After Guido Reni, Italian 1575-1642- St Francis in Ecstasy; oil on canvas, inscribed 'ST ANTHONY / BY / RIBERA' verso, 43.8 x 33.1 cm. (unframed). Provenance: Private Collection, UK. Note: The present work is a copy after Reni's original, completed around 1612, which is held in the Louvre Museum, Paris [INV 533]. The composition depicts the saint holding a skull, with his eyes uplifted in a moment of divine contemplation. Reni was a central figure of the Baroque movement, whose pupils included figures such as Simone Cantarini (1612-1648) and Antonio Randa (c.1595-c.1657). The influence of Reni's approach is also evidence in the work of subsequent Spanish artists, including Jusepe de Ribera (1591-1652) and Bartolomé Esteban Murillo (1617-1682).
Follower of Guido Reni, Italian 1575-1642- The Penitent Mary Magdalene; oil on canvas, bears old wax collector's stamp, indistinctly showing a crowned, double-headed eagle, verso, 37.5 x 30 cm. Provenance: Private Collection, UK. Note: The present work appears to be influenced by Reni's dramatic depictions of Mary Magdalene, defined by their sharp contrast of light and shade, with the figure of the penitent Magdalene in the present work variously recalling Reni's paintings of the same subject, including one in the Palazzo Barberini in Rome [1437], and another in the collection of the National Gallery, London [NG177]. The indistinct collectors' seal on the reverse appears to show the outline of a double-headed eagle with a coronet above, which may relate to the crest of the Habsburg family, a royal dynasty of prolific art collectors.
RENI GUIDO (1575 - 1642). Scope of. Saint Francis. The face of the saint takes up the Saint Francis of the altarpiece depicting the Madonna with Child in glory and saints by Guido Reni and kept at the National Art Gallery of Bologna. 45 x 58 cm.
After Guido Reni (Italian, 1575-1642). Large Baroque style oil on canvas painting titled "Joseph and Potiphar's Wife" depicting the biblical scene originally executed by Reni around 1630. The original is housed in the collection of the J. Paul Getty Museum. Provenance: Christie's, New York, Sale 9076, April 24, 2001, Lot 30; Private Minnesota Collection.
RENI Guido (1575 - 1642). D'après. Tableaux Huile sur panneau parqueté "Le couronnement de la Vierge". D'après un modèle de Guido Reni. Epoque: XVIIème. Dim.:+/-53x41cm.
KPM Berlin Hand Painted Porcelain Plaque, late 19th century. Depicts a portrait of a young woman after the painting of Beatrice Cenci once attributed to Guido Reni (Italian, 1575-1642), now attributed to Ginevra Cantofoli (Italian 1618-1672). Plaque apparently unsigned, back impressed KPM. Weight Approx., 1 lb Measures Approx., 6.75 inches x 5 inches Domestic Shipping: $30
RENI, Guido, Umkreis(1575 Bologna - 1642 Bologna) Heiliger Sebastian Öl auf Papier auf Leinwand. Unsigniert. 30 x 22 cm. Vorzeichnung für die angestrengte Neigung seines Kopfes nach oben. Das Original (170 x 133 cm) hängt im Museo del Prado, Madrid. Eines von fünf Gemälden mit identischer oder ähnlicher Komposition, die Reni zugeschrieben werden. Die mehrfachen Wiederholungen (eine Komposition im Louvre, Paris) verweisen auf die Mitarbeit seiner Schüler und Assistenten. Ohne Rahmen . Minimal restauriert. * Partnerauktion Bergmann. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 11:39 Uhr (CET) RENI, Guido, Umkreis(1575 Bologna - 1642 Bologna) Saint Sebastian Oil on paper on canvas. Unsigned. 30 x 22 cm. Preliminary drawing for the strained upward tilt of his head. The original (170 x 133 cm) hangs in the Museo del Prado, Madrid. One of five paintings with identical or similar compositions attributed to Reni. The multiple repetitions (one composition in the Louvre, Paris) indicate the collaboration of his pupils and assistants. Without frame . Minimally restored. * Partner auction Bergmann. Call time 26 | Oct. 2024 | presumably 11:39 am (CET) *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
6 Pfeifenköpfe mit Damenporträts . 19. Jh. Polychrom bemalt. L 9-14,5 cm. 1x MEISSEN: mit dem fein gemalten Bildnis der Beatrice Cenci nach einem Gemälde von Guido Reni (1575 - 1642). / 5x ungemarkt: mit verschiedenen Frauendarstellungen . 1x Deckelmontur defekt, 1x Wandungshaarriss. Aufrufzeit 25. | Okt. 2024 | voraussichtlich 12:16 Uhr (CET) 6 pipe bowls with portraits of ladies . 19th century Polychrome painted. L 9-14.5 cm. 1x MEISSEN: with the finely painted portrait of Beatrice Cenci after a painting by Guido Reni (1575 - 1642). / 5x unmarked: with various depictions of women . 1x lid mount defective, 1x wall hairline crack. Call time 25 | Oct. 2024 | probably 12:16 pm (CET) *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
10 parts in 1 vol., 8vo (text complete; sl. browned). - Rare 1st collected ed. with excerpts of the yearly magazine "Almanach nouveau" published between 1767 and 1776. Interesting historical and topographical source of Walloon Brabant providing information on Nivelles, Genappe, La Hulpe, Mont-Saint-Guibert, Grez-Doiceau, Aincourt, Gembloux, Dongelberg, Melin, St-Jean-Geest, Gest-à-Vironpont, Jauche, Orp-le-Grand and Jandrain, as well as about many smaller villages. - Ref. De le Court, p. 460. - Warzée, A. - Recherches bibliographiques sur les almanachs belges, 27.
