(Bologna 1618 - 1672) "Girl with a turban" oil on canvas (56x46 cm.) framed (defects and restorations) Thanks to Professor Michele Danieli for confirming the attribution based on the high-definition digital photograph. IT "Fanciulla con turbante" olio su tela (cm 56x46) in cornice (difetti e restauri) Si ringrazia il Professor Michele Danieli per aver confermato l'attribuzione sulla base della fotografia digitale in alta definizione.
Bolognese painter of the XVII century, possibly GINEVRA CANTOFOLI (1618-1672) "Portia." Oil on canvas. Relined. Measurements: 96 x 70,5 cm; 107 x 82 cm (frame). In this work the author presents us a woman of long bust located next to a brazier. Due to this motif the lady can be identified as Portia, the wife of Marcus Junius Brutus who worked under the orders of Julius Caesar. However, this marriage was considered an affront to Caesar, since Brutus abandoned his first wife without explanation to marry Portia. In the year 44 B.C. Brutus participated and died in the conspiracy against Caesar directed by Cassius and where his brother-in-law Cato participated. So Porcia in despair committed suicide by swallowing the embers of the stove, the only element to which she could resort due to the strict surveillance. The protagonist appears as a young woman of refined beauty, represented in a prolonged bust and with a slight twisting of the body that introduces dynamism and avoids the rigidity of a strict frontality. The intense illumination that falls on the figure models the volumes with clarity and reinforces its three-dimensional presence, giving it a subtle spatial liveliness. Ginevra Cantofoli was born in Bologna around 1618, in an artistic environment deeply rooted in the classicist tradition of the Bolognese school. Her training took place in the workshop of Giovanni Andrea Sirani, a close collaborator and continuator of the legacy of Guido Reni, a central figure of 17th century Italian classicism. After Reni's death, Sirani's workshop became one of the main centers for the dissemination of his style, work that would later be continued by his daughter, the famous Elisabetta Sirani. Ginevra Cantofoli, born in Bologna around 1618, was trained in the workshop of Giovanni Andrea Sirani, heir to the classicism of Guido Reni, and was closely linked to Elisabetta Sirani, whose friend and disciple she was. Her work, with clear Renian roots, is characterized by the elegance of the drawing and the delicate treatment of the female figures. Although his preserved production is scarce, he is mainly attributed with female allegories and religious paintings for Bolognese churches, with outstanding works such as the Last Supper of San Procolo. The presence of his paintings in important public collections confirms his relevance within 17th century Bolognese classicism and his role in Italian Baroque painting.
GINEVRA CANTOFOLI (''Previously attributed to Artemisia Gentileschi with expert opinion by John Gash, Prof. Roberta Lapucci and Stefano Causa'') 1618 Bologna - 1672 ibid SELF-PORTRAIT OF THE ARTIST AT THE EASEL WITH BRUSH / THE ALLEGORY OF PAINTING Oil on canvas (relined). 92 x 68 cm (F. 116 x 93 cm). Part. old rest., part. old retouching (extensive restoration report included). Frame. This finely executed portrait shows a young woman in three-quarter profile, elegantly dressed in golden ochre robes with blue bows, adorned with pearls and a cross pendant. In her right hand she holds a brush, in her left a painter's palette - clear attributes of the personification of painting ('Pittura'). The self-confident posture, the direct gaze and the close cropping of the image bring the figure directly to the viewer. For decades, the painting was considered in several expert opinions to be the work of Artemisia Gentileschi herself. In particular, John Gash of the University of Aberdeen in Scotland clearly attributes the painting to Artemisia Gentileschi in an expert opinion dated 12 December 2003 (copy of expert opinion enclosed). The art historian Professor Roberta Lapucci came to the same conclusion in an expert opinion dated 14 December 2018, classifying the painting as ''an original artwork by the artist Artemisia Gentileschi (1593-1654)'' (copy of expert opinion enclosed). In a detailed expert opinion, Stefano Causa emphasises the painterly and iconographic similarity to Artemisia's well-known works, such as the Allegory of Painting in the National Gallery of Ancient Art in the Palazzo Barberini in Rome and the famous Self-Portrait as an Allegory of Painting, which is now in the collection of the English royal family. Causa dates the painting to the late 1630s. In contrast, Riccardo Lattuada, a renowned Gentileschi expert, expresses doubts about Artemisia Gentileschi's authorship. He argues for attribution