AFTER GUIDO RENI | SAINT MARY MAGDALENE
AFTER GUIDO RENI | SAINT MARY MAGDALENE
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AFTER GUIDO RENI | SAINT MARY MAGDALENE

Estimate: 3,000 - 5,000 GBP

AFTER GUIDO RENI | SAINT MARY MAGDALENE

Estimate: 3,000 - 5,000 GBP

Lot Sold:9,375GBP

Lot Details

Description

AFTER GUIDO RENI

SAINT MARY MAGDALENE


oil on alabaster, with a Roman silver inlaid, jasper, agate, lapis lazuli ebonized frame, 17th century

17.8 x 15.3 cm.; 7 x 6 in.


Condition Report

The paint surface is slightly dirty and the varnish is slightly discoloured. There is a small loss in the stone in the upper right corner (visible in the catalogue illustration). Under ultraviolet small retouchings are revealed throughout both putti, as well as in the Madonna - notably in the right side of her drapery, chest, and cheek. Retouchings are also scattered along the upper margin and lower right corner. The ebonized frame with minor chipping to edges and scratches. Evidence of an old woodworm activity, which no longer appears to be active. Very minor cracks to pietre dure border. There is a hook for hanging. Ready to place.


"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."

Other


Cataloguing

Catalogue Note

A copy, in reverse, after Guido Reni's original 1626-27 canvas formerly in the Barberini collection in Rome, and recorded by Stephen Pepper in his 1988 catalouge raisonné of Guido's œuvre as in the collection of George Englil, Freeport, Bahamas.1 Guido returned to the composition in 1633 and adapted the format to depict the saint full-length in his celebrated canvas painted for Cardinal Antonio Santacroce, now in the Galleria Nazionale d'Arte Antica, Rome.2


1 S. Pepper, Guido Reni, L'Opera Completa, Novara 1988, pp. 335-36, cat. no. 28, reproduced pl. IX.

2 Pepper 1988, p. 278, cat. no. 130, reproduced fig. 121.

STONE: Marble and Hardstones
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