Skip to main content
Want more images or videos?
Request additional images or videos from the seller
1 of 10

Saint Cosmas and Saint Damian

circa 1454 -1458

About the Item

These exceptionally rare early Renaissance panels of Saint Cosmas and Saint Damian are an extraordinary new discovery. It is believed, thanks to the research of art historians Marco Tanzi and Andrea de Marchi, that these represent the missing panels from the famed polyptych that was formerly displayed on the altar of the Chapel of San Nicola da Tolentino in the Church of Sant’Agostino in Cremona, Italy. To find two matching early Renaissance panels outside of a museum or church, particularly in such remarkable condition, is an extraordinary rarity. The central and left-sided panels of the original five-part polyptych are currently in the collection of the Museo Civico Ala Ponzone in Cremona. These panels have luckily remained intact, and respectively portray the Madonna and Child Enthroned with Angels and Donor, Saint Nicholas of Tolentino (the chapel’s namesake) and Saint George. While the present panels have since been reduced, that they belong to the Cremonese altarpiece is confirmed by a number of stylistic elements. All five panels contain the same rich decorative arabesque pattern on their stamped gold background, while the figures’ knurled haloes are identical in both their fineness of line and use of perspective. The proportions of the figures coincide perfectly; Saints Cosmas and Damian would have originally also been depicted as full-length figures, fitting into the vertical, Gothic style of the altarpiece. According to the Christian religion, Saint Cosmas and Saint Damian were 3rd century physicians born in Arabia. Little is known about their lives except that they were reputedly twin brothers and that they were martyred in Syria during the persecution of Emperor Diocletian. It was believed that the saints were skilled in healing, and when their medicines failed, their faith and prayers could always perform miracles. Thus, the saints are often depicted with their medical equipment while wearing the traditional medieval doctor’s garb of crimson robes and distinctive round red hats. The saints are similarly depicted in the present panels, though considering the manner in which they have been cut, their medical tools are not immediately evident. The saints were highly popular as patrons of wealthy families during the Gothic and Renaissance eras, particularly the Medici, and thus they occur frequently in art from the era. The twins, for instance, are found in the famed San Marco Altarpiece by Fra Angelico in the San Marco Museum (Florence), as well as in a set of Medici panels crafted by Filippo Lippi currently in the collection of the National Gallery (London). These present panels, along with the remainder of the Cremonese altarpiece, has been attributed to the Northern Italian Renaissance painter Bonifacio Bembo. Active in Cremona throughout the 15th century, he would have been a natural choice for the construction of the altarpiece, which was to be part of a new chapel dedicated to San Nicola da Tolentina in the church of Sant'Agostino in Cremona. The Cavalcabò chapel, which is also in the Sant'Agostino, is similarly attributed to him. Several other of his works can be found in museums and churches throughout Italy and beyond, including the Pinacoteca di Brera (Milan), Denver Museum of Art, and the Musée des Arts Décoratifs (Paris), among others. Circa 1454-1458 Panel: 14 7/8” high x 11 3/4” wide Frame: 15 1/2” high x 12 3/8” wide
  • Attributed to:
    Bonifacio Bembo (1444 - 1477)
  • Creation Year:
    circa 1454 -1458
  • Dimensions:
    Height: 15.5 in (39.37 cm)Width: 12.38 in (31.45 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    New Orleans, LA
  • Reference Number:
    Seller: 30-86951stDibs: LU1865797082
More From This SellerView All
  • Josianna, Jeune Femme au Ruban by Jean Gabriel Domergue
    By Jean-Gabriel Domergue
    Located in New Orleans, LA
    Jean-Gabriel Domergue 1889-1962 French Josianna, jeune femme au ruban (Josianna, Young Woman With Ribbon) Signed "Jean Gabriel Domergue" (lower left) Oil on panel A young French beauty known as Josianna is the subject of this work by Jean-Gabriel Domergue, and the oil on panel is a perfect example of the portraits for which the artist is renowned. His model embodies the concept of the la belle Parisienne: slender, swan-like women bearing an unmistakable grace and style. Domergue includes a delicate pink ribbon around her neck, suggesting a fashionable garment, set against a soft pastel-colored backdrop. The artist's oeuvre encompasses women from all facets of society, from aristocratic figures such as Liane de Pougy and Nadine, Baroness de Rothschild...
    Category

