Italian School in the Manner of Giovanni Francesco Barbieri, ILGuercino (1591-1666), Allegorical Scene of Darkness and Light with Nubile Muses, Oil on board, No visible signature, Sight-5 1/2" x 17 3/8", Framed-8" x 20", has heavy varnish with crazing.
Giovanni Francesco BARBIERI, dit le GUERCHIN (Cento, 1591 - Bologne, 1666) Le Christ mort pleuré par deux anges Toile Sans cadre The dead Christ mourned by two angels, canvas, by G. F. Barbieri, called le Guerchin 14.37 x 18.70 in. 36.5 x 47.5 cm Provenance : Acquis par le père du propriétaire dans les années 1960, dans un château à Thiviers en Dordogne ; Collection particulière, Sud-Ouest de la France Bibliographie : Article du journal Sud-Ouest, édition du 27 novembre 1965, comme Caravage (fig.1) Notre toile, inédite, doit être mise en rapport avec le célèbre et merveilleux petit cuivre conservé à la National Gallery de Londres, de mêmes dimensions (inv. NG22, legs Holwell Carr, 1831), daté vers 1618 1, c'est à dire au retour de l'artiste de Venise et avant son départ pour Rome. Plusieurs “bozzettoni”, ou versions préparatoires, souvent sur toile, réalisées par Guerchin avant l’exécution finale sur cuivre, nous sont aujourd’hui parvenues, telles que le Saint Sébastien secouru par deux anges (version sur toile en collection privée et version sur cuivre au Fitzwilliam Museum de Cambridge), ou La vision de Saint Jérôme (version sur toile en collection privée et celle sur cuivre au musée du Louvre). Notre tableau s’inscrit dans cette même démarche de travail de l’artiste lorsqu’il est jeune, le support sur toile se prêtait plus à ce premier jet, avant une mise au net sur le cuivre. Nicholas Turner dans sa monographie sur l'artiste les appelle "trial version", des versions d'essai 2. On peut constater quelques variantes entre les deux versions de cette déploration du Christ, notamment dans la forme de la souche d'arbre à gauche, la draperie blanche qui couvre les doigts de la main gauche de l'ange de droite, alors qu'elle est placée au-dessus dans la version de Londres. On note aussi l'absence d’ailes des deux anges sur notre version, mais il s'agit d'un repentir. On voit à l'oeil nu en lumière rasante, et comme la radiographie infra-rouge l'a aussi confirmé, qu'elles étaient présentes dans un premier temps, puis recouvertes probablement par le peintre lui-même. Dans le tableau de Londres, la tunique au centre tire sur le pourpre et le violet, quand la nôtre est vermillon, celle de l'ange de Londres est d'un ton bleu-violet, tandis que la nôtre est plus grise, mêlée de vert. D'une façon générale, on peut décrire notre toile comme plus proche du caravagisme avec son clair-obscur prononcé et son intensité dramatique. En revanche, le cuivre de la National Gallery, est à situer dans la voie tracée par Ludovic Carrache par son raffinement, ses couleurs chaudes et suaves, et son aspect fini plus poussé. Des variations habituelles, imposées par la différence de support, sur lesquels le pinceau accroche de manière différente. Originaire de Cento, localité à mi-chemin entre Ferrare et Bologne, Guerchin se forme de manière autodidacte par l'observation des tableaux d’autel que Ludovic Carrache, Carlo Bononi et Scarcellino ont laissé dans sa ville natale. Il en retient le dynamisme et une grande fluidité d'exécution, un luminisme d'origine vénitienne, qui sera renforcé par son séjour à Venise en 1618 où il regarde notamment Titien et Jacopo Bassano. À Bologne, après 1609, il entre dans le cercle de Ludovic Carrache et des élèves d’Annibale et réalise pendant dix ans ses petits formats les plus poétiques. Le pape Grégoire XV l'appelle à Rome en 1621, où il s’impose par d’immenses retables et la fresque de l’ Aurore au casino Ludovisi. L'attribution à Guerchin avait été confirmée par Denis Mahon, après examen du tableau, par avis oral au propriétaire. Nous remercions Nicholas Turner d'avoir confirmé l'authenticité de ce tableau d’après une photographie numérique, dans un courriel en date du 10 décembre 2024. 1. Nicholas Turner, The Paintings of Guercino. A Revised and Expanded Catalogue raisonné, Rome, Ugo Bozzi Editore, 2017, p.324, n°66. Il notait alors, suivant une intuition de Denis Mahon, qu'il y a trop de mentions de ce sujet au XVIIe siècle, pour ne pas imaginer qu'il existait une autre réplique autographe en plus du tableau de Londres. 2. Op. cit., pp. 211-223. Citons encore trois dessins d'étude pour le corps du Christ au Statens Museum for Kunst de Copenhague, à la Royal Library au château de Windsor et au musée de l'Ermitage à Saint-Pétersbourg. Le tableau de Londres a été gravé par Nicolas Pitau l'Ancien, édité par Theodor van Merlen II, en 1668. Giovanni Francesco BARBIERI, dit le GUERCHIN (Cento, 1591 - Bologne, 1666) 36.5 x 47.5 cm Notre toile, inédite, doit être mise en rapport avec le célèbre et merveilleux petit cuivre conservé à la National Gallery de Londres, de mêmes dimensions (inv. NG22, legs Holwell Carr, 1831), daté vers 16181, c'est à dire au retour de l'artiste de Venise et avant son départ pour Rome. Plusieurs “bozzettoni”, ou versions préparatoires, souvent sur toile, réalisées par Guerchin avant l’exécution finale sur cuivre, nous sont aujourd’hui parvenues, telles que le Saint Sébastien secouru par deux anges (version sur toile en collection privée et version sur cuivre au Fitzwilliam Museum de Cambridge), ou La vision de Saint Jérôme (version sur toile en