A. (Annibale) Carracci (Italian, 1560-1609), described verso as Vulcan, Polyphemus and Hercules forging the arms of Mars in the presence of Venus and Cupid, oil on board, 28" x 40", framed 34" x 46". Exhibited at Museum of Fine Art, lent by George Winthrop, purchased in Amsterdam, Sept 12, 1908 for 2100 francs. Provenance: Ipswich, Massachusetts collection. PLEASE NOTE: On KaminskiLIVE, lots valued at over $3,000 are designated as Premier Lots in the auction descriptions. Bidding on these lots requires pre-approval. Existing customers with a history of completed payments will be automatically pre-approved. New customers must either call Kaminski Auctions at 978-927-2223 Ext 507 with a credit card to obtain pre-approval or have a credit card on file with our auction house.
Diverse figure al numero di ottanta, disegnate di penna nell'hore di recreatione da Annibale Carracci intagliate in rame, e cavate dagli originali da Simone Guilino', more commonly called by the titles in the later reprints, 'Le Arti di Bologna': The occupations of the Bolognese). Here excellent early impressions, with the little scratsches in the plates stil visible, from the first edition of 1646 with traces of an earlier number erased in the bottom left corner also noticable on the first editions in Paris and Washington, but before the captions with the identification of the showed occupations in later states. It is assumed that Annibale Carracci would have drawn the figures of the Trades of his city, almost for fun, during the breaks in the work for the Farnese Gallery. The painter would have decided to collect these drawings in an album. Knowledge of this work by Annibale Carracci is due to the prelate Giovanni Antonio Massani, a relative of Pope Urban VIII and previously secretary of Giovanni Battista Agucchi. Massani, having found himself in possession of Annibale's drawings, as he himself narrates, had them engraved by the Frenchman Simon Guillain (1618-1658) and printed them in a volume entitled Diverse Figures al numero di ottanta, Disegnate di penna Nell'ore di raccolta da Annibale Carracci intagliate in copper, e scavate dagli Originali da Simone Guilino Parigino, dedicato a tutti i Virtuosi et Intendenti della Professione della Pittura, e del Disegno, printed in Rome in 1646. Here a pair of etchings from this famous work, mainly known by the later editions with title of the subject (here before...). The subjects here in this lot have later bein identified as: 'Acoramaglietti' A trinket seller, standing in the centre with his head turned to the left, holds up a decorative box full of his wares.) and 'Porta Citationi' (A man delivering notices (citations); seen in profile, he stands with his foot on a doorstep, thumbing through a bundle of papers.) Special for these etchings is that they have the title written in sepia ink beneath the print, only in later editions they were added to the copperplate etching itself. Also noticable is these plates are signed respectively ' A C I --- S. g S' and 'An. Ca Inv. --- S.G. Sc'' The number is also etched bottom middle, in later reworked editions it was set at the left or right corner to make space for the etched title. Our example is 100% identical as the first edition kept in the Library of Congres (In Roma : Nella Stamperia di Lodovico Grigniani, 1646). The British Museum holds only an etdition from 1740 with name of the profession etched in the image and other differences as described for later states. A pair of rare and original impressions from the first edition from 1646.
Diverse figure al numero di ottanta, disegnate di penna nell'hore di recreatione da Annibale Carracci intagliate in rame, e cavate dagli originali da Simone Guilino', more commonly called by the titles in the later reprints, 'Le Arti di Bologna': The occupations of the Bolognese). Here excellent early impressions, with the little scratsches in the plates stil visible, from the first edition of 1646 with traces of an earlier number erased in the bottom left corner also noticable on the first editions in Paris and Washington, but before the captions with the identification of the showed occupations in later states. It is assumed that Annibale Carracci would have drawn the figures of the Trades of his city, almost for fun, during the breaks in the work for the Farnese Gallery. The painter would have decided to collect these drawings in an album. Knowledge of this work by Annibale Carracci is due to the prelate Giovanni Antonio Massani, a relative of Pope Urban VIII and previously secretary of Giovanni Battista Agucchi. Massani, having found himself in possession of Annibale's drawings, as he himself narrates, had them engraved by the Frenchman Simon Guillain (1618-1658) and printed them in a volume entitled Diverse Figures al numero di ottanta, Disegnate di penna Nell'ore di raccolta da Annibale Carracci intagliate in copper, e scavate dagli Originali da Simone Guilino Parigino, dedicato a tutti i Virtuosi et Intendenti della Professione della Pittura, e del Disegno, printed in Rome in 1646. Here a pair of etchings from this famous work, mainly known by the later editions with title of the subject (here before...). The subjects here in this lot have later bein identified as: 'Acoramaglietti' ( A man, seen in profile, facing right, selling netting and lace; he stands holding bundles of a lace trimming in his arms.) and 'Porta Citationi' (A man delivering notices (citations); seen in profile, he stands with his foot on a doorstep, thumbing through a bundle of papers.) Special for these etchings is that they have the title written in sepia ink beneath the print, only in later editions they were added to the copperplate etching itself. Also noticable is these plates are signed respectively ' A C I --- S. g S' and 'An. Ca Inv. --- S.G. Sc'' The number is also etched bottom middle, in later reworked editions it was set at the left or right corner to make space for the etched title. Our example is 100% identical as the first edition kept in the Library of Congres (In Roma : Nella Stamperia di Lodovico Grigniani, 1646). The British Museum holds only an etdition from 1740 with name of the profession etched in the image and other differences as described for later states. A pair of rare and original impressions from the first edition from 1646.