    20th Century Post-Impressionist Figurative Paintings

    Materials

    Oil, Panel

  • Jeune femme à l’éventail (Young Girl with a Fan)
    By James Tissot
    Located in New Orleans, LA
    Conjuring the brilliance of late 18th-century costume with infusions of 19th-century modernity, James Jacques Joseph Tissot’s Jeune femme à l’éventail illustrates the remarkable technique for which he was renowned. His delicate portraiture, combined with his fascination with conveying texture, demonstrates why he was one of the most revered artists of the Belle Époque. Grouped with Tissot’s “keepsake pictures” of beautiful women in fashionable dress, this work is noteworthy not only for the fresh face of its sitter but also for the appearance of some of Tissot’s most beloved props. The delicate fan and paisley cashmere shawl, a favorite prop of Tissot’s artistic idol Jean Auguste Dominique Ingres, made frequent appearances in his paintings, as did the exquisite dress the sitter wears. Its identifiable styling can be seen in several of Tissot’s most notable works of the period, including La chéminée and Un déjeuner à la riviere. The playful feel of this painting is grounded by Tissot’s exceptional attention to detail. A master of conjuring an array of textures, Tissot showcased this ability in this composition by juxtaposing many types of fabrics and patterns within one costume. This intricacy, which he carried even to his depiction of the woman’s manicure and jewelry, set him on par with the best artists of his day and contributed to his commercial success. Born in 1836 in the port town of Nantes, Tissot traveled to Paris at the age of 20 in order to join the studios of Hippolyte Flandrin...
    Category

    19th Century Realist Portrait Paintings

    Materials

    Oil, Panel

  • Double Portrait of King Frederik IV and Queen Louise of Mecklenburg-Güstrow of D
    Located in New Orleans, LA
    When viewed straight on, this "turning picture" by French artist Gaspar Antoine de Bois-Clair appears to be a disorganized collection of painted facial features and wooden slats. However, when viewed at an angle from either side, two separate images are revealed — portraits of Frederik IV and Louise of Mecklenburg-Güstrow, the King and Queen of Denmark. A wonder of both portraiture and trompe l'oeil, this work demonstrates the artist's skill in rendering intriguing visual effects. An impressive exercise in representing depth and 3-dimensionality in painting, the work is executed on a series of triangularly-cut strips of wood to create an effect now known as lenticular imaging...
    Category

    16th Century Academic Portrait Paintings

    Materials

    Wood, Oil, Panel

  • Virgin and Child with the Infant Saint John
    By Domenico Puligo
    Located in New Orleans, LA
    A masterful example of Italian Mannerist painting, this exceptional panel was composed by the renowned Florentine painter Domenico Puligo. Alongside Jacopo Pontormo and Rosso Fiorentino, Puligo is remembered as one of the foremost figures of the Mannerist movement that rose to prominence during the 16th century in Florence. This panel of the Virgin Mary with the Christ child and Saint John the Baptist is a characteristic example of his celebrated devotional images, which grace museums such as the Metropolitan Museum of Art (New York), Museo del Prado (Madrid), Palazzo Borghese (Rome), and Palazzo Pitti (Florence), among many others. Puligo’s skill with color is fully demonstrated in the beautifully preserved work. Considering its age, the vibrancy and the sheer range of color is remarkable. The Virgin Mary’s crimson dress...
    Category

    16th Century Mannerist Portrait Paintings

    Materials

    Oil, Panel

  • Tête de paysanne à la coiffe blanche by Vincent van Gogh
    By Vincent van Gogh
    Located in New Orleans, LA
    Vincent van Gogh 1853-1890 Dutch Tête de paysanne à la coiffe blanche Oil on canvas laid down on panel A striking and evocative example of Vincent van Gogh’s early portraiture, Tête de paysanne à la coiffe blanche showcases the artists’ powerful ability to capture both the likeness and the essence of his sitters. Rendered in thick, deliberate brushstrokes, van Gogh paints his sitter with an unbroken forward gaze. The composition's tertiary palette conjures a dimly lit evening setting, accentuating the dramatic lighting of the subject's solemn face. The woman’s white headpiece...
    Category

    19th Century Post-Impressionist Portrait Paintings

    Materials

    Canvas, Oil, Panel

  • Portrait Of A Gentleman By Frans Hals
    Located in New Orleans, LA
    Frans Hals 1582-1666 Dutch Portrait of a Gentleman (possibly Theodore Blevet) Oil on panel “Frans Hals is a colourist among the colourists...Frans Hals must have had twenty-seven blacks...
    Category

