Lot 3023 - A164 Old Master Paintings - Friday, 22. March 2013, 03.00 PM


(Calvenzano 1575–1642 Bologna)
The Assumption of Mary. Circa 1596-97.
Oil on copper.
58 × 44.4 cm.

- Sampieri Galleria collection, Bologna, before 1795 until 1812.
- Collection of the Viceroy under Napoleon, Eugène de Beauharnais, Milan, 1812.
- Collection of the Duke of Leuchtenberg, Munich, 1852 (label verso "Herzoglich Leuchtenberg Majorats Fideicommiss. Matrikel II.3, Inventar No.154", ill. 1).
- Collection of the Hermitage, St. Petersburg 1864.
- Collection of Rudolph Poeschel, Buenos Aires, from 1925.
- Auction of Leo Messrs Spik, Berlin, 12.-13.10.1961, Cat No. 438, ill. Lot No. 227. - Collection of Martin Schoenemann, Lugano.
- Swiss private collection, for approx 40 years.

- Carlo Cesare Malvasia: Felsina Pittrice. Vite de Pittori Bolognesi, Bologna, [1678], 2. Aufl. 1841, vol II, p. 7.
- Catalogue of the Sampieri Galleria collection, Bologna, 1795, p. 19.
- Catalogue of the Leuchtenberg Gallery, engravings by J. N. Muxel, commentary by J. D. Passavant, London 1852, ill. 81.
- Gustav Friedrich Waagen: Die Gemälde-Sammlung der Ermitage zu St. Petersburg, Munich 1864, p. 379.
- Keith Andrews: An Early Guido Reni Drawing, in: The Burlington Magazine, Vol. 103, 1961, p. 466, ill. 35.
- Stephen D. Pepper: Guido Reni's Early Style. His Activity in Bologna, 1595-1601, in: The Burlington Magazine, Vol. 111, No.797, August 1969, p. 475-476, fig 3, p. 473.
- Edi Baccheschi: L'opera completa di Guido Reni, Milano 1971, No. 8.
- Stephen D. Pepper: Guido Reni, A Complete Catalogue of His Works With An Introductory Text, Oxford 1984, Cat. No. 3, fig. 3.

This Assumption of Mary with its vibrant colours and numerous figures is a distinctive and powerful example of Bolognese artist Guido Reni's early work, which emerged recently in a Swiss private collection where it had remained undiscovered for over forty years. Besides the artistic execution, the historically significant and impressive provenance is especially noteworthy. Around 1795 to 1812 the painting was in the Sampieri Collection in Bologna. When in 1812 it was purchased in Milan by Eugène de Beauharnais (1781-1824), the son of Alexandre, Vicomte de Beauharnais (1760-1794) and Joséphine de Beauharnais (1763-1814), it entered the highest aristocratic circle of the period: the family of Napoleon Bonaparte. The label on the back of the copper plate (see fig. 1) and an engraving in a catalogue of the collection published in 1852 confirm this aristocratic provenance (see fig. 2). In fact, it was due to Eugène's mother, Joséphine de Beauharnais, who regained her footing in society after the revolutionary turmoil and death of her husband at the guillotine, and married General Napoleon Bonaparte

CHF 80 000 / 120 000

€ 70 180 / 105 260

Sold for CHF 1 227 500 (including buyer’s premium)
All information is subject to change.