Diverse figure al numero di ottanta, disegnate di penna nell'hore di recreatione da Annibale Carracci intagliate in rame, e cavate dagli originali da Simone Guilino', more commonly called by the titles in the later reprints, 'Le Arti di Bologna': The occupations of the Bolognese). Here excellent early impressions, with the little scratsches in the plates still visible, from the first edition of 1646 with traces of an earlier number erased in the bottom left corner also noticeable on the first editions in Paris and Washington, but before the captions with the identification of the showed occupations in later states. It is assumed that Annibale Carracci would have drawn the figures of the Trades of his city, almost for fun, during the breaks in the work for the Farnese Gallery. The painter would have decided to collect these drawings in an album. Knowledge of this work by Annibale Carracci is due to the prelate Giovanni Antonio Massani, a relative of Pope Urban VIII and previously secretary of Giovanni Battista Agucchi. Massani, having found himself in possession of Annibale's drawings, as he himself narrates, had them engraved by the Frenchman Simon Guillain (1618-1658) and printed them in a volume entitled Diverse Figures al numero di ottanta, Disegnate di penna Nell'ore di raccolta da Annibale Carracci intagliate in copper, e scavate dagli Originali da Simone Guilino Parigino, dedicato a tutti i Virtuosi et Intendenti della Professione della Pittura, e del Disegno, printed in Rome in 1646. Here a pair of etchings from this famous work, mainly known by the later editions with title of the subject (here before...). The subjects here in this lot have later bein identified as: 'Magniano, ó Chiauaro' (A key cutter, seen from behind, stands holding a number of tools over his shoulder, including a large ring of keys.) and 'Ucellatore con la civetta' (bird catcher with an owl) Special for these etchings is that they have the title written in sepia ink beneath the print, only in later editions they were added to the copperplate etching itself. Also noticable is these plates are signed respectively ' A C I --- S. g S' and 'An. Ca Inv. --- S.G. Sc'' The number is also etched bottom middle, in later reworked editions it was set at the left or right corner to make space for the etched title. Our example is 100% identical as the first edition kept in the Library of Congres (In Roma : Nella Stamperia di Lodovico Grigniani, 1646). The British Museum holds only an etdition from 1740 with name of the profession etched in the image and other differences as described for later states. A pair of rare and original impressions from the first edition from 1646.
ANNIBALE CARRACCI, attr.a (Bologna 1560 - Roma 1609) AUTORITRATTO (?) Sanguigna su carta applicata su carta antica postuma, cm. 34 x 26 In cornice Al retro sulla carta di supporto la scritta a matita Annibal Carracci L'attribuzione di questo splendido disegno si basa essenzialmente dai confronti tecnico stilistici con disegni museali, alcuni assegnati ad Annibale Carracci ed altri a lui attribuiti. Tra questi il ritratto maschile a sanguigna datato tra il 1580 ed il 1590 custodito al Museu Nacional De Belas Artes, Rio de Janeiro, ove il tratteggio dei capelli, delle sopracciglia e le linee più marcate di contorno sia del viso, sia del colletto ricorrono in questo presunto autoritratto del maestro, così come si evidenzia nello studio di giovane uomo di profilo in gesso rosso custodito al Louvre e nel ritratto di Baldassarre Aloisi a Berlino, Staatliche Museen. Per quanto concerne l'identificazione del giovane ritratto, la conformazione del viso, la struttura del naso e le labbra carnose lo pongono a somiglianza con il presunto autoritratto a matita nera custodito alla Royal Collection, Windsor Castle attribuito al grande maestro bolognese. Sempre alla Royal Collection è custodito un presunto autoritratto di Agostino Carracci ove all'espressione leggermente malinconica affine al ritratto in oggetto si evidenziano inoltre i medesimi tratti marcati soprattutto nel colletto con i bordi spigolosi. Su questo disegno si può avanzare una datazione tra il 1575 ed il 1580 per comparazione con il presunto autoritratto a lui attribuito sopra citato. CONDITION REPORT Carta applicata su ulteriore carta antica, la carta presenta dei difetti nell'angolo superiore sinistro, piccole mancanze sparse negli angoli ed ai lati del foglio, margine destro con mancanze, ulteriore piccola mancanza su un occhio del ritratto, gora su parte della guancia e sul lato destro inferiore, qualche piccolo rinforzo su alcune zone della testa Il disegno è sprovvisto di attestato di libera circolazione
Artist(s): Unknown, Copy after Annibale Carracci (Italian, 1560-1609) "The Madonna and Sleeping Child with the Infant St. John the Baptist" or "Il Silenzio (The Silence)" Medium: Oil on canvas. Signature(s): Unsigned. Paperwork: N/A Damage: Craquelure and scattered inpainting. Repair lower middle Decoration loss to plaster frame (a few broken pieces have been salvaged and come with the lot). Measurement(s): 28" x 37" (canvas), 43" x 52" (frame). Third-party shipping or personal pickup is required. Please see our website for our shipping recommendations.
ANNIBALE CARRACCI (Bottega di) (Bologna 1560 - Roma 1609) La Vergine Maria, San Giuseppe con il Bambin Gesù e San Giovannino Olio su tela Cornice in legno e pastiglia dorata. cm 90 x 67,5.
ANNIBALE CARRACCI (Attr.le) (Bologna 1560 - Roma 1609) Il contratto Olio su tela Provenienza: Nobile famiglia Palermitana già collezione privata professore Bernardo Patella Palermo. cm 14,5 x 12.
Annibale Carracci (Italian, 1560-1609), "Group of Boys and Animals" from "Triumph of Bacchus and Ariadne", copper plate engraving, 9" x 13", framed 13" x 23". Provenance: Lynnfield, Massachusetts collection.
