocento. I would emphasize, however, that it is clearly not the work of his son or of immediate followers such as Speranza, neither of whom departed from Montagna's style of ca. 1495'. The painterly technique of the drawing is typical of Montagna's style: the pen and ink, the wash and the white heightening are applied in small crisp touches of brush on blue paper. A similar technique can also be seen in drawings in the Louvre, formerly at Harewood and at Windsor Castle, all drawn on a similar large blue sheets, L. Puppi, op. cit., 1962, figs. 171, 166 and 90. All these drawings depict figures against a neutral setting, out of any context, with a background simply defined with long strokes of wash. The present drawing, known from an old reproduction of 1900 and exhibited only once before 1992, shows upon examination numerous pentimenti. These are mostly visible around the left arm, under the right hand, around the flag and the drapery. The very assured and fine quality of the handling of the brush, particularly in the face, is close to that of the Christ Salvator Mundi at Windsor Castle. The slightly unusual pose of Christ in the latter drawing, the figure turned to the right but gesturing to the left and seated on a capital, is in its early mannerist character similar to that in the present drawing. The pose of the figure in the Harwood drawing is also far from the stiff postures of the 15th Century and resembles that of the present sheet. The Harewood drawing was, like The Risen Christ, in William Mayor's Collection, as no. 11 of the 1875 catalogue, as Bramante. In the years 1513-4 Bartolomeo Montagna painted a Saint John the Baptist in a landscape, comparable in pose and features to those of the present drawing, L. Puppi, op. cit., 1962, p. 123, fig. 161. A little earlier, Montagna painted Christ carrying the Cross and Christ blessing respectively in the Museo Civico in Vicenza and in the Columbus Gallery of Fine Arts, Ohio, whose features are close to that of the head of Christ in the present drawing. Montagna also drew a pen and brown ink version of The Risen Christ around 1485. The drawing, formerly in Jabach's collection and now in the Louvre (L. Puppi, op. cit., 1962, p. 150, fig. 36), was engraved around 1502-3 by Bartolomeo's son, Benedetto (c.1480-1540). It shows the same detail of crossed fingers on the left hand as does the present sheet.
Christie's