5
Bernardo Daddi (Florence, active circa 1312 - 1348)
1/9
Description
Bernardo Daddi (Florence, active circa 1312 - 1348)
"Saint John the Evangelist"
Tempera and gold on panel.
66 x 34 x 3,1 cm.
With e certificate signed in Rome, on 13/03/2020 by Dr. Alessandro Tomei, Professor of History of Medieval Art at the University ‘G. D'Annunzio’ University of Chieti - Pescara, who was the curator of the exhibition “Giotto e il Trecento”, Rome (2009), the most extensive exhibition dedicated to Giotto since the one held at the Uffizi in Florence in 1937.
A stratigraphic study of a micro-sample taken from the panel painting, realised by Arte-Lab S.L. from Madrid on 14 November 2019, is attached.
The following is a transcription of this certificate, in which the doctor indicates the work is from Bernardo Daddi, stating that it was probably executed in the final phase of his career, and compares it to Daddi's ‘Saint John the Evangelist’ in the Bandini Museum in Fiesole. He also excludes the possibility that the artist collaborated with another painter on the execution of this artwork, as the high quality of the painting leads him to affirm that it is a work executed by the Master himself.
‘The panel depicts Saint John the Evangelist attempting to write in a codex, following the typical medieval iconography of the Evangelists. [...]
The painting must have been a side door of a polyptych of considerable size, which can be assumed from the present size, which is certainly smaller than the original, as part of the lower area is missing.
The saint is wrapped in a cloak of different shades of red, from carmine to white, with a very precise chiaroscuro rendering, which marks a well-structured volume, especially in the folds of the drapery on the right arm.
The dress under the cape is dark in colour, with simple decorative motifs on the wrists and neckline. The cover of the codex is decorated with a central rhomboid motif with fine spirals on the sides.
The stylistic particularities of the panel are reminiscent of Florentine painting of the first half of the 14th century and very convincing comparisons with Bernardo Daddi´s style can be found.
In this case, the Saint John is very similar to another Saint John in the Bandini Museum in Fiesole (Florence), traditionally attributed to Bernardo Daddi. The physical features, the type of drapery and, last but not least, the decoration on the cover of the codex, are so closely related that it is possible to hypothesise about the identity of the author; the pattern of perforation on the halo is also similar in the two paintings.
The first painting, signed by Bernardo Daddi, as Bernardus de Florentia, is dated 1328; it is a triptych kept in Florence in the Uffizi Museum, which is followed by a large attributive corpus, formed through the studies of Richard Offner and Miklòs Boskovits (R. Offner, The Works of Bernardo Daddi, M. Boskovits ed., Florence 1989).
[Bernardo Daddi] was, together with Taddeo Gaddi and Maso di Banco, one of the most interesting personalities of the Florentine pictorial scene of the first half of the 14th century, interpreting the lessons of Giotto with greater linear fluidity. He must have been a member of Giotto´s workshop, according to ancient sources. It is precisely this more marked linear quality that marks Bernardo Daddi as a painter who diverged in part from Giotto's orthodoxy and in a certain way oriented himself towards the contemporary masters of Siena, in particular Pietro Lorenzetti. It is interesting to recall that it was precisely because of Daddi's peculiarities in form that Richard Offner coined the expression “Miniaturist Tendency” to describe a trend in Florentine painting in the first half of the 14th century.
The Saint John in question seems to date from the final phase of Bernardo Daddi's career, when his distancing from Giotto's teachings seems to have broadened’.
Bernardo Daddi was an important Florentine painter, active in the late 13th and early 14th century. Following Giotto's death, Daddi became the most prominent painter in Florence, according to the Thyssen-Bornemisza National Museum. His early work reveals the influence of Giotto's models, as can be seen in the frescoes in the Pulci-Berardi chapel in the church of Santa Croce in Florence. By the 1330s Daddi had a prosperous workshop with many assistants and produced numerous small works for private use. During this period the influence of the Lorenzetti brothers was present in his work.
