Oil on canvas depicting the biblical scene of David with the head of Goliath, attributed to the style of Guido Canlassi or Cagnacci, Italian painters of the 17th century. The work, characterized by strong drama and marked realism, captures the moment immediately after David's triumph over the Philistine giant. David, young and victorious, holds the severed head of Goliath, while his face reflects a mixture of astonishment and determination. The composition is dynamic and full of tension, with the bodies of both characters occupying almost the entire surface of the painting. The color palette is rich and contrasting, with a predominance of dark tones that accentuate the dramatic atmosphere of the scene.
GUIDO CAGNACCI (Santarcangelo di Romagna 1601 - Vienna 1663) LA COMUNIONE DI SAN BONAVENTURA Olio su tela, cm. 310 x 197 PROVENIENZA Collezione privata romana Maurizio Marini pone questo dipinto tra gli anni 1635 ed il 1643, ossia durante il lungo soggiorno in Romagna del maestro, stabilendo un paragone stilistico con opere quali la 'Madonna dei Carmelitani' e la pala raffigurante 'Madonna con il Bambino, San Sebastiano, San Rocco e San Giacinto', conservata all'Oratorio di San Rocco a Montegridolfo (Forlì). La monumentale pala d'altare, che conserva una costruzione molto tradizionale nella cultura classicista bolognese, rivela un recupero del linguaggio reniano che si evidenzia nelle tonalità calde, nelle gestualità pacate e negli sguardi languidi delle sante che fiancheggiano la Vergine. Si potrebbe concludere che quest'opera rappresenta culturalmente un ritorno alla sua formazione e sotto l'aspetto umano l'epilogo della vita dell'artista costituita da continui spostamenti accompagnati da uno stato d'animo inquieto che lo porterà a stabilirsi per un breve periodo a Venezia ed infine a Vienna ove morirà CONDIZIONI DEL DIPINTO Rintelo novecentesco. Alcune zone di restauro nella parte destra, principalmente nel basso. Restauri materici al bordo destro, punti di restauro sparsi nella parte mediana e sul putto in basso, due cadute di colore in basso CORNICE Cornice a larga sezione, di stile seicentesco in legno dorato ed intagliato a baccelli, palmette, cordone e perlatura, con foglie in metallo dorato agli angoli, del XX secolo BIBLIOGRAFIA AA.VV., Cagnacci, Milano (Rimini) 1993, n. 1, pp. 56-59; n. 26, pp. 124-129; n. 28, pp. 134-135; p. 134, fig. 45 Il dipinto è accompagnato da perizia di Maurizio Marini
Guido Cagnacci (attribuito a) (Santarcangelo di Romagna,, 1601 - Vienna, 1663) Tarquinio e Lucrezia olio su tela cm 160x124Immagini ad alta risoluzione disponibili su richiesta.
Guido Cagnacci (attribuito a) (Santarcangelo di Romagna,, 1601 - Vienna, 1663) Ritratto di bambino olio su tela cm 93,5x78Immagini ad alta risoluzione disponibili su richiesta.
