THE PROPERTY OF A GENTLEMAN
Giovanni Francesco Barbieri, il Guercino (1591-1666)

Details
Giovanni Francesco Barbieri, il Guercino (1591-1666)

Jacob mourning over Joseph's Coat

30 x 25¼in. (76.2 x 64.2cm.)
Provenance
(Probably) Prince Don Urbano Barberini (Inventory of 1686, no.71 'Una Testa d'un Santo alta p.3, e larga p.2 incirca, con le mani, che tiene un panno bianco ... mano del Guercino')
with Julius Weitzner, 1957
The Bob Jones University, Greenville, South Carolina
Literature
Accessions, Art Quarterly, Sept. 1960, p.400
M. Havens, Collection of Religious Art at Bob Jones University, Art Journal, XXI, no.2, 1961-2, p.114, fig.5
Bob Jones University Catalogue, Greenville, 1962, I, p.134, illustrated
The Law and the Prophets, New York, 1971, p.80, illustrated on the cover
F. Vivian, Guercino seen from the Archivio Barberini, The Burlington Magazine, CXIII, no.814, Jan. 1971, p.23 and fig.29 'an excellent example of Guercino's handling of the mid 1620s and of his forcible drawing of an elderly head' B. Fredericksen and F. Zeri, Census of pre-Nineteenth Century Italian Paintings in North American Public Collections, Cambridge, 1972, p.98
M. Aronberg Lavin, Seventeenth-Century Barberini Documents and Inventories of Art, New York, 1975, p.397
D. S. Pepper, Bob Jones University Collection of Religious Art. Italian Paintings, Greenville, 1984, p.66, no.63.1, illustrated p.213 L. Salerno, I Dipinti del Guercino, Rome, 1988, p.405, no.346 bis, illustrated
Exhibited
Raleigh, North Carolina Museum of Art, Baroque Paintings from the Bob Jones University Collection, 1984, pp.73-5, no.20, illustrated
Engraved
Joseph van Loo (active 1703-40), with the inscription 'Le tableau est dans le cabinet de M. le Commissaire l'Enfant'

Lot Essay

Professor Salerno, loc. cit., quotes Sir Denis Mahon as dating the present picture c.1624-5, shortly after the artist's return to Cento from Rome. Guercino's rendering of the subject, taken from Genesis 38; 32-35, is unusual in its total omission of Joseph's brothers and in the coat being shown as white rather than 'of many colours', which may help to explain why the subject seems to have been incorrectly identified in the 1686 Barberini inventory. Salerno records a workshop replica of the late period at Burghley House

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