Giovanni Baglione Sold at Auction Prices

Baglione (Giovanni, 1566/71-1643/44). Young Couple in contemporary dress, black chalk

Baglione (Giovanni, 1566/71-1643/44). Young Couple in contemporary dress, black chalk * Baglione (Giovanni, 1566/71-1643/44). Young couple in contemporary dress, black chalk on pale grey-brown laid paper, with touches of white chalk, early manuscript number 174 in brown ink to centre of top margin, and ‘l 225’ in brown ink to lower right corner, inscribed in pencil to verso (in a later hand) ‘Del Cavalier Baglione’, sheet size 298 x 224 mm (11 3/4 x 8 7/8 ins), hinge-mounted to a larger sheet of 18th century laid backing paper, with elaborate presentation title and inscription in Italian in brown ink above and below the drawing, giving the artist’s name above, and a long biographical note below, old inscribed number in brown ink to upper left corner: 161, some marks and soiling to the backing sheet with a few short closed marginal tears to margins (not affecting the drawing itself), the backing sheet with ruled framing lines around the drawing, backing sheet 49 x 34 cm QTY: (1) NOTE: Provenance: Private Collection. Giovanni Baglione worked mainly in Rome, his mature style typical of the early Roman Baroque, whilst also retaining elements of his early training in the Central Italian tradition of disegno. Between 1621 and 1622 he was in Mantua as the court artist to Duke Ferdinando Gonzaga. Baglione is best known as the author of the Vite de’ Pittori, Scultori, Architetti, ed Intagliatori (Lives of Painters, Sculptors, Architects and Engravers), first published in 1642, one of the most important contemporary sources for artists in Rome at this time. The artist is also famous due to his suit for libel in August 1603 against Caravaggio, Orazio Gentileschi and other painters in connection with some unflattering poems then circulating in Rome the previous summer. Caravaggio’s testimony during the trial is one of the few documented records of his opinions on art and his contemporaries. The present drawing, in which the chalk has been applied lightly and with shaded areas creating a sfumato effect, depicts an elegant young couple in contemporary dress, with two other figures behind, and may be a study for a wedding procession or similar subject.

Giovanni Baglione, 1566/71 Rom – 1643/44 ebenda, zugeschrieben

Der vorwiegend in Rom tätige Maler hat sich auch schriftstellerisch betätigt in seinem Werk „Le Vite De‘Pittori, Scvltori Et Architetti“.MADONNA MIT KIND UND DEM JOHANNESKNÄBLEIN Öl auf Leinwand. 105 x 75 cm. Um 1600-1605 Beigegeben eine Expertise von Dott. Alessandro Delpriori, Florenz. Maria ist hier in blondem Lockenhaar gezeigt, mit darüber liegendem rosafarbenem Manteltuch, ihr Blick auf den Betrachter gerichtet. Das Jesuskind steht auf dem Schoß und wendet sich dem Johannesknäblein zu, beide Händchen in segnender Haltung. Johannes hält die Händchen gefaltet, dahinter der Kreuzstab mit Schriftbanderole. Der Kopf des Schafes in der linken unteren Ecke. (13210718) (11)

Giovanni Baglione (1566 Rome –1643 Rome), Madonna and Child with John Baptist

Giovanni Baglione was one of the most important protagonists of the Roman scene at the beginning of the seventeenth century. Born between 1566 and 1568, he trained first in the workshop of Francesco Morelli, where he began as a mannerist painter and a decorator. His first works are linked to the great renovation sites of the Roman monuments of Pope Sixtus V. Together with a host of painters (such as Giuseppe Guerra, Cesare Nebbia, Andrea Lilio, and the Conti brothers), he worked on the Scala Santa in the Lateran Palace, the Vatican, and in the Sistine Chapel of Santa Maria Maggiore. In those years, Baglione met the Cavalier d’Arpino, with whom he worked between 1599 and 1600. The Virgin is seated, wearing a rich red robe covered by a cloak and pink veil. Baby Jesus is standing on her lap, with curly blond hair framing the face with a red complexion. The little Christ holds out his hands to the young John the Baptist, also standing near Mary's leg, who prays to his cousin with hands joined. Below, in the foreground, there is the head of a lamb, an iconographic attribute to the Baptist. The painting has recently been restored and today enjoys a state of conservation that appears excellent, so much so that you can read all the details; from the transparencies of the veils of the Madonna and the light dress of Jesus, to the hair that is painted strand by strand with a frothy, and very elegant material.