18th C. European Follower of Guido Reni (Italian, 1575-1642), after "Fortuna with a Purse" (1636 to 1637). A monumental oil on canvas painting depicting Fortuna, the Roman Goddess of Fortune, holding a palm and sceptre in her left hand and a purse in her raised right hand, as coins and pearls drop toward the globe below. This composition is rather unusual in that Fortuna holds a purse rather than the cornucopia or wheel more typically depicted by Old Masters. Fortuna is accompanied by winged Cupid, and the pair float in the celestial realm as Cupid pulls back Fortuna's golden tresses in an attempt to calm the goddess' buoyant elation and warn that fortune can be fickle. This mesmerizing allegory of fortune is rendered in a beautiful color palette - shades of azure, rose, and sage complemented by flesh tones of cream and peach, with golden tresses that delight the eye. The mythological figures are skillfully modeled with foreshortened forms to provide the illusion that Fortuna and Cupid are floating beyond the picture plane into the viewer's space. Size: 55" L x 49" W (139.7 cm x 124.5 cm) Please Note: Sotheby's London recently sold "An Allegory of Fortune, Holding a Purse" by a Follower of Guido Reni for 18,900 GBP (equivalent to $26,063 on July 8, 2021 - Lot 171). According to Sotheby's catalogue note, "Reni is known to have painted two versions of the Fortuna, showing, in both, the allegorical female figure full-length, holding a scepter and palm in her left hand, as she flies mid-air over the globe, with her hair playfully tugged back by Cupid behind her. The versions differ in only one detail: in one, she holds a crown in her right hand, in the other a purse. The intriguing story of how the two versions came about is told by Reni's biographers Filippo Baldinucci and Carlo Cesare Malvasia. Baldinucci recounts that he saw Fortuna, holding a crown, in Florence in the collection of Monsignor Jacopo Altoviti, before going on to detail the circumstances of the commission. Reni had first painted Fortuna with a Purse for the Abbate Giovanni Carlo Gavotti and had handed it over to him with a request that it was not to be shown to the public as it was not finished to his satisfaction. Renis wishes were not granted however - the picture was exhibited without his permission in one of the grandest porticoes of Bologna on one of the most important feast days. Infuriated, Reni returned home and requested to be brought to his rooms a copy which he knew to have been painted by Antonio Gerola, il Veronese, on behalf of Monsignor Altoviti. This he completely reworked, painting a crown in the hand of Fortune in place of the purse to great acclaim, even, in Baldinucci's eyes, surpassing Gavotti's picture." Provenance: private Rancho Mirage, California, USA collection, by inheritance in 2020; ex-Dr. TDR Berreth, California, USA, acquired before 1982 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. #179155
"Guido Reni" oil on canvas 51 1/2" x 34 3/4" Frame: 62 1/4" x 45" "Saint John the Baptist" 17 or 18th Century Condition: Had been relined Provenance: From a Long Island. NY Home
(1575 Calvenzano - Bologna 1642), nach. Caritas. Radierung v. John Keyse Sherwin, 1793. Bei John Harris, Sweetings Alley Cornhill. Plgr. 47,5 x 35 cm. Mit schmalen Rändchen. Auf Karton montiert. - Leicht fl., vermehrt auf dem weißen Rand. R
(1575 Bologna 1642), nach. Kopf einer Kammerdienerin Helenas. Radierung v. Paolo Fidanza, 1763. 37,2 x 25,4 cm. Mit den Namenszügen i.d.Pl. Tls. bis auf den Plattenrand beschnitten. Punktuell auf Papier mont. R
(1575 Bologna 1642), nach. Bildnis der Helena. Radierung v. Paolo Fidanza, 1763. 37,5 x 27,4 cm. Mit den Namenszügen i.d.Pl. Tls. bis auf den Plattenrand beschnitten. Punktuell auf Papier mont. R
Guido RENI (1575-1642) after - Pair of paintings on porcelain KPM Berlin, portrait of Beatrice Cenci, black forest wood frame, 19th century. Recessed mark KPM on the back. one frame cracked, the other flawless - Weight: 610 g - Shipping available - Region: Allemagne - Sizes: H 240MM X L 190MM - At first glance: normal wear / patina of use
Guido Reni (Bologna 1575 - 1642) allievo Ritratto del monaco Carlo de Aldini Olio su tela 122 x 85 cm Tra gli artisti attivi a quel tempo, il dipinto è prossimo alle poche opere sicure di Pietro Lauri, allievo di Guido Reni di origine francese. Lo stemma in alto corrisponde a quello disegnato da Canetoli, nel suo Blasono bolognese del 1791-1795. Guido Reni (Bologna 1575 - 1642) pupil Portrait of the Monk Carlo de Aldini Oil on canvas 122 x 85 cm Among the artists active at the time, the painting is close to the few certain artworks by Pietro Lauri, a pupil of Guido Reni of French origin. The coat of arms at the top corresponds to the one drawn by Canetoli in his Blasono Bolognese of 1791-1795.