collection privée et celle sur cuivre au musée du Louvre). Notre tableau s’inscrit dans cette même démarche de travail de l’artiste lorsqu’il est jeune, le support sur toile se prêtait plus à ce premier jet, avant une mise au net sur le cuivre. Nicholas Turner dans sa monographie sur l'artiste les appelle "trial version", des versions d'essai2. On peut constater quelques variantes entre les deux versions de cette déploration du Christ, notamment dans la forme de la souche d'arbre à gauche, la draperie blanche qui couvre les doigts de la main gauche de l'ange de droite, alors qu'elle est placée au-dessus dans la version de Londres. On note aussi l'absence d’ailes des deux anges sur notre version, mais il s'agit d'un repentir. On voit à l'oeil nu en lumière rasante, et comme la radiographie infra-rouge l'a aussi confirmé, qu'elles étaient présentes dans un premier temps, puis recouvertes probablement par le peintre lui-même. Dans le tableau de Londres, la tunique au centre tire sur le pourpre et le violet, quand la nôtre est vermillon, celle de l'ange de Londres est d'un ton bleu-violet, tandis que la nôtre est plus grise, mêlée de vert. D'une façon générale, on peut décrire notre toile comme plus proche du caravagisme avec son clair-obscur prononcé et son intensité dramatique. En revanche, le cuivre de la National Gallery, est à situer dans la voie tracée par Ludovic Carrache par son raffinement, ses couleurs chaudes et suaves, et son aspect fini plus poussé. Des variations habituelles, imposées par la différence de support, sur lesquels le pinceau accroche de manière différente. Originaire de Cento, localité à mi-chemin entre Ferrare et Bologne, Guerchin se forme de manière autodidacte par l'observation des tableaux d’autel que Ludovic Carrache, Carlo Bononi et Scarcellino ont laissé dans sa ville natale. Il en retient le dynamisme et une grande fluidité d'exécution, un luminisme d'origine vénitienne, qui sera renforcé par son séjour à Venise en 1618 où il regarde notamment Titien et Jacopo Bassano. À Bologne, après 1609, il entre dans le cercle de Ludovic Carrache et des élèves d’Annibale et réalise pendant dix ans ses petits formats les plus poétiques. Le pape Grégoire XV l'appelle à Rome en 1621, où il s’impose par d’immenses retables et la fresque de l’Aurore au casino Ludovisi. L'attribution à Guerchin avait été confirmée par Denis Mahon, après examen du tableau, par avis oral au propriétaire. Nous remercions Nicholas Turner d'avoir confirmé l'authenticité de ce tableau d’après une photographie numérique, dans un courriel en date du 10 décembre 2024. 1. Nicholas Turner, The Paintings of Guercino. A Revised and Expanded Catalogue raisonné, Rome, Ugo Bozzi Editore, 2017, p.324, n°66. Il notait alors, suivant une intuition de Denis Mahon, qu'il y a trop de mentions de ce sujet au XVIIe siècle, pour ne pas imaginer qu'il existait une autre réplique autographe en plus du tableau de Londres. 2. Op. cit., pp. 211-223. Citons encore trois dessins d'étude pour le corps du Christ au Statens Museum for Kunst de Copenhague, à la Royal Library au château de Windsor et au musée de l'Ermitage à Saint-Pétersbourg. Le tableau de Londres a été gravé par Nicolas Pitau l'Ancien, édité par Theodor van Merlen II, en 1668.
AMORKNÄBLEIN MIT BOGEN AUF EINER MAUER oder zutreffender:ERSTE VERSUCHE DES KLEINEN CUPIDOS Öl auf Leinwand. 51,5 x 39 cm. Wir danken Nicholas Turner für die Zuschreibung nach Prüfung im Original. Das Amorknäblein ist hier auf einer Ziegelmauer nackt auf einem weißen Tuch sitzend dargestellt. Der rechte Arm ist ausgestreckt, in der Hand hält er einen Bogen. Ein Pfeil ragt unter dem Tuch hervor, auf dem er sitzt. Sein Oberkörper ist leicht gebeugt, der Kopf gesenkt. Der Blick ist auf seine Bogenhaltung gerichtet. Die bisherigen Beschreibungen des Bildes gehen davon aus, dass das Knäblein einen Pfeil abgeschossen hat und ein zweiter für ein weiteres Opfer bereitliegt (Dorotheum 2012). Diese irrtümliche Annahme verkennt, dass das etwa einjährige Kleinkind den Bogen völlig verkehrt hält. Damit ist die Bildaussage also weit raffinierter, als sie auf den ersten Blick erscheint – ein markantes Merkmal des Manierismus: Cupido versucht sich hier also noch tollpatschig an seinem Werkzeug und ist noch nicht in der Lage, es zu bedienen. Sein Blick ist nicht prüfend in die Ferne gerichtet; sein enttäuscht fragendes Gesicht verrät ihm seine Ungeschicklichkeit. Darin liegt der besondere Reiz der Darstellung. Guercino hat das Thema der Amorknaben mehrfach behandelt, jeweils in übereinstimmender Stilistik, mit füllig-rundlicher Körperwiedergabe. In seinem Werk „Venus, Mars und die Liebe“ von 1634 ist Amor bereits etwas älter gezeigt und schon fähig, den Bogen richtig zu halten (Modena, Galleria Estense). Gleiches gilt für seine Amordarstellung in seinem Selbstbildnis von 1655 (Washington, National Gallery, vgl. Abb. Stich), in seinen Werken „Mars mit Cupido“ und „Der Heilige Wilhelm empfängt die Mönchskutte“, die aus seiner vorrömischen Periode um 1620 stammen, in die auch das hier vorliegende Gemälde einzuordnen wäre. Zuweilen finden sich Wiederholungen des Cupidomotives aus großen Bildzusammenhängen, die der Maler neben seiner Auftragstätigkeit für Sammler als Nebenerwerb fertigte. Dies ist hier jedoch nicht der Fall. Für das hier vorliegende Gemälde wurde bisher noch kein adäquates Beispiel gefunden. Die hier zu erkennende, nach meiner Deutung hintergründige Bildaussage ist auch allzu solitär, als dass sie als „Nebenprodukt“ aus einem anderen Bildzusammenhang zu vermuten wäre. Auch darin liegt die Einzigartigkeit des hiesigen Werkes als eigenständige Bilderfindung. A. R. Provenienz: Dorotheum Auktion, 17. Oktober 2012. Christie´s Auktion, Juli 2020. Literatur: Nicholas Turner: The paintings of Guercino: a revised and expanded catalogue raisonné, Rom 2017, S. 348 Nr. 92 (abgebildet). Vgl. Ausst.