Title

Head of Saint Joseph

Reni, Guido [attributed to] [school of] (Calvezzano, Bolonia, 1575 - Bolonia, 1642)

Generic classification

Object

Date

Century

Cultural context / style

Dimensions

Material

Technique

Iconography / Theme

Provenance

Current location

Inventory Number in Current Collection

Inscriptions / Marks

The following inscription appears: +109+

This refers to the inventory number that the painting had in the collection of the Count of Altamira (Pérez Preciado, 2009).

Object history

Diego Felipe de Guzmán, 1st Marquis of Leganés, was an avid art collector. His numerous trips to Italy allowed him to meet artists and see outstanding works firsthand. In 1611, during his stay in Rome, he viewed the collection of Cardinal Borghese, one of the most important collectors of the 17th century. Guido Reni entered the service of the Borghese family in 1608 (Magnuson, 1996) and carried out the decoration of the Chapel of L’Annunciata in the Quirinal Palace and the decoration of the Casino dell’Aurora (Preciado, 2009). It is likely that the marquis became familiar with the Bolognese artist’s work at that time. 

During his tenure as head of the government of Milan (1635–1641), he managed to acquire some of the finest paintings of the era. Abbot Fontana, who served as the artistic agent for Duke Francesco d’Este, details the marquis’s tastes in a letter, in which he alludes to his interest in the work of Guido Reni (Pérez, 2009):“He gave me orders to have two paintings made for him, one by Guarcino and the other by Guido Reni, in my own style. He takes great delight in paintings and says he possesses such rare works by ancient painters and also desires the best and most famous modern ones, which are currently in Italy; I humbly and earnestly request them”(ASMo, Ambasciatori Milano 101, February 20, 1636).

In 1637, Francesco d’Este sent the Marquis of Leganés three paintings by different Bolognese artists. One of them depicted a head of the Savior and had been painted by Guido Reni. However, this was not the only work by the Bolognese master in his collection, as the Duke of Guastalla also gifted himThe Rape of Europa, currently housed in the National Gallery in Ottawa. Additionally, his collection featured a Virgin and Child also attributed to Reni. To these were added two other pieces currently attributed to his school: a Virgin and a Head of Saint Joseph.

Following the death of Diego Felipe de Guzmán, his private collection passed to the 2nd Marquis of Leganés and later to the 3rd Marquis of Leganés. As he had no descendants, the collection was inherited in 1711 by Antonio de Moscoso, Count of Altamira. One of the paintings that became part of the count’s collection was the Head of Saint Joseph, as indicated by the inscription “+109+,” which likely referred to its inventory number within the collection. In 1746, the painting is cited in the inventory (no. 905) of La Granja de San Ildefonso (Segovia) as part of Queen Isabel de Farnesio’s collection:“An original painting on canvas by Guido Rene, a head of Saint Joseph, oval in shape, half a vara and three fingers high, and two feet minus two in width.”

The Head of Saint Joseph is mentioned in 1766 and 1794 at the same palace (Pérez, 2009). However, on August 15, 1812, it was removed from La Granja de San Ildefonso with the arrival of Wellington’s troops. Arthur Wellesley acquired a large collection of paintings from Spain during the War of Independence. According to Gaya Nuño (1964) and Pérez Sánchez (1965), the intendant of Segovia, Ramón Luis de Escobedo, “gifted” the general twelve paintings, among which was the Head of Saint Joseph. The work is described in the list of paintings selected by Wellington:“The Head of Saint Joseph by Huido Reni”(AGP Histórica Cª 129; Aterido, 2004). Today, this painting is housed at what was once the residence of the Dukes of Wellington, Apsey House, in London.

Description

Although the painting was initially thought to be by Guido Reni, it is now believed to have been created by his school (Pérez Preciado, 2009). During the Baroque period, the saints played a central role as intercessors and protectors of Christians, and numerous examples by Guido Reni can be found. The work is reminiscent of Saint Peter and Saint Paul, two paintings by Reni currently housed in the Museo Nacional del Prado (Madrid). Similarly, we find stylistic similarities in the Saint Joseph in the Corsini Gallery in Rome (Pepper, 1984) and in the preparatory drawing at the Museum of Lille (France). In this painting, elements reminiscent of Reni and his school can be observed, such as the rapid brushstrokes. 

Locations

• Second quarter of the XVII^th c. - Mid XVII^th c.

  private collection

  Diego Felipe de Guzmán, 1st Marquis of Leganés, Morata de Tajuña (Spain) *

• ca. 1711 - ca. 1725

  private collection

  Antonio de Moscoso, Count of Altamira, Morata de Tajuña (Spain) *

• ca. 1746 - ca. 1812

  palace

  Royal Palace of La Granja de San Ildefonso, Real Sitio de San Ildefonso (Spain)

• ca. 1812

  private collection

  Arthur Wellesley, 1st Duke of Wellington, London (United Kingdom) *

• First quarter of the XIX^th c. - present

  museum

  Apsley House, London (United Kingdom)