GUIDO CAGNACCI, seguace di (Sant'Arcangelo di Romagna 1601 - Vienna 1663) DAVID CON LA TESTA DI GOLIA Olio su tela, cm. 97 x 73 PROVENIENZA Famiglia romana Il dipinto è tratto dall'originale di Guido Cagnacci custodito alla Columbia Museum of Art CONDIZIONI DEL DIPINTO Rintelo recente. Una piccola lacerazione della tela a sinistra del volto, piccola linea di restauro al bordo alto a sinistra, un restauro parzialmente ossidato al gomito in primo piano. Il dipinto è in buono stato CORNICE Cornice in legno argentato con bordi a ghirlande di alloro e palmette, del XVII secolo
Attribution: Guido Cagnacci, 1601-1681, Cleopatra's death, oil/canvas, relined, restored with retouching from several eras, expressive multi-figure scene, approx. 52x48cm, frame approx. 72x68cm . German Description: Zuschreibung: Guido Cagnacci, 1601-1681, Der Tod der Cleopatra, Öl/Lwd, doubliert, restauriert mit Retuschen aus mehreren Epochen, rührende, lebhafte Szenerie um den Tod der berühmten Königin, Komposition auf die Königin mittig ausgerichtet, farbliche Anspielung auf die Mutter Gottes mit dem blauen Tuch, vielfigurige Szenerie, ca. 52x48cm, R. ca. 72x68cm, Altersschäden
EUROPA MIT DEM STIER UND AGENOR Öl auf Leinwand. Doubliert. 133 x 117 cm. Ungerahmt. Das in der Einlieferertradition Guido Cagnacci zugeschriebene Gemälde zeigt in einem angedeuteten Landschaftsausschnitt mit rechts geöffnetem Himmel den König Agenor mit seiner Tochter Europa, die von dem als Stier getarnten Zeus entführt wird. Ein Gemälde in der Sammlung Palazzo Borromeo, Isola Bella, Stresa, zeigt eine junge Frau, die in ihrem nach links gewandten Profil einige Ähnlichkeit aufweist mit der hier dargestellten Europa (Fondazione Zeri Inv.Nr. 55759). (1280903) (13) Guido Canlassi Cagnacci, 1601 Santarcangelo – 1681 Vienna, circle of EUROPA AND THE BULL AND AGENOR Oil on canvas. Relined. 133 x 117 cm. The painting, which is attributed to Guido Cagnacci according to the tradition of the seller, shows King Agenor with his daughter Europa, who is kidnapped by Zeus disguised as a bull, in an implied landscape section with the sky opening to the right. A painting in the collection of Palazzo Borromeo, Isola Bella, Stresa shows a young woman whose profile turned to the left bears some resemblance to the Europe depicted here (Fondazione Zeri No. 55759).
GUIDO CAGNACCI (ATTRIBUTED TO) (Santarcangelo di Romagna 1601-1663 Vienna) Seated Female Nude (Calypso). Red chalk with white chalk heightening on tan laid paper, double-sided. 377x243 mm; 15x9 3/4 inches. With drapery studies in red chalk, verso. Provenance: Private collection, New York.
Guido Cagnacci (Santarcangelo di Romagna 1601-1663 Vienna) The Christ Child with the Infant Saint John the Baptist oil on canvas 125.7 x 92.7cm (49 1/2 x 36 1/2in). For further information on this lot please visit the Bonhams website
DIE HEILIGE MARIA MAGDALENA Öl auf oktagonaler Leinwand. Doubliert. 75 x 88 cm. In oktagonalem Rahmen. Die büßende Magdalena in der bergigen Einöde, unter freiem Himmel vor einem Gesteinsbrocken kniend, dabei die Hände zum Gebet gefaltet und die Ellbogen auf die flache Steinplatte gestützt. Ihr nackter Oberkörper wird teils durch ihre langen dunkelblonden Haare verdeckt, während sie um ihre Hüfte ein dunkelblaues langes Tuch trägt. Ihren Kopf hat sie leicht aufgerichtet und mit ihren glänzenden Augen blickt sie ehrfurchtsvoll zum Himmel. Vor ihr auf der Platte liegend ihre typischen Attribute: ein Totenkopf und ein Salbgefäß, daneben ein aufgeschlagenes Buch. Rest., Retuschen. (1250201) (18)
GUIDO CAGNACCI (Santarcangelo di Romagna, 1601 - Vienna, 1663), ATTRIBUTED TO Study of two figures Pencil on paper laid down on cardboard, cm. 19,1x15,3 Signed lower left: “G. CAGNACCI”. Upper right inventory pen sign: “π 439”.
