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Guercino

Italy (Cento 1591 -  Bologna 1666 ) Wikipedia® : Guercino
GUERCINO Portrait Of Cardinal Bernardino Spada

Palais Dorotheum /Apr 25, 2017
150,000.00 - 200,000.00
161,600.00

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Variants on Artist's name :

Barbieri Giovanni Francesco

Il Guercino

Barbieri Giovanni Francesco Guercino

 

Artworks in Arcadja
895

Some works of Guercino

Extracted between 895 works in the catalog of Arcadja
 Guercino -  Amnon And Tamar

Guercino - Amnon And Tamar

Original
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Lot number: 2058
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Description:
Giovanni Francesco Barbieri, called Il Guercino, Amnon and Tamar Description: This painting depicts Guercino\’s first version of this theme from the year 1649. It shows the Old Testament narrative in a half-figural composition which is characterized by classicist clarity and narrative density and is exemplary for the later work of the Bolognese master.The incident is presented in the Book of Samuel (II, 13-14) of the Old Testament. Amnon, David\’s first-born, covets his half-sister Tamar. In order to be alone with her, Amnon pretends to be ill and has Tamar brought to take care of him. When they are alone, he rapes her, accuses her of incest and expels her. Neither David nor Abshalom, Tamar\’s brother and David\’s third son, punish Amnon for his actions. Later, however, Abshalom has him killed at a banquet. Guercino depicts the moment when Amnon expels Tamar. Amnon is shown in profile and only sparsely clad in a blue robe. With a powerful gesture of the arm, he sends Tamar away. The serious expression, upright posture and the clenched fists show his cold determination. Tamar, also half undressed, is about to leave, but turns to Amnon once more and looks sadly at him. Guercino concentrates the depiction on the juxtaposition of the two figures, with only the bed behind them defining the pictorial space. The drama of the event is heightened by the clarity of the composition, but also by the sublime classical poses of the figures. The genesis of this composition can be seen on comparison with the painting with Guercino\’s preliminary drawing from 1649 (cf. fig. 1; National Gallery of Art, Washington, inv. no. 1989.14.1). In this red chalk drawing, the figures are reversed, but above all the event is more scenic, and moreover, the formal rigour and psychological density of the painting is missing. "Amnon and Tamar\“ is a later work by Guercino. After the death of Guido Reni in 1642, he became the undisputed leading painter in Bologna receiving numerous commissions from Italian princes, such as the Duke of Modena and Reggio, but also from the Bolognese nobility. This late work, as Mahon explained (Frankfurt 1991, op. cit. p. 246f), is characterized by a ‚classicist\‘ pictorial language and a fine pastel-like palette, as can also be seen in the present work. Based on Guercino\’s workbook, the Libro dei conti, as well as the explanations of the Bolognese art historian Carlo Cesare Malvasia in his famous „Felsina Pittrice\“, the history of the genesis and reception of this painting can be reconstructed exactly (Salerno 1988, op. cit. p. 332-333, under nos. 261-262, and p. 334, no. 263; Mahon in Frankfurt 1991, op. cit. p. 300-301). Accordingly, in 1649 Gercino painted the two Old Testament scenes "Amnon and Tamar\“ and "Joseph and the Wife of Potiphar\“ for Aurelio Zanoletti of Reggio. On 28 January 1650, however, he received a visit from a certain Girolamo Bavosi who urged Guercino to sell him the painting \“Amnon and Tamar\”. Bavosi acquired the painting together with an "Apollo and Daphne\“ by the artist and brought both works to Venice (cf. Malvasia 1678, op. cit., p. 376: "Un Gioseffo fuggitivo dalla moglie di Putifar al Sig. Aurelio Zanoletti; & al medemo un quadro con Amnone, quando discaccia la violata Tamar. Questo quadro fù ceduto al Sig. Girolamo Bavosi, che l'inviò a Venetia con un altro di Apollo di Dafne.\“). Guercio later produced a second version of "Amnon and Tamar\“, which together with "Joseph and the Wife of Potiphar\“ was delivered to Aurelio Zanoletti. For a long time they were in the collection of the Marquis of Londonderry, and are today housed in the National Gallery of Art in Washington (cf. fig. 2; National Gallery of Art, Washington, inv. no. 1986.17.2). Ill. 1: Giovanni Francesco Barbieri, called Guercino, Amnon and Tamar, 1649, red chalk on paper, National Gallery of Art, Washington Ill. 2: Giovanni Francesco Barbieri, called Guercino, Joseph and Potiphar's Wife, 1649, National Gallery of Art, Washington Dimensions: 109.8 x 154.4 cm Medium: Oil on canvas (relined)
 Guercino - La Sibilla Persica

