拍品 163
163
CIRCLE OF GIOVANNI FRANCESCO BARBIERI, IL GUERCINO (CENTO 1591-1666 BOLOGNA)
CIRCLE OF GIOVANNI FRANCESCO BARBIERI, IL GUERCINO (CENTO 1591-1666 BOLOGNA)
CIRCLE OF GIOVANNI FRANCESCO BARBIERI, IL GUERCINO (CENTO 1591-1666 BOLOGNA)
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Property from the Arizona State University Art Museum Sold to Benefit Acquisitions and Direct Collections Care
CIRCLE OF GIOVANNI FRANCESCO BARBIERI, IL GUERCINO (CENTO 1591-1666 BOLOGNA)

Portrait of Guercino

細節
CIRCLE OF GIOVANNI FRANCESCO BARBIERI, IL GUERCINO
(CENTO 1591-1666 BOLOGNA)
Portrait of Guercino
traces of an inscription (upper right)
oil on canvas
23 x 19 ¼ in. (58.4 x 48.9 cm.)
來源
Dawton Guerault, London.
with T. Rodgers & Co., London.
Anonymous sale; Christie's, London, 20 July 1956, lot 67, as Guercino.
Lewis J. Ruskin (1903-1981) and his wife, Lenore Ruskin Heavenrich, née Ginsburg (1920-1993), Scottsdale, by whom gifted in 1965 to the Arizona State University Art Museum.
出版
B.B. Fredericksen and F. Zeri, Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections, 1972, pp. 99 and 641, as a copy after Guercino.
G. Finaldi, Discovering the Italian baroque: The Denis Mahon Collection, exhibition catalogue, London, 1997, p. 72.
G. Finaldi, Percorsi del barocco. Acquisti, doni e depositi alla Pinacoteca nazionale di Bologna 1990-1999, Y. Bentini ed., Bologna, 1999, pp. 60-61.
G. Agostini, Sir Denis Mahon per la Pinacoteca Nazionale di Bologna, Una donazione compiuta, Rimini, 2016, p. 59.
展覽
Tempe, Arizona State University, Board of Regents Office, 1968.
Tempe, Hayden Library at Arizona State University, Portraits from the ASU Art Collection, 18 July 1968.

榮譽呈獻

Taylor Alessio
Taylor Alessio Junior Specialist, Head of Part II
+1 212 636 2295

拍品專文

This portrait of Guercino, depicting the master holding a palette and brushes, derives from a prototype by his nephew and pupil, Benedetto Gennari (Pinacoteca Nazionale di Bologna, inv. no. 32535). Based on Guercino’s own self-portrait (National Gallery of Art, Washington, D.C., inv. no. 2005.13.1), this composition became widely admired and was replicated in numerous variants, as noted by Gabriele Finaldi (op. cit.).

At upper right, faint traces of a three-line Latin inscription, partially legible under infrared light, read:

IOˢ FRANCˢ A C…O
PICTVRE LVMEN
V..…A PICTO

The inscription can be plausibly reconstructed as ‘Ioannes Franciscus a Cento / Picturae lumen / Vivit a picto’ ('Giovanni Francesco of Cento, light of painting, lives on through this portrait'). Below the inscription is a fleur-de-lis surmounted by a coronet.

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