ANTONIO GIONIMA, att. a (Padova 1697 - Bologna 1732) att. to SUSAN AND THE ELDERS Oil on canvas, cm. 138 x 115 PROVENANCE Collection of illustrious family, Livorno CONDITIONS OF THE PAINTING Recent re-lining. Spread restoration points on the skin tones and on the hands of Susan FRAME Frame in cream and gold lacquered wood of the 17th century ANTONIO GIONIMA, att. a (Padova 1697 - Bologna 1732) SUSANNA E I VECCHIONI Olio su tela, cm. 138 x 115 PROVENIENZA Collezione di illustre famiglia, Livorno CONDIZIONI DEL DIPINTO Rintelo recente. Punti di restauro sparsi sugli incarnati e sulle mani di
GUIDO CAGNACCI (Santarcangelo of Romagna 1601 - Vienna 1663) THE COMMUNION OF ST. BONAVENTURA Oil on canvas, cm. 310 x 197 PROVENANCE Already collection Building Ala Ponzone, Cremona CONDITIONS OF THE PAINTING Twentieth century lining. Some zones of restoration in the right part, mainly in the lower part. You restore materici to the right edge, spread restoration points in the median part and on the child at the bottom FRAME Frame of seventeenth-century style in giltwood and carved, fluted, palmette, cord and pearl series, with leaves in gilded metal to the angles, of the 20th century The painting is accompanied by the expertise of the prof. Luigi Salerno in date 20/02/1992 and by the expertise of Maurice Marini Relationship of restoration directed by the prof. Luigi Salerno GUIDO CAGNACCI (Santarcangelo di Romagna 1601 - Vienna 1663) LA COMUNIONE DI SAN BONAVENTURA Olio su tela, cm. 310 x 197 PROVENIENZA Già collezione Palazzo Ala Ponzone, Cremona Maurizio Marini pone questo dipinto tra gli anni 1635 ed il 1643, ossia durante il lungo soggiorno in Romagna stabilendo un paragone stilistico con opere quali la 'Madonna dei Carmelitani' e la pala raffigurante 'Madonna con il Bambino, San Sebastiano, San Rocco e San Giacinto', conservata all'Oratorio di San Rocco a Montegridolfo (Forlì). La monumentale pala d'altare, che conserva una costruzione molto tradizionale nella cultura classicista bolognese, rivela un recupero del linguaggio reniano che si evidenzia nelle tonalità calde, nelle gestualità pacate e negli sguardi languidi delle sante che fiancheggiano la Vergine. Si potrebbe concludere che quest'opera rappresenta culturalmente un ritorno alla sua formazione e sotto l'aspetto umano l'epilogo della vita dell'artista costituita da continui spostamenti accompagnati da uno stato d'animo inquieto che lo porterà a stabilirsi per un breve periodo a Venezia ed infine a Vienna ove morirà CONDIZIONI DEL DIPINTO Rintelo novecentesco. Alcune zone di restauro nella parte destra, principalmente nel basso. Restauri materici al bordo destro, punti di restauro sparsi nella parte mediana e sul putto in basso CORNICE Cornice di stile seicentesco in legno dorato ed intagliato, a baccelli, palmette, cordone e perlatura, con foglie in metallo dorato agli angoli, del XX secolo Il dipinto è accompagnato da perizia del prof. Luigi Salerno in data 20/02/1992 e da perizia di Maurizio Marini Relazione di restauro diretta dal prof. Luigi Salerno
Santa Mustiola Olio su tela, cm 93X132 Questa in esame è una rara raffigurazione di Santa Mustiola, martire che conta pochissime immagini dipinte, ma si può affermare che sia stata celebrata in tal senso dal solo Guido Cagnacci (Santarcangelo di Romagna, 1601 - Vienna, 1663). La tela conta due altre versioni illustri, una custodita al Musée Fabre di Montpellier (olio su tela, cm 98X130, n. inv: 852.2.1) che durante la mostra del 1993 dedicata all'artista si rivelò una copia e una al Royal Albert Memorial Museum di Exster, sulla cui autografia la critica pone ancora molti dubbi ma è generalmente considerata anch'essa una copia (cfr. R. Morselli, in Cagnacci, catalogo della mostra a cura di D. Benati e M. Bona Castellotto. Milano 1993, pp. 92 - 95, n. 13). La tela originale, quindi, risulta ancora dispersa e della sua esistenza ne possediamo conferma documentaria in quanto citata nella collezione bolognese di Giulio Cesare Conventi (Bologna, 1577 - 1640) il cui inventario fu realizzato nel 1640 dallo stesso Cagnacci: 'una S. Mustiola di mano del S.r. Signor Guido Cagnazzi con cornice bianca', segnando di conseguenza un punto cronologico dell'esecuzione.