FOLLOWER OF GUIDO RENI OF THE 18TH CENTURY 1575 Bologna - 1642 ibid ST. PHILIP NERI IN ECSTASY Oil on hardwood. 26 x 19 cm (F. 32.5 x 26.5 cm). Verso: On the stretcher note to the Tiepolo family (Giovanni Battista; Domenico Giovanni; Lorenzo Baldissera). Min. rest., min. old retouching. Frame. Provenienz: Rheinische Privatsammlung. GUIDO RENI (NACHFOLGER DES 18. JH.) 1575 Bologna - 1642 ebenda ST. PHILIP NERI IN EKSTASE Öl auf Hartholztafel. 26 x 19 cm (R. 32,5 x 26,5 cm). Verso: Auf dem Keilrahmen Hinweis zur Familie 'Tiepolo (Giovanni Battista; Domenico Giovanni; Lorenzo Baldissera). Min. rest., min. Altretuschen. Rahmen. Provenienz: Rheinische Privatsammlung.
(1575 Bologna - 1642 ebenda) Nachfolger des 17./18. Jhs.; Studie eines älteren vollbärtigen Heiligen oder Apostels Die charaktervolle, wohl von einem italienischen Meister ausgeführte Darstellung des Kopfes im Halbprofil, mit zum Himmel gerichtetem Blick steht ganz in der Tradition Renis, der mit seinen vielen Heiligen- und Apostelbildnissen die Malerei des Barock nachhaltig und weithin prägte. Öl/Lwd., doubl.; 27,5 cm x 25,5 cm. Rahmen. Follower of Guido Reni (1575 - 1642) active 17th or 18th C.; Oil on canvas, relined.
Reni, Guido Kopie aus dem 18./19 Jh. nach dem Gemälde Porträt der Beatrice Cenci. Öl auf Leinwand. Größe ca. 62 x 47 cm, geschnitzter Holzrahmen ca. 76 x 61 cm. Verschmutzt, teils altrestaurierte Fehlstellen in der Malschicht. Reni, Guido Copy from the 18th/19th century after the painting Portrait of Beatrice Cenci. Oil on canvas. Size approx. 62 x 47 cm, carved wooden frame approx. 76 x 61 cm. Soiled, some old restored losses in the paint layer.
18th C. European Follower of Guido Reni (Italian, 1575-1642), after "Fortuna with a Purse" (1636 to 1637). A monumental oil on canvas painting depicting Fortuna, the Roman Goddess of Fortune, holding a palm and sceptre in her left hand and a purse in her raised right hand, as coins and pearls drop toward the globe below. This composition is rather unusual in that Fortuna holds a purse rather than the cornucopia or wheel more typically depicted by Old Masters. Fortuna is accompanied by winged Cupid, and the pair float in the celestial realm as Cupid pulls back Fortuna's golden tresses in an attempt to calm the goddess' buoyant elation and warn that fortune can be fickle. This mesmerizing allegory of fortune is rendered in a beautiful color palette - shades of azure, rose, and sage complemented by flesh tones of cream and peach, with golden tresses that delight the eye. The mythological figures are skillfully modeled with foreshortened forms to provide the illusion that Fortuna and Cupid are floating beyond the picture plane into the viewer's space. Size: 55" L x 49" W (139.7 cm x 124.5 cm) Please Note: Sotheby's London recently sold "An Allegory of Fortune, Holding a Purse" by a Follower of Guido Reni for 18,900 GBP (equivalent to $26,063 on July 8, 2021 - Lot 171). According to Sotheby's catalogue note, "Reni is known to have painted two versions of the Fortuna, showing, in both, the allegorical female figure full-length, holding a scepter and palm in her left hand, as she flies mid-air over the globe, with her hair playfully tugged back by Cupid behind her. The versions differ in only one detail: in one, she holds a crown in her right hand, in the other a purse. The intriguing story of how the two versions came about is told by Reni's biographers Filippo Baldinucci and Carlo Cesare Malvasia. Baldinucci recounts that he saw Fortuna, holding a crown, in Florence in the collection of Monsignor Jacopo Altoviti, before going on to detail the circumstances of the commission. Reni had first painted Fortuna with a Purse for the Abbate Giovanni Carlo Gavotti and had handed it over to him with a request that it was not to be shown to the public as it was not finished to his satisfaction. Renis wishes were not granted however - the picture was exhibited without his permission in one of the grandest porticoes of Bologna on one of the most important feast days. Infuriated, Reni returned home and requested to be brought to his rooms a copy which he knew to have been painted by Antonio Gerola, il Veronese, on behalf of Monsignor Altoviti. This he completely reworked, painting a crown in the hand of Fortune in place of the purse to great acclaim, even, in Baldinucci's eyes, surpassing Gavotti's picture." Provenance: private Rancho Mirage, California, USA collection, by inheritance in 2020; ex-Dr. TDR Berreth, California, USA, acquired before 1982 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. #179155