Die im Gebet versunkene Maria Magdalena. Radierung. 20 x 16,1 cm. 1591. B. 16 I (von II), Bohlin 12 I (von IV), TIB (Commentary) .014 S2 von (S5). Die gegenseitige Vorzeichnung befindet sich im Cabinet des dessins du Musée du Louvre, Paris. Vor den Buchstaben P S F am unteren Rand. Ganz ausgezeichneter, prägnanter Druck meist mit den Spuren eines weißen Rändchens um die Einfassungslinie. Verso schwache geglättete Mittelfalte sowie minimal fleckig, schwache Gebrauchsspuren, sonst sehr gut erhalten. Aus den Sammlungen Sir Edward Astley, Norfolk (Lugt 2775) und Saint John Dent (Lugt 2373). - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
reverse copy after Carracci. Etching, 95 x 91 mm. Sharp impression on very thin laid paper. Trimmed to the platemark, paper evenly browned, a small stain in the center and some paper residue on the back. Otherwise in good condition.
Simon Guillain (born 1618 Paris) after Annibale Carracci (1560 Bologna - 1609 Rom): Berrettaro, 1740, 1740, Etching Technique: Etching on Paper, mounted on Paper Inscription: Signed, numbered and titled with the artist's monogram at the bottom of the printing plate. Date: 1740 Description: Old master depiction of an Italian beret salesman shown in full figure. After a drawing by Annibale Carracci from the series "Diverse figure al numero di ottanta, disegnate di penna Nell'hore di ricreatione da Annibale Carracci, intagliate in rame, E cavate dagli Originale da Simone Guilino Parigino. Dedicate a tutti i virtuosi Et Itendenti della Prosessione della Pittoura, e del Disegno. Rome : Lodovico Grignani, 1646", from which is number 39, presumably a later impression from an 18th century edition. Keywords: 18th century, Classicism, Professions, Italy, Size: Paper: 27,4 cm x 16,5 cm (10,8 x 6,5 in)
Jean Claude Chabert (19th century) after Annibale Carracci (1560 Bologna - 1609 Rom): Maid in the countryside carrying a basket, c. 1850, Lithography Technique: Lithography on Paper Date: c. 1850 Description: ,,Maid in the countryside" Lithograph of a work by Louis Carrache (1555 -1619). From the series: Pictures of the Romanesque School (Ecole Lombarde). Inscribed: Louis Carrache fc. lmp. lith. de Chabert, rue Cassette N°. 20. Separate text information (In French by Chabert) in the format of the art sheet. Keywords: 19th century, Renaissance, Professions, France, Size: Paper: 49,3 cm x 32,7 cm (19,4 x 12,9 in), Depiction: 33,0 cm x 23,8 cm (13 x 9,4 in)
Follower of Annibale Carracci (Bologna 1560-Rome 1609)."The Madonna of Saint Matthew" black chalk and brown wash on paper, 1588 or earlier. An impressive drawing from the school of Annibale Carracci: a study for his 1588 oil on canvas painting "Madonna and Child with Saints" originally produced as an altarpiece for the merchants' chapel in the basilica of San Prospero in Reggio Emilia. Showing a stronger Venetian influence than Carracci's earlier work, the drawing displays Mary and the Christ child enthroned with Saint Francis kissing the infant's feet as Saint Matthew stands to the left and Saint John the Baptist to the right. A pair of cherubs fly above, while a third sits on the ground below. The work presents a clear influence from Paolo Veronese's "Mystic Marriage of Saint Catherine," from which it borrows its diagonals, the position of the Madonna and saints and the red drape hanging from columns. Size of drawing: 7.75" W x 12" H (19.7 cm x 30.5 cm); of mounting paper: 14.25" W x 19.75" H (36.2 cm x 50.2 cm) Carracci retains notes of his previous style, however, by depicting a landscape in the background rather than Veronese's celestial blue and portraying the saints humbly clothed and standing on bare earth rather then Veronese's richly dressed figures on stairs. All of this demonstrates how Carracci's lessons from Veronese are translated into a less otherworldly idiom, closer to the viewer's lived experience. Accompanied by Royal Athena label reading: "Annibale Carracci, Follower of (Bologna 1560-Rome 1609) 'The Madonna of Saint Mathew [sic]' Black chalk, brown wash; water-mark: encircled anchor below a star. Es Coll. Of Capt. C. Prayer (L.2044), Milan (1826-1900); J. & F. Bernasconi, Milan & Geneva." Paper contains a watermark of an anchor in a circle beneath a six-pointed star. Another study for "Madonna and Child with Saints" by Annibale Carracci can be found at the Ashmolean Museum at University of Oxford under accession number WA1863.876. Provenance: ex-Royal Athena Galleries, New York City, New York, USA; ex-Maria Bernasconi, acquired via descent; ex-collection of Juan (d. 1920) and Felix Bernasconi (d. 1914), Milan and Geneva, Italy (not in Lugt); ex-collection of Captain Carlo Prayer (L.2044), Milan, Italy (1826-1900) All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #188521
Artista emiliano, XVII secolo () Venus lying down Oil on panel Ø cm. 24,5. Framed The painting bears two old inventory labels on the back, top: "ANNIBALE CARACCI / BORN 1560 / DIED 1609 (VALUABLE)"; bottom: "I.NO. L.8 / 1777 / N° 48".
Circle of Annibale Carracci (Italian, 1560–1609) A portrait of a young boy and his dog Oil on canvas With Sotheby's Schloss Monrepos label verso Dimensions: (Frame) 11.25 in. (H) x 9.25 in. (W) (Canvas) 10.25 in. (H) x 8.25 in. (W)
Annibale Carracci (Italian, 1560-1609), "Group of Boys and Animals" from "Triumph of Bacchus and Ariadne", copper plate engraving, 9" x 13", framed 13" x 23". Provenance: Lynnfield, Massachusetts collection.