Guercino - La Sibilla Persica

Original
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Gross Price
Lot number: 3
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After Giovanni Francesco Barbieri, or Guercino (Italian, 1591-1666) 39-1/2" x 33" "La Sibilla Persica" (The Persian Sibyl), early 19th-century copy after the original Baroque painting by Guercino in The Capitoline Museum in Rome. Oil on canvas, unsigned, framed in carved and gilded wood reticulated frame, overall 49-1/2" x 43". View and Bid on Aspire Auctions.com
 Guercino - The Rest On The Flight Into Egypt

Guercino - The Rest On The Flight Into Egypt

Original
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Lot number: 36
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Giovanni Francesco Barbieri, called il Guercino THE REST ON THE FLIGHT INTO EGYPT CENTO 1591 - 1666 BOLOGNA Red chalk; bears pen and brown ink inscription, lower right: U. Aldrovandi 1795 and bears crossed out inscription verso 251 by 357 mm Ulisse Aldrovandi; Silvio del Chicca, Chicago; Sale, London, Christie's, 6 July 1981, lot 42; European private collector, by inheritance to the present owner Bologna, Museo Civico Archeologico, Il Guercino. Disegni, 1992, p. 95, no. 59 (entry D. Mahon), p. 96, reproduced fig. 59 P. Bagni, Guercino a Piacenza, Gli affreschi nella cupola della Cattedrale, Bologna 1983, p. 142, no. 57, reproduced p. 143; J. Bentini, Disegni Emiliani del Sei-Settecento, I grandi cicli di affreschi, Milano 1990, p. 100, no. 14. 15, reproduced in colour; P. Bagni, Gli Affreschi del Guercino nel Duomo di Piacenza, Padova 1994, p. 131, no. 96 , reproduced
 Guercino - Portrait Of Cardinal Bernardino Spada