Guido Reni (Italy, 1575-1642) The Virgin and Child Enthroned with Saints Crispus, Crispianus, and Jerome etching and engraving on laid paper A bold and well inked early 18th century impression;. Reni's picture was originally painted for the Church of San. Prospero in Reggio Emilia, for the altar of the Arte de' Calzolari (Shoemakers' guild). It was removed by the Duke of Modena in 1680 and sold with his collection to the Elector of Saxony. It entered the Royal Collection, Dresden, in 1746.
18th C. European Follower of Guido Reni (Italian, 1575-1642), after "Fortuna with a Purse" (1636 to 1637). A monumental oil on canvas painting depicting Fortuna, the Roman Goddess of Fortune, holding a palm and sceptre in her left hand and a purse in her raised right hand, as coins and pearls drop toward the globe below. This composition is rather unusual in that Fortuna holds a purse rather than the cornucopia or wheel more typically depicted by Old Masters. Fortuna is accompanied by winged Cupid, and the pair float in the celestial realm as Cupid pulls back Fortuna's golden tresses in an attempt to calm the goddess' buoyant elation and warn that fortune can be fickle. This mesmerizing allegory of fortune is rendered in a beautiful color palette - shades of azure, rose, and sage complemented by flesh tones of cream and peach, with golden tresses that delight the eye. The mythological figures are skillfully modeled with foreshortened forms to provide the illusion that Fortuna and Cupid are floating beyond the picture plane into the viewer's space. Size: 55" L x 49" W (139.7 cm x 124.5 cm) Please Note: Sotheby's London recently sold "An Allegory of Fortune, Holding a Purse" by a Follower of Guido Reni for 18,900 GBP (equivalent to $26,063 on July 8, 2021 - Lot 171). According to Sotheby's catalogue note, "Reni is known to have painted two versions of the Fortuna, showing, in both, the allegorical female figure full-length, holding a scepter and palm in her left hand, as she flies mid-air over the globe, with her hair playfully tugged back by Cupid behind her. The versions differ in only one detail: in one, she holds a crown in her right hand, in the other a purse. The intriguing story of how the two versions came about is told by Reni's biographers Filippo Baldinucci and Carlo Cesare Malvasia. Baldinucci recounts that he saw Fortuna, holding a crown, in Florence in the collection of Monsignor Jacopo Altoviti, before going on to detail the circumstances of the commission. Reni had first painted Fortuna with a Purse for the Abbate Giovanni Carlo Gavotti and had handed it over to him with a request that it was not to be shown to the public as it was not finished to his satisfaction. Renis wishes were not granted however - the picture was exhibited without his permission in one of the grandest porticoes of Bologna on one of the most important feast days. Infuriated, Reni returned home and requested to be brought to his rooms a copy which he knew to have been painted by Antonio Gerola, il Veronese, on behalf of Monsignor Altoviti. This he completely reworked, painting a crown in the hand of Fortune in place of the purse to great acclaim, even, in Baldinucci's eyes, surpassing Gavotti's picture." Provenance: private Rancho Mirage, California, USA collection, by inheritance in 2020; ex-Dr. TDR Berreth, California, USA, acquired before 1982 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. #179155
Reni (Guido, 1575-1642). Infant Christ and St. John the Baptist, circa 1595-1600, etching * Reni (Guido, 1575-1642). Infant Christ and St. John the Baptist, circa 1595-1600, etching on laid paper, sheet size 130 x 185 mm, plate size 119 x 168 mm (4 5/8 x 6 5/8 ins), with margins, framed and glazed, with printed gallery label to verso of Ernest Brown & Philipps Ltd., The Leicester Galleries, London, additional exhibition label for The Collection of the late Hugh Walpole (Part 3), Leicester Galleries, London, June 1946, catalogue number 1, to verso QTY: (1) NOTE: Provenance: Sir Hugh Walpole (1884-1941), Brackenburn, Cumbria. Walpole purchased Brackenburn overlooking Derwent Water in Cumbria in 1923 and lived there until his death in 1941. He enlarged the house and converted the upper storey of the nearby garage to a library and study, which eventually housed his art collection, as well as his 30,000 books. Bartsch XVIII, 287, 13.
