Attributed to Giovanni Andrea Sirani

R. Spear, The "Divine" Guido, Religion, Sex, Money and Art in the World of Guido Reni, New Haven and London, 1997. p. 91, reproduced fig. 43 (as by a follower of Guido Reni).

The canvas has an old relining and is offered unstretched and unframed. The paint is covered by a dirty varnish and there are small damages scattered along the left margin, clustered in a larger area in the lower corner as seen in the catalogue illustration. In addition, there are three small damages in Lucretia's right arm. The areas of thick impasto remain preserved.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The composition follows that of Guido Reni's Lucretia, painted circa 1637-8 and identified by Pepper as that today in the Viti Collection in Rome.¹ Other versions are recorded in the Galleria Borghese and the Galleria Nazionale d'Arte Antica (Palazzo Corsini), Rome, and formerly in the Spencer-Churchill Collection, Northwick Park.

1. See S. Pepper, Guido Reni, L’Opera Completa, Novara 1988, page 341, cat. no. 52, fig. 38 (under new attributions).