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Giovanni Francesco Barbieri

Italy (Cento 1591 -  Bologna 1666 ) Wikipedia® : Giovanni Francesco Barbieri
Barbieri Giovanni Francesco Two Allegorical Female Figures: Sculpture And Painting

Sotheby's
Jul 4, 2018
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Variants on Artist's name :

Il Guercino

 

Artworks in Arcadja
957

Some works of Giovanni Francesco Barbieri

Extracted between 957 works in the catalog of Arcadja
Giovanni Francesco Barbieri - Two Allegorical Female Figures: Sculpture And Painting

Giovanni Francesco Barbieri - Two Allegorical Female Figures: Sculpture And Painting

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Lot number: 65
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Giovanni Francesco Barbieri, called Guercino TWO ALLEGORICAL FEMALE FIGURES: SCULPTURE AND PAINTING CENTO 1591 - 1666 BOLOGNA Pen and brown ink and brown wash 220 by 280 mm Provenance Literature Guercino, Poesia e sentimento nella pittura del '600, exhib. cat., Milan, Palazzo Reale, 2003-4, under no. 67, reproduced; N. Turner, The Paintings of Guercino,Rome 2017, p. 526, under no. 236 Catalogue Note This handsome, fluidly executed drawing is recognised by Nicholas Turner as a compositional study for the very beautiful painting of the same subject, now in the Palazzo Barberini, Rome (fig. 1).1 The commission for the painting is recorded in Guercino\’s Account Book on the 21stof April 1638, whenthe Comune of Cento paid the artist 130 ducats for a \‘Quadro della Pittura e Scoltura due mezze figure …\’(\‘A picture of Painting and Sculpture, two half figures\’).2 The canvas was commissioned by the Comune as a gift for the Cardinal Girolamo Colonna, Archbishop of Bologna (1604-1666), and as Turner has noted, it already appears in the 1642 inventory of the Cardinal\’s collection in Rome. Throughout his career, Guercino favoured the media of pen and brown ink and wash above all others. As is apparent from the present drawing, this technique permitted a fluency of line and rapidity of execution that suited his creative process perfectly. Although apparently quite finished, this is still very much a working drawing in which the artist is developing his ideas, and we see an interestingpentimentoin the right hand ofthe figure of Pittura, who sits looking towardsScultura,the latter holding a statuette in her right hand. In fact, Guercino\’s compositions always emerge from a complex and continuing process of development and refinement, in which the arrangement of his figures can change radically, even apparently very late in the day. In the case of this composition, the key difference between the drawing and the final painting lies in the subtle relationship between the two figures, which here seems more intimate and less official than is the case in the final canvas, where Pittura, on the left of the composition, appears seated at her easel holding a brush and a palette. In the painted version both allegorical figures seem to have equal status, and the intriguing dynamic created by the slight sense of humility of Pittura in the face of Scultura that can be detected in the drawing is no longer present. A sketchy drawing for the figure ofPictura, in the same pose as her painted counterpart, is in the Teylers Museum, Haarlem.3 The present sheet was purchased in Italy by John Bouverie (c.1722-50), whose collector\’s mark is often associated with the best of Guercino\’s drawings(for another drawingprobablywith the same provenance, see lot70). An enthusiastic traveller, Bouverie died in Turkey in 1750, at the age of only 27, but during his short life he took full advantage of his travels to collect antiquities, paintings and most of all drawings. While making his Grand Tour, principally through Italy, at some point before 1742, Bouverie was able to acquire a large number of drawings, includinganentire album of sheets by Guercino purchased from the'Abbé Bonducci' in Florence,which came directly from the Gennari family, probably from Filippo Antonio Gennari.4 But given the large number of drawings by Guercino that were ultimately owned by Bouverie, he clearly also acquired more drawings by the artist when he was in Italy again in 1745-46, this time most probablyfrom Francesco Forni. AsPrisco Bagni pointed out, Francesco seems to have been the son of Antonio Forni, the leading dealer in Old Master drawings in Bologna.5 1. Rome, Galleria Nazionale d'Arte Antica, Palazzo Barberini, inv. no. 0813 2.B. Ghelfi,Il Libro dei conti del Guercino,1629-1666, Venice 1997, pp. 91-92, note 171 3.C. van Tuyll van Serooskerken,Guercino (1591-1666), Drawings from Dutch Collections,exhib. cat., Haarlem, Teylers Museum, 1991, p. 106, no. 39, reproduced 4.N. Turner and C. Plazzotta,Drawings by Guercino from British Collections,exhib. cat., London, British Museum,1991, p. 22 5.P. Bagni,Il Guercino e il suo falsario, I Disegni di Figura,Bologna 1990, p. 12
Giovanni Francesco Barbieri - A Seated Woman In Profile