-Kat.: Palazzo Chiablese, „Guercino. Il mastiere del Pittore“, Turin 2024 Vgl. Luigi Salerno, I dipinti del Guercino, Rom 1988, S. 148/49, Nr. 69; und Denis Mahon, „Catalogo critico“, in: Giovanni Francesco Barbieri Il Guercino 1591-1666, Ausst. Kat., Museo Civico Archeologico, Bologna, und Pinacoteca Civica und Chiesa del Rosario, Cento, September bis November 1991, S. 128-131, Nr. 45. Vgl. Luigi Salerno, I dipinti del Guercino, Rom 1988, S. 131, Nr. 54 (Versorgung der Wunden des hl. Sebastian in der Pinacoteca Nazionale, Bologna) sowie S. 132 ( Halbfigurigen Sibylle von 1619 aus der Sammlung Dennis Mahon). (1431121) (11) Giovanni Francesco Barbieri, also known as “Guercino”, 1591 Cento – 1666 Bologna CUPID WITH BOW ON A WALL or more accurately: FIRST ATTEMPTS OF LITTLE CUPID Oil on canvas. 51.5 x 39 cm. We would like to thank Nicholas Turner for his identification of the artist after examining the original painting. Provenance: Dorotheum, 17 October 2012. Christie’s, July 2020. Literature: Nicholas Turner, The paintings of Guercino: a revised and expanded catalogue raisonné, Rome 2017, p. 348 no.92 (ill.). cf. Guercino. Il mastiere del Pittore, exhibition catalogue, Palazzo Chiablese, Turin 2024. cf. Luigi Salerno, I dipinti del Guercino, Rome 1988, pp. 148/49, no. 69. Denis Mahon, Il Guercino. in: Giovanni Francesco Barbieri, 1591 - 1666. Catalogo critico dei dipinti, exhibition catalogue, Museo Civico Archeologico, Bologna, and Pinacoteca Civica and Chiesa del Rosario, Cento, September - November 1991, pp. 128-131, no. 45. cf. Luigi Salerno, I dipinti del Guercino, Rome 1988, p. 131 no. 54 (Care of the Wounds of St Sebastian in the Pinacoteca Nazionale Bologna) and p. 132 (Half-figure Sibyl from 1619 from the Dennis Mahon Collection). (†)
Technik: Öl auf Leinwand, im zeittypischen Rahmen, Signatur: unsigniert, verso mit Sammlungsstempel, Maße: 42 x 31,5 cm, Rahmen 58,5 x 49 cm, Zustand: beschnitten, doubliert, retuschiert, craqueliert, gefirnist, Literatur: Vgl. Salerno, Luigi, Rom 1988, Kommentar: Guercino war ein Zeichner und Maler des italienischen Barock. Das hier gezeigte Gemälde könnte eines seiner zahlreichen Werke sein. Im direkten Vergleich mit einem seiner monumentalen Spätwerke, dem 'Tode der Dido' von 1931, sind deutliche Übereinstimmungen feststellbar. Ob das gezeigte Portrait ein Probestück, des in der Galleria Spada gezeigten Werkes, oder eine spätere Studie dessen ist, lässt sich nicht abschließend sagen. Zweifelsohne ist eine gewisse Qualität erkennbar, Schätzpreis: 7000-15.000 Euro.
Saint Jerome's Vision sepia drawing based on the original painting by Giovanni Francesco Barbieri - «Il Guercino» (1591- 1666) which is at the Louvre Museum Paris Italian school 17th C. paper with watermark "Circle". Notes: vd. https://collections.louvre.fr/en/ark:/53355/cl010062365 consulted on 7-2-2025 at 13:08 Dim. - 28 x 32 5 cm
After Guercino: Giovanni Francesco Barbieri (1591 Cento/Ferrara - 1666 Bologna): Photograph of the painting of the Samian Sibyl from 1644, from the collection of the Uffizi Gallery, Florence, Italy, c. 1880, albumen paper print Technique: albumen paper print, mounted on Cardboard Inscription: Numbered "2625" below the photograph. Date: c. 1880 Keywords: 19th century, Figurative, Religious, Italy, Size: Cardboard: 29,0 cm x 23,0 cm (11,4 x 9,1 in), Depiction: 23,7 cm x 18,5 cm (9,3 x 7,3 in)
FOLLOWER OF THE GUERCINO (Italy, 1591 - 1666) "Return of the prodigal son ". Oil on canvas Following the original of the master preserved in the Timken Museum of Art. Measurements:156,5 x 143,5 cm.
GUERCINO (1591-1666) São Jerónimo ajoelhado diante de um crucifixo "Grisaille" sobre papel Não assinado Dim. aprox.: 28 x 20 cm.; Dim. total. aprox.: 49 x 40,5 cm. Emoldurada.
Oil/canvas (lined on canvas), large work H 115 cm x W 161 cm, frame 122 cm x 165 cm (frame covers approx. 6-7 cm of painting edge), circle of Giovanni Francesco Barbieri called Il Guercino (Cento 1591-1666 Bologna), no recognizable signature, Jesus Christ is tied to the stake by two Roman torturers with his gaze directed upwards and full of humility. His body shines brightly and indicates his holy and divine nature, craquelure, continuous crack repaired, restored spots
(Giovanni Francesco Barbieri, 1591 Cento - 1666 Bologna), nach. Abraham verstößt Hagar umd Ismael. Öl auf Holz (?). 20,5 x 27 cm. Gerahmt. - Einige wenige unregelmäßige Stellen im Firnis. Kopie des in der Pinacoteca di Brera/Mailand befindlichen Bildes aus dem Jahr 1657.
Giovanni Francesco Barbieri, called Guercino (Cento 1591 - 1666 Bologna) Study of Christ, possibly for a Flagellation Red chalk 197 by 150 mm; 7 ¾ by 5 ⅞ in.
Giovanni Francesco Barbieri, called Guercino (Cento 1591 - 1666 Bologna) Head study of Abraham for The Expulsion of Hagar and Ishmael Red chalk and point of the brush and brown wash; bears inscription and numbering in pencil, verso: Abraham Dismissal of Hagar 192 194 by 276 mm.; 7 ¾ by 10 ⅞ in.