CAGNACCI, GUIDO (Sant'Arcangelo di Romagna 1601 - 1663 Vienna) Lot and His Daughters. Oil on canvas. 97 x 114.5 cm. Provenance: English private collection. With a written report by Prof. Wolfgang Prohaska, 13.1.2014, who has studied the painting in the orginal. Guido Cagnacci, who is listed in historical sources as an eccentric and unconventional artist, is known for his sensual depictions of the female body. The hitherto unpublished painting offered here is a characteristic example of his Venetian period, as described by Wolfgang Prohaska, shortly before the artist was appointed in 1650 to the Viennese court of Leopold I. Prohaska writes that for Cagnacci "the painterly dialectic between extreme naturalism in the portrayal of details of physical surfaces and seated or standing compositions resolved in the classical manner is characteristic. (...) The subject of the two daughters of old Lot, who feared for the survival of their progeny and therefore determined to commit incest with their father (Genesis 19: 30-38), gave rise to an ambiguity - between lasciviousness, fear of discovery or nocturnal promiscuity - through various visualisations, in which the ancient theme of the sexual desires of youth and age was stood on its head through the reversal of the active and passive roles. The image presented here places Lot in such a manner between his daughters as if he were drinking alone. The sinister atmosphere is suggested by a wary glance concealed by the daughter seated at left - of a character influenced by Cagnacci's "favorite enemy" Pietro Liberi - and her oppressively massive naked back; while the second daughter, evidently engaged in supplying him with wine, leans over a still life arrangement with a cask and watches her drinking father over his shoulder. Both stylistically and compositionally - and this is characteristic of Cagnacci in one phase of his development, as he had not yet integrated his various influences thoroughly - juxtaposition is noticeable here: a Caravaggesque old Lot, the second daughter drawn from Cagnacci's already quite distinct reservoir of types (cf. Madonna Reading in the Roman Ducrot collection) and the massive figure of the other daughter viewed from behind. Added to this is yet another source of influence, which has perhaps not been given sufficient attention in the research. Both in the composition and the soft chiaroscuro enveloping the scene, Florentine painting of the first half of the 17th century seems to be significant: notable are Furini's two versions of the Lot theme, also showing Lot in the centre flanked by his two daughters; especially that now in the Prado, Madrid, which was originally conceived for Emperor Ferdinand III and then landed very appropriately as a wedding gift in the collection of Philip IV, and was kept in the anteroom of Mariana d'Austria, niece and child bride of Philip IV." Wolfgang Prohaska positions this painting chronologically among Cagnacci's late work at the end of his residence in Venice, just before he moved to Vienna, where he died in 1663. He draws stylistic comparisons with the "Lucretia" in the Pinacoteca Nazionale, Bologna, and the "Madonna Reading" in the Ducrot collection, Rome, which are generally dated to the 1650s. Prof. Daniele Benati, who has studied the painting from a photograph, believes that it originated in the immediate circle of Guido Cagnacci in Venice. --------------- CAGNACCI, GUIDO (Sant'Arcangelo di Romagna 1601 - 1663 Wien) Lot und seine Töchter. Öl auf Leinwand. 