Guido Reni Calvenzano 1575-1642 Bologna 4 The Assumption of the Virgin Mary Oil on copper. 58 x 44.4 cms. (22 ¾ x 17 5 /8 in.) Provenance: Sampieri Collection, Bologna, considered to have commissioned by the abbot and doctor of law, Astorre di Vincenzo Sampieri, shortly after 1595 and recorded in the Sampieri “museo” by Malvasia in 1678 (see below); by descent until 1811 when Marchese Francesco Sampieri sent a shipment of pictures including the present work to Milan, where purchased for the collection of Napoleon’s Vice-Regent, Eugène de Beauharnais, made Duke of Leuchtenberg in 1817 (see old label on verso: Herzoglich Leuchtenberg Majorats Fideicommiss. Matrikel II.3, Inventar Nr. 154); then by descent to Maximilian, 3 rd Duke of Leuchtenberg (Munich 1817-1852 St Petersburg), who married Grand Duchess Maria Nikolaevna of Russia; the painting was transferred to Russia as the Leuchtenberg family moved by degrees to St. Petersburg; recorded as being in the gallery of the Mariinsky Palace, St Petersburg, home to Grand Duchess, Maria Nicolaevna, Duchess of Leuchtenberg (1819-1876) 1 , where Waagen inspected the painting in 1864; by descent to either George, 5 th Duke of Leuchtenberg or his brother Nicolas; exported from Russia in 1917 by a Dr. Nyblom and acquired by the Stockholm dealer A.R. Nordiska; exhibited in Stockholm 1917 and then transferred to a sister company in Buenos Aires (district of Florida 101) and exhibited there in the mid 1920s; collection of Rudolph Poeschel from 1925, and later in Munich; sale, Berlin, Leo Messrs Spik, 12 th -13 th October 1961, lot 438, fig. 227; collection of Martin Schoenemann, Lugano and thereafter private collection, Switzerland for at least 40 years. Literature: Carlo Cesare Malvasia, Felsina Pittrice. Vite de Pittori Bolognesi, Bologna 1678, 2 nd ed. 1841, vol. 2, p. 7; catalogue of the Sampieri Galleria, Bologna, 1795, p. 19; J. D Passavant, The Leuchtenberg Gallery, with engravings by J. N. Muxel, London 1852, fig. 81; Gustav Friedrich Waagen, Die Gemälde Sammlung in der Kaiserlichen Ermitage zu St. Petersburg nebst Bemerkungen über andere dortige Kunstsammlungen, Munich 1864, p. 379; A. B. Nordiska Kompaniet, Leuchtenbergska Tavelsamlingen, Stockholm 1917; K. Andrews, “An Early Guido Reni Drawing”, The Burlington Magazine, vol. 103, 1961, p. 466, fig. 35; Stephen D. Pepper, “Guido Reni’s Early Style. His Activity in Bologna, 1595-1601”, The Burlington Magazine, vol. 111, no. 797, August 1969, pp. 475- 476, fig. 3, p. 473; E. Baccheschi, L’Opera completa di Guido Reni, Milan 1971, no. 8; Stephen D. Pepper, Guido Reni, A Complete <strong>Catalogue</strong> of His Works With An Introductory Text, Oxford 1984, cat.3, fig.3 and under cat.14; Keith Christiansen, “Annibale Carracci’s Burial of Christ rediscovered”, The Burlington Magazine, vol.141, no.1156. (July 1999), p.416. Exhibited: Munich, the Leuchtenberg Palace; St. Petersburg, The Mariinsky Palace (seen in 1864); Stockholm, A.B. Nordiska Kompaniet, Leuchtenbergska Tavel Samlingen, 1917, cat.32. The first description of Reni’s fascinating and important 1. N. Muxel after Guido Reni, The Assumption of the Virgin Mary, engraving. 16
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