Guido Reni (Celvenzano 1575-1642 Bologna)
Guido Reni (Celvenzano 1575-1642 Bologna)

The Madonna adoring the sleeping Child

Details
Guido Reni (Celvenzano 1575-1642 Bologna)
The Madonna adoring the sleeping Child
oil on canvas, unlined, painted as an oval
26 x 34 in. (68 x 88.5 cm.)
Provenance
Probably Robert Fullerton Udny (1722-1802), recorded in his executors' catalogue of 1802, no. 38 as by 'Albano (sic) and P. Brill, figures small but highly finished and truly elegant...the landscape, equally fine', measurements given as 11 inches by 1 foot 3 inches (11 by 15 in.); (+) Christie's, 18 May 1804, lot 46, as 'Albano and P. Brill, The Triumph of love, represented by Cupid repulsing a satyr from two beautiful Nymphs' (18 gns. to [F.C.] De Bligny).
Dr. E. Peart (1756 or 8-1824), on behalf of whom offered for sale by William Buchanan in his Pall Mall gallery, 6 January 1816 et. seq., cat. no. 92 as 'A. Carracci, The Triumph of Divine love, on copper a subject etched by himself' (presumably unsold), as subsequently offered at the European Museum, April 1817, lot 65, as Agostino Carracci (apparently sold, as not reoffered in the catalogue of March 1818).
Captain D.M. Clark, Oldfield Cottage, Ruislip; (+) Christie's, London, 2 May 1930, lot 54, as 'Albani: Nymphs, Satyr and Cupid' (14 gns. to Southey)
Literature
to be published by D.S. Pepper in an article on the artist in the forthcoming issue of Artibus et Historiae, November 1999.
Sale room notice
A copy of the present picture, of a similar format and size, was offered at Christie's, Rome, 7 December 1999, lot 934.

Lot Essay

This picture, of which the attribution to Reni is endorsed by Dr. Stephen Pepper and Sir Denis Mahon, who have both examined the picture, is a variant of the canvas of the subject in the Galleria Doria Pamphilj, Rome (D.S. Pepper, Guido Reni, l'Opera completa, Novara, 1988, no. 105), one of the artist's most popular inventions, to which the number of recorded replicas and copies attests. To what extent Reni employed studio assistants in the production of such replicas remains a matter for debate. Dr. Pepper suggests a date of circa 1632 for this picture and points out that the broad handling and the type of the Madonna are characteristic of Reni's late period. Although similar in general lay-out to the Doria picture, this canvas differs from the prototype in almost every point of detail: the head of the Child is turned to the spectator's right; his arms are altered and the relative position of his legs reversed: the type of the Madonna is altered and her hands are not joined in prayer.

The only other known version of the present picture, painted on copper, is in the Museum der Bildenden Knste in Leipzig. In his forthcoming article (loc. cit.) Doctor Pepper points out that this confirms his hypothesis that the artist often painted two versions of a composition, one on canvas and one on copper.

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