Property from French & Company, New York
STUDIO OF GUIDO RENI
oil on canvas
unframed: 38¼ x 28¾in.; 97 x 73 cm.
framed: 52 x 42 in.; 132 x 107 cm.
Overall this painting appears to be in lovely condition and makes a very strong impression. There is good brushwork throughout. The painting has a relatively recent relining, which is stable. Under UV: the figure appears to be in very lovely state, with only small dots in a few isolated locations. In the background, there are a few more, some of which in the darks to help those areas visually read better. Some other touches are visible in the lower right in the red drapery. Overall in good condition. Offered in a gilt carved North Italian Baroque Style frame.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.
Possibly, with Guidi Gallery, Florence;
Possibly, purchased in Italy c. 1832 by Rev. John Sanford (1777-1855), Connaught Place, London;
Possibly, by whom sold, London, Christie's, 9 March 1839, lot 78 (11.11 to John Lewis Rutley);
Private collection, New York, as of 1984 (see Pepper in Literature);
Anonymous sale, New York, Christie's, 12 January 1996, lot 110 (as Guido Reni; withdrawn).
Possibly, B. Nicolson, "The Sanford Collection," The Burlington Magazine 97, no. 628 (July 1955), p. 213, no. 39, reproduced fig. 41 (as a copy of a lost original);
Possibly, H. Hibbard, Guido Reni's Corsini Magdalen: Its date and Influence, In Memorium, Otto J. Brendel, 1976, p. 229, no. 11 (the Sanford picture);
D.S. Pepper, Guido Reni: a complete catalogue of his works, Oxford 1984, p. 247, no. 89, reproduced pl. 113 (as by Guido Reni, datable to 1622-3); 2nd. ed. 1988, p. 277, no. 134, reproduced pl. 125 (as by Guido Reni, datable to 1632.
"Although his biographer Malvasia makes much of the artist’s discomfiture around women, Guido Reni created heroic and idealized images of his female protagonists which were prized by his contemporaries and influenced generations of later artists. His Atalantas, Cleopatras and Artemisias are as fearless as his Virgins and Saints are divinely serene. This depiction of Lucretia is one of of his great successes of this type, and likely inspired a poem by the Bolognese aristocrat Ulisse Bentivoglio. This version of the composition is one of the best to survive, painted with elegant and fluttering brushstrokes. In a grand Roman frame, it is worthy of a Roman palazzo, which is where it is first recorded."
This beautifully preserved painting is a version of one of Guido Reni’s most popular compositions. The prime was probably painted while Guido was in Rome in 1621, around the same time he painted the portrait of Pope Gregory XV. Lucretia is a figure from Roman history and thus a popular subject among Roman patrons. The back of the original canvas was recorded as bearing the inscription “Lucrece/Guido Reni/P. Altieri’. Such a work is recorded in the Palazzo Altieri in the 17th century. Cardinal Altieri probably received the painting as a gift or otherwise acquired it when he became Pope Clement X in 1670. A version of this composition, perhaps identical to the present work, was in the collection of John Sanford, purchased in Italy between 1830 and 1832 (Nicolson); it was said to come from the Guidi Gallery, and was sold at Christie’s in 1839.