WORKSHOP OF THE VIVARINI (Venice, 15th–16th centuries) - Saint Louis of Tolosa (c.1500)

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GRAND MARCH AUCTION OF OLD MASTERS AND COLONI...

By Templum Fine Art Auctions

Mar 25, 2026

Set Reminder 2026-03-25 10:00:00 2026-03-25 10:00:00 America/New_York Bidsquare Bidsquare : GRAND MARCH AUCTION OF OLD MASTERS AND COLONIAL ART https://www.bidsquare.com/auctions/templum-fine-art-auctions/grand-march-auction-of-old-masters-and-colonial-art-22766
AUCTION · 25 MARCH · 3:00 PM EXHIBITION OPEN FROM 13 MARCH Templum Fine Art Auctions info@templumauctions.com

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• Lot Description
  Tempera and gold on panel. Dimensions: 126 x 39 cm. The work depicts Saint Louis of Toulouse vested in all episcopal regalia, mitre and crosier, while raising his gloved left hand in a gesture of blessing. With his other hand, he gathers the edge of his chasuble, simultaneously holding a codex and the crosier. Although no identifying inscription appears, his figure can be recognized by two essential elements: the blue chasuble adorned with fleurs-de-lis, emblem of the royal house of France, alluding to his status as a prince of the blood, and the Franciscan habit visible beneath the liturgical vestments, with the hood draped over his shoulders, indicating his membership in the Order of Friars Minor. The absence of a halo is replaced here by the gold background, which lends the figure its sacred character. Saint Louis of Anjou, also known as Saint Louis of Toulouse (1274–1297), was the son of Charles II of Naples. Deeply religious, he renounced his dynastic rights in favor of his brother to enter the Franciscan order. In 1296, he was appointed Bishop of Toulouse by Pope Boniface VIII, a position he accepted on the condition that he continue to wear the habit of his order. During his brief episcopate, he dedicated his wealth and income to the care of the poor and sick. He died very young and was canonized in 1317, becoming the object of widespread devotion and numerous representations in late medieval and Renaissance Italian painting. Due to its elongated, vertical format, this panel must have formed part of a polychrome altarpiece, probably as one of its side panels, accompanying a more prominent central compartment. The composition is associated with the work of the Vivarini workshop, one of the most prominent families of Venetian painting between the mid-15th and early 16th centuries. Originally from Padua and active in Murano, the Vivarini family developed a style that blends late Gothic tradition with a growing openness to the new spatial and volumetric ...
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