After Guercino: Giovanni Francesco Barbieri (1591 Cento/Ferrara - 1666 Bologna): Landscape with mountain range and shepherds, after a work by Giovanni Francesco BARBIERI, called GUERCINO (1591 Cento-1666 Bologna), 18th century, etching, 18th century, Etching Technique: Etching on Paper Date: Description: View of a rugged landscape with two shepherds with mules in the foreground, then two more figures in the middle ground. They provide a view of a valley, behind which a mountain range adjoins in the background. The depiction was probably created after a work by the Italian Baroque painter GUERCINO, from whom numerous drawings have survived. Keywords: 18th century, Classicism, Landscape, Italy, Size: Paper: 41,4 cm x 24,5 cm (16,3 x 9,6 in)
Technik: Öl auf Leinwand, im zeittypischen Rahmen, Signatur: unsigniert, verso mit Sammlungsstempel, Maße: 42 x 31,5 cm, Rahmen 58,5 x 49 cm, Zustand: beschnitten, doubliert, retuschiert, craqueliert, gefirnist, Literatur: Vgl. Salerno, Luigi, Rom 1988, Kommentar: Guercino war ein Zeichner und Maler des italienischen Barock. Das hier gezeigte Gemälde könnte eines seiner zahlreichen Werke sein. Im direkten Vergleich mit einem seiner monumentalen Spätwerke, dem 'Tode der Dido' von 1931, sind deutliche Übereinstimmungen feststellbar. Ob das gezeigte Portrait ein Probestück, des in der Galleria Spada gezeigten Werkes, oder eine spätere Studie dessen ist, lässt sich nicht abschließend sagen. Zweifelsohne ist eine gewisse Qualität erkennbar, Schätzpreis. 7000-15.000 Euro.
Giovanni Francesco Barbieri, better known as Guercino oil on canvas 39 1/4" x 28 3/4" Frame: 50 1/2" x 39 7/8" portrait of May Magdalena Signed lower right 'Guercino'.
GIOVANNI FRANCESCO BARBIERI, IL GUERCINO (1591-1666). Atelier of. Group of thirteen drawings depicting portrait studies. Size: 21,5x14; 12x8,5; 12x14; 6,5x9. 51,50 x 66,50 cm.
Giovanni Francesco Barbieri, called Guercino Cento 1591–1666 Bologna An old man wearing a turban and a fur-lined coat, here identified as Annas (originally Christ before Annas) oil on canvas, reduced 87.2 x 64.7 cm.; 34⅜ x 25½ in.
(Cento, 1591 - Bologna, 1666) Sant'Andrea apostolo (1643) Olio su tela, cm 137,5X108 Provenienza: Roma, collezione privata Bibliografia: G. Forgione, Un Sant'Andrea di Guercino e il suo committente, in Studi di Storia dell'Arte, n. 35, 2024 (in corso di pubblicazione) Il dipinto è stato ricondotto al catalogo di Giovan Francesco Barbieri da Gianluca Forgione e raffigura Sant'Andrea apostolo. L'opera si presenta in buone condizioni, con un'affascinante patina dettata dall'invecchiamento delle vernici ma che non attenua la comprensione del disegno, le preziosità delle stesure e i raffinati accostamenti cromatici. Manifesti sono i passaggi verdi e rosso-violacei tipici dell'artista, l'uso dell'oltremare e delle lacche, così le pennellate morbide che, in alcuni brani, lasciano trasparire l'imprimitura. Da notare sono le lumeggiature con cui l'autore ha connotato i lineamenti e le rughe del santo, mentre le tenui alternanze chiaroscurali plasmano l'immagine di una modulazione emotiva che nulla toglie al suo esito 'monumentale'. Questi aspetti indicano, di conseguenza, una esecuzione matura da associare al Quinto decennio del Seicento, ben prima dello stile smaltato e delle tipologie umane idealizzate che contrassegnano le opere tarde. La tela, infatti, emana un intento naturalistico avvalorato da un uso calibrato delle ombre e dei colori, offrendoci un'immagine ideale ma quanto mai presente nel suo afflato sentimentale. A conferma di questa cronologia vengono in aiuto il San Giuseppe della Pinacoteca Nazionale di Bologna (1648-1649) per l'analogia del volto con gli occhi rivolti al cielo (fig. 1, cfr. N. Turner, 2017, p. 652, n. 363) e il San Giovanni Battista conservato nel medesimo museo che, realizzato nel 1644, offre il parallelo più agevole dal punto di vista tecnico (cfr. ivi, p. 594, n. 304- Loire 2008, pp. 299-301, n162a-b). A conforto di questa datazione soccorre il Libro dei Conti, registro sul quale l'autore segnò le opere da lui realizzate e in cui l'apostolo Andrea si rintraccia solo in due occasioni. Il primo è annotato il 14 gennaio 1643, quando il Padre generale dei carmelitani Alberto Massari (1585-1643), all'epoca vicario del convento bolognese di San Martino Maggiore, pagò 50 ducati per una mezza figura di Sant'Andrea apostolo- mentre il 16 marzo 1656 un'opera della medesima iconografia e dello stesso taglio gli venne pagata dall'imolese Pietro Mancurti, che ricopriva la carica di governatore di Cento (per i due riferimenti cfr. Il libro dei conti del Guercino. 1629-1666, a cura di B. Ghelfi, con la consulenza scientifica di Denis Mahon, Bologna 1997, rispettivamente alle pp. 115-116, n. 286, e a p. 172, n. 505). Quest'ultima opera è stata identificata dalla critica nel Sant'Andrea apostolo già in collezione Koelliker, il cui stile vaporoso è effettivamente riferibile agli ultimi anni di Giovan Francesco (cfr. Massimo Pulini, in Guercino. Poesia e sentimento nella pittura del '600, catalogo della mostra a cura di D. Mahon, M. Pulini e V. Sgarbi, Milano, Palazzo Reale, 2003-2004, Novara 2003, p. 184, n. 47). La commissione per il padre generale dei carmelitani, invece, non è stata al momento riconosciuta in alcuna opera nota e, di conseguenza, la si può ragionevolmente riconoscere nel dipinto qui presentato. Si deve altresì rilevare che il nome di battesimo di padre Alberto Massari era giustappunto Andrea, nome poi abbandonato in occasione dell'ingresso nell'ordine e, con ogni probabilità, una volta nominato generale portò il dipinto con sé a Roma. Questa circostanza può motivare il silenzio da parte delle fonti felsinee sul Sant'Andrea, che plausibilmente non transitò mai nel convento di San Martino Maggiore, determinando la sfortuna iconografica dell'invenzione tra gli allievi e gli imitatori bolognesi del maestro. Il dipinto è corredato da una scheda critica di Gianluca Forgione. Bibliografia di riferimento: L. Salerno, I dipinti del Guercino, Roma 1988, ad vocem S. Loire, in Pinacoteca Nazionale di Bologna. Catalogo Generale 3, Guido Reni e il Seicento a cura di Gian P. Cammarota, J. Bentini, A. Mazza, Venezia 2008 n. Turner, The painting of Guercino. A Revised and expanded catalogue Raisonné, Roma 2017, ad vocem