to Ginevra Cantofoli from Bologna, a painter in the circle of Elisabetta Sirani. Typical of Ginevra Cantofoli is the softer, evenly pearly modelling of the flesh tones, the elegant, slender hand shapes, the decorative use of accessories and a smoother, more controlled painting style - characteristics that correspond more to the Bolognese idiom of the 1660s than to Gentileschi's more powerful, plastic style. The following is known about the provenance of the painting: The current owners acquired the painting through the mediation of the renowned art historian Dr Roberta Lapucci from Florence and Lady Carol Harvey from Prestbury, Malta. Federico Gandolfi was the owner of the painting. Federico's father, grandfather and great-grandfather were respected experts and collectors of Old Master paintings. Their home, a magnificent palazzo in the centre of Florence, houses a collection of paintings that few private or public museums can match. As Federico explained, this huge collection belonged to his great-grandfather, from whom he had inherited part of it. Most of the paintings had never been publicly exhibited or even catalogued, as it was a private collection. Federico said that the painting came from his great-grandfather's collection and had been hanging in the house for generations. It had never been exhibited.... After the painting was acquired, the owner commissioned Dr Roberta Lapucci to conduct research, cleaning and forensic analysis. The aim was to authenticate the painting... Dr Roberta Lapucci carried out this work over a period of 6 to 8 months. The results of her work are documented and available in the report prepared by Dr Roberta Lapucci. At a ceremony in Pisa, this report was presented to the public for the first time and the painting was officially recognised as a genuine self-portrait by Artemisia Gentileschi. Literature: As Artemisia Gentileschi: Expert opinion by Prof. Dr. Roberta Lapucci dated 14 December 2018. Expert opinion by John Gash dated 12 December 2003. Expert opinion by Stefano Causa, dating the painting as Gentileschi, around 1640. Expertise: Discussed and attributed to Artemisia Gentileschi in: Marras, Luciano and Emanuela Grifoni: Clio, La Musa della Storia di Artemisia Gentileschi. La Tecnica e il Costume. June 2013. Provenance: German private collection. Previously: Gandolfi / Frascioni family, Florence. GINEVRA CANTOFOLI ('Voherige Zuschreibung an Artemisia Gentileschi mit Gutachten von John Gash, Prof. Roberta Lapucci und Stefano Causa') 1618 Bologna - 1672 ebenda SELBSTPORTRAIT DER KÜNSTLERIN AN DER STAFFELEI MIT PINSEL / DIE ALLEGORIE DES MALENS Öl auf Leinwand (doubl.). 92 x 68 cm (R. 116 x 93 cm). Part. min. altrest., part. Altretuschen (umfangreicher Restaurationsbericht beigefügt). Rahmen. Dieses fein ausgeführte Bildnis zeigt eine junge Frau im Dreiviertelprofil, elegant gekleidet in goldockerfarbene Gewänder mit blauen Schleifen, geschmückt mit Perlen und Kreuzanhänger. In ihrer Rechten hält sie einen Pinsel, in der Linken eine Malerpalette - eindeutige Attribute der Personifikation der Malerei (''Pittura''). Die selbstbewusste Körperhaltung, der direkte Blick und die enge Bildausschnitthaftigkeit rücken die Figur unmittelbar an den Betrachter heran. Über Jahrzehnte wurde das Gemälde in mehreren Gutachten als eigenhändige Arbeit von Artemisia Gentileschi angesehen. Besonders John Gash von der University of Aberdeen in Schottland ordnet in einem Gutachten vom 12. Dezember 2003 das Gemälde eindeutig Artemisia Gentileschi zu (Gutachten in Kopieform anbei). Zu dem gleichen Ergebnis gelangt in einer Expertise vom 14. Dezember 2018 die Kunsthistorikerin Profesor Roberta Lapucci, die die das Gemälde als 'an original artwork by the artist Artemisia Gentileschi (1593-1654) einstuft (Gutachten in Kopieform anbei). Stefano Causa betont in einem ausführlichen Gutachten die malerische und ikonografische Nähe zu Artemisias bekannten Werken, zum Beispiel der Allegorie der Malerei in der Nationalgalerie für Alte Kunst im Pallazzo Barberini in Rom und dem Berühmten Selbstportrait als Allegorie der Malerei, das sich heute in der Sammlung der englischen Königsfamilie befindet. Causa datiert das Bild in das Ende der 1630er Jahre. Demgegenüber äußert Riccardo Lattuada, ausgewiesener Gentileschi-Experte, Zweifel an der Autorschaft Artemisia Gentileschis. Er plädiert für eine Zuschreibung an Ginevra Cantofoli aus Bologna, eine Malerin des Kreises um Elisabetta Sirani. Typisch für Ginevra Cantofoli ist die weichere, gleichmäßig-perlige Modellierung des Inkarnats, die eleganten, schlanken Handformen, den dekorativen Einsatz von Accessoires sowie eine glattere, kontrolliertere Malweise - Merkmale, die eher dem bolognesischen Idiom der 1660er Jahre entsprechen als dem kraftvolleren, plastischeren Duktus