The Crucifixion of St. Andrew
- Artist
- Master of the Murano Gradual, Italian, active mid-15th century
- Date
- 1440–50
- Material
- Tempera and gold leaf on parchment
- made in
- Venice, Veneto region, Italy, Europe
- Classification
- Books & manuscripts
- Current Location
- Not on view
- Dimensions
- 11 9/16 x 9 11/16 in. (29.3 x 24.6 cm)
- Credit Line
- Funds given by Mr. and Mrs. Joseph L. Werner
- Rights
- Contact Us
- Object Number
- 36:1953
NOTES
This richly decorated image of the crucifixion of St. Andrew is one of the masterworks of fifteenth-century Venetian manuscript illumination. The artist utilized intricate drapery patterns, memorable color combinations, and inventive ornamentation. Here he made especially clever use of the first letter of the introductory chant for the feast day of St. Andrew. The oversized M both anchors his composition and stabilizes the angled arm of the cross. After the tenth century, artists often illustrated Andrew's martyrdom with an X-shaped cross. Here, the artist playfully challenged the separation of image and frame by having the soldier immediately to the left of the central shaft of the M insert his sword between the letter and its foliate decoration, perhaps a reference to Andrew's followers, who attempted to cut him down from the cross.
Provenance
A. Hiersemann, Stuttgart, Germany [1]
1950/11/10
In auction "Bücher + Autographen" at Karl and Faber, Munich, Germany, November 10, 1950, lot no. 1381 [2]
J. Rosenthal, Oxford and London, England, purchased from Karl and Faber [3]
by 1952 - 1953
Vladimir G. Simkhovitch (1874-1959), New York, NY, USA
1953 -
Saint Louis Art Museum, purchased from Vladimir G. Simkhovitch [4]
Notes:
[1] Susan Cubitt of Karl and Faber stated that they no longer have records from that time, however she thought that the object was consigned to the dealer by a specialist in the field of illuminated manuscripts named Hiersemann. It was then purchased by a J. Rosenthal of Oxford and London [e-mail dated March 1, 2004, SLAM document files]. It is most likely that the manuscript page was purchased at the 1950 auction.
Hiersemann is most likely Anton Hiersemann, who owned a publishing company of the same name, and moved it from Leipzig to Stuttgart in 1951. The firm continues to specialize in publishing books on art, including illuminated manuscripts.
[2] According to an annotated copy of the 1950 Karl and Faber sales catalogue, the object was in auction on this day. The cover of the catalogue states that the sale is a "voluntary auction" and does not mention the owner or location of the work at that time ["Bücher + Autographen: Alte Drucke u. Holzschnittbücher 15./16. Jhdt. - Alte Medizin und Naturwissenschaften - Kulturgeschichte - Literatur, Erst - und Gesamtausgaben (dabei die Goethe-Bibliothek H. Schultz, München) - Alte Musik - Kunstgeschichte und Bibliographie. Graphik + Zeichnungen: Alte und neuere Meister - Städteansichten." Karl and Faber, Munich, November 10, 1950, lot no. 1381, p. 148]. See note [1].
[3] See note [1].
[4] From June 1952 to April 1953, Vladimir Simkhovitch wrote four letters to former Museum director Perry Rathbone regarding the artist and condition of the illuminated manuscript. The final letter dated April 10, 1953, verifies the purchase of the manuscript from Simkhovitch [SLAM document files]. Minutes of the Administrative Board of Control of the City Art Museum, April 2, 1953.
1950/11/10
In auction "Bücher + Autographen" at Karl and Faber, Munich, Germany, November 10, 1950, lot no. 1381 [2]
J. Rosenthal, Oxford and London, England, purchased from Karl and Faber [3]
by 1952 - 1953
Vladimir G. Simkhovitch (1874-1959), New York, NY, USA
1953 -
Saint Louis Art Museum, purchased from Vladimir G. Simkhovitch [4]
Notes:
[1] Susan Cubitt of Karl and Faber stated that they no longer have records from that time, however she thought that the object was consigned to the dealer by a specialist in the field of illuminated manuscripts named Hiersemann. It was then purchased by a J. Rosenthal of Oxford and London [e-mail dated March 1, 2004, SLAM document files]. It is most likely that the manuscript page was purchased at the 1950 auction.
Hiersemann is most likely Anton Hiersemann, who owned a publishing company of the same name, and moved it from Leipzig to Stuttgart in 1951. The firm continues to specialize in publishing books on art, including illuminated manuscripts.
[2] According to an annotated copy of the 1950 Karl and Faber sales catalogue, the object was in auction on this day. The cover of the catalogue states that the sale is a "voluntary auction" and does not mention the owner or location of the work at that time ["Bücher + Autographen: Alte Drucke u. Holzschnittbücher 15./16. Jhdt. - Alte Medizin und Naturwissenschaften - Kulturgeschichte - Literatur, Erst - und Gesamtausgaben (dabei die Goethe-Bibliothek H. Schultz, München) - Alte Musik - Kunstgeschichte und Bibliographie. Graphik + Zeichnungen: Alte und neuere Meister - Städteansichten." Karl and Faber, Munich, November 10, 1950, lot no. 1381, p. 148]. See note [1].
[3] See note [1].
[4] From June 1952 to April 1953, Vladimir Simkhovitch wrote four letters to former Museum director Perry Rathbone regarding the artist and condition of the illuminated manuscript. The final letter dated April 10, 1953, verifies the purchase of the manuscript from Simkhovitch [SLAM document files]. Minutes of the Administrative Board of Control of the City Art Museum, April 2, 1953.