(Cento, 1591 - Bologna, 1666) La sepoltura e gloria di santa Petronilla Olio su tela, cm 167X100 Il dipinto è desunto dalla grande pala commissionata al Guercino da papa Gregorio XV nel dicembre del 1621 e destinata all'altare dedicato a santa Petronilla della basilica di San Pietro ove fu collocato nel 1623. Senza dubbio la commissione dell'opera fu per l'artista la più importante della sua carriera. La tela rimase nella sua originaria collocazione fino al 1730, quando fu sostituita da una copia in mosaico e nel 1797 fu requisita dalle truppe napoleoniche e restituita nel 1818, quando fu destinata alle raccolte capitoline. Bibliografia di riferimento: N. Turner, The paintings of Guercino. A revised and Expanded Catalogue raisoné, Roma 2017, ad vocem
GIOVANNI FRANCESCO BARBIERI, CALLED IL GUERCINO (ITALIAN 1591-1666) YOUNG DAVIDOil on canvas69 x 56cm (27 x 22 in.)This unpublished canvas may be identified as the 'testa di un davide' that Guercino painted for his friend Gerolamo Panesi and for which he was paid 30 scudi on 16 October 1649.1 In her comment to the above entry in her 1997 edition of Guercino's Account Book, Barbara Ghelfi noted that a canvas corresponding to this payment had yet to be identified. In the painting, David holds the sword with which he had beheaded Goliath. Rather than engage the spectator he stares into the distance, as if pondering the consequences of his victory. The velvety paint textures, the attractive colouring, the figure's classical pose and the delicate rendering of selected details fit perfectly with Guercino's mid-Bolognese period. The occasional flourishes of impasto that punctuate the smooth paint surface include the plume on David's cap and the fur of the lining to his cloak, especially where it touches and slightly overlaps his right thumb. The beguiling combinations of a narrow range of forceful secondary colours, mostly of neighbouring hue, may also be seen in the Cleopatra, now in a private collection, which Panesi ordered from Guercino only a few months later.2In 1648-1650 Panesi commissioned at least five pictures from Guercino. Panesi was a Genoese nobleman and art dealer and, during the artist's Bolognese period, was one of his more consistent and discerning clients, selling on some of the pictures he had commissioned from the master at a higher price in Rome, where he was mainly resident.3 Guercino stuck resolutely to his tariffs, yet somehow Panesi was able to persuade the painter to give him a discount, for example by reducing his standard-sized canvases in return for dropping his charge. In the following year, Guercino painted a 'Meza Figura del davide con la Testa di Golia Gigante' for a Sig. Lodovico Fermi of Piacenza, for which he was paid 75 scudi on 12 October 1650.4 Fermi's David is known from two versions-the actual-sized sketch in the National Museum of Western Art, Tokyo, and the finished picture, now in a private collection.5 Both correspond almost exactly in size and are significantly larger than the present picture. 6 In format, a half-length was the next size up from a head-and-shoulders and it generally included extra details, such as, in this instance, Goliath's severed head. Fermi paid Guercino 75 scudi for his picture, as compared to Panesi's 30 scudi, for a picture just over half the size of Fermi's, painted in the previous year. With such a busy practice, Guercino was inevitably asked to paint the same subject several times, especially for his half-lengths and heads. A commission for a subject, perhaps painted previously on other occasions, required a fresh invention. Guercino could avoid repetitions by referencing past drawings, but inevitably one compositional treatment morphed subtly into the next. From the point of view of Guercino's creative method, much may be learned by comparing Panesi's David with Fermi's, since similarities and differences abound, in costume, pose, studio props and facture. Two further works by Guercino, both half-lengths, connect in design with the present picture. The first is a drawing in the Royal Library, Windsor Castle, ascribed to Guercino but clearly by him. Despite the composition's half-length format, it could well have been made as a study for this canvas, with the head of Goliath included as an alternative to David's sword.7 Notwithstanding these differences, the overall correspondence is close. The second is a painting formerly in the collection of the King of Sardegna, now belonging to the Galleria Sabauda, Turin, presently on show at the Venaria Reale, which is reproduced here from a lithograph by Luigi Poggioli.8 As here, Goliath's head is absent from the composition of the Turin picture. Its larger size and the introduction of the regal columnar architecture in the background bring it nearer to Fermi's canvas. Strong echoes of the present painting are easily to be found in the Windsor drawing and the Turin picture. But it is the hybrid format of the present canvas that pins it down as the one ordered by Panesi. It is a reduced-sized half-length and is bigger and has more detail than Guercino's normal head-and-shoulders format. This rare exception to the painter's rule was probably the result of Panesi's successful haggling. Notes:1). B. Ghelfi (ed.), Il libro dei conti del Guercino, 1629-1666, Bologna, 1997, p. 143, no. 413. When the picture was first shown to me, on 17 January 2013, I wrongly attributed it to Guercino's nephew Cesare Gennari. Five years later, following my immersion in Guercino's works in preparation for my monograph on him published last year, the presence of the master's hand is all too clear to me, and I now have no hesitation in giving the picture to him in full. 2). N. Turner, The Paintings of Guercino. A Revised and Expanded Catalogue raisonné, Rome, 2017, p. 662, cat 3723). N. Turner, 'Mola's Caricature Portrait of the Genoese Collector and Dealer Gerolamo Panesi,' Master Drawings, xlvii, no 4 (2009), pp. 516-9.4). Ghelfi 1997, p. 149, no. 430. 5). Turner 2017, pp. 667-8, nos 377I and II, respectively. 6). The Tokyo canvas measures 120.5 x 102 cm, the finished version in a private collection 120 x 100 cm.7). Windsor Castle, Royal Library: inv. 2944 (Mahon and Turner 1989, no. 408): pen and brown ink; 203 x 161 mm. 8). A. Alberghini, Guercino: La collezione di stampe, Cento, 1991, p. 217, no. 435.We are grateful to Nicholas Turner for his expertise and assistance in writing this catalogue entry.