    17th Century Old Masters Portrait Paintings

    Materials

    Oil, Panel

You May Also Like
  • The Lamentation Of The Death Of Christ, 17th Century
    Located in Blackwater, GB
    The Lamentation Of The Death Of Christ, 17th Century follower of Pier Francesco Mazzucchelli (1573-1626) Fine huge 17th Century Italian Old Master depiction of the Lamentation at t...
    Category

    18th Century Renaissance Portrait Paintings

    Materials

    Tempera, Panel

  • St. Vincent Ferrer Preaching to the People of Salamanca
    Located in New York, NY
    Provenance: Private Collection, New Jersey The present painting depicts Saint Vincent Ferrer preaching from a raised pulpit to a group of seven peopl...
    Category

    15th Century and Earlier Renaissance Figurative Paintings

    Materials

    Oil, Wood Panel

  • A portrait of John Poyntz, after Hans Holbein, ca. 1644 - 1674
    By Hans Holbein
    Located in Brooklyn, NY
    A portrait of courtier and politician John Poyntz, after Hans Holbein, circa 1644 - 1674. This painting is based on a drawing by Hans Holbein, part of the drawings collection of the ...
    Category

    Mid-17th Century Renaissance Portrait Paintings

    Materials

    Oil, Wood Panel

  • after Andrea del Sarto circa 1863. Portrait of Baccio Bandinelli. Uffizi Gallery
    By Andrea Del Sarto
    Located in Sutton Poyntz, Dorset
    Portrait of Baccio Bandinelli 1493 - 1560 after Andrea del Sarto 1486 – 1530 Italian, created Circa 1863 Signed Gianni Oil on Panel. Oval Image size 8.3 inches x 6.5 inches ( 21cm x ...
    Category

    Mid-19th Century Renaissance Portrait Paintings

    Materials

    Oil, Panel

  • after Leonardo da Vinci dated 1863. Self Portrait. Uffizi Gallery in Florence.
    By Leonardo da Vinci
    Located in Sutton Poyntz, Dorset
    Self-Portrait of Leonardo da Vinci 1452 - 1519 after & of Leonardo da Vinci Italian, dated 1863 Signed Gianni Oil on Panel. Oval Image size 8.3 inches x 6.5 inches ( 21cm x 16.5cm ) ...
    Category

    Mid-19th Century Renaissance Portrait Paintings

    Materials

    Oil, Panel

  • Fine Old Master Portrait, by Gillis Claeissens, Portrait of a Lady, 1580, Bruges
    By Gillis Claeissens
    Located in Greven, DE
    Gillis Claeissens Portrait of a Lady, probably "Anne Joigny-de Pamele" Oil on wood, 35,5 x 28 cm Gillis Claeissens has only recently been rediscovered as an important portrait painter of the 16th century. He received his training in the studio of his father, Pieter I Claeissens. Gillis became a freemaster of the St Luke's Guild in Brussels in 1566 and worked at the court of Alexander Farnese in Brussels between 1589 and 1592. Later he was also court painter to the Archdukes Albert and Isabella. After his return to Bruges, he created portraits of high Bruges society. It was only through the Forgotten Masters exhibition in Bruges in 2018 that the work of Gillis Claeissens was rediscovered. The present painting recently turned up in a private collection and was confirmed as a typical work by Claeissens by Mrs Oosterwijk at the Museum Groeninghe in Bruges. Gillis Claeissens or Egidius Claeissens (Bruges, 1526 – Bruges, 17 December 1605) was a Flemish painter of portraits and altarpieces and a member of a prominent family of artists originating in Bruges. It has only been possible to distinguish Gillis Claeissens' work from that of his father and siblings after scholars discovered a contract with the artist for the painting of a tryptich. It was further discovered in 2015 that he artist can be identified with the Monogrammist G.E.C. These discoveries have allowed to recognise Gillis Claeissens as an important portraitist alongside Pieter Pourbus in 16th century Bruges. Portrait Paintung, Old Master, Bruges School, Bruges Painting...
    Category

    16th Century Northern Renaissance Portrait Paintings

    Materials

    Oil, Panel

Recently Viewed

View All