97 x 114,5 cm. Provenienz: Englische Privatsammlung. Mit einer schriftlichen Begutachtung von Prof. Wolfgang Prohaska, 13.1.2014, der das Gemälde im Original untersucht hat. Guido Cagnacci, der in historischen Quellen als exzentrischer und eigenwilliger Künstler aufgeführt wird, ist besonders für seine sinnlichen Darstellungen des weiblichen Körpers bekannt. Prohaska hebt hervor, dass für Cagnacci "die malerische Dialektik zwischen extremem Naturalismus in der Schilderung von Details physischer Oberflächen und den in klassischer Weise gelösten Sitz- oder Standmotiven charakteristisch sind. (...) Das Sujet der beiden Töchter des alten Lot, die um den Fortbestand ihres Geschlechts fürchteten und daher den Inzest mit dem Vater vorzogen (Genesis 19:30-38), gab häufig Anlass zu ambiguen, zwischen Laszivität, Furcht vor Entdeckung oder nächtlicher Umtriebigkeit schwankenden Verbildlichungen, in denen das alte Thema der sexuellen Bedürfnisse von Alter und Jugend durch die Umkehrung der aktiven bzw. passiven Rollen gleichsam auf den Kopf gestellt wird." Die zeitliche Platzierung dieses Gemäldes sieht Wolfgang Prohaska im Spätwerk Cagnaccis am Ende seines Aufenthaltes in Venedig, kurz bevor er 1650 dem Ruf Leopold I. an den Wiener Hof folgte, und wo er 1663 verstarb. Stilistische Vergleiche zieht er dabei mit der "Lukrezia" in der Pinacoteca Nazionale in Bologna und der "Lesenden Madonna" in der Sammlung Ducrot in Rom, die allgemein in die fünziger Jahre des 17. Jahrhunderts datiert werden. Prof. Daniele Benati, der das Gemälde anhand einer Fotografie studiert hat, vermutet eine Entstehung im nahen Umfeld von Guido Cagnacci in Venedig.
GUIDO CAGNACCI Study for a female head Pastel and pencil on blue paper We would argue that this outstanding drawing is a preparatory study for the head of the Virgin Reading, now in the Ducrot Collection in Rome and formerly in the Ugolini Collection in Cesena. The painting in question, which is certainly by Cagnacci because it is signed on the Virgin's mantle, may be dated to 1655–6, and thus the drawing may be dated to the same period. (On the Ducrot painting, see: A.Brogi, in Guido Cagnacci, protagonista del Seicento tra Caravaggio e Reni, catalogue of an exhibition held in the Musei di San Domenico in Forlì, edited by D. Benati and A. Paolucci, Milan 2008, pp. 298–9). Drawings attributable to the master, or to his circle or imitators, which have come onto the market are not only extremely rare but of a quality decidedly inferior to this one. They include a Study of a Female Nude (sold at Christie's in London on 1 July 1997; 20 x 14 cm) which, while it has never been suggested that it might be an au- tograph work, is nevertheless interesting as an example of the master's intense and me- lancholy treatment of the female face. 200 x 258 mm
CAGNACCI, GUIDO (Sant'Arcangelo di Romagna 1601 - 1663 Vienna) Lot and his daughters. Oil on canvas. 97 x 114.5 cm. Provenance: English private collection. With a written expertise by Prof. Wolfgang Prohaska, 13.1.2014, who has examined the painting in the original. CAGNACCI, GUIDO (Sant'Arcangelo di Romagna 1601 - 1663 Wien) Lot und seine Töchter. Öl auf Leinwand. 97 x 114,5 cm. Provenienz: Englische Privatsammlung. Mit einer schriftlichen Begutachtung von Prof. Wolfgang Prohaska, 13.1.2014, der das Gemälde im Original untersucht hat. Guido Cagnacci, der in historischen Quellen als exzentrischer und eigenwilliger Künstler aufgeführt wird, ist besonders für seine sinnlichen Darstellungen des weiblichen Körpers bekannt. Das hier angebotene bislang unpublizierte Gemälde ist dabei ein charakteristisches Beispiel für seine venezianische Schaffensphase, wie Wolfgang Prohaska in seiner Beurteilung hervorhebt, kurz bevor der Künstler 1650 dem Ruf Leopold I. an den Wiener Hof folgte. Prohaska hebt