Attributed to Guido Reni and Studio

The canvas is relined and a stable. The surface is in generally good condition; there is a very slightly raised vertical line bisecting the right hand section, possibly from a canvas seam or old fold. Inspection under ultraviolet light reveals retouching scattered evenly throughout the flesh tones, particularly in the face, chest and hands though these have been sensitively applied and very little is perceptible with the naked eye. There is some small retouching in the upper left hand corner and further scattered retouching to strengthen the drapery. The painting can be hung as is. Offered in a carved gilt wood frame.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

One of Reni's most favored themes was that of Cleopatra. The image of the Egyptian queen committing suicide by allowing a poisonous asp to bite her was extremely popular throughout Europe during the seventeenth century, and Reni invented no less than six interpretations of the scene.  This particular composition relates most closely to the picture from circa 1631-2 in the Royal Collection, Hampton Court.  Pepper lists seven repetitions, with the Hampton Court picture serving as the widely accepted prime version (see D.S. Pepper, Guido Reni, New York 1984, cat. no. 136). An unpublished work, the quality of the present painting suggests that it may be a product of the highly capable Reni studio, with parts, such as the face, possibly executed by Reni himself. Furthermore, Emilio Negro has suggested (written communication 6 April 2012) that the picture may be a collaboration between Reni and Giovanni Andrea Sirani.