Reni (Guido, 1575-1642). Figure by a tree, pen and brown ink * Attributed to Guido Reni (1575-1642). Figure by a tree, pen and brown ink on laid paper, of a young man (or woman?) looking around the side of a tree, with outstretched arm, some toning, laid down on later laid paper, with faint (and rather indistinct) old inscription in brown ink to verso: 'So. Donato bardi', sheet size 217 x 165 mm (8 5/8 x 6 1/2 ins), antique gilt moulded frame, glazed, with small incised stamp to verso of the frame D.B. X34 within a square (framer's mark?), and old number 813 in blue chalk repeated three times QTY: (1) NOTE: Provenance: Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.
Guido Reni (1575 - 1642) San Francesco Olio su tela 183,2 x 136 cm Elementi distintivi: sul verso, etichetta recente, con riferimento all'opera Provenienza: Banca Popolare di Asolo e Montebelluna (dal 1993); Veneto Banca SpA in LCA Certificati: certificato di Paolo Viancini, s.d.; scheda critica di Daniele Benati, del 26 luglio 2021; scheda critica di Massimo Pulini, del 7 agosto 2021 Stato di conservazione. Supporto: 80% (reintelo) Stato di conservazione. Superficie: 75% (abrasioni, spuliture, integrazioni e ritocchi, anche sul viso del santo) Il dipinto è stato acquisito da Veneto Banca nel 1993 e da allora è stato conservato in caveau. Inedita, l'opera è stata oggetto di un'ampia indagine critica in sede di catalogazione, con un giudizio prevalentemente orientato nel riconoscervi un capolavoro di Guido Reni. Per Daniele Benati, che vi ha dedicato una approfondita scheda critica e intende presentare l'opera anche in sede scientifica, «Il bellissimo dipinto appartiene senza dubbio a Guido Reni, trovando immediato riscontro con altre sue opere già note non soltanto per il tipo di composizione, ma soprattutto per la suprema raffinatezza della conduzione pittorica, ineguagliata da nessuno dei suoi allievi, per quanto dotati.» Lo studioso data l'opera «agli inoltrati anni Trenta del XVII secolo» sia rapportandola al dipinto di analogo soggetto della Galleria Colonna e al Pallione della peste del 1631 (Bologna, Pinacoteca Nazionale) sia in ragione dello «addolcimento della stesura che Guido vi consegue, in ordine a quella progressiva “smaterializzazione” dell’immagine che anima tutta la sua feconda carriera», non mancando di segnalare che rispetto «alle versioni note, anche l’atteggiamento con cui il santo è raffigurato punta in direzione di una maggiore introspezione psicologica: il suo muto e addolorato colloquio con il Crocifisso è infatti cosa diversa dall’enfasi con cui, nei quadri dei Girolamini e del Louvre, egli rivolge impetuosamente lo sguardo al cielo portandosi la destra al petto. Da questo punto di vista, la soluzione proposta nel quadro in esame appare più convincente anche rispetto alla versione Colonna, addebitabile in parte agli aiuti, in cui il santo si torce le mani ripetendo alla lettera l’invenzione già utilizzata nel Pallione della peste, dove essa appariva però tanto più necessaria in relazione al tema proposto dal grande dipinto.». Sul piano virtuosistico, «Con un’economia di mezzi davvero impressionante, Reni riesce di fatto a condensare una quantità strabiliante di osservazioni naturalistiche e nello stesso tempo a proiettarle in una dimensione di perfezione ultraterrena: dai lucori degli occhi ai peli della barba sfiorata dalla luce che spiove dall’alto, dalla tessitura dell’umile saio alla superficie polita del teschio, dagli oggetti abbandonati in primo piano alla mirabile apertura di paesaggio, che sembra davvero disfarsi nella luce. Nel dipinto non c’è del resto alcuna pennellata “inutile”; e gli stessi “pentimenti” – nel dorso della mano destra, ad esempio, o nel profilo del teschio – vengono intenzionalmente lasciati a vista, per conferire alla pittura un effetto di maggiore vibrazione. Laddove la luce batte con maggiore insistenza, Guido ricorre poi a una sottile tessitura di pennellate parallele e come ravviate, così da produrre quell’effetto cristallino che gli è proprio e che i copisti cercano invano di imitare. Siamo cioè di fronte a un esito in cui Guido esplicita al grado più alto la propria propensione per un vero “ideale”, mirato ad estrarre dal dato di natura, indagato peraltro con indicibile sottigliezza, il suo valore eterno e metafisico». Massimo Pulini, cui si deve una ulteriore lettura critica a conferma della piena l'autografia, ha approfondito il ruolo del dipinto in asta quale prototipo, prendendo in esame tutte le altre redazioni «fino ad ora emerse» (Casa d’aste Sammarinese 25 luglio 2014, olio su tela, cm. 170x130, forse la stessa tela presso Lucas, 19 aprile 2021; Hampel 27 giugno 2019 e 2 aprile 2020, olio su tela 192,5 x 145 cm, forse la stessa tela apparsa sul mercato antiquario 28 ottobre 2010; oltre