Giovanni Francesco Barbieri - A Seated Woman In Profile

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Lot number: 17
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Giovanni Francesco Barbieri, called Il Guercino (Cento 1591-1666 Bologna) A seated woman in profile pen and brown ink, brown wash 9 x 6¾ in. (22.7 x 17.1 cm) Provenance By descent in the family of the artist's nephews Carlo and Benedetto Gennari, Bologna, until after 1719. probably Francesco Forni, Bologna. John Bouverie (circa 1723-50) (on his so-called 'Casa Gennari mount', L. 2858c), and by descent to his sister Anne Bouverie (d. 1757), to her husband John Hervey (d. 1764), to their son Christopher Hervey (d. 1786), to his aunt Elizabeth Bouverie (d. 1798), surviving sister of John Bouverie, to Sir Charles Middleton, later 1st Baron Barham (1726-1813), husband of Elizabeth Bouverie's childhood friend Margaret Gambier, to his son-in-law Sir Gerard Noel, 2nd Baron Barham (1759-1838), to his son Sir Charles Noel, 3rd Baron Barham and later 1st Earl of Gainsborough (1781-1866), and by descent to The Earl of Gainsborough; Christie's, London, 27 July 1922 (possibly sold in one of the grouped lots). Anonymous sale; Bonhams, London, 25 October 2017, part of lot 295 (from an album containing sixty drawings).
Giovanni Francesco Barbieri - Study For St. John The Baptist

Giovanni Francesco Barbieri - Study For St. John The Baptist

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Lot number: 202
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Description: Guercino (Italian, 1591-1666) Study for St. John the Baptist Unsigned. Brown ink and wash on paper, 10 1/2 x 7 5/8 in. (26.5 x 19.2 cm), framed. Condition: Sheet lined with laid paper backing, tears and losses to the l.r. quadrant, toning, staining. N.B. This study for St. John the Baptist has been reviewed by Dr. Nicholas Turner from high resolution photographs. Dr. Turner believes the work to be a newly-rediscovered, authentic drawing by Guercino, made in preparation for his oil painting, St. John the Baptist, now on permanent display in the Kunsthistorisches Museum, Vienna. Guercino's Vienna picture, created for the Holy Roman Emperor Ferdinando III in 1641, was the most prestigious commission of the artist's career. Dr. Turner writes, "Guercino's pen-and-ink drawings from the early 1640s, like this example, are powerful and fast-paced in execution and have long been admired for their energy." Dr. Turner continues that the single largest group of Guercino's drawings to have remained together are now in the Royal Library of Windsor Castle, purchased from Guercino's heirs in the late 1750s. The Windsor collection includes a copy of the study at hand, which Dr. Turner now believes to be a facsimile copy made by Francesco Bartolozzi (Italian, 1727-1815). A letter from Nicholas Turner with a more complete analysis of the drawing accompanies the lot.
Giovanni Francesco Barbieri -  Madonna And Child With Saint Catherine

