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Bolognese School, Late 17th Or Early 18th Century.

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Bolognese School, Late 17th Or Early 18th Century.
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Bolognese School, Late 17th Or Early 18th Century.-photo-2
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Bolognese School, Late 17th Or Early 18th Century.-photo-3
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Bolognese School, Late 17th Or Early 18th Century.-photo-4
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Bolognese School, Late 17th Or Early 18th Century.-photo-1
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LATE 17TH OR EARY 18 TH CENTURY BOLOGNA SCHOOL

Circle of Elisabetta Sirani (1638–1665)

The Hellespontine Sibyl

Oil on relined canvas
114 cm X 90 cm (including frame)

In a carved and giltwood frame

Previously offered for sale at Christie’s during the 20th century, under lot number 313 HM, as evidenced by the official black stencil mark applied to the reverse, on the horizontal crossbar of the stretcher.

This composition belongs to the Bolognese pictorial tradition of the 17th century, heir to the classicism of Guido Reni and shaped by the influence of Elisabetta Sirani (1638–1665), a leading figure of Bolognese painting. It depicts the Hellespontine Sibyl, an ancient prophetess whose revelations were incorporated into the Christian iconographic tradition. With her face turned upwards towards the heavens, the figure appears caught in a moment of visionary inspiration, holding an open book, the traditional attribute of prophetic knowledge.

The painting is distinguished by its luminous palette, structured around the deep blue of the drapery, which contrasts with the delicate complexion of the face and the more subdued tones of the background. The turban, skilfully arranged in broad, interwoven folds, contributes to the overall balance of the composition while emphasising the softness of the modelling and the figure’s contemplative expression.

The treatment of the face, the elegance of the figure and the pursuit of restrained expressiveness evoke the models disseminated by the Bolognese school during the second half of the 17th century. These stylistic affinities invite comparison with the circle of Elisabetta Sirani, whose art, deeply rooted in the legacy of Guido Reni, exerted a lasting influence on Emilian painting during her time.

The canvas has been relined and remains structurally sound. The painted surface displays a regular network of craquelure, which appears stable. Examination under ultraviolet light (Wood’s lamp) reveals a few small, localised retouches in the background and drapery. The varnish retains its fine transparency, allowing the painted surface and its qualities to remain clearly legible.




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