Some of his most notable work includes the portable Triptych in the Loggia del Bigallo, dated around 1333, the ‘Triptych with the Virgin and Child, with Saint Matthew the Evangelist and Saint Nicholas of Bari’ (1328) (inv. 1890 n. 3073), now in the Uffizi Gallery, and the famous ‘Polyptych of Saint Pancrazio’, 1330-1338 (inv. 1890, no. 8345), also in the Uffizi Gallery, with three panels being on display in the Metropolitan Museum of Art.
Provenance: Private collection. Spain.
Reference bibliography:
- Museo Nacional Thyssen-Bornemisza. (s.f.). "Bernardo Daddi". https://www.museothyssen.org/coleccion/artistas/daddi-bernardo
Auction Details
Shipping
T&Cs & Important Info
Ask seller a question
Bernardo Daddi (Florence, active circa 1312 - 1348)
"Saint John the Evangelist"
Tempera and gold on panel.
66 x 34 x 3,1 cm.
With e certificate signed in Rome, on 13/03/2020 by Dr. Alessandro Tomei, Professor of History of Medieval Art at the University ‘G. D'Annunzio’ University of Chieti - Pescara, who was the curator of the exhibition “Giotto e il Trecento”, Rome (2009), the most extensive exhibition dedicated to Giotto since the one held at the Uffizi in Florence in 1937.
A stratigraphic study of a micro-sample taken from the panel painting, realised by Arte-Lab S.L. from Madrid on 14 November 2019, is attached.
The following is a transcription of this certificate, in which the doctor indicates the work is from Bernardo Daddi, stating that it was probably executed in the final phase of his career, and compares it to Daddi's ‘Saint John the Evangelist’ in the Bandini Museum in Fiesole. He also excludes the possibility that the artist collaborated with another painter on the execution of this artwork, as the high quality of the painting leads him to affirm that it is a work executed by the Master himself.
‘The panel depicts Saint John the Evangelist attempting to write in a codex, following the typical medieval iconography of the Evangelists. [...]
The painting must have been a side door of a polyptych of considerable size, which can be assumed from the present size, which is certainly smaller than the original, as part of the lower area is missing.
The saint is wrapped in a cloak of different shades of red, from carmine to white, with a very precise chiaroscuro rendering, which marks a well-structured volume, especially in the folds of the drapery on the right arm.
The dress under the cape is dark in colour, with simple decorative motifs on the wrists and neckline. The cover of the codex is decorated with a central rhomboid motif with fine spirals on the sides.
The stylistic particularities of the panel are reminiscent of Florentine painting of the first half of the 14th century and very convincing comparisons with Bernardo Daddi´s style can be found.
In this case, the Saint John is very similar to another Saint John in the Bandini Museum in Fiesole (Florence), traditionally attributed to Bernardo Daddi. The physical features, the type of drapery and, last but not least, the decoration on the cover of the codex, are so closely related that it is possible to hypothesise about the identity of the author; the pattern of perforation on the halo is also similar in the two paintings.
The first painting, signed by Bernardo Daddi, as Bernardus de Florentia, is dated 1328; it is a triptych kept in Florence in the Uffizi Museum, which is followed by a large attributive corpus, formed through the studies of Richard Offner and Miklòs Boskovits (R. Offner, The Works of Bernardo Daddi, M. Boskovits ed., Florence 1989).
[Bernardo Daddi] was, together with Taddeo Gaddi and Maso di Banco, one of the most interesting personalities of the Florentine pictorial scene of the first half of the 14th century, interpreting the lessons of Giotto with greater linear fluidity. He must have been a member of Giotto´s workshop, according to ancient sources. It is precisely this more marked linear quality that marks Bernardo Daddi as a painter who diverged in part from Giotto's orthodoxy and in a certain way oriented himself towards the contemporary masters of Siena, in particular Pietro Lorenzetti. It is interesting to recall that it was precisely because of Daddi's peculiarities in form that Richard Offner coined the expression “Miniaturist Tendency” to describe a trend in Florentine painting in the first half of the 14th century.
The Saint John in question seems to date from the final phase of Bernardo Daddi's career, when his distancing from Giotto's teachings seems to have broadened’.