Francois Chauveau (1613 Paris - 1676 ibid.) after Guercino: Giovanni Francesco Barbieri (1591 Cento/Ferrara - 1666 Bologna): Vision of St Jerome in the desert, hearing the trumpets of the Last Judgement, c. 1650, Copper engraving Technique: Copper engraving on Paper Date: c. 1650 Description: The artwork shows an agitated scene from the iconography of St Jerome. In the foreground, he lies exhausted while an angel blows a trumpet from heaven. A rocky landscape and trees can be seen in the background. Books and a skull emphasise the meditative and memento mori theme. Keywords: St Jerome; angel; trumpet; Last Judgement; exhaustion; landscape; rocks; trees; books; skull; meditation; memento mori; Christian iconography; celestial apparition; Baroque; work of art; theology; asceticism; saint; religious symbolism, 17th century, Baroque, Religious, France, Size: Paper: 32,6 cm x 35,9 cm (12,8 x 14,1 in), Depiction: 28,3 cm x 32,7 cm (11,1 x 12,9 in)
Jean Claude Chabert (19th century) after Guercino: Giovanni Francesco Barbieri (1591 Cento/Ferrara - 1666 Bologna): Self-portrait Chest piece with view to the front, c. 1830, Lithography Technique: Lithography on Paper Date: c. 1830 Description: Portrait of the painter Barbieri da Cento, le Guerchin (1590-1667). He was a painter of the Lombard school. Colour lithograph. From the series: Pictures of the Italian School (ECOLES D'ITALIE). Signed: Hesse. Title: LE GUERCHIN d'apres son portrait peint par lui-meme. Person: Giovanni Francesco Barbieri (1591 - 1666 ) Keywords: 19th century, Mannerism, Portraits, Italy, Size: Paper: 48,7 cm x 32,6 cm (19,2 x 12,8 in), Depiction: 24,5 cm x 20,9 cm (9,6 x 8,2 in)
Italian, 1591-1666 Landscape with Figures Seated Beside a Tree Brown ink and wash on paper 6 5/8 x 10 1/8 inches (17 x 26. cm) Frame 14 3/4 x 18 1/4 inches (37.5 x 46.4 cm) Provenance: H. Schickman Gallery, New York Glued around the edges to a passepartout mount. Paper toned. Ink splatter in the sky in the upper left quadrant.
GIOVANNI FRANCESCO BARBIERI IL GUERCINO (Cento 1591–1666 Bologna) Study for an angel. Circa 1630. Pen and brown ink. 13 x 14.8 cm (trimmed). Literature: Christel Thiem. Review of: Denis Mahon and Nicolas Turner. The drawings of Guercino in the Collection of Her Majesty the Queen at Windsor Castle. Cambridge, University Press 1989.In: Kunstchronik, ed. Zentralinstitut für Kunstgeschichte, Year 44, June 91 issue 6, p.322, fig.3. In a letter to Prof. Dr Christel Thiem dated 18 May 1990, Denis Mahon confirmed the authenticity of the study and suggested a date of ‘around’ 1630. * The full tax is charged on this item marked * in the auction catalogue, i.e. VAT is charged on the sum of the bid price plus the surcharge for those items. The VAT will be refunded to Purchasers providing a validly stamped export declaration. ------------------------------------------------- GIOVANNI FRANCESCO BARBIERI IL GUERCINO (Cento 1591–1666 Bologna) Studie zu einem Engel. Um 1630. Feder in Braun. 13 x 14,8 cm (beschnitten). Literatur: Christel Thiem. Renzension zu: Denis Mahon and Nicolas Turner. The drawings of Guercino in the Collection of Her Majesty the Queen at Windsor Castle. Cambridge, University Press 1989.In: Kunstchronik, Hrsg. Zentralinstitut für Kunstgeschichte, 44.Jahr, Juni 91 Heft 6, S.322, Abb.3. Denis Mahon hat in einem Brief an Prof. Dr. Christel Thiem vom 18. Mai 1990 die Eigenhändigkeit der Studie bestätigt und als Datierung "um" 1630 vorgeschlagen. Dieses mit * (Asterisk) bezeichnete Objekte ist vollumfänglich mehrwertsteuerpflichtig, d. h. bei diesen Objekten wird die MWST auf den Zuschlagspreis plus Aufgeld berechnet. Käufer, die eine rechtsgültig abgestempelte Ausfuhrdeklaration vorlegen, erhalten die MWST rückvergütet.
GIOVANNI FRANCESCO BARBIERI IL GUERCINO (Cento 1591–1666 Bologna) A mythological scene with a hermit before his hut and further figures. Pen and brush and brown ink. Verso inscribed in pen and brown ink: Il Guercino fece. Ales. Maggioni comprat a Roma nel 1809. 19 x 12.4 cm. Provenance: - Collection of A. Maggiori (18th to beginning 19th century). Faenza and Rome, Lugt 3005 b. - Private collection, Switzerland. ------------------------------------------------- GIOVANNI FRANCESCO BARBIERI IL GUERCINO (Cento 1591–1666 Bologna) Mythologische Szene mit Einsiedler vor seiner Hütte und weiteren Personen. Feder und Pinsel in Braun. Verso mit brauner Feder bezeichnet: Il Guercino fece. Ales. Maggioni comprat a Roma nel 1809. 19 x 12,4 cm. Provenienz: - Sammlung A. Maggiori (18. bis Anfang 19. Jh.). Faenza und Rom, Lugt 3005 b. - Privatbesitz Schweiz.
Benno Hauber (19th century) after Guercino: Giovanni Francesco Barbieri (1591 Cento/Ferrara - 1666 Bologna): Portrait of the medieval poet Heinrich von Meißen, called Frauenlob (c 1250 Meißen - 1318 Mainz), c. 1830, Lithography Technique: Lithography over tinted stone on Paper Inscription: lower left inscribed in the printing plate: "Aus der Schule von Querecino". Date: c. 1830 Description: Showing the poet Heinrich Frauenlob with a famulus over his books. Based on an idealised historical depiction, presumably from the school of Giovanni Francesco Barberi, called Guercino. Keywords: 19th century, Historicism, Portraits, Germany, Size: Paper: 49,7 cm x 54,8 cm (19,6 x 21,6 in), Depiction: 43,2 cm x 50,6 cm (17 x 19,9 in)
Follower of Giovanni Francesco Barbieri, called Guercino, Italian 1591-1666- The Martyrdom of Saint Barbara; oil on canvas, 33.5 x 71 cm. Provenance: Property from a European Private Collection.