The sitter with black hair, lip and chin beard, white shirt collar over a black doublet, his gaze directed vividly towards the viewer, the background completely darkened. Comparative examples of other head portraits, as listed in the accompanying expertise, clearly demonstrate Carracci's authorship. These include, among other examples, the half-length portrait of the composer "Giovanni Gabrieli" with lute in the Staatliche Gemäldegalerie in Dresden, the "Head Portrait of a Boy" in Parma and the "Ritratto di Giovane" in the Galleria Nazionale di Palazzo Barberini in Rome. We should also not forget Annibale's self-portrait from 1593, which is in the National Gallery in Parma. The influence of Venetian painting, especially that of Tintoretto, which is noticeable in Annibale's work from 1590 onwards, is also evident in this portrait. Together with his cousins Ludovico and Agostino, Annibale founded the Accademia degli Incamminati. Its aim was to adopt Mannerist characteristics in favour of greater naturalness, which ultimately helped to usher in Baroque painting. Annibale is considered the most important of these three painters. Oil on canvas. 36.5 x 26.5 cm.
(1560-1609), nach. Aurora und Cephalus. Rad. v.Carlo Cesio bei Arnold van Westerhout., um 1657. Plgr. 25,5 x 46 cm. Mit den Namenszügen u.d. Num. i.d.Pl. - Leicht fl. R
(1560-1609), nach. Perseus köpft Medusa. Radierung u. Grabstichel v.Pietro Aquila bei Giovanni Giacomo de Rossi. Aus: Imagines Farnesiani Cubiculi, Taf. 7. Plgr. ca. 27 x 59 cm. Mit den Namensz. u. der Num. i.d.Pl. - Auf dem Rand vermehrt fl. R
CIRCLE OR SCHOOL OF ANNIBALE CARRACCI 3 November 1560 Bologna - 15 July 1609 Rome SALMACIS AND HERMAPHRODITUS Oil on canvas (old relined). 39 x 49 cm (F. 54 x 63.5 cm). Verso: verso of frame inscribed on old paper label: "Mythologische Darstellung Annibale Carracci 1560-1609 ....". Min. old rest., part. min. old retouching. Frame. Provenance: Westphalian private collection. UMKREIS ODER SCHULE DES ANNIBALE CARRACCI 3. November 1560 Bologna - 15. Juli 1609 Rom SALMACIS UND HERMAPHRODITUS Öl auf Leinwand (altdoubl.). 39 x 49 cm (R. 54 x 63,5 cm). Verso: Rückseite des Rahmens auf altem Papierlabel beschrieben: ''Mythologische Darstellung Annibale Carracci 1560-1609 ....''. Min. altrest., part. min. Altretuschen. Rahmen. Provenienz: Westfälische Privatsammlung.
CIRCLE OR SCHOOL OF ANNIBALE CARRACCI Before 3 November 1560 Bologna - 15 July 1609 Rome MADONNA AND CHILD WITH ST JOHN THE BAPTIST Oil on copper panel. 22 x 17 cm (F. 33 x 29 cm). Verso: Inscribed in old script on the copper panel: 'Annibale Carracci'. Part. min. old rest., slight old retouching. Frame. Provenance: Westphalian private collection. UMKREIS ODER SCHULE DES ANNIBALE CARRACCI 3. November 1560 Bologna - 15. Juli 1609 Rom MADONNA MIT KIND UND JOHANNES DEM TÄUFER Öl auf Kupfertafel. 22 x 17 cm (R. 33 x 29 cm). Verso: Auf der Kupfertafel in alter Schrift bezeichnet:'Annibale Carracci'. Part. min. altrest., leichte Altretuschen. Rahmen. Provenienz: Westfälische Privatsammlung.
Annibale Carracci (Bologna 1560 - 1609 Rom) Jupiter und Antiope Radierung / Etching Um 1592 17x23,8 cm, Blattgrösse; 25x31,2 cm, Unterlage / 17x23.8 cm, sheet size; 25x31.2 cm, underlay Werkverzeichnis / Catalogue Raisonné De Grazia, 1979/1984, 17 De Grazia, 1979/1984, 17 Provenienz / Provenance Kunstmuseum Bern, Lugt 236b, als Doublette ausgeschieden Slg. Eberhard W. Kornfeld, Bern, Lugt 913b Kunstmuseum Bern, Lugt 236b, discarded as a duplicate The Eberhard W. Kornfeld Collection, Bern, Lugt 913b Erläuterungen / Comments Rembrandt besass sicherlich einen Abdruck von Carraccis Radierung, der ihm als Inspiration für seine eigene graphische Interpretation dieses Themas diente (vergleiche unser Los 2086). Rembrandt certainly owned a copy of Carracci's etching, which served as inspiration for his own interpretation of this theme as a print (see lot 2086). MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 12.09.2024; 19:55 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 130.- Europa / Europe: CHF 230.- Übrige Länder / Other countries: CHF 290.-
Annibale Carracci (1560 Bologna - 1609 Rom) Circle: Head study of a boy, Scuola Perfetta, 17th century, Copper engraving Technique: Copper engraving on Paper Inscription: Numbered "26." on the lower right. Date: 17th century Description: Presumably a contemporary, reciprocal copy of the corresponding illustration in the drawing textbook "Scuola Perfetta per imparare a disegnare tutto il corpo humano" by Annibale Carracci. The sheet shows the head of a young boy with cherub-like features and angelic curls. Keywords: 17th century, Baroque, Portraits, Italy, Size: Paper: 16,5 cm x 11,5 cm (6,5 x 4,5 in), Plate: 16,0 cm x 11,2 cm (6,3 x 4,4 in), Depiction: 12,0 cm x 10,0 cm (4,7 x 3,9 in)
Annibale Carracci (1560 Bologna - 1609 Rom) Circle: Head study of a child on a pedestal, Scuola Perfetta, 16th century, Copper engraving Technique: Copper engraving on Paper Date: 16th century Description: Presumably a contemporary copy of the corresponding illustration in the drawing textbook "Scuola Perfetta per imparare a disegnare tutto il corpo humano" by Annibale Carracci, with a base added. The contours of the child's head have also been traced in pencil on the reverse. Keywords: 16th century, Baroque, Portraits, Italy, Size: Paper: 22,2 cm x 17,8 cm (8,7 x 7 in), Plate: 15,6 cm x 12,1 cm (6,1 x 4,8 in), additional specification: 22.2 x 17.8 cm, printing plate: 15.6 x 12.1 cm, motif: 15.2 x 11.6 cm
