"Jesus Christ in a crown of thorns," after Guido Reni
 

Friends asked me a question about how much can cost of their film "Jesus Christ in a crown of thorns" based on "Ecce Homo" by Guido Reni (Ecce Homo. Reni, Guido. 1575 - 1642).
Size: 48.5 x 36 cm, without a signature. Restored ca. 5 years ago. A new frame (oak).
Allegedly made in the mid-19 century. The Family version was probably imported from Italy until 1860

I would be grateful for his help in the assessment.
More would be interested to know the opinion of experts, as this original version of Ecce Homo. Individual author's version or copy of an earlier prototype? In the web version of this image I could not be found.

You do not have this image in mind?
1639

  

All research on the establishment must produce before the restoration.

And where are the frame?

At Renee was not an option "Ecce Homo". He showed that Vivien is in Bologna, Italy (Pinacoteca Nazionale, Bologna), and another version in 1639, from which, perhaps your copy is made - in the Louvre, Paris. But it is also possible that there are more options - and not necessarily only by Guido Reni. In your picture the crown a more accurate and "smoothed" than Renee.

Yes, indeed, there is a third option - see embedded. 2. And it is from his written your copy. About the location of its written everywhere - the Dresden Gallery, but something I could not find the image of the original (if he survived?). Only cards.

Strange. In the iconography of Christ in a crown of thorns "is the most common recension. (And often draw on a network, many):
 http://images.google.ru/images?q=Икона «Christ crown of thorns». & biw = 1260 & bih = 478
Most likely, this image is erroneously described as the work of Renee G. Drezdnenskoy gallery.
  Image of Christ in a crown of thorns appear in Russian iconography in the late 17 th century
In XVIII-XIX centuries in the Orthodox world has spread
 icon - "Jesus Christ in a crown of thorns." image borrowed from the Roman Catholic art.
 Often the work of Italian artist-painter and engraver Guido Reni (1575-1642), one of the best representatives of the Bolognese school. .. Guido Reni said repeatedly in their work face of the Savior, including a characteristic turn of the head. He created the image has been gaining popularity and widespread. As the title of his work by Guido Reni took a famous phrase from the Gospel, the words of Pontius Pilate - "Behold the Man"
 which he said, pointing to Christ and turning to the chief priests ...
 A pattern in the subject, not a copy from Renee,
 but more like the work of other artists, such as the Spanish painter Antonio de Pereda. (1641g.Prado)

Well, my dear redbor, why are so adamantly? Here is a more accurate reproduction of the painting by Guido Reni, but also with a postcard, published in Dresden in the 1930s. The fact that the painting itself is lost during the war, so that a modern reproduction of the original view, alas, can not . However, the most reliable link to the reproduction of this painting, suitable even for scientific publication, this directory H. Posse, KW Jähnig. Die staatliche Gemäldegalerie zu Dresden: vollständiges beschreibendes Verzeichnis der älteren Gemälde, herausgegeben im Auftrage des Ministeriums für Volksbildung. Dresden: W. und B. v.Baensch Stiftung, 1929 - a reproduction is given on page 154 (the number of its 323).
The mention of this painting, though without the reproduction is in pre-war guides to the Dresden Gallery.

In the interval between the latest reports from redbor Amateur and posted his own, but it's first "crooked" is displayed, and then completely evaporated - probably reeling servers offline.
Trying to duplicate.

Thank you all for your help.
Here is what emerges in the end.
Guido Reni reiterated on many occasions and found they varied image of the suffering Christ with a typical turn of the head and heavenward gaze. This way, performing the strong impression on his contemporaries Reni, immediately began copied and used in the works imitators. The popularity of the plot led to its rapid migration across Europe, helped by the numerous prints, starting from a different versions of these paintings. In particular, c 18 th century story, and grafted to the Russian icon-painting tradition (see kartinku1)

Obviously, some of the later copyists (18-19 cc.) Plot were familiar with the different "plagued" Ecce homo, and resorted to the contamination of the individual parts from various paintings and print versions. This could be expressed and that in search of "high expression" copyist and imitators Iiisusa changing facial features, while maintaining other attributes of the original source.
As a result, we have mnozhetvo hybrid lines, to understand the pedigree of which are very difficult.

Competition in the field of printed materials has led in general to the victory of Dresden and the "Roman" options paintings Reni. In some of the prints there is interaction of these main lines.
I attach (picture 2 below) a few typical print versions.

The first engraving of this series is a part was published in 1877 a collection of prints "Gems of the Dresden Gallery" and is probably one of the best (available online) reproductions of popular paintings from the collection of the Dresden Gallery. This picture is presented in Noether only in the form of cards and prints. Original, as noted by Amateur, has not survived. The next image (and its source is not specified) is the same picture in color. Another image - old postcards - also gives a good representation of the original. The next three cards - this is a typical "postcard" products.
The last image - a French anonymous heliogravire - sends us have another version of the "Christ in a crown of thorns" Renee, presented in Rome and in the Escorial (Spain).
Images of these and a number of papers relevant to the topic - in the next release.