Giovanni Francesco Barbieri, better known as Guercino, oil on canvas, 39 1/4" x 28 3/4", portrait of Mary Magdalena. The frame dimensions are 50 1/2" x 39 7/8". Signed lower right 'Guercino'.
ECCE HOMO Öl auf Leinwand. Doubliert. 66 x 56 cm. In breitem gefassten Profilrahmen. Beigegeben ein das Gemälde Il Guercino zuschreibender Aufsatz von Massimo Pirondini, in Kopie. Christus nach der Gefangennahme im Halbbildnis vor braunem Hintergrund, hier wiedergegeben mit Dornenkrone auf dem Haupt und einem langen Rohrstock in seiner rechten Hand, als Spottzeichen der Königswürde, sowie mit einem roten Spottmantel über seiner linken Schulter herabhängend. Das Inkarnat bewusst heller aufleuchtend, das Haupt zur Seite geneigt und den Kopf erhoben, die Konturen in Sfumato wiedergegeben. Auf seiner linken Schläfe sowie im Bereich der Brust, ist jeweils ein roter Blutstropfen zu finden. Mund leicht geöffnet, der Blick nach links oben gerichtet. Qualitätvolle Malerei mit starker Hell-Dunkel-Akzentuierung. Guercino gehörte der Bologneser Schule an, er lernte bei Benedetto Gennari (1563-1658), orientierte sich aber bald an Werken der Carracci-Familie. Sein Stil zeigt einen neuen Naturalismus. Er wirkte in verschiedenen Städten Italiens. Sein Werk umfasst über 100 Altarbilder und nahezu 150 weitere Gemälde in verschiedenen Sammlungen. Anmerkung: Im Werk des Künstlers sind weitere Ecce Homo-Darstellungen zu finden. Eine Version findet sich in der Galleria Nazionale, Barberini Corsini, Rom. Das Motiv lässt sich häufig auch bei anderen Künstlern des 16. und 17. Jahrhunderts wiederfinden, so auch bei Bartolomeo Cesi (1556-1629), Bartolomeo Passarotti (1529-1592), Jusepe de Ribera (1588/91-1652) und Bartolomé Esteban Murillo (1618-1682). (1401621) (13) Il Guercino, also known as „Giovanni Francesco Barbieri“, 1591 Cento – 1666 Bologna, attributed ECCE HOMO Oil on canvas. Relined. 66 x 56 cm. Accompanied by an essay by Massimo Pirondini attributing the painting to Il Guercino, in copy.
Giovanni Francesco Barbieri (detto il Guercino) (Italian, 1591-1666) Mother & Child Engraving - Above engraving UR: XXV / Below Engraving: Lower Left: Guercino da Cento / Lower Right: A. Bartsch Sculp / Set under glass in wood frame. / Visible Art Size: 12"H x 10"W / Frame Size: 25"H x 23"W
Giovanni Francesco Barbieri - Il Guercino 1591 Cento - 1666 Bologna attr. - Susanna und die beiden Alten - Rötelzeichnung/Papier. 19,4 x 27,8 cm. Sammlerstempel l. u. Verso eine weitere Studie. Das Blatt liegt lose. Rechte obere Ecke rest. Verso Reste von Klebestreifen. Leicht wasser- und stockfleckig. - Prov.: Sammlung Heinrich Beckmann (1874-1940), Bremen (Lugt 2756a); Versteigerung Reinhold Puppel, Berlin 27./28. Februar 1941; Sammlung Bahlsen, Hannover (im Bahlsen Archiv ließen sich keine Bestandslisten aus dieser Zeit recherchieren); Privatsammlung, Hannover. - Ausst.: Ausgestellt zus. mit anderen Zeichnungen der italienischen Schule des 17. Jahrhunderts der Sammlung Beckmann in der Bremer Kunsthalle, 1938. Giovanni Francesco Barbieri, gen. Il Guercino, war ein italienischer Maler der Bologneser Schule um Ludovico Carracci. Dessen Einfluss zeigt sich deutlich in dem Gemälde "Susanna und die beiden Alten", ein Werk aus dem Jahr 1617, welches heute im Madrider Prado aufbewahrt wird. Das vorliegende Blatt zeigt eine Vorstudie, wohl zur Kompositionsfindung dieser frühen Arbeit des Künstlers.
reca al retro etichetta con antico numero di inventario reca al retro etichetta della Galleria Rosenberg, Parigi “ Quest’opera rappresenta la prima idea, sinora sconosciuta, del Guercino per il suo celebre Paesaggio con due donne che fanno il bagno (Diana e Atteone), conservato al Boijmans Van Beuningen Museum di Rotterdam, dipinto databile al 1618 circa, in cui Diana, accompagnata da una ninfa e da una serva, vengono raffigurate in una piscina circondata da un vasto paesaggio. La piccola tela in oggetto è all'incirca della stessa altezza del quadro di Rotterdam e stilisticamente coerente con essa, ma è notevolmente più stretta e compositivamente più semplificata. Nell'antico mito, Diana trasformò Atteone in un cervo spruzzandogli dell’acqua per vendicarsi del fatto che avesse violato l’intimità della dea, vedendola mentre faceva il bagno. Guercino ha interpretato la storia liberamente, minimizzando il ruolo di Diana quale dea e conferendole più l'aspetto di una ragazza di campagna. L’opera appena scoperta ha dato al Guercino spazio per due sole figure. La bellissima figura nuda di Diana in primo piano a sinistra, vista da dietro, domina la scena. A destra, su scala minore, Atteone punito, con le corna di cervo già spuntate dalla sua testa, viene attaccato dai suoi stessi cani da caccia. Il corno da caccia di Atteone è abbandonato su un muretto, punto dal quale aveva spiato per la prima volta la dea nuda che faceva il bagno. La tela documenta la fase iniziale e sperimentale nello sviluppo della composizione del quadro di Rotterdam. (…)”
Flusslandschaft mit zwei Wanderern, Hund und einem Paar unter windgepeitschtem Baum. Feder in Braun, auf alter Sammlermontage aufgezogen. 29,5 x 41,8 cm. Auf der Montage verso mit Bleistift bezeichnet "Guerchin". Die expressive Federführung zeigt deutlich die Orientierung des Künstlers am Zeichenstil Guercinos. - Provenienz: Karl und Faber, München, Auktion 237 am 23. Mai 2011, Los 140 (als "Carlo Maria Gennari zugeschrieben"). Privatsammlung München. - 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.
