spanish forger (3 Ergebnisse)

Zustand: molto buono. Su ritaglio di antifonario del XVI secolo, di 181x170 mm, al verso sette linee di testo manoscritte all'epoca. Su fondo blu, entro un grande capolettera O in verde e porpora, con fregi filigranati in bianco. Dio nell'immagine di Padre, con le braccia aperte per reggere la croce dove è posto il Figlio, è avvolto in un ampio mantello. Tra loro la colomba bianca dello Spirito Santo, ai lati spuntano due angeli alati dipinti in oro liquido, gli angoli e aureole furono realizzati in oro brunito in foglia. Il Falsario Spagnolo fu il nome attribuito ad un artista, peraltro attivo a Parigi, che creò un gran numero di falsi di miniature medievali tra la fine del XIX e l'inizio del XX secolo. Il suo soprannome deriva da un'errata attribuzione di un dipinto a un artista spagnolo del XV secolo. Nonostante le prove sempre più evidenti che il Falsario agisse a Parigi (all'interno delle cornici sono stati trovati resti di vecchi giornali francesi), non è emersa alcuna traccia della sua vera identità. Per anni, fino a un secolo fa, le sue opere furono acquistate da musei, biblioteche e collezionisti. Fu smascherato solo nel 1930 da Belle da Costa Green, allora direttrice della Pierpont Morgan Library, dove nel 1978 fu addirittura allestita una mostra retrospettiva. La miniatura è dipinta su un'antica pergamena, metodo tipico dello Spanish Forger. Si tratta di uno splendido esempio di ?falso medievale?, comunque stimato e ricercato. Applicato su velluto porpora, in una bella cornice di metà XIX secolo dorata con rilievi a stucco. //On cutout of 16th-century antiphonary, measuring 181x170 mm, on verso seven lines of text. On blue background, within a large capital letter O in green and purple, with white friezes. God the Father holding the Crucified Son, the Dove of the Holy Spirit between them, on the sides two winged angels painted in liquid gold, the corners and haloes were made in burnished gold leaf. The painting is typical of the Spanish Forger, a painter and illuminator active in Paris from the end of the nineteenth century to the beginning of the twentieth century. He takes his misleading name, the Spanish Forger, from a false attribution of a painting once thought to be by a 15th-century Spanish artist. The name has stuck. Despite the growing evidence that the Forger supervised an atelier in Paris (remnants of old Parisian newspapers have been found inside the frames), no trace of his real identity has come to light. Unmasked in 1930 by Belle da Costa Green, then director of the Pierpont Morgan Library, where a retrospective exhibition was held in 1978. The miniature is painted on medieval parchment, a reused sheet from an Italian (or perhaps Spanish) choirbook dated c.1500, which demonstrates the Forger's methods. This scene, which depicts God the Father supporting the arms of the Cross on which Christ is crucified was a popular one in the Middle Ages. It is a splendid example of a "medieval forgery," however esteemed and sought after. Applied on purple velvet, in a beautiful mid-19th-century gilded frame.  Voelckle, The Spanish Forger (1978). . Book.

Zustand: Very Good. Illuminated Miniature France, circa 1900. Sheet size 23.5 x 16.5 cm. Miniature in coloured overpainting with gold, framed in a coloured Blue & Pink Border, Gold Sky, white-highlighted border with gold lozenges. Verso square musical notes on four red lines with Latin text and a fleur-de-lis initial. Mounted. A beautiful and characteristic miniature by the so-called Spanish Forger , one of the greatest imitators of medieval book art in modern times. The artist, whose identity remains unknown, probably lived in France around 1900. For his high-quality miniatures, he mostly used parchment from old manuscripts. Another characteristic is the sweetly cheerful expression of the depicted faces, which is atypical for the serious and pious expression of medieval paintings. "The Spanish Forger was one of the most skillful, successful, and prolific forgers of all time. Until recently, his numerous panels, manuscripts, and single leaves were appreciated and admired as genuine fifteenth- and sixteenth-century works. Now they are increasingly sold and collected as forgeries " (Voelkle, p. 9).

No Binding. Zustand: Very Good. a castle on a hill and greenery in the background with a burnished golden sky. the canon ball is aimed at a large castle with archers on the roof toward the river and three noble ladies in between the turrets. on the ground, Knights surround a Queen on horseback with a lady in waiting and banner men. a noble man is kneeling and presenting the keys to the castle with three knights behind him pleading allegiance. Illuminated Miniature, on vellum. 25.5 x 18.2 cm,Framed, verso with two lines of text with Music on a 4-line stave. rubbed around the edges. circa 1900. A very attractive illuminated miniature of one of the finest medieval scenes by the forger. Bella da Costa Green, then director of the Pierpont Morgan Library, unmasked the Spanish Forger in the 1930s. He has retained the name "Spanish Forger" because scholars originally believed him to be a Spanish painter of primitivespanel paintings as well as manuscript illumination--working in a northern style in the fifteenth century. Today he is known as "the most skilful and successful and prolific forgers of all times." Indeed, he may be the only forger to have enjoyed a one-man retrospective at a major museum with an accompanying catalogue raisonné of his works, and to be collected by museums and private collectors in his own right. The artist was already active in the 1890s, perhaps in the early 1880s, and he was still painting in 1920. He borrowed freely from chromolithographic editions published in Paris for his compositions, which suggests that he may have been employed by one of the Parisian publishing houses (Auguste Firmin-Didot?). Stuffed inside some of the original frames were remnants of old Parisian newspapers. Scientific analysis of his paintings discloses the presence of green copper arsenate, which was not available before 1814, among other modern pigments, and he applied his gold leaf last, rather than first, in a glaring departure from medieval technique. William Voelkle and Roger Wieck, The Spanish Forger, New York, Pierpont Morgan Library, 1978.