Bernardo Daddi was an important Florentine painter, active in the late 13th and early 14th century. Following Giotto's death, Daddi became the most prominent painter in Florence, according to the Thyssen-Bornemisza National Museum. His early work reveals the influence of Giotto's models, as can be seen in the frescoes in the Pulci-Berardi chapel in the church of Santa Croce in Florence. By the 1330s Daddi had a prosperous workshop with many assistants and produced numerous small works for private use. During this period the influence of the Lorenzetti brothers was present in his work.
Some of his most notable work includes the portable Triptych in the Loggia del Bigallo, dated around 1333, the ‘Triptych with the Virgin and Child, with Saint Matthew the Evangelist and Saint Nicholas of Bari’ (1328) (inv. 1890 n. 3073), now in the Uffizi Gallery, and the famous ‘Polyptych of Saint Pancrazio’, 1330-1338 (inv. 1890, no. 8345), also in the Uffizi Gallery, with three panels being on display in the Metropolitan Museum of Art.
Provenance: Private collection. Spain.
Reference bibliography:
- Museo Nacional Thyssen-Bornemisza. (s.f.). "Bernardo Daddi". https://www.museothyssen.org/coleccion/artistas/daddi-bernardo
Millésime 25 · 20th anniversary of La Suite Subastas
Sale Date(s)
Lots: 60
Venue Address
Conde de Salvatierra, 8
Barcelona
08006
Spain
General delivery information available from the auctioneer
The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.
Important Information
It is important please, that you read our conditions of sale before the auction. If you need us to send them to you by mail, just ask for them.
We would like to remind you that in compliance with Spanish historical heritage laws, lots over 100 years old will need a license, which we will take care of processing for you. This process can take up to a month, as the Ministry of Culture holds only one meeting per month.
The Spanish administration does not charge anything for clients within the European Community, but for non-European Community buyers, the Spanish administration does apply fees. Please contact us for more details on the cost of these fees.
Terms & Conditions
CONDITIONS OF THE AUCTION:
I. REGISTRATION. To bid in the room customers must register at the beginning, filling out a form and picking a number that will identify them during the auction. Customers may be required to register in bank references or other guarantee system and if they do not prove the solvency "LST" will not accept bids and award the auction.
II. WRITTEN BIDS. "LST" will accept written bids, which will be formalized in the form provided by the room until the day before the auction. In such auctions, the room will bid in name of the client until the maximum stated in the offer and always at the lowest possible price. If there are two or more bids for the same amount, the one placed first will have the priority. Written bids received in advance, will have priority on the day of the auction.
III. TELEPHONE BIDS. "LST" will allow telephone bids, if interested people contact "LST" days before the auction providing personal data, ID card and the phone number which will be used by the staff of "LST" to call at the time of the auction. The buyer, within all the legal rights is making an offer for the asking price, when applies for telephone bid. "LST" will not take responsibility for any technical defects beyond its control, which may prevent to contact successfully the bidder during the auction.
IV. AUCTIONEER. The auction will be conducted by an auctioneer, director of the auction will be judge and arbitrator of it with full authority in its development, will award the lots to the highest bidder and is able to settle any controversy concerning lots sale, reject bids, divide lots or group them and remover objects from the room. Will be able to, if it is deemed suitable, not accept bids on the auction. His decision will be unappealable.
V. SALE OF LOTS. The lots are awarded to the highest bidder. Once the auctioneer blows the hammer, the buyer becomes responsible of the lot purchased, exempting "LST" of liability to for any damage and / or accidents that may occur. No refunds of lots.
VI. STARTING PRICE. The amount shown in the catalogue as the starting price for each lot will be, as a rule, the minimum selling price, except for exceptional cases where a reservation may be agreed upon with the seller or it set discretionary by the room.