Giovanni Francesco Barbieri - Madonna And Child With Saint Catherine

Original 2017
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Lot number: 63
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Giovanni Francesco Barbieri, called il Guercino (Cento 1591–1666 Bologna) Madonna and Child with Saint Catherine(?), Saint Francis and Saint Louis of France, oil on copper, 43 x 36 cm, framed Provenance: Private collection; where acquired by the present owner Literature: N. Turner, The paintings of Guercino. A Revised and Expanded Catalogue raisonné, Rome 2017, p. 305, no. 46; D. Benati, Purché vi sia il naturale dentro ogn\’uno e\’ padrone della sua meniera, in: D. Benati (ed.), Guercino tra Sacro e Profano, exhibition catalogue, Milan 2017, pp. 35-36, fig. 9 This is one of the earliest known paintings on copper by Guercino. It has been dated to circa 1616-1617, and appears to have been executed just a little later than the Madonna della Pappa which is also on copper (see N. Turner, The paintings of Guercino. A Revised and Expanded Catalogue raisonné, Rome 2017, pp. 272-273, no. 15. I-IV). The present painting appears to be a preparatory study, or modello, for a monumental altarpiece which is either lost, or as yet untraced. Seated on a high throne, surmounted by a baldacchino reminiscent of the Sacre conversazioni of the Ferrara school of painting, is the Madonna who holds the naked Christ Child on her knee. Two saints kneel in the foreground, one on the left is a Nun who may be Saint Catherine, while on the right is Saint Francis, wearing his typical habit. Standing beyond him in the middle-ground is Saint Louis of France recognizable by his crown and the lilied sceptre he holds. Knowledge of a preparatory drawing for this composition is significant; already identified in the 1970s (see: F. Russell, \‘A Guercino Footnote\’, in Master Drawings, 11, no. 3, 1973, p. 271 and p. 352, pl. 27) this sheet, with its rapid and impulsive touch, reveals some interesting pentimenti: these for example are visible in the arm of Saint Louis which is different compared to the painting on copper. As of note is how in the drawing the Madonna is represented on a lower podium, allowing her to lean forward to place a flower in the hand of Saint Francis, a gesture later eliminated from the painting here under discussion. The figure of Saint Louis is quite unusual in the iconography of seventeenth century Italian art, yet he appears in another early work by Guercino, the altarpiece, which is datable to 1616, representing The Virgin and Child, with Saint Joseph, Saint Augustine, Saint Louis, Saint Francis and a young donor, formerly in the church of Sant\’Agostino at Cento, and now in the Musées Royaux des Beaux-Arts, Brussels. The intense dynamism, modulated by striking effects of chiaroscuro, which animates the figures, can be found in nascent form in the present study, which is evolved from the study of the gestures and expression of emotion in paintings by the Carracci. Indeed, of particular importance to Guercino\’s early development was the example of Ludovico Carracci, who in 1591 executed for Guercino\’s native city, the altarpiece with the Holy Family with Saint Francis for the church of the Cappuccini (now in the Pinacotecta Civica, Cento). The present painting on copper represents an evolution of the tight pictorial language applied to the first altarpieces executed by Guercino, like the Madonna enthroned with Saints Francis, Anthony Abbot and Bovo from which it reiterates the compositional structure. This latter altarpiece has been considered a collaborative work, made with the assistance of Lorenzo Gennari (see literature): it was executed for the community of Renazzo di Cento for the parish church of San Sebastiano. Moreover, the painting under discussion here, with its delicate brushstrokes, is simultaneously imbued with a sense of intimacy and monumentality. Specialist: Mark Mac Donnell
Giovanni Francesco Barbieri - Saint Agnes

Giovanni Francesco Barbieri - Saint Agnes

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Lot number: 26
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Giovanni Francesco Barbieri, il Guercino (Cento ?1591-1666 Bologna) Saint Agnes oil on canvas 47 x 37 in. (119.2 x 94 cm.) Provenance Commissioned by Alberto Provenzali of Cento as a gift for Cardinal Girolamo Colonna, Archbishop of Bologna (1604-1666), and by descent to the Principi Colonna, Palazzo Colonna, Rome, where recorded in inventories of 1648, 1667, 1714, 1730 and in the 1783 Catalogo (see below, under literature). John Talbot, 16th Earl of Shrewsbury (1791-1852), Alton Towers, where hung in the Talbot Gallery, and by inheritance to his cousin Bertram Arthur, 17th Earl of Shrewsbury (1832-1856); (†) Christie's, on the premises, 8 [=3rd day] July 1857, lot 228, 'very elegant' (46 gns. to Collette, apparently for 'Niew' [Niewenhuys]). Richard Corbett, Adderley Hall, Shropshire. Anonymous sale; Sotheby's, London, 7 July 1976, lot 37. with Trafalgar Galleries, London. Anonymous sale; Christie's, London, 7 December 2006, lot 53, where acquired for the present owner.
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