拍品 32
  • 32

GIOVANNI FRANCESCO BARBIERI, CALLED IL GUERCINO | An Allegory of Vigilance

估價
8,000 - 12,000 USD
Log in to view results
招標截止

描述

  • An Allegory of Vigilance
  • Red chalk
  • 197 by 139 mm; 7 3/4  by 5 1/2  in

來源

Giuseppe Vallardi, Milan (L.1223)

Condition

Laid down on paper and then subsequently window mounted on a modern decorative backing. There are some old repaired tears to the centre of the left edge and a small proportion of the upper left corner and narrow strip along the right edge have been made up. There is some toning to the paper and evidence of minor surface dirt throughout. The red chalk medium remains in robust condition throughout with the image strong. Sold in a modern giltwood frame.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

拍品資料及來源

The unusual combination of attributes given by Guercino to the standing female figure in this characteristic red chalk drawing, suggests that a depiction of Vigilance was, in all probability, at the forefront of the artist's mind. Indeed the rooster, depicted heartily crowing behind the spear-holding warrior, was taken by Ripa in his Iconologia to symbolize vigilance, a particularly key attribute for such a warrior to possess. Though a painting by Guercino depicting this precise subject is unknown, it seems highly likely that a picture, recently on the New York Art market1 is a studio copy of a lost original by the master. The proximity in key compositional elements between our drawing and this painting is striking, and though the sitter of the painting was previously described as Aurora, an argument for Vigilance seems far more compelling.

We are grateful to Dr. Paul Taylor for his kind assistance in identifying the iconography depicted in this drawing, as well as for bringing the associated painting to our attention.

1. Sale, New York, Doyle, 25 January 2012, lot 30 (as Dutch School, 17th Century)