ad alcune riduzioni quali il San Francesco in meditazione presso il Musée du Colombier di Alès, olio su tela, cm. 98 x 73,5, ed una analoga già a Londra sul mercato antiquario), nessuna delle quali riusciva «a raggiungere i livelli qualitativi che merita il catalogo di un genio della pittura» mentre «l’opera in parola ha [...] caratteri di assoluta levatura, dimostrati anche nella sobrietà della tavolozza e nel rigore ascetico che dal tema si trasferisce alle scelte di stile. Una pittura priva di enfasi, ma calibrata sulle declinazioni più delicate e minimali eleva questo esemplare a modello degli altri già noti». Anche il prof. Pulini ritiene il dipinto «inoltrato oltre la metà degli anni Trenta», in ragione della «rarefazione esecutiva tipica dell’ultima stagione dell’artista, quella che precede gli incompiuti dell’estrema produzione. La stenografia pittorica con la quale è condotto il volto del santo racconta quel percorso di spoliazione di ogni enfasi a favore di una essenzialità sapiente, che permette di risolvere anche i più ardui dettagli di un viso scorciato con un’unica e vibrante pennellata. Conferma questa collocazione cronologica anche l’attenuazione della gamma cromatica a poche declinazioni di tono, che tuttavia non impediscono all’artista di esprimere tutti i valori naturali con eleganza formale». Il consenso alla autografia dell'opera è ampio. Erich Schleir concorda sulla piena autografia reniana («specialmente bello è anche il paesaggio», comunicazione del 28 maggio 2021). Emilio Negro lo ritiene «un bel dipinto eseguito da Guido Reni nell'ultima fase della sua straordinaria carriera» (comunicazione del 29 maggio 2021). David Ekserdjian ne ha avuta «una impressione istintivamente buona», rilevando come per un verso l'opera non mostri i tratti ovvi della copia e per l'altro l'invenzione appaia propria di Reni anche in paragone agli artisti a lui più vicini, come per esempio Cantarini (comunicazione del 17 giugno 2021). Anche Fausto Gozzi supporta la attribuzione a Guido Reni: «I migliori allievi di Reni come Sirani, padre e figlia, Cantarini, Gessi, Torre e Sementi, dipingono in modo diverso da questo, particolarmente Sirani, Cantarini e Torri. Questo san Francesco (183 x 136) ha particolari di altissima qualità: la testa del santo, il Crocifisso, la mano che tiene il teschio e le radici in basso (che ritroviamo uguali anche nella "Maddalena" di Reni della Galleria Nazionale d'Arte Antica di Roma). La luce scende diagonalmente ed ha un ruolo importante di astrazione chiara dei colori, distribuendo una luce argentea tipica dello stile di Reni. Questa gamma cromatica chiara e rarefatta, produce toni che si avvicinano alla "Pala della peste" (1631) di Reni nella Pinacoteca di Bologna.» Il dr. Gozzi qualifica, inoltre, «il formato (183 x 136)» come «tipico di una "paletta" per una cappella privata». In base all'esame di una immagine ad alta definizione, Bastian Eclergy, pur rilevando la qualità del dipinto, conserva dubbi sulla autografia, considerandolo un caso complicato da giudicare (comunicazione del 14 marzo 2022). Contrari alla attribuzione a Reni sono David M. Stone (comunicazione del 4 giugno 2021) e Angelo Mazza (comunicazione del 14 luglio 2021), che reputano la tela della bottega del maestro. Più precisamente, il dr. Mazza connette l'opera con «la tarda bottega reniana [...] senza che si possa confermare l'attribuzione a Reni stesso, neppure in parte, né meglio precisare l'autore». Marco Horak ritiene che in «particolare la resa del volto» indirizzi «verso un’ipotesi attributiva a Giovanni Andrea Sirani (Bologna, 4 settembre 1610 – Bologna, 21 maggio 1670)», unitamente a «“il particolare bagliore che circonda la testa del Santo”, che può essere considerato una sorta di “marchio di fabbrica” della bottega di Guido Reni, dove Giovanni Andrea Sirani, dopo un breve periodo di formazione presso Giacomo Cavedone, venne accolto divenendo l'allievo prediletto del maestro». Alla figlia di Andrea, Elisabetta Sirani (1638-1665) pensa invece Babette Bohn, reputando la tela un potenziale autografo della pittrice, «ispirato dai numerosi dipinti di Guido Reni che rappresentano santi nel paesaggio (Maria Maddalena, Gerolamo)», e databile a poco dopo il 1660. La paletta non risulta, comunque, nella lista delle opere della Sirani pubblicata da Malvasia nella edizione della Felsina pittrice del 1678 (comunicazioni del 14 luglio 2021). Daniele Benati, Massimo Pulini e Angelo Mazza hanno visto l'opera dal vero. Gli altri studiosi citati hanno espresso un parere su base fotografica. Ringraziamo Daniele Benati, Babette Bohn, Bastian Eclergy, David Ekserdjian, Fausto Gozzi, Marco Horak, Angelo Mazza, Emilio Negro, Massimo Pulini, Erich Schleier, David M. Stone, per il prezioso supporto nella catalogazione dell'opera.