Annibale Carracci (1560 Bologna - 1609 Rom) Circle: Head and face study, head of a child, 17th century, probably from Alli nobilissimi amatori del disegno - Scuola Perfetta - , Rome 1606-1612, 16th century, Copper engraving Technique: Copper engraving on Paper Inscription: Numbered "28." on the lower right. Date: 16th century Description: Presumably a contemporary, reciprocal copy of the corresponding illustration in the drawing textbook "Scuola Perfetta per imparare a disegnare tutto il corpo humano" by Annibale Carracci. The sheet shows the head of a small child in profile from below. Keywords: 16th century, Baroque, Portraits, Germany, Size: Paper: 18,0 cm x 11,8 cm (7,1 x 4,6 in), additional specification: 18 x 11.8 cm, motif: 10 x 11.4 cm
Annibale Carracci (1560 Bologna - 1609 Rom) Circle: A Carracci, Circumference, Male Nude Study, Back Figure, Scuola Perfetta, 16th century, Copper engraving Technique: Copper engraving on Paper Inscription: Numbered "35." on the lower right. Date: 16th century Description: Presumably a contemporary, reciprocal copy of the corresponding illustration in the drawing textbook "Scuola Perfetta per imparare a disegnare tutto il corpo humano" by Annibale Carracci. The sheet shows the back view of a muscular man leaning backwards and leaning on his arms. In front of him kneels a Madonna-like female figure with a lowered gaze and her hands clasped in front of her face. Keywords: 16th century, Baroque, Portraits, Italy, Size: Paper: 17,3 cm x 11,9 cm (6,8 x 4,7 in), Plate: 15,8 cm x 10,6 cm (6,2 x 4,2 in)
Measurements: 164 x 109 cm, framed measurements: 175 x 120 cm. Provenance: important private collection, Madrid. Lot not subject to reserve price. Liquidation of important private family collection.
(1560-1609). Der tote Heiland auf dem Schoße der Maria oder Christus von Caprarola. Radierung. 1597. In der Platte sign. u. dat. 13 x 16,5 cm. - Bartsch 4. - Mit der Sign. Annibal Caracius fe. Caprarolae 1597. R
BILDNIS EINES JUNGEN MANNES Öl auf Leinwand. 36,5 x 26,5 cm. Auf dem Keilrahmen schwarze Schablonennummer „No. 22“. Beigegeben eine Expertise von Alessandro Delpriori, Matelica, in Kopie. Der Dargestellte mit schwarzem Haar, Lippen- und Kinnbart, weißer Hemdkragen über schwarzem Wams, der Blick ist lebendig auf den Betrachter gerichtet, der Hintergrund völlig abgedunkelt. Vergleichsbeispiele weiterer Kopfbildnisse, wie in der beiliegenden Expertise aufgeführt, lassen die Autorschaft Carraccis deutlich nachvollziehen. Hier wären neben weiteren Beispielen das Halbbildnis des Komponisten „Giovanni Gabrieli“ mit Laute zu nennen, das sich in der Staatlichen Gemäldegalerie zu Dresden befindet, ferner das „Kopfbildnis eines Knaben“ in Parma, oder „Ritratto di Giovane“ in der Galleria Nazionale di Palazzo Barberini in Rom. Daneben sei auch nicht Annibales Selbstbildnis von 1593 vergessen, das sich in der Nationalgalerie in Parma befindet. Der Einfluss der venezianischen Malerei, besonders von Tintoretto, der im Werk Annibales ab 1590 spürbar ist, zeigt sich auch in diesem Bildnis. Zusammen mit seinen Cousin Ludovico und Agostino gründete Annibale die Accademia degli Incamminati. Sie hatte das Ziel, Charakteristiken des Manierismus zugunsten einer größeren Natürlichkeit zu übernehmen, was schließlich die Barockmalerei mit eingeleitet hat. Annibale gilt als der bedeutendste dieser drei Maler. In der beiliegenden Expertise wird die Entstehung des Portraits in den Zeitraum um 1600 gesetzt. (14008916) (11)
DOPPELPORTRAIT LACHENDER JUNGEN Öl auf Papier auf Karton. 16,5 x 21,5 cm. Beigegeben ein Gutachten von Federico Giannini, Pianella, sowie Claudio Strinati vom 15. Juli 2015, jeweils in Kopie. Annibale Carracci war der meistbewunderte Maler seiner Zeit und die maßgebliche Kraft innerhalb der Entwicklung des Barock-Stils. Zusammen mit seinem Cousin Ludovico (1555-1619) und seinem älteren Bruder Agostino (1557-1602) - beide herausragende Künstler - machte sich Annibale daran, die italienische Malerei zu transformieren. Die Carracci lehnten die Künstlichkeit der manieristischen Malerei ab und sahen sich als Erben einer großen künstlerischen Tradition. Sie positionierten sich bewusst in der Geschichte der norditalienischen Malerei und setzten sich für eine Rückkehr zur Natur in Verbindung mit dem Studium der großen norditalienischen Maler der Renaissance, insbesondere Correggio, Tizian, Tintoretto und Veronese, ein. Ihre Altarbilder und weltlichen Freskenzyklen in Bologna betonten erneut die norditalienische Betonung von Farbe, Licht und Naturstudium, jedoch mit einem neuen Fokus auf emotionale Kommunikation. Ihr Erfolg führte dazu, dass Annibale 1595 nach Rom eingeladen wurde, um für die mächtige Familie Farnese zu arbeiten, während Ludovico in Bologna blieb, um die von ihnen gegründete Akademie zu leiten. Durch die nächste Generation von Malern - Francesco Albani, Domenichino, Guido Reni, Giovanni Lanfranco und Guercino - wurde die Bologneser Malerei zur dominierenden Kraft in der Kunst des 17. Jahrhunderts. In Rom wurde Annibales Malerei durch seine direkte Begegnung mit der klassischen Antike und der Kunst von Michelangelo und Raphael transformiert. Einzelne Szenen der antiken Mythologie sind von einem aufwendigen illusionistischen Rahmen mit vorgetäuschten Statuen umgeben, vor denen muskulöse nackte Figuren sitzen, die scheinbar von den tatsächlichen Fenstern beleuchtet werden, wie in der Decke der Farnese-Galerie. Die Ecken öffnen sich zu gemalten Ausblicken auf den Himmel. Als die Decke 1600 enthüllt wurde, wurde sie sofort als gleichwertig