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| Guercino (Giovanni Francesco Barbieri) Hercules Carrying his Club on his Shoulder 1642 oil on canvas (trial version) private collection |
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| Guercino (Giovanni Francesco Barbieri) Hercules Carrying his Club on his Shoulder 1642 drawing (compositional study) Ashmolean Museum, Oxford |
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| Guercino (Giovanni Francesco Barbieri) Hercules Carrying his Club on his Shoulder 1642 drawing (compositional study) Minneapolis Institute of Art |
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| Guercino (Giovanni Francesco Barbieri) Hercules Carrying his Club on his Shoulder 1642 oil on canvas (finished version) Banco Popolare dell'Emilia Romagna, Modena |
"[Miriam] Di Penta assumed that the Hercules [above], commissioned as a pair with the Queen Artemisia [below], was sent to Cardinal Francesco Barberini, but was intended to extol the military prowess of the Cardinal's brother Taddeo (whose engagement in the Castro war in Ferrara was compared in contemporary literature to a 'Hercules armed with an iron club'). Both paintings feature in Barberini inventories of 1692 and 1738."
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| Guercino (Giovanni Francesco Barbieri) Queen Artemisia (lost painting) 1642 drawing (compositional study) private collection |
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| Guercino (Giovanni Francesco Barbieri) Queen Artemisia (lost painting) 1642 offset of lost drawing Royal Library, Windsor |
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| by or after Guercino St Cecilia 1642 oil on canvas Musée du Louvre |
"[Arnauld] Brejon de Lavergnée and [Nathalie] Volle politely dismissed [the St Cecilia] as the work of a secondary member of the Bolognese school, influenced by Guercino, adding that the knotted curtain by the organ is red and that the canvas has been repainted. Two years later [in 1990] it was included as by Guercino in the Louvre's exhibition Le Guerchin en France, curated by Stéphane Loire, identified as probably the painting paid for in 1642 by Charles Lumague 'di Parigi', brother of Barthélemy, who commissioned [Christ appearing to St Teresa in 1634]. Loire's attribution of the painting was supported by [David] Stone, who reproduced the picture in colour in his monograph [1991]."
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| Guercino (Giovanni Francesco Barbieri) Flora 1642 oil on canvas Palazzo Rospigliosi, Rome |
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| Guercino (Giovanni Francesco Barbieri) Flora 1642 drawing (drapery study) Staatsgalerie, Stuttgart |
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| Guercino (Giovanni Francesco Barbieri) Flora 1642 offset drawing (compositional study) private collection |
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| Francesco Bartolozzi after Guercino Flora 1764 etching after Guercino drawing British Museum |
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| Francesco Bartolozzi after Guercino Flora 1764 intaglio print after Guercino drawing British Museum |
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| Guercino (Giovanni Francesco Barbieri) Flora 1642 drawing (compositional study) Royal Library, Windsor |
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| Francesco Bartolozzi after Guercino Flora 1764 etching after Guercino drawing British Museum |
"In 1642, according to Malvasia, Guercino painted 'una Primavera con diversi amori' for 'Sig. Gio. Orio di Rimini', for which he was paid 190 ducats (258 scudi) on 9 July 1642. As Francesco Arcangeli noted, the flowers were clearly painted by Guercino's brother, Paolo Antonio, who had already executed some still lives for the same patron. The painting was listed as by Guercino in the inventory of Duke Giambattista Rospigliosi (1646-1722) of 1713."
– quoted texts from The Paintings of Guercino: a revised and expanded catalogue raisonné by Nicholas Turner (Rome: Ugo Bozzi Editore, 2017)