hervor, dass für Cagnacci 'die malerische Dialektik zwischen extremem Naturalismus in der Schilderung von Details physischer Oberflächen und den in klassischer Weise gelösten Sitz- oder Standmotiven charakteristisch sind. (...) Das Sujet der beiden Töchter des alten Lot, die um den Fortbestand ihres Geschlechts fürchteten und daher den Inzest mit dem Vater vorzogen (Genesis 19:30-38), gab häufig Anlass zu ambiguen, zwischen Laszivität, Furcht vor Entdeckung oder nächtlicher Umtriebigkeit schwankenden Verbildlichungen, in denen das alte Thema der sexuellen Bedürfnisse von Alter und Jugend durch die Umkehrung der aktiven bzw. passiven Rollen gleichsam auf den Kopf gestellt wird. Das hier vorgestellte Bild platziert Lot derart zwischen seine Töchter, als wolle er sich alleine betrinken; die sinistere Atmosphäre ist geprägt durch den misstrauisch versteckten Blick der links sitzenden Tochter - von der Typik her eher von Cagnaccis 'Lieblingsfeind' Pietro Liberi beeinflusst - und ihrem bedrückend nackten massiven Rücken, während die offensichtlich mit dem Weinnachschub beschäftigte zweite Tochter über einem Stillleben-Arrangement mit Fässchen lehnt und dem trinkenden Vater über die Schulter blickt. Sowohl stilistisch als auch kompositionell - und dies ist charakteristisch für Cagnacci in einer Phase seiner Entwicklung, als er die verschiedenen Einflüsse noch nicht gänzlich amalgamiert hatte - findet sich hier ein Nebeneinander: ein caravaggesker alter Lot, die schon ganz dem ausgeprägten Typenreservoir Cagnaccis angehörige zweite Tochter (vgl. Lesende Madonna der römischen Sammlung Ducrot) und die massive Rückenfigur der anderen Tochter. Hinzu kommt noch eine weitere Einflussquelle, die vielleicht in der Forschung noch nicht genügend beachtet wurde: sowohl in Komposition als auch im einhüllenden weichen Hell-Dunkel scheint die florentinische Malerei der ersten Hälfte des 17. Jahrhunderts bedeutsam zu sein: genannt seien Furinis zwei Versionen des Lot-Themas, ebenfalls mit Lot in der Mitte, flankiert von den beiden Töchtern, besonders jene, nun im Madrider Prado, die ursprünglich für Kaiser Ferdinand III. gedacht war und dann sehr passend als Hochzeitsgeschenk Philipps IV. in dessen Sammlung gelandet, im Vorzimmer Mariana d'Austrias, der noch kindlichen Nichte und Braut Philipps IV. aufbewahrt wurde.' Die zeitliche Platzierung dieses Gemäldes sieht Wolfgang Prohaska im Spätwerk Cagnaccis am Ende seines Aufenthaltes in Venedig, kurz bevor er nach Wien übersiedelte, wo er 1663 verstarb. Stilistische Vergleiche zieht er dabei mit der 'Lukrezia' in der Pinacoteca Nazionale in Bologna und der 'Lesenden Madonna' in der Sammlung Ducrot in Rom, die allgemein in die fünziger Jahre des 17. Jahrhunderts datiert werden. Prof. Daniele Benati, der das Gemälde anhand einer Fotografie studiert hat, vermutet eine Entstehung im nahen Umfeld von Guido Cagnacci in Venedig. CAGNACCI, GUIDO (Sant'Arcangelo di Romagna 1601 - 1663 Vienna) Lot and His Daughters. Oil on canvas. 97 x 114.5 cm. Provenance: English private collection. With a written report by Prof. Wolfgang Prohaska, 13.1.2014, who has studied the painting in the orginal. Guido Cagnacci, who is listed in historical sources as an eccentric and unconventional artist, is known for his sensual depictions of the female body. The hitherto unpublished painting offered here is a characteristic example of his Venetian period, as described by Wolfgang Prohaska, shortly before the artist was appointed in 1650 to the Viennese court of Leopold I. Prohaska writes that for Cagnacci 'the painterly dialectic between extreme naturalism in the portrayal of details of physical surfaces and seated