mit jedem Werk der Vergangenheit anerkannt. Durch die Kombination des norditalienischen Naturalismus mit dem Idealismus der römischen Malerei schuf Annibale die Grundlage der Barock-Kunst. Sein einziger Herausforderer in Rom war Caravaggio, dessen Beziehung zur Vergangenheit eher kämpferisch als assimilativ war. Zudem war Caravaggios Kunst für große Kompositionen und Freskenzyklen ungeeignet, und bis 1630 war die caravaggistische Malerei im Niedergang, während Annibales Kunst von einer neuen Generation von Künstlern studiert wurde: Rubens, Poussin und Bernini waren Annibale zutiefst verpflichtet. Sowohl in seinem umfangreichen Korpus von Zeichnungen als auch in Gemälden, die in Museen und wichtigen privaten Sammlungen weltweit aufbewahrt werden, erkundete Annibale Carracci die Extreme des Gesichtsausdrucks der Menschen um ihn herum. Tatsächlich wird der Begriff für die Übertreibung der charakteristischen Merkmale des menschlichen Gesichts zum Amüsement oder zur moralischen Kritik, Caricatura, oft speziell Annibale Carracci zugeschrieben. Das Wort stammt vom italienischen „caricare“, was „laden“ oder „verändern“ bedeutet, und scheint erstmals 1647 im Druck erschienen zu sein. Keine von Annibales Karikaturen kann einer identifizierbaren Person zugeordnet werden. Diese Art von Arbeiten gehört wahrscheinlich zu den frühen 1580er-Jahren, etwa zur Zeit der Gründung der Accademia degli Incamminati. In dieser Zeit produzierte Annibale zahlreiche Köpfe in roter Kreide sowie in Farbe, manchmal mehrere auf einem Blatt oder einer Leinwand. Die gemalten Köpfe erscheinen wie diese als reine Studien von Gesichtern, während andere wesentliche Aspekte größerer Genreszenen umfassen. In beiden Fällen haben die Gesichter viele der gleichen Qualitäten wie in dem vorliegenden Werk: Sie sind vage herzförmig (er scheint die Form auf sein eigenes Gesicht basiert zu haben, wie aus den vielen erhaltenen jugendlichen Selbstportraits oder Quasi-Selbstportraits ersichtlich ist), haben hohe Stirnen und sind sehr zahnig. Die Zähne ragen hervor, sind unregelmäßig verteilt und durch übermäßigen Verschleiß und schlechte Okklusion sehr eckig, Faktoren, die auf grobe Nahrung und schlechte Mundhygiene hinweisen. Es gibt viele vergleichbare Beispiele, darunter: „Lachender Narr“ um 1583/84 in der Galleria Borghese, Rom; und „Lachender Jüngling“ in der Sammlung Gazzoni, Bologna, der ebenfalls das gleiche Merkmal des gespannten Fleisches an der Seite des Mundes des jungen Mannes aufweist, das in dem vorliegenden Werk zu sehen ist, sowie die geschwollenen Augen, die scheinbar zu hoch im Schädel sitzen. Obwohl dies kleine Werke sind, ist die Spontaneität außergewöhnlich modern und antizipiert die Portraits von Bernini und Velázquez fünfzig Jahre später. Carraccis Interesse an Karikaturen ist wohl bekannt, aber hier versucht er, den Ausdruck des Jungen so einzufangen, wie er im wirklichen Leben ist. Es gibt mehrere Versionen dieses Doppelportraits in unterschiedlichem Maßstab und Ausführung, diese Kopien scheinen von Künstlern produziert worden zu sein, die mit der Carracci-Akademie verbunden sind. Die Komposition des vorliegenden Werkes basiert auf einem Carracci-Entwurf, der durch einen Stich von G. Lazzarini und ein Gemälde in einer privaten Sammlung in Piacenza bekannt ist, letzteres früher Annibale zugeschrieben (siehe Cooney, Malafarina, „L‘opera completa di Annibale Carracci“, Mailand 1976, S. 130, Nr. 205, abgebildet, unter ‘zugeschriebene Werke‘). Die auffällige Anzahl verschiedener Versionen der beiden lachenden Jungen deutet nicht nur auf die Beliebtheit dieses Themas hin, sondern auch auf die Wahrscheinlichkeit, dass es auf ein unbekanntes größeres Prototyp-Original zurückgeht, wie von Federico Giannini vermutet wird. In dem vorliegenden Gemälde fängt Duktus Bewegung und die Lichteffekte auf die Form ein; die schimmernden Effekte auf dem Kragen des Jungen rechts, der im Profil zu dem Jungen links schaut, offenbaren Schattierungen von Hellblau, während der Kragen des Jungen links, der den Betrachter anzusehen scheint, irisierende rosafarbene Reflexe zeigt. Die Darstellung der Haut, der Details des Gesichts und der Haarlinie sowie die geschickte Farbpalette und Schattierungen demonstrieren die Fähigkeiten des Malers aus dem Kreis von Annibale Carracci, der seine Lehren beim Einfangen von Emotionen gut aufgenommen hat. Das revolutionäre Potenzial dieser neuen Art der Malerei wurde erst ein Jahrzehnt später von Caravaggio aufgenommen. Annibale war Bruder des Agostino Carracci (1557-1602) und lernte bei seinem Cousin Ludovico Carracci (1555-1619) in Parma. Erst 1595 von Kardinal Farnese nach Rom berufen, kam er mit den Werken von Michelangelo Buonarroti (1475-1564) und Raffaello Santi (1483-1520) in engste Berührung. Provenienz: Privatsammlung, Großbritannien. Literatur: Vgl. Patrick J. Cooney & Gianfranco Malafarina, L‘opera completa di Annibale Carracci, Mailand 1976, S. 130, Nr. 205. Vgl. Andrea Emiliani, I ritratti giovanili di Annibale Carracci, Bologna 2012, S. 32 und S. 35, Abb. 14. (14012511) (13) Annibale Carracci, 1560 Bologna – 1609 Rome, attributed DOUBLE PORTRAIT OF LAUGHING BOYS Oil on paper, laid on card. 16.5 x 21.5 cm. Accompanied by an expert‘s report by Federico Giannini, Pianella, and Claudio Strinati dated 15 July 2015, each in copy. Annibale Caracci explored the extremes of facial expressions in those around him in his extensive oeuvre of drawings and paintings held in museums and important private collections worldwide. In fact, the term for the