Giovanni Baglione, 1566/71 Rom - 1643/44 ebenda

RÜCKKEHR NACH NAZARETH Öl auf Leinwand. Doubliert. 100 x 75 cm. In vergoldetem, ornamental verziertem und punziertem Rahmen. Anbei eine Expertise in Kopie von Giuseppe Porzio. Das von Giuseppe Porzio an Giovanni Baglione zugeschriebene Werk ist in dessen Reifephase entstanden, in welcher er caravaggeske Einflüsse und Rückgriffe auf den Manierismus eklektizistisch zusammenfasste. Er vergleicht das Gemälde mit einer Rückkehr der Heiligen Familie, nach der Flucht nach Ägypten, welche in der Basilika Santi Apostoli in Rom verwahrt wird. Voranschreitend wird hier Josef dargestellt, in gelbem weiten Gewand mit weichen Falten, indem er in die hell beleuchtete Zone der dargestellten Landschaft tritt, während Jesus und Maria sich noch mit ihrem hellen Inkarnat, welches auf ihre von innen kommende Erleuchtung anspielen mag, vor einem dunkelbraunen Felsvorsprung mit vegetabilem Bewuchs abzeichnen.   Anmerkung: Der vorwiegend in Rom tätige Maler hat sich auch schriftstellerisch betätigt in seinem Werk „Le Vite De‘Pittori, Scvltori Et Architetti“. Vergleichsliteratur: Giovanni Baglione, Le Vite De‘Pittori, Scultori Et Architetti: Dal Pontificato di Gregorio XIII. del 1572. In fino a‘tempi di Papa Vrbano Ottauo nel 1642, Rom 1642. Guglielmi Faldi, Intorno all‘opera pittorica di Giovanni Baglioni, in: Bollettino d‘arte, XXXIX, 1954, pp. 311-326. (1250142) (13) Giovanni Baglione, 1566/71 Rome - 1643/44 ibid. THE RETURN TO NAZARETH Oil on canvas. Relined. 100 x 75 cm. In ornamental gilt frame. A copy of the expert‘s report by Giuseppe Porzio is enclosed. Literature for comparison: G. Baglione, Le Vite De‘Pittori, Scultori Et Architetti: Dal Pontificato di Gregorio XIII. del 1572. In fino a‘tempi di Papa Vrbano Ottauo nel 1642, Rome 1642. G. Faldi, Intorno all‘opera pittorica di Giovanni Baglioni, in: Bollettino d‘arte, XXXIX, 1954, pp. 311-326.

Giovanni Baglione, 1566/71 Rom – 1643/44 ebenda

Der vorwiegend in Rom tätige Maler hat sich auch schriftstellerisch betätigt in seinem Werk „Le Vite De‘Pittori, Scvltori Et Architetti“.RÜCKKEHR NACH NAZARETH Öl auf Leinwand. Doubliert. 100 x 75 cm. In vergoldetem, ornamental verziertem und punziertem Rahmen. Anbei eine Expertise in Kopie von Giuseppe Porzio. Das von Giuseppe Porzio an Giovanni Baglione zugeschriebene Werk ist in dessen Reifephase entstanden, in welcher er caravaggeske Einflüsse und Rückgriffe auf den Manierismus eklektizistisch zusammenfasste. Er vergleicht das Gemälde mit einer Rückkehr der Heiligen Familie, nach der Flucht nach Ägypten, welche in der Basilika Santi Apostoli in Rom verwahrt wird. Voranschreitend wird hier Josef dargestellt, in gelbem weiten Gewand mit weichen Falten, indem er in die hell beleuchtete Zone der dargestellten Landschaft tritt, während Jesus und Maria sich noch mit ihrem hellen Inkarnat, welches auf ihre von innen kommende Erleuchtung anspielen mag, vor einem dunkelbraunen Felsvorsprung mit vegetabilem Bewuchs abzeichnen. Vergleichsliteratur: Giovanni Baglione, Le Vite De‘Pittori, Scultori Et Architetti: Dal Pontificato di Gregorio XIII. del 1572. In fino a‘tempi di Papa Vrbano Ottauo nel 1642, Rom 1642. Guglielmi Faldi, Intorno all‘opera pittorica di Giovanni Baglioni, in: Bollettino d‘arte, XXXIX, 1954, pp. 311-326. (1250142) (13) Giovanni Baglione, 1566/71 Rome – 1643/44 ibid. THE RETURN TO NAZARETH Oil on canvas. Relined. 100 x 75 cm. In ornamental gilt frame. A copy of the expert‘s report by Giuseppe Porzio is enclosed. Literature for comparison: G. Baglione, Le Vite De'Pittori, Scultori Et Architetti: Dal Pontificato di Gregorio XIII. del 1572. In fino a‘tempi di Papa Vrbano Ottauo nel 1642, Rome 1642. G. Faldi, Intorno all‘opera pittorica di Giovanni Baglioni, in: Bollettino d‘arte, XXXIX, 1954, pp. 311-326.