Of course I do. Do not argue. Can and Karl Bryullova look.
He is the head of Christ for the "Crucifixion" is in the Dresden museum with pictures of Renee copied.
And what year is the missing paintings dating Renee?
very much similar to the image of Christ with the crown A. de Pereda in 1641 from the Prado Museum. - I wonder who was the first he or G. Reni?
 In any case, represented Art-lover picture in the middle or end of the 19 th century did not like. Not before the middle of the 20 th IMHO.

According to data available in the network (neillyustrirovannogo) catalog, 1884, in the Dresden Gallery was not just one but three pictures of Renee, suitable for the theme - № № 542, 543 and 547 (see attachments). The first two do not pass on the track and accessories, but № 547 ... even written about her "famous". I think about this picture and goes in our speech, and that it was lost in the war. At one time it belonged to Pope Innocent XII, and was handed over to them the Saxon King Augustus II. In another book written, that she had done countless copies, prints and lithographs, which can be purchased at any church bench in Germany. Creation date indicated 1622/1623 years.

But clarity, obviously, will get acquainted with illustrated catalog 1929

Karl Bryullov with this picture up in drezdensom museum do?
which are then used in their works?
Maybe there is a large reproduction of this painting here Bryullova "Crucifixion," which he wrote in lyuter.tserkov, and now in timing?

Thank you, Amateur, with very interesting information. Unfortunately, illustrated catalog of the DW I have not.
Below (pict.5) - reproduction of one of the options are in Dresden Christ Renee - this is not the depth, breadth and themes.

Voiced in the 1 st post "is not found on the net this variant pattern" remains in force: means a special expression of the image of Christ, higher than the Dresden version, slightly different facial expression and a distinctive flavor. If this is an independent interpretation of the author's work, it can not be attributed to the number of failures.

And although the main prototype is found, however, questions remain.
1. Typically, a copyist to follow the exact original. A good copy is always more valuable than a mediocre variation. Suppose our copyist worked in Dresden. Then why he retreated from the "canon"? If the problem came from the curves of the hands, then we would have on one canvas at once, and a bad copy and bad picture. But the picture does not look bad, and the retreat from the original do not affect him and may even be regarded as a contribution to the iconography of the plot.
2. If an artist - an Italian, could it be he has sufficient motivation for the trip to Dresden with that of Renee can be copied to the native penates?
In July 2008, at Christie's auction was sold to a picture of Reni, which has similarities to the missing Dresden - http://www.christies.com/LotFinder/l...jectID=5101816. Maybe in the 19 th century in Italy were known copies, which are closer to the Dresden version, and was the inspiration?
You can not, probably, quite exclude such an option: Italian painter, having the prints or hand copies of the Dresden recension, used as materials for the work on creating its own version of the picture by Guido Reni, located in Italy. On one site I came across the English belief that the iconography of the mass of printed materials, dating back to the Ecce Homo Renee, had an impact and a picture of his contemporary, Guercino (see Burst number 6).

(Redbor, like every other person you are, of course, right now dated the 2 nd half of 20c. And even the beginning of February 2011.)) Such a hypothesis I will not comment: paroxysm of skepticism in the antique business treated only by X-ray, ultraviolet, and chemistry. )) My problem - as far as possible to clarify the situation and help the owners determine the prospects of working with this picture. If I did not know them as decent people only, then there would not be the topic. Let me remind you that the picture was the recent restoration, the aim of which was not old, and refresh the canvas.)

In every application - to spread the scope of the topic - bring some versions of the story "Behold the Man" painted by Renee and some of his followers

#1 & 2: Guido Reni. Ecce Homo (picture and detail) from the Galleria Nazionale d'Arte Antica Rome, Italy.
#3 - Guido Reni. Jesus in a crown of thorns. El Escorial, Spain. (Real Monastero de San Lorenzo, El Escorial).
#4 - Guido Reni. Jesus in a crown of thorns. (Painting, sold at Christie's auction in 2008).
#5 - Guido Reni. Jesus in a crown of thorns. Ca. 1636-1637. Dresden, Gemaldegalerie Alte Meister, Staatliche Kunstsammlungen.
#6 - Guido Reni. Ecce Homo, ca. 1639. The Fitzwilliam Museum, UK.
#7 - Guercino. Ecce homo. Munich, Alte Pinakothek.
#8 - Jesus, crowned with thorns. By Guido Reni. London's National Gallery.

Here is also 2 links to the results of sales of paintings from imitations Reni.
http://www.christies.com/lotfinder/l...jectID=5279221
http://www.christies.com/LotFinder/l...jectID=5294428

And yet the question remains. Should I advise the owners of the picture is spent on examination of the picture? Suppose the conclusion will determine the mid-19 th century. Significantly if the price of this canvas will exceed the cost of expert opinion? On what criteria, precedents, analogies can rely on in the evaluation?

Yes, of course.

But, looking at the fresh paint and new painting in the photo, it is unlikely anyone will think of the 19 th century ...

While I certainly believe you said that the painting was brought from Italy in 1860