After Guido Reni, Italian 1575-1642- St Francis in Ecstasy; oil on canvas, inscribed 'ST ANTHONY / BY / RIBERA' verso, 43.8 x 33.1 cm. (unframed). Provenance: Private Collection, UK. Note: The present work is a copy after Reni's original, completed around 1612, which is held in the Louvre Museum, Paris [INV 533]. The composition depicts the saint holding a skull, with his eyes uplifted in a moment of divine contemplation. Reni was a central figure of the Baroque movement, whose pupils included figures such as Simone Cantarini (1612-1648) and Antonio Randa (c.1595-c.1657). The influence of Reni's approach is also evidence in the work of subsequent Spanish artists, including Jusepe de Ribera (1591-1652) and Bartolomé Esteban Murillo (1617-1682).
Follower of Guido Reni, Italian 1575-1642- The Penitent Mary Magdalene; oil on canvas, bears old wax collector's stamp, indistinctly showing a crowned, double-headed eagle, verso, 37.5 x 30 cm. Provenance: Private Collection, UK. Note: The present work appears to be influenced by Reni's dramatic depictions of Mary Magdalene, defined by their sharp contrast of light and shade, with the figure of the penitent Magdalene in the present work variously recalling Reni's paintings of the same subject, including one in the Palazzo Barberini in Rome [1437], and another in the collection of the National Gallery, London [NG177]. The indistinct collectors' seal on the reverse appears to show the outline of a double-headed eagle with a coronet above, which may relate to the crest of the Habsburg family, a royal dynasty of prolific art collectors.
After Guido Reni, Italian 1575-1642- Jesus meets John the Baptist; oil on canvas, signed and dated 'Figliolino / 1774' verso, 63.4 x 44.5 cm. (unframed). Provenance: Private Collection, UK. Note: The present composition is a copy after Reni's original, painted c.1622, which is now in the Church of the Girolamini, Naples.
Follower of Guido Reni, Italian 1575-1642- Saint Catherine of Alexandria; oil on canvas, 61 x 35 cm. Provenance: Property of a European Private Collection. Note: The present work recalls Reni's portrait of Saint Catherine of Alexandria which is currently held at the Hunterian in Glasgow [GLAHA_43787].
After Guido Reni, Italian 1575-1642- Susannah and the Elders; oil on canvas, 78.4 x 97.4 cm. Provenance: Property from a European Private Collection. Note: The present work is a copy after Reni's original painting of 'Susannah and the Elders', completed c.1622-23, now in the collection of the National Gallery in London [NG196].
