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Collections

Guido Reni
Cardinal Roberto Ubaldini, (1581-1635), Papal Legate to Bologna1627

On view:
Geffen Galleries, floor 3
Full-length oil painting portrait of a seated cardinal in layered rose-pink silk robes and red biretta, holding a paper, with a colonnaded archway and purple drapery behind him

Guido Reni, Cardinal Roberto Ubaldini, (1581-1635), Papal Legate to Bologna, 1627, Los Angeles County Museum of Art, Gift of The Ahmanson Foundation, photo © Museum Associates / LACMA

Artist or Maker
Guido Reni
Italy, Bologna, 1575-1642
Title
Cardinal Roberto Ubaldini, (1581-1635), Papal Legate to Bologna
Place Made
Italy
Date Made
1627
Medium
Oil on canvas
Dimensions
Canvas: 77 1/2 × 58 3/4 in. (196.85 × 149.23 cm) Frame: 92 × 72 × 4 in. (233.68 × 182.88 × 10.16 cm)
Credit Line
Gift of The Ahmanson Foundation
Accession Number
M.83.109
Classification
Paintings
Collecting Area
European Painting and Sculpture
Curatorial Notes

In the early modern period, portraits fulfilled a variety of social and practical functions, transcending mere documentation. A portrait was often commissioned at a significant moment in someone’s life, such as betrothal, marriage, or elevation to an office. The Bolognese cardinal Roberto Ubaldini, grandnephew of Pope Leo XI, likely commissioned Guido Reni to paint his portrait during the year 1625, a “jubilee year,” which occurred every twenty-five years to celebrate a universal pardoning of sins and debts. The commission was an unusual one for Reni. The leading Bolognese-Roman artist mostly executed history or mythological paintings such as Bacchus and Ariadne (M.79.63); biographer Carlo Cesare Malvasia even recounts that Reni once declined an invitation to capture the likeness of Louis XIII, since he did not consider himself “a portraitist.” The few portraits that he did paint included family members, fellow artists, writers, members of the nobility, and important prelates. Here, one can discern the meticulous care and exceptional craftsmanship invested in depicting the cardinal. Reni renders an impressive variety of textures, capturing the lightness of the white rochet, the luxurious red velvet, and the sculptural drapery fringed with gold. Ubaldini holds a letter in his hand, possibly denoting the correspondence the cardinal would undertake as secretary to Pope Paul V. Reni repeated this trope a few years later for his portrait of Cardinal Bernardino Spada, whose letter was directed to the pope himself.

Yet, perhaps the most striking aspect of the portrait is the emotional command that Reni captures in Ubaldini. The cardinal gazes steadily out of the pictorial space, with vigilance and