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70andNicholasTurnerTheDrawingsofGuercinointheCollectionofHerMajestytheQueenatWindsorCastleCambridgeCambridgeUniversityPress1989pp.170x1372cats.588x1389.Animpres-sionoftheprintisinthePinacotecaNazionaleBolognaBagni1988p.154g.195.WhetherthegureinthedrawingcorrespondsinsizetothatinBonaverix19sprinthasnotyetbeenveri-edbutitseemslikely.Thedrawingmayhavebeenoffsetontoanothersheettoreverseitthedesignbroughttocompletionbytheengraverontheoffsetwiththeadditionofsuchdetailsasthecrossontopoftheglobeandthecurtain.AnotherofBonaverix19sprintsintheseriesTheInfantChristKneelingontheGroundReleasingaBirdappearstobeacompaniontothepresentcom-positionsincethegurehasasimilarfacialtypeaswellasdarkcurlyhairBagni1988p.129g.164.3.GlasgowMuseuminv.PR.2000.4.ayLyonsBequestredchalk223x140mmseeRobertWenleyx1cGuercinoinGlasgowx1dMasterDrawings48no.22010pp.179x1394esp.pp.183x1384versophotographedintransmittedlightg.5.4.TherectooftheGlasgowdrawingisastudyfortheSaintAnthonyofPaduaintheBobJonesUniversityMuseumGreenvilleSouthCarolinaLuigiSalernoIdipintidelGuercinoRomeUgoBozzi1988p.391cat.329ill.Wenley2010pp.183x1384g.5whichisthefragmentarylowerhalfofanaltarpieceshowingthekneelingsaintinwhatwasoriginallyaVirginandChildAppearingtoSaintAnthonyofPadua.BecauseofthesimilarityinsubjectmatterbetweentheversostudyoftheGlasgowdrawingandGuer-cinox19sthreedevotionalpaintingsoftheChristChildcarriedoutin1657x1358seen.5belowitislikelythattheGreenvillepaintingistheVirginandChildAppearingtoSaintAnthonyofPaduacommis-sionedfromGuercinoin1658andnotanothertreatmentofthesamesubjectpaintedveyearslaterin1663.5.ThethreecommissionsintwoofwhichtheChristChildwasrepresentedstandingnotseatedareasfollowsax1cputtinointieroconunatestadimorteinmanox1dnowlostpaintedin1657forGuercinox19sfriendPadreBonaven-turaBisiforwhichthereisnopaymentintheaccountbookConteCarloCesareMalvasiaFelsinaPittriceVitedex19PittoriBolognesi....BolognaPerlx19EredediDomenicoBarbieri1678vol.2pp.380x1381and2nded.BolognaAncora1841vol.2p.270ax1cquadrodelputinoconlacrocex1dfortheAbateDuccinialsopaintedin1657andpaidforonJuly171657Malvasia1678vol.2pp.380x1381andMalvasia1841vol.2p.270andBarbaraGhelIllibrodeicontidelGuercino1629x131666BolognaNuovaAlfa1997p.176no.517andx1cunaltroputtino...chetenevainmanoinstrumentidellapassionx1dlikewisenowlostpaintedin1658alsoforBisiperhapsasapairtotheChristChildHoldingaSkullandforwhichthereissimilarlynopaymentintheaccountbookMalvasia1678vol.2pp.380x1381Malvasia1841vol.2p.270.6.Salerno1988p.386no.322ill.7.ThesepreparatorystudiesarediscussedbyMahonandTurner1989pp.144x1345no.436includingoneintheRoyalLibraryWind-sorCastleinv.RL2600.InthatpublicationtheWindsordrawingwasassignedtoGuercinox19sschoolbutIamnowoftheopinionthatittooisbyGuercinohimselfseeNicholasTurnerGuercinolascuolalamanieraIdisegniagliUfziexh.cat.FlorenceLeoS.Olschki2008p.87undercat.44.8.ApartfromthepresentsheettheothersurvivingGuercinodrawingsengravedbyBonaveriareasfollowsHalf-lengthFigureofaYouthWearingaPlumedHatprivatecollectionBagni1988p.135cat.172ill.OrientalHoldingaBookUfziFlorenceibid.p.141cat.179Turner2008p.80cat.38ill.SaintJohntheEvangelistFineArtsMuseumsofSanFranciscoBagni1988p.150cat.190ill.andHalf-lengthgureofaWomanUniversityArtMuseumPrincetonibid.p.152cat.193ill..WhilethepresentsheetisinredchalkandtheoneintheUfziinblacktherestareinpenandbrowninkandagainwiththeexceptionofTheInfantChristBlessingtheyareinreversetothecorrespondingprintsbutseen.2above.9.BonaverihimselflistedthecopperplatesbelongingtotheCasaGennariinSectionQoftheinventorygivingvaluationsforthemvouch-ingforthetotalwithhissignature.Amongthecopperplatesweretheeleventhathehadearlierengravedhimselfafterx1coriginaldrawingsbythesaidcavaliereGuercinox1dMahonandTurner1989pp.170x1372undercats.588x1389EmilioNegroandNicosettaRoioLx19ereditdelGuercinoModenaArtioli2008pp.16and104.Some-timeinthe1750stheplateswereacquiredinBolognabytheEnglishdealerWilliamKentandtheyeventuallypassedintothehandsofthepub-lishersJohnandJosiahBoydellseeMahonandTurner1989p.xxviii.10.ApencilnoteonthebackofthedrawingstatesthatitwasincludedinasaleofoldmasterdrawingsfromthecollectionofLordNorthwickheldatSothebyx19sLondonNov.11920.IfsoitwouldhavebeenoneofasizablegroupbyItalianmastersonceinthecollectionofJohnBouverieincludingGuercinoSalvatorRosaandothersseeNicholasTurnerandCarolPlazzottaDrawingsbyGuercinoinBritishCollectionswithanAppendixDescrib-ingtheDrawingsbyGuercinoHisSchoolandHisFollow-ersintheBritishMuseumexh.cat.LondonBritishMuseumPress1991pp.21x1326andNicholasTurnerx1cJohnBouverieasaCollectorofDraw-ingsx1dBurlingtonMagazine136no.1091Feb.1994pp.90x1399esp.p.99App.I.ThisgroupofdrawingswasverylikelyagiftfromBouveriehim-selforhisnephewChristopherHerveytotheRt.Hon.SirJohnRushout4thBt.orfromElizabethBouverieJohnBouveriex19ssistertoSirJohnRush-outx19ssonthe5thBt.and1stLordNorthwick.TheconnectionbetweenthetwofamilieswasstrongSirJohnRushout4thBt.wasguardiantoJohnBouveriex19solderbrotherFreemanandpresum-ablyafterFreemanx19sdeathin1734agedeighteentoJohnhimself.44.SalvatorRosaorsoAttributedTenSmallStudiesonaSingleMountlate1630sx1360sPROVENANCECarlRobertRudolfL.2811bPaulandHelenBernettheirsaleChristiex19sNewYorkJan.111994lot261ill.10numberedingraphitefollow-ingthemark20.PurchasedfromW.M.BradyCo.Inc.1994.LITERATUREMichaelMahoneyTheDrawingsofSalvatorRosa2vols.NewYorkGarlandPublishing1977no.1vol.1p.345cat.29.5notill.no.2vol.1p.337cat.28.7no.3vol.1pp.518x1319cat.58.6notill.no.4vol.1p.220cat.12.8notill.no.5vol.1pp.409x1310cat.40.16notill.no.6vol.1p.220cat.12.9notill.no.7vol.1p.248cat.19.3notill.no.8vol.1p.701cat.82.16notill.no.9vol.1pp.297x1398cat.24.19no.10vol.1p.701cat.82.17notill.ExHIBITIONCo.DurhamBowesMuseumBarnardCastleNeapolitanBaroqueandRococoPainting1962cat.48onlynos.2and9ill.NationalGalleryofArtWashingtonD.C.PrivateTreasuresFourCenturiesofEuropeanMasterDrawingsMay6x13Sept.162007notincatalogue.NOTES1.CitedbyPasseriashavingbeensentfromVolterratoRomehenceaworkofthelateFlorentineyears1645x1349GiovanniBattistaPasseriVitedex19pittoriscultoriedarchitettichehannolavoratoinRoma....1772editedbyJacobHessinRmischeForschungenderBibliotecaHertziana11