exaggeration of the characteristic features of the human face for amusement or moral criticism, “caricature”, is often specifically attributed to Annibale Carracci. This type of work probably dates to the early 1580s. During this period, Carracci produced numerous heads in red chalk and paint, sometimes several on one sheet or canvas. Like these, the painted heads appear to be pure studies of faces. There are many examples that compare easily, including: Laughing Fool ca. 1583-4 held at the Galleria Borghese, Rome; and Laughing Youth held at the Gazzoni Collection, Bologna. The composition of the present painting is based on a Carracci design known from an engraving by G. Lazzarini and a painting held in a private collection in Piacenza, the latter previously attributed to Carracci (see P.J. Cooney & G. Malafarina, “L‘opera completa di Annibale Carracci“, Milan 1976, p. 130, no. 205, ill., under “attributed works”). The striking number of different versions of the two laughing boys suggests the popularity of this subject and the likelihood that it is based on an unknown larger original prototype, as suggested by Federico Giannini. Provenance: Private collection, Great Britain. Literature: cf. P.J. Cooney & G. Malafarina, L‘opera completa di Annibale Carracci, Milan 1976, p. 130, no. 205. cf. A. Emiliani, I ritratti giovanili di Annibale Carracci, Bologna 2012, p. 32 and p. 35, ill. 14. (†)
Measurements: 164 x 109 cm framed measurements: 175 x 120 cm Provenance: important private collection Madrid Lot not subject to reserve price Liquidation of important private family collection
Measurements: 160 x 110 cm framed measurements: 170 x 120 cm Provenance: important private collection Madrid Lot not subject to reserve price Liquidation of important private family collection
Acquaforte e bulino. mm 123x161. Foglio: mm 125x165. Bartsch, XVIII,9. DeGrazia, 20. Sulla lastra in alto a destra le indicazioni di responsabilità con la firma e la data "Annib. Carracius in. et fecit. 1606" e l'indirizzo dell'editore: "Nico van Aelst for.". Bellissima prova nel III stato di 3, stampata con ottima evidenza di segno su carta vergellata sottile apparentemente priva di filigrana. (1)
Important oil painting on copper measuring 54 x 46 cm, dimensions with frame: 71 x 62 cm. Roman baroque Italian school from the 17th century. (Bologna, 1560-Rome, 1609). Italian painter and brother of Agostino and first cousin of Ludovico Carracci. He obtained his training first as an engraver with his brother Agostino and formed with him and his cousin, around 1582, the Desiderosi Academy, which later belonged to the Incamminati, with the intention of surpassing the received forms and enriching the training of artists. with the knowledge of literature and the study of nature forgotten by the cultivation of the manner. He soon set out on his own path as a painter, breaking in a very personal way with the mannerism predominant in Bologna and focusing on a naturalism of strong character, also visible in Bartolomeo Passarotti. The teachings of the Academy insisted on the convenience of drawing from life as a preparation for canvases, which is why many studies of nudes and popular figures, animals and domestic objects have been preserved, surprising for their vividness. It is also the Carracci, especially Annibale, who are the initiators of the caricature genre, which involves a careful observation of the most characteristic features of the individual human personality. However, in his religious or mythological compositions he expresses himself with a serenity that revives the classic models of the Renaissance but giving them a grandeur that announces the full baroque. Also in the oil technique he shows himself free in the Venetian way, sometimes using the brush with extreme ease. His early period corresponds to works such as The Butcher Shop (Christ Church, Oxford) or the Bean Dining Room (Galleria Colonna, Rome), dated around 1580. Between 1583 and 1584 he collaborated with his brother and cousin on the decoration of the Fava Palace in Bologna. , with frescoes of great elegance and color in the Venetian style. Trips to Parma and Venice acquainted him with Correggio and Titian who would exert a great influence on him. The most important works preserved by him in the Prado correspond to this moment: Venus and Adonis and Assumption of the Virgin. In 1595 he was called to Rome by Cardinal Odoardo Farnesio to decorate his palace. There, in contact with the work of Raphael and Michelangelo, he finishes maturing his style with the perfectly personal assimilation of everything he has seen and has been consonant with him. Accused of eclecticism by nineteenth-century critics, he is currently considered a true creator who has left models of sovereign beauty in his Roman works. The decoration of the gallery of the Farnese Palace (1597-1600), where - following Ovid - the loves of the gods are presented, in very noble compositions, constituted for a long time, the ideal model of beauty and classical harmony where it combines the most idyllic interpretation of the literary story with a precise observation of nature, from which not only his many disciples drank (Albani, Domenichino,Lanfranco, etc.), but even Rubens. At the same time, it develops a vision of the landscape that acquires importance and develops as a protagonist of the religious or profane anecdote that is presented in it (Flight into Egypt, Galleria Doria Pamphilj, Rome) within a spirit of solemn repose and delicate melancholy that will echo