VII. SCALE OF BIDS. The bids are set according to the following scale:
From 50.-€ to 200.-€…………………………………………..at 10.-€
From 200.-€ to 500.-€…………………………………… …25 in 25.-€
From 500.-€ to 1.000.-€………………………………..…..….50 in 50.-€
From 1.000.-€ to 2.000.-€………………………………..…100 in 100.-€
From 2.000.-€ to 5.000.-€……………………………….….250 in 250.-€
From 5.000.-€ to 10.000.-€…………………………………500 in 500.-€
From 10.000.-€ to 20.000.-€……………………………1.000 in 1.000.-€
From 20.000.-€ to 50.000.-€……………………………2.500 in 2.500.-€
From 50.000.-€ to 100.000.-€…………………………..5.000 in 5.000.-€
From 100.000.-€ to 100.000.-€………………………10.000 in 10.000.-€
From 200.000.-€ to 200.000.-€………………………25.000 in 25.000.-€
From 500.000.-€ to 500.000.-€………………………50.000 in 50.000.-€
VIII. RIGHT OF ADMISION. "LST" reserves the right to admission to the auction room and to reject, at its judgment, any purchase order, from clients whose solvency is not duly proved as well as not to sale auctions.
IX. SALE PRICES. The successful bidder of one or more lots must pay "LST" the final sale price achieves at auction, plus the 24,5 % plus 21% VAT on the commission, at total 29,64 % on Hammer Price.
X. CATALOG DATA. The catalogue data are obtained in order to careful research and advice, however, any responsibility is afforded about its accuracy. The lots will be auctioned in the state in which they are, not accepting any claims in restorations, breakage, damage, imperfections and, even description or numbering mistakes in the catalogue, in case of it, being the burden of the buyers to make sure before the auction that the description matches with their personal opinion about respective lot. The exhibition of the lots is intended to allow a perfect review and study of them.
XI. PAYMENT AND REMOVAL OF LOTS. Payment and removal of the lots will be held no later than five days following the auction. After this period expire without having the buyer removed the lot or lots purchases, it will accrue an expense of custody of 6 euros per day on each lot.
15 days after the auction without having the buyer paid and removes the sold lots, "LST" will inform the seller and there will begin judicial proceeding in order to obtain payment. The delay in payment by the purchaser of his/her sold lots will carry an interest increase at a rate of 1,5% per month.
XII. DELIVERY OF LOTS. The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.
XIII. RIGHT OF FIRT REFUSAL AND REPURCHASE. "LST" in order to article 38 of "Ley 16/1985 de 25 Junio del Patrimonio Histórico Español" (BOE. 155 June 29, 1985), will notify in advance to the Ministry of Culture, the content of their catalogues. Concerning the lots subject to the legislation referred to in the preceding paragraph, the Administration may exercise the rights of first refusal and repurchase according to the law. "LST" will watch over the protection of Artistic, Historical and Bibliographical Heritage of Spain. For customers out of European Community, a tax for export is required by the Administration.
XIV. EXPORT LICENSE. In compliance with Spanish historical heritage laws, lots over 100 years old need a export license, which we will take care of processing for you. The Spanish administration does not charge anything for clients within the European Community, but for non-European Community buyers, the Spanish administration does apply fees. Please contact us for more details on the cost of these fees.
XV. VALUE ADDED TAX (I.V.A). This tax will be accrued on commissions of "LST" for buyers, using the rates prevailing on the date of the auction.
XVI. DATA PROTECTION. In order to the "Ley 15/1999 de 13 de Diciembre, de Protección de Datos de Carácter Personal", the client authorize "LST", the inclusion of their data in a customer file, and for the promotion by "LST" of the objects at all times the rights of access, rectification or deletion of personal data by sending the appropriate request to the following address: LA SUITE SUBASTAS, C/ Conde Salvatierra, 8, 08006. Barcelona.
XVII. EXPRESS LEGAL JURISDICTION. These Conditions are governed by and interpreted in accordance with the rules of Spanish law. The mere act of participating in the auction as seller, buyer or bidder, implies acceptance of these Terms and Conditions.
Sales operations are understood to be held at the registered office of "LST", C/ Conde de Salvatierra, 8, 08006. Any dispute shall be taken to the competent courts of Barcelona, expressly waiving any other jurisdiction, in accordance with Article 55 of the "Ley de Enjuiciamiento Civil".