or standing compositions resolved in the classical manner is characteristic. (...) The subject of the two daughters of old Lot, who feared for the survival of their progeny and therefore determined to commit incest with their father (Genesis 19: 30-38), gave rise to an ambiguity - between lasciviousness, fear of discovery or nocturnal promiscuity - through various visualisations, in which the ancient theme of the sexual desires of youth and age was stood on its head through the reversal of the active and passive roles. The image presented here places Lot in such a manner between his daughters as if he were drinking alone. The sinister atmosphere is suggested by a wary glance concealed by the daughter seated at left - of a character influenced by Cagnacci's 'favorite enemy' Pietro Liberi - and her oppressively massive naked back; while the second daughter, evidently engaged in supplying him with wine, leans over a still life arrangement with a cask and watches her drinking father over his shoulder. Both stylistically and compositionally - and this is characteristic of Cagnacci in one phase of his development, as he had not yet integrated his various influences thoroughly - juxtaposition is noticeable here: a Caravaggesque old Lot, the second daughter drawn from Cagnacci's already quite distinct reservoir of types (cf. Madonna Reading in the Roman Ducrot collection) and the massive figure of the other daughter viewed from behind. Added to this is yet another source of influence, which has perhaps not been given sufficient attention in the research. Both in the composition and the soft chiaroscuro enveloping the scene, Florentine painting of the first half of the 17th century seems to be significant: notable are Furini's two versions of the Lot theme, also showing Lot in the centre flanked by his two daughters; especially that now in the Prado, Madrid, which was originally conceived for Emperor Ferdinand III and then landed very appropriately as a wedding gift in the collection of Philip IV, and was kept in the anteroom of Mariana d'Austria, niece and child bride of Philip IV.' Wolfgang Prohaska positions this painting chronologically among Cagnacci's late work at the end of his residence in Venice, just before he moved to Vienna, where he died in 1663. He draws stylistic comparisons with the 'Lucretia' in the Pinacoteca Nazionale, Bologna, and the 'Madonna Reading' in the Ducrot collection, Rome, which are generally dated to the 1650s. Prof. Daniele Benati, who has studied the painting from a photograph, believes that it originated in the immediate circle of Guido Cagnacci in Venice.
Follower of CAGNACCI, GUIDO (Sant'Arcangelo di Romagna 1601 - 1663 Vienna) Cleopatra. Oil on canvas. 62.5 x 47.5 cm. CAGNACCI, GUIDO (NACHFOLGER) (Sant'Arcangelo di Romagna 1601 - 1663 Wien) Cleopatra. Öl auf Leinwand. 62,5 x 47,5 cm.
Circle of Guido Cagnacci (Sant'Arcangelo di Romagna 1601-1663 Vienna) Saint John the Baptist, holding a shell and the cross oil on canvas 25½ x 20 3/8 in. (64.8 x 51.8 cm.)
based on a painting by Guido Cagnacci (1601-1665) late 19th/early 20th century Indistinctly signed C. Valerie. Depicting the woman preparing to take her life. dimensions 4 1/4 x 4in
Follower of Guido Cagnacci (Italian, 1601-1681) "David with the Head of Goliath", 18th-century oil on canvas, 40" x 30", indistinctly signed lower left. Presented in a period antiqued gold stenciled and carved giltwood frame in the Renaissance taste, the inner molding gilt-stenciled with an entrelac on a black field; the outer molding carved in a bas-relief rinceau of foliate scrolls. Provenance: Ex-collection of Herb Ritts, Los Angeles, California
