Null Barbieri, Giovanni Francesco (gen.: Guercino)
(1591 Cento - Bologna 1666)af…

Descripción

Barbieri, Giovanni Francesco (gen.: Guercino) (1591 Cento - Bologna 1666)after. Queen Esther and Ahaserus. Qu. fol. - In the wide w. Margins foxed, browned. R

3228

Barbieri, Giovanni Francesco (gen.: Guercino) (1591 Cento - Bologna 1666)after. Queen Esther and Ahaserus. Qu. fol. - In the wide w. Margins foxed, browned. R

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Valorac. 5 000 - 6 000 EUR

Attributed to FRANCESCO VANNI (Siena, 1563 - 1610). "St. Francis in ecstasy". Oil on copper. Original frame of the period. It presents to the back an illegible inscription in Italian. Measurements: 25 x 19 cm; 36 x 30,5 cm (frame). This painting belongs to the Tuscan mannerist school and is attributed to the painter Francesco Vanni. An etching of this painter with the same subject and compositional treatment, one of whose copies is preserved in the British Museum, may have served as a preliminary study for the oil painting shown here. The high quality of this painting, in accordance with the mastery of the Sienese master, shows St. Francis of Assisi leaning on a rock, with closed eyelids and half-open lips while listening to the celestial music of the violin played by an angel next to his ear. One of the saint's hands begins to bleed, his wound mimicking the stigmata of Christ's Passion. Each of these narrative details faithfully follows the passages described by St. Bonaventure, biographer of the founder of the Franciscan Order: being gravely ill, St. Francis began to hear music so beautiful that he thought he had already crossed the threshold to the eternal kingdom. Subtle gradations of halftones model the angel's infantile body. The seraphic face contrasts with the wiry, angular features of the ecstatic saint. An amber light emerges from the celestial background and outlines the infant's body against the light, giving it a great beauty, in which we identify Vanni's style. The work clearly belongs to the artistic circle of Francesco Vanni, an Italian painter, draughtsman, engraver, publisher and printer active in Rome and in his hometown of Siena. Vanni was part of a family of painters. When he was 16, Vanni moved to Bologna and then to Rome. He was apprenticed to Giovanni de 'Vecchi during 1579-1580, although he was also greatly influenced artistically by other Tuscan painters of his time. In Rome, he worked with Salimbeni, Bartolomeo Passerotti and Andrea Lilio. Pope Clement VIII commissioned him to paint an altarpiece for St. Peter's, later transferred to mosaic, Simon the Magician rebuked by St. Peter. He painted several other pictures for Roman churches; including St. Michael defeats the rebellious angels for the sacristy of S. Gregorio; a Pieta of St. Mary in Vallicella; and the Assumption of St. Lawrence in Miranda. In Siena, he painted a S. Raimondo walking on the Sea for the church of the Dominicans. Vanni painted a Baptism of Constantine (1586-1587) for the church of San Agostino in Siena. He was active as an engraver and engraved three devotional engravings after his own designs. In addition, he was the publisher of a large 4-plate map of Siena that he himself had designed and had engraved by the Flemish engraver Pieter the Elder. He asked Lorenzo Usimbardi in 1595 for help in obtaining financial support for the publication of the map.

Valorac. 3 500 EUR

Italian coins BOLOGNA Annibale II Bentivoglio (1511-1512) Duchy - CNI 250 AU (g 3.46) RRRR Annibale Bentivoglio, son of John II, succeeded in seizing, with his partisans, Bologna, which he ruled for a year. He certainly knew he was unable to maintain that position unless he convinced Julius II to recognize it, so after an initial fasedi open rebellion, he sought an agreement with the pontiff. Despite his efforts, Julius II had no intention of coming to terms with him and, with the military help of the King of Naples, managed to drive him out as he had done his father. It is likely that Hannibal, unable to issue coins in Julius II's name without his permission, issued some independently. The punch used to imprint St. Peter was changed significantly after the arrival in Bologna of the new cardinal legate Giovanni Medici. While previously the robe was depicted as long to the point of hiding the feet, it was later shown shorter, with the ankles uncovered. Since it is unlikely that Giovanni Bentivoglio II issued anonymous ducats without his own coat of arms or that of the pontiff at the end of his rule, it is believed that this golden bolognino must be attributed to Hannibal II. And those with the short robe without any armlet are assignable to the Vacant Sees following the pontificate of Leo X. A coin of great rarity and superb quality, especially the D/, which has reliefs practically intact and perfectly impressed. The only specimen, other than this one, that we have been able to find , turns out to be the one in the Künker auction of 2022, mis-catalogued under Clement VII and which, in BB+ conservation, realized 3200 euros + fees. - qFDC/ M.of SPL

Valorac. 450 EUR

Character medals Giovanni II Bentivoglio (1443-1508) Undated artistic casting medal (1495) In honor of the Italian nobleman, de facto lord of Bologna from 1463 to 1506 - Opus: Sperandio da Mantova - Hill 391; Kres 128; Pollard 110; Rizzini 93 - AE (g.212 - Ø92.5 mm) Posterior antique casting probably 19th century, with portative hole. R - BB-SPL

Valorac. 37 000 - 74 000 EUR

Tironi, Francesco — Pendants mit Veduten von Venedig — (Venedig um 1745-um 1797) Der Canal Grande mit Rialtobrücke mit dem Palazzo dei Camerlenghi und Mündung des Canale di Cannaregio mit San Geremia und dem Palazzo Labia. Öl/Lwd., doubl. Je ca. 59 x 91 cm. - Mit Gutachten Emilio Negro, Bologna.

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