(Cento, 1591 - Bologna, 1666) La Sepoltura e gloria di santa Petronilla Tempera su carta, cm 49,5X29 Il dipinto fu commissionato al Guercino da papa Gregorio XV nel dicembre del 1621 per adornare l'altare dedicato a Santa Petronilla posto all'interno della basilica di San Pietro, ove la grande tela fu collocata nel 1623. La pala d'altare, proprio per la quanto mai prestigiosa destinazione, è senza dubbio la commissione più importante cui attese il Guercino negli anni che trascorse a Roma, città presso la quale si trasferì per volere dello stesso cardinale Alessandro Ludovisi, mecenate e mentore del Barbieri già in Emilia, allorché questi ascese al soglio pontificio. La tela rimase nella sua originaria collocazione fino al 1730, quando fu sostituita da una copia in mosaico. Il quadro fu quindi portato al Quirinale ove nel 1797 le truppe d'occupazione napoleoniche lo requisirono e, con varie altre opere d'arte prese a Roma, lo inviarono al Louvre. Dopo la Restaurazione il dipinto fu restituito allo Stato Pontificio e collocato nel 1818 nelle raccolte capitoline ove ancora si trova. Bibliografia di riferimento: L. Salerno, I dipinti del Guercino, 1988, pp. 174-176, n. 92
Il Guercino, whose real name was Giovanni Francesco Barbieri (1591-1666), was an Italian Baroque painter known for his significant contributions to the art of the 17th century. His nickname "Il Guercino" translates to "The Squinter" in Italian, referring to his slight strabism or crossed eyes.Here are some key points about Il Guercino:1. **Early Life and Training**: Guercino was born in Cento, a town in the region of Emilia-Romagna, Italy. He received early artistic training from his father, who was a painter. He also studied in Bologna under the guidance of Benedetto Gennari, a painter of the Carracci School.2. **Baroque Style**: Guercino's art is characteristic of the Baroque period, marked by dramatic and emotional compositions, strong contrasts of light and shadow (chiaroscuro), and a foc on realism and naturalism.3. **Versatility**: Guercino was a versatile artist known for his ability to work in vario genres, including religio, mythological, and historical subjects. He painted altarpieces, portraits, and frescoes, demonstrating his wide-ranging talent.4. **Prolific Career**: Guercino's career was highly productive, and he created a vast number of paintings during his lifetime. Some of his notable works include "Aurora" (1639) and "Et in Arcadia ego" (1618-1622).5. **Influence**: His art had a significant influence on the Baroque style, and his work is often associated with the Bolognese School of painting. He was admired by his contemporaries and influenced later artists, including Giovanni Battista Gaulli and Giovanni Battista Tiepolo.6. **Religio Art**: Guercino produced numero religio works, including altarpieces for churches and religio institutions. His religio paintings often featured emotive and lifelike depictions of religio figures and scenes.7. **Legacy**: Il Guercino's contributions to Baroque art continue to be celebrated and studied. His ability to capture emotional depth, create compelling compositions, and masterfully e light and shadow left a lasting impact on the world of art.Il Guercino remains an important figure in the Baroque era, and his paintings continue to be cherished for their dramatic and emotional qualities, as well as their technical excellence. Measures 40 x 30.1.
After Guercino: Giovanni Francesco Barbieri (1591 Cento/Ferrara - 1666 Bologna): Photograph of the painting of the Samian Sibyl from 1644, from the collection of the Uffizi Gallery, Florence, Italy, c. 1880, albumen paper print Technique: albumen paper print, mounted on Cardboard Inscription: Numbered "2625" below the photograph. Date: c. 1880 Keywords: 19th century, Figurative, Religious, Italy, Size: Cardboard: 29,0 cm x 23,0 cm (11,4 x 9,1 in), Depiction: 23,7 cm x 18,5 cm (9,3 x 7,3 in)
Niccolò Schiavonetti (1771 Bassano del Grappa, Italien - 1813 London) after Guercino: Giovanni Francesco Barbieri (1591 Cento/Ferrara - 1666 Bologna): Jacob beholds Joseph's bloody robe, c. 1800, Etching Technique: Etching on Paper Date: c. 1800 Description: Etching depicting Jacob being presented with Joseph's bloody robe. The Book of Genesis 37:31-34 says: "Then they took Joseph's robe, slaughtered a goat and dipped the robe in the blood. Then they sent the tunic to their father and said to him, 'This is what we found. See if this is your son's skirt or not! When he had looked at it, he said: My son's skirt! A wild animal has eaten it. Torn is Joseph. Jacob tore his clothes, put on mourning clothes, and mourned for his son many days." Keywords: Joseph, Jacob, Robe, Bible, 19th century, Baroque, Biblical, Germany, Size: Paper: 32,5 cm x 48,5 cm (12,8 x 19,1 in), Depiction: 17,0 cm x 22,5 cm (6,7 x 8,9 in)
Johann Anton Riedel (1736 Falkenau - 1816 Dresden) after Guercino: Giovanni Francesco Barbieri (1591 Cento/Ferrara - 1666 Bologna): Head of a young woman, c. 1755, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "Guercino pinx: | A: H: Riedel signiert:". Date: c. 1755 Description: Bust portrait with a young woman's head turned into half profile. Keywords: Portrait, Giovanni Francesco Barbieri (1591 Cento - 1666 Bologna), lady, girl, study, hairstyle, 18th century, Classicism, Portraits, Italy, Size: Paper: 12,6 cm x 10,6 cm (5 x 4,2 in)
Attributed to Giovanni Francesco Barbieri (Italian, 1591-1666), Bearded Man Wearing a Turban, black ink on paper, partial inscription "Guercino" lower right, matted and framed under glass, 7"h x 9"w (sight), 23"h x 24"w (frame)
1591 Cento - Bologna 1666) nach. Büste eines Mannes mit Kappe u. Kette. Radierung von Domenico Maria Bonavera (1640-1695) bzw. Giuseppe Zocchi (1716-1767) bei Boydell, 1764. 23,5 x 17,8, Blgr. 24,2 x 18,4 cm. Unt. li. "Ion.F.Barbieri f." i.d. Platte. Knapp innerhalb der Plattenkante beschnitten. Siehe BM 1989,1209.21.124: Production date: 1675-1731, later printed and published by Boydell in 1764. - Etw. gebr. u. leicht fleckig. R