Guercino - Portrait Of Cardinal Bernardino Spada

Original
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Gross Price
Lot number: 37
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Description:
Giovanni Francesco Barbieri, called il Guercino (Cento 1591–1666 Bologna) Portrait of Cardinal Bernardino Spada, oil on canvas, 60 x 43 cm, framed Provenance: probably Borghese collection, Rome; Bradford De Wolf collection, USA; and by descent to Francis Colt de Wolf Junior (1926–1994) and his wife Princess Dorota Drucka Lubecka (1930–2006); her sale, Doyle, New York, 16 May 2007, lot 66 (as Italian School, 17th Century); Private collection, Rome Exhibited: Rome, Galleria Spada, Un Inedito del Guercino, Ritratti allo specchio del Cardinale Bernardino Spada, 9 April – 30 June 2008; Tivoli, Villa d’’’’’’’’Este, Ritratto Barocco, Dipinti del ‘600 e ‘700 nelle Raccolte Private, 3 July – 2 November 2008; Rome, Palazzo Barberini – Galleria Nazionale d’’’’’’’’Arte Antica, Da Guercino a Caravaggio, Sir Denis Mahon e l’’’’’’’’Arte Italiana del XVII secolo, 26 September 2014 – 8 February 2015 Literature: C. Strinati, M. L. Vicini, A. Emiliani, C. Falcucci, in: Un Inedito del Guercino, Ritratti allo specchio del Cardinale Bernardino Spada, ed. by M. L. Vicini, exhibition catalogue, Rome 2008, pp. 7–9, 10, 13–20, 26–27, 28 (as Guercino); Ritratto Barocco, Dipinti del ‘600 e ‘700 nelle Raccolte Private, ed. by F. Petrucci, exhibition catalogue, Tivoli 2008, pp. 36–38 (as Guercino); A. Emiliani, Studio per un inedito del Guercino, il ritratto di Bernardino Spada, in: I Cento Cinquant’’’’’’’’Anni della Cassa di Risparmio di Cento, ed. by A. Lazzarini and G. Campanili, Bologna 2009, pp. 77–80 (as Guercino); M. L. Vicini, in: Da Guercino a Caravaggio, Sir Denis Mahon e l’’’’’’’’Arte Italiana del XVII secolo, ed. by A. Coliva, M. Gregori, S. Androsov, exhibition catalogue, Rome 2014, pp. 130–131 (as Guercino); N. Turner, The Paintings of Guercino. A revised and expanded catalogue raisonné, Ugo Bozzi, Rome (forthcoming publication, as Guercino) The present painting is Guercino’’’’’’’’s small-sized oil sketch for the half-length portrait of Cardinal Bernardino Spada (1594–1661), now in the Galleria Spada, Rome. In the Cardinal’’’’’’’’s last year of tenure as Papal Legate of Bologna, a position he had held from 1627 until 1631, he sent two courtiers to Cento to collect a painting of Saint Luke and to bring Guercino back to Bologna to paint his portrait (‘perché facesse il suo ritratto’’’’’’’’). The artist probably made this oil sketch (as well as several preparatory drawings) on that occasion, for it seems unlikely that he would have begun the full-sized painted portrait on site in Bologna: not only would the canvas have been too large to carry back and forth to Cento - especially if still wet - but this was the sort of picture he normally carried out in the studio. Technical examination of the present canvas shows that it has never been cut down, implying that it was portable enough for Guercino to have worked exclusively on it during a few sittings from life. This interpretation of its function is reinforced by a certain harshness in the application of the paint in the sitter’’’’’’’’s bright scarlet vestments, the looser handling, the more emphatic chiaroscuro contrasts (especially in the face) and the absence of finishing touches - a direct type of handling that is symptomatic of a painting made on the spot. In a painting executed over a longer time period and under studio conditions, such areas would be more subtly modulated. Though the present sketch is smaller than the Galleria Spada Portrait of Cardinal Spada, (96.8 x 87.8 cm) the size of the head, biretta, collar and other details correspond more or less in scale, suggesting that the head could have been traced directly from the sketch onto the prepared surface of the larger canvas. The final portrait includes further embellishments, such as the flap of the Cardinal’’’’’’’’s collar over his left shoulder, which is brought out from the shadow and extended; another is the Cardinal’’’’’’’’s right ear, which is now seen poking through his more fetching brown rather than black hair; and, finally, the softening of the highlight that runs along his nose, from its bridge to its tip in the sketch, and the compensating increase of the highlight on the Cardinal’’’’’’’’s forehead in the finished picture. At the original sessions with the sitter, Guercino would also have made a number of drawings of the Cardinal, of which the most striking to have survived is that in the Teylers Museum, Haarlem (inv. no. H 103; see C. van Tuyll, Guercino: (1591-1666); drawings from Dutch collections, Haarlem 1991, no. 22, repr.), where the prelate stands full length, emphasizing a point with the thumb and forefinger of his raised right hand. Another full-length study is in the Louvre (standing full length, but with the head drawn on a separate piece of paper, in the Louvre, Paris (inv. no. RF 34506; see C. Loisel, Dessin bolonais du XVIIe siècle, II, Musée du Louvre, Paris 2013, no. 595, repr.). These studies imply that at an early stage of the commission, the Cardinal must have considered asking Guercino to represent him whole length, along the lines of Guido Reni’’’’’’’’s magnificent portrait of the same sitter seated whole length at his desk, now also in the Galleria Spada, Rome, painted in 1630–31. Seen side by side on the same wall of the gallery, Guercino’’’’’’’’s half-length portrait seems low key. Of the two likenesses, Guercino’’’’’’’’s shows the Cardinal in a more sympathetic light and a normal human being is detectable beneath all the trappings of high ecclesiastical office. Cardinal Bernardino Spada (Brisighella 1594-Rome 1661) was one of the most educated, cultured and avant-garde art collectors in seventeenth-century Rome and he appreciated the innovations introduced by Caravaggio, as well as Bolognese classicism. As a patron of the arts, Cardinal Spada knew Guido Reni as well as Guercino, during the years of his Papal Legation in Bologna (1627-1631) after his Nunciature in Paris. Whilst in Bologna, the Cardinal sat to the two great Emilian painters and both these portraits are in the Galleria Spada, Rome. We are grateful to Nicolas Turner for his help in cataloguing the present lot. This painting will be included as a fully autograph work in his forthcoming revised and expanded catalogue raisonné (see literature)
 Guercino - A Landscape With A Building On The Right And Figures

Guercino - A Landscape With A Building On The Right And Figures

Original
Estimate:

Price:

Lot number: 25
Other WORKS AT AUCTION
Description:
Giovanni Francesco Barbieri, called il Guercino

A LANDSCAPE WITH A BUILDING ON THE RIGHT AND FIGURES

CENTO 1591 - 1666 BOLOGNA

Pen and brown ink 195 by 192 mm; 7¾ by 7½ in

Provenance

Sale, London, Sotheby's, 28 June 1975, lot 155, purchased by a European private collector, by inheritance to the present owner

Exhibited

Bologna, Museo Civico Archeologico, Giovanni Francesco Barbieri, Il Guercino, 1591-1666, I Disegni (catalogue by Sir Denis Mahon), 1992, p. 286, no. 183, reproduced

Literature

D. Mahon and N. Turner, The Drawings of Guercino in the Collection of Her Majesty the Queen at Windsor Castle, Cambridge 1989, p. 169, under no. 584

Catalogue Note

As pointed out by Mahon and Turner, a copy of this drawing is at Windsor Castle (inv. no. 2452). Quickly sketched, it is a typical and successful example of Guercino's pen and ink landscape drawings. For other examples of Guercino's landscapes see also lots 26 and 46.
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