direct in Poussin and Claudio de Lorena. In his last years he was overcome by a serious depression that prevented him from painting, but the attention of his disciples and collaborators, working on his drawings and ideas, managed to carry out important fresco cycles, such as the one in the Herrera Chapel, in Santiago de los Spaniards from Rome with scenes from the life of Saint Diego de Alcalá and figures of saints (of which the Prado and the Museum of Barcelona keep important fragments) and devotional paintings of great emotional force and grandiose and severe composition (Piiedades in National Gallery, London ; Kunsthistorisches Museum, Vienna; and Galleria Doria Pamphilj, Rome). Reference bibliography: Mena Marqués, Manuela B., Italian drawings from the 17th century, «Prado Museum. Catalog of drawings», Madrid, Prado Museum, Ministry of Culture, 1983, t. VI, pp. 52-54; Cooney, Patrick J., and Malafarina, Gianfranco, L'opera Completa di Annibale Carracci, Milan, Rizzoli, 1976. Provenance: important private art gallery, Barcelona, Spain.
Copy in reverse after Carracci. Etching, 152 x 107 mm (plate), 162 x 120 mm (sheet). Fine, fresh impression on laid paper. Two handwritten notes on the lower margin. Paper thinning in three places.
The painting presents a man with thick, ebony locks, coupled with a slightly disheveled yet meticulously crafted beard in the prevailing fashion of the era, along with a broad mustache; collectively suggest the subject's early maturity, perhaps around the age of 25. Set against a backdrop of deep, neutral brown, the pure black of the robe stands out prominently, its subtle tonal variations serving as one of the most striking elements of the entire painting. Equally notable is the vibrant luminosity emanating from the subject's countenance, with rosy undertones reminiscent of the Po Valley painting, particularly evoking the style of Federico Barocci. While the composition and chromatic construction exhibit a Venetian flair, drawing inspiration from the portraiture of Lorenzo Lotto, later modernized by luminaries such as Tintoretto and Domenico, they also bear echoes of Bolognese painting traditions. In parsing the stylistic influences, one cannot overlook the interplay of Caravaggio's chiaroscuro technique, further enriching the visual narrative. Among the potential attributions, the Carracci group emerges as a compelling candidate. Notably, while Ludovico Carracci's oeuvre veered towards anti-classicism and deviated from Venetian precedents, Annibale Carracci's oeuvre, enriched by his sojourn in Venice in 1582, reflects a closer affinity to the Venetian school, particularly evident in his portraits. Annibale's works, particularly those from the turn of the century, epitomize some of the finest examples of Italian portraiture of the period. Noteworthy among them is the captivating portrayal of a young man at Palazzo Barberini, likely painted around 1590, distinguished by its nuanced handling of light and shadow. Similarities in lighting techniques and contrasts can be discerned in the painting under consideration, further bolstering the case for attribution to Carracci. Additionally, the striking resemblance to the exquisite portrayal of a child in the National Museum of Parma at the Pilotta, albeit slightly predating the present work, lends further credence to the attribution to the Carracci lineage. Oil on canvas, 36,5 × 26,5 cm
School of ANNIBALE CARRACCI (Bologna, 1560 - Rome, 1609) "Young people laughing". Oil on canvas. It presents faults and restorations. Measurements: 44 x 50 cm; 58 x 63 cm (frame). It is remarkable the presence of a double portrait in this work, since it was not a common representation at the time. In the painting, the artist arranges the two knights in a square format with a neutral and dark background, which gives great prominence to the figure of the protagonists, thus avoiding any anecdotal element that is not part of the main figures. Each of the characters is arranged in the lateral areas of the composition, to a certain extent taking the center of the scene, since there is not a great distance between them. One of the young men looks directly at the viewer, while the other looks at his companion, also smiling. These mischievous attitudes, added to the clothes that can be seen, indicate that these are boys who belong to a lower class, thus being a portrait with a certain costumbrista air, very fashionable at the time. In fact, it is interesting to relate this work to the painting called The Butcher's Shop, painted by Annibale Carraci, between 1580-1590, which today belongs to the collection of the Colonna Gallery in Rome. Carraci's connection with Vicenzo Campi and the painter Passaroti resulted in the artist's great influence and interest in capturing this type of genre subject matter. A subject matter in which the artist employed a rougher style in relation to his more classicist works. Harmonizing thus between aesthetics and the theme to which it was dedicated. At the beginning of the 17th century, at the same time that Caravaggio was breaking away from Mannerist and even Renaissance conventions, a new way of understanding painting, usually called "eclecticism", was emerging in Bologna under the guidance of Carracci. It sought to integrate the best of each master, especially Michelangelo, Raphael, Titian, Veronese and Correggio. However, Annibale Carracci's personality led him to evolve towards a very personal classicism, which did not disdain certain Caravaggiesque achievements.
