211 - Reliquary painting in an architectural frame.

Reliquary painting in an architectural frame. “The Assumption of the Virgin Mary” Oil on copper Rome, after Guido Reni (1575–1642), first half of the 17th century Height: 52.5 cm - Width: 38.2 cm Frame made of ebony veneer, semi-precious stones, and marbles (Sicilian jasper, breccias, alabaster, lapis lazuli, etc.), silver fillets, gilded bronze feet, Corinthian capitals in chased silver, pediment with flanking figures adorned with gilded bronze angels, a pull tab on the back of the central part of the pediment providing access to the relic, with a phylactery bearing the inscription 35 LVCII ET SOC. MM; resting on its original base. Rome, first half of the 17th century Height: 58 cm - Width: 33 cm (some damage and restorations, minor woodworm damage on the back of the frame) Provenance: Former collection of René Huyghe (1906 Arras–1997 Paris), curator of the Louvre and the Jacquemart-André Museum, art historian, professor at the Collège de France, and member of the Académie française; subsequently passed down through the family. The oil on copper is inspired by *The Assumption* in the Chiesa del Gesù e dei Santi Ambrogio e Andrea in Genoa. That painting is the work of Guido Reni (known as “il Guide”), a Bolognese painter, fresco artist, and engraver of the Baroque period, whose work nevertheless retains a classical style reminiscent of Vouet, Poussin, or Philippe de Champaigne. Active in Rome, Naples, and Bologna, he established himself as the dominant figure of the Bolognese school stemming from the Carracci, painting primarily religious subjects, but also mythological and allegorical ones. Expert: Laurence FLIGNY, Paris Expert: FLIGNY Laurence