Guido Reni (1575 Calvenzano - 1642 Bologna) Circle: Two angels with censer and wafer plate, 17th century, Red chalk drawing Technique: Red chalk drawing on Paper, relined on Paper Inscription: lower left inscribed: "Guido reni". Date: 17th century Description: Partial copy after the painting "Adoration of the Shepherds" by Guido Reni in the Certosa di S. Martino in Naples. Keywords: Angels; Clouds; Consecration; Incense; Hosts; Communion; Heaven; Paradise; Carthusian Church of Naples; Adoration of the Shepherds, 17th century, Renaissance, Religious, Italy, Size: Paper: 20,0 cm x 25,6 cm (7,9 x 10,1 in)
Marien-Erscheinung vor kniendem Apostel, in der Linken der Mutter Gottes Botschaft. Im Hintergrund Kirchenportal. Federzeichnung. 21,5×14 cm. Auf dem Keilrahmen Klebeetikett mit Zuschreibung u. Italienisch 17. Jahrhundert, handschriftlich hinzugefügt: Auskunft der Staatlichen Museen Berlin, 21. März 1942. R. (56555)
HEILIGER HIERONYMUS Öl auf Leinwand. Doubliert. 67 x 50,5 cm. In reliefverziertem Rahmen. Vor dunklem, nur akzentuiert erhelltem Fond das Brustbildnis des Hieronymus in der Einöde mit seinem kardinalroten Gewand und emporgerichtetem Blick. Auswahl der kompositorischen Ausrichtung und Feinheit des Bartes erinnern an verschiedene Hieronymusdarstellungen von Bernardo Strozzi. (1402126) (13)
DER SELBSTMORD DER PORCIA Öl auf Leinwand. Doubliert. 83,5 x 69,5 cm. In Prunkrahmen. Vor dunklem Hintergrund im Halbbildnis, ihren Körper nach rechts gewandt, der Kopf und die glänzenden Augen nach links oben gerichtet, die schöne Porcia, die Tochter des Cato und Gattin des Brutus, die sich nach der Ermordung Caesars durch ihren Ehemann das Leben nahm. Sie trägt ein weißes Unter- und darüber ein blaues Obergewand. Auf ihrem Haupt eine wertvollen Turban mit Brosche und Goldstickerei. Gesicht und Inkarnat werden theatralisch von oben durch eine nicht sichtbare Lichtquelle erhellt. Vor ihr auf einer Platte stehend ein Becken mit glühenden Kohlen. In ihrer rechten Hand eine Zange, um die Kohlen zu erfassen und mehrere zu verschlucken, wodurch ihr Leben tragisch endete. Die Komposition folgt dabei auch einem Gemälde gleichen Inhalts von Pierre Mignard d. Ä. (1612-1695), das sich heute im Museum von Rennes befindet. (1400361) (18)
Reni, Guido (Nachfolger/Follower) Calvenzano 1575 - Bologna 1642 H. 75 x B. 63 cm The Ecstasy of Mary Magdalene. Oil/canvas, relined. Formerly from a private collection, Berlin. Reni, Guido (Nachfolger/Follower) Calvenzano 1575 - Bologna 1642 H. 75 x B. 63 cm Die heilige Maria Magdalena in Extase. Öl/Lwd., doubl. Ehemals aus einer Berliner Sammlung.
Guido Reni (1575-1642), copy after, "Apollo follows the advancing Aurora in his chariot", anonymous 19th century copy in oil on parquet wood panel, unsigned, 35 x 80 cm, in a decorative frame of the period with applied tendrils and fully sculpted bacchantes' heads in the corners 65 x 110 cm
Anonymous copyist of the 18th century, after Guido Reni (1575-1642), "St. Filippo Neri in Ecstasy", kneeling saint with lily and bible with a vision of the Madonna and cherubim, oil on copper, unsigned, retouched, 25 x 18 cm, framed 31 x 25 cm
Includes an antique oil on board (after) Guido Reni (Italian 1575-1642), 19th century follower. Viewable measures approx. 3.75" x 4.5" Provenance: From a local Dresher, PA estate. Consignor states these were inherited from her parents. The collection came from her grandfather. He and his brother were fine art and porcelain dealers collectors in the Netherlands from 1930-1949. They specialized in Dutch masters and Chinese and Dutch porcelain. The collection was moved to the united states after this period of time and has been part of the families collection since.
Original etching on paper after Baroque artist Guido Reni's 17th century monumental painting The Toilet of Venus. It depicts the Greek goddess of love with her female attendants and her son Cupid standing by her side with his bow and arrows. On lower left: Guido Reni Pinx. On lower right: Christophonis ab aqua Vicentinus sculptit 1773 (engraved by Vicente.) Housed in a gilded frame and a burgundy mat with a white border. Sight size: 15.75"W x 20"H. Frame size: 25.75"W x 30"H x 1"W. Artist: After Guido Reni (Italian 1575-1642) Issued: 1773 Country of Origin: Italy
Follower of GUIDO RENI (Calvenzano di Vergato, Bologna, 1575 - Bologna, 1642); 18th century. "Dolorosa". Gouache on vellum. It presents repainting. Size: 11 x 9 cm; 12 x 10 cm (frame). Devotional work in miniature where the author presents us with the Virgin Mary bust-length, in the foreground and captured at great size, occupying most of the pictorial surface. It is a monumental figure, worked with great delicacy and directly illuminated by a clear, uniform, classical light. Mary stands out against a neutral, flat, dark background, illuminated around her head by the halo of golden light. Formally, this work is dominated by the influence of Guido Reni, the undisputed master of Roman-Bolognese classicism, who was undoubtedly the best of the three. Closely linked to the Carracci family and to the city of Bologna, they all had a similar career. They trained in Bologna with Denys Calvaert, and then moved on to the Accademia degli Incamminati, directed by Ludovico Carraci. In 1600 Reni arrived in Rome, where he worked with Annibale Carracci in the Galleria Farnese. His best period began in these years; in 1609, on Annibale's death, Reni became the head of the classicist school. In the city he was the protégé of Scipione Borghese, the future Pope Paul V, for whom the painter produced one of his most important works, "La Aurora" (Palazzo Rospigliosi).
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