Giovanni Baglione, 1566/ 71 Rom – 1643/ 44 ebenda, Umkreis

PORTRAIT DES ADRIANO BAGLIONE Öl auf Leinwand. Doubliert. 86 x 66 cm. In ebonisiertem und bronziertem Rahmen. Dreiviertelportrait eines bärtigen Mannes mit verzierter Kleidung und Goldschriftbetitelung zur Linken. Die noble Baglione-Familie war in Umbrien ansässig und regierte über Perugia in den Jahren 1438-1540. Rest. (1240521) (13)

GIOVANNI BAGLIONE | Recto: The Presentation in the Temple Verso: Study of a female figure, gesturing with her hands

Pen and brown ink and wash over traces of red chalk on faded blue paper ( recto); red chalk ( verso)

GIOVANNI BAGLIONE | Death of the Virgin

Pen and brown ink over red chalk

After Giovanni Baglione (1566/1573-1643/1645) (Flemish/French, first quarter 17th century)

Saint Francis in Ecstasy Oil on panel, 156.8 x 114 cm Provenance: - Probably a former part of the interior of the Basilica of Onze-Lieve-Vrouwe-Tenhemelopneming, Maastricht - Collection pastor Fr. Brune, Maastricht - Private collection, the Netherlands - By descent to the present owners Exhibition: Theo Swagemakers Museum, Haarlem, 2007 - 2012 N.B.: The original work by Giovanni Baglione is part of the collection of the Art Institute of Chicago in the United States (Inv. No. 2002.378) and was part of the exhibition Caravaggio en de Nederlanden in the Centraal Museum in Utrecht in 1952.

BAGLIONE Giovanni, (attribué à), 1571 - 1644 [IT]. L'Amour vainqueur,

BAGLIONE Giovanni, (attribué à), 1571 - 1644 [IT]. L'Amour vainqueur, huile sur toile (123 x 94 cm).

Giovanni Baglione Rome, 1566 - 1643 Le martyre de sainte Agathe Plume et encre brune sur trait de crayon noir,

Giovanni Baglione Rome, 1566 - 1643 Le martyre de sainte Agathe Plume et encre brune sur trait de crayon noir, annoté 'Domenichino' dans le bas Sans cadre h: 13 w: 9,70 cm Provenance : Collection P. M. Polakovits, son cachet (L.3561) en bas à droite ; Vente anonyme ; Londres, Sotheby's, 14 avril 1999, n°238 ; Acquis à cette occasion par les actuels propriétaires Commentaire : Notre dessin est préparatoire à la composition de même sujet conservée au National Museum of Fine Arts à La Valette.

Giovanni Baglione, ascribed to: Salome with the Head of St. John the Baptist.

Salome with the Head of St. John the Baptist. Unsigned. Oil on canvas. 98 x 120 cm. Unframed.

GIOVANNI BAGLIONE (ROME CIRCA 1566-1643)

GIOVANNI BAGLIONE (ROME CIRCA 1566-1643) Académie d'homme nu assis, vu de dos sanguine, rehaussé de blanc, filigrane lion tenant une fleur-de-lys dans un cercle 300 x 139 mm.

Giovanni Baglione, 1566 Rom -1644, zug. DER

Giovanni Baglione, 1566 Rom -1644, zug. DER ERZENGEL MICHAEL IM KAMPF MIT DEM DRACHEN Öl auf ...

Giovanni Baglione (Roma 1573ca. - 1644) Venus

Giovanni Baglione (Roma 1573ca. - 1644) Venus übergibt Aeneas die Waffen(?); Venere consegna le armi ad Enea(?), Öl auf Leinwand, 103 x 78 cm, gerahmt, (Wo)

GIOVANNI BAGLIONE (Rome 1571-1644 Rome) Two Studies of a Reclining Female Nude. Red chalk on cream laid paper mounted on card stock. 230x265 mm; 9x101/2 inches. Ex-collection Sir Thomas Lawrence (Lugt 2445, lower left recto).

Giovanni Baglione (1571-1644)

Time revealing Truth to Peace, with Envy and Discord looking on red and black chalk, pen and grey ink, grey wash 163 x 255 mm. PROVENANCE N. Hone (L. 2793). P. Sandby (L. 2112). Anon. sale, Christie's London, 2 July 1991, lot 102. NOTES The attribution has been confirmed by Professor Herwarth R”ttgen.

GIOVANNI BAGLIONE (1571-1644) A SEATED LADY WEARING A HAT.

Bears inscription in brown ink verso: del cavalier baglione. Red and black chalk. 164 by 142 mm. Provenance: Prince Vladimir Nikolaevitch Argoutinsky-Dolgoroukoff (L.2602d, verso, twice).