Gentileschis. Zu der Provenienz des Gemäldes ist folgendes bekannt: Die heutigen Eigebntümer erwarben das Gemälde durch Vermittlung der renommierten Kunsthistorikerin Dr. Roberta Lapucci aus Florenz und Lady Carol Harvey aus Prestbury, Malta. Federico Gandolfi war der Besitzer des Gemäldes. Federicos Vater, Großvater und Urgroßvater waren angesehene Experten und Sammler von Gemälden Alter Meister alter. Ihr Zuhause, ein prächtiger Palazzo im Zentrum von Florenz, beherbergt eine Gemäldesammlung, die nur wenige private oder öffentliche Museen ihr gleichstellen können. Wie Federico erklärte, gehörte diese riesige Sammlung seinem Urgroßvater, von dem er einen Teil geerbt hatte. Die meisten Gemälde wurden nie öffentlich ausgestellt oder gar katalogisiert, da es sich um eine Privatsammlung handelt. Federico erzählte, dass das Gemälde aus der Sammlung seines Urgroßvaters stammte und seit Generationen im Haus hing. Es war nie ausgestellt worden .... Nachdem das Gemälde erworben wurde, beauftragte der Eigentümer Dr. Roberta Lapucci mit der Recherche, Reinigung und forensischen Analyse. Ziel war es, das Gemälde zu authentifizieren ..... Dr. Roberta Lapucci führte diese Arbeiten über einen Zeitraum von 6 bis 8 Monaten durch. Das Ergebnis ihrer Arbeit ist dokumentiert und in dem von Dr. Roberta Lapucci erstellten Bericht verfügbar. Bei einer Feier in Pisa wurde dieser Bericht erstmals der Öffentlichkeit vorgestellt und das Gemälde offiziell als echtes Selbstporträt von Artemisia Gentileschi anerkannt. Literatur: Als Artemisia Gentileschi: Gutachten Prof. Dr. Roberta Lapucci vom 14. Dezember 2018. Gutachten von John Gash vom 12. Dezember 2003. Gutachten Stefano Causa, datiert das Bild als Gentileschi, um 1640. Expertise: Besprochen und Artemisia Gentileschi zugeordnet in: Marras, Luciano und Emanuela Grifoni: Clio, La Musa della Storia di Artemisia Gentileschi. La Tecnica e il Costume. Giugno 2013. Provenienz: Deutsche Privatsammlung. Zuvor: Familie Gandolfi / Frascioni, Florenz.
AFTER GINEVRA CANTOFOLI (ITALIAN, 1618-1672), PORTRAIT OF BEATRICE CENCI 19th century, oil on canvas. Portrait of a girl in white cloak and headdress looking over her shoulder, in a gilt frame.
GINEVRA CANTOFOLI, seguace di (Bologna 1618 - 1672) DONNA CON TURBANTE Olio su tela applicata su tavola ovale, cm. 28 x 21. PROVENIENZA Famiglia emiliana CONDITION REPORT Tela incollata su tavola ovale, non si notano interventi di integrazione pittorica degni di nota, il dipinto è in buono stato di conservazione CORNICE Cornice in legno dorato ed intagliato, del XIX secolo.
Miniature painting on enamel plaque. European, late 19th century. After ca. 1600 oil painting by Ginevra Cantofoli, 1618 to 1672, an Italian painter of the Bologna school. The artwork represents a portrait of Beatrice Cenci, 1577 to 1599, a Roman noblewoman who became famous for killiling her father to escape the abuse. The original piece is housed in the Galleria Nazionale d Arte Antica of Palazzo Barberini, Rome. Rectangular format. Unsigned. Golden frame. Collectible Fine Art, Portraiture, Decor.
Certificate Riccardo Lattuada, November 2018. Ginevra Cantofoli was a talented artist from Bologna belonging to the closer circle of Elisabetta Sirani and the wider circle of Guido Reni. It is from him that she adopted the motif of the female half-length figure as a saint or allegory, one of Reni's most popular and influential inventions. This figure of “Temperanza” is also typologically similar to Reni's compositions. The facial features of the figures in many of Ginevra Cantofoli's works have been shown to be similar to her own, as proven by the existence of a self-portrait of the artist. In his monograph on Cantofoli, Massimo Pulini assigns her an oeuvre of around 30 works. The present, previously unpublished canvas fits perfectly within these known examples, as shown by numerous comparable works. Riccardo Lattuada has written an extensive expertise on this painting which is currently being prepared for publication. In the work, the painter follows the description of “Temperanza” found in Cesare Ripa's “Iconologia”. Her attributes are the bridle and palm frond, whereby the latter can be interpreted as the reward of those who manage to control their passions. Cantofoli was a member of the Bolognese Academy of female painters established by Elisabetta Sirani and was one of the most successful and influential female artists of the Italian Baroque. The recent interest in women artists has led to an increased appreciation for the previously neglected oeuvres of painters such as Artemisia Gentileschi, Lavinia Fontana, Fede Galizia and the Anguissola sisters. A work by Ginevra Cantofoli was sold at auction in New York in January of this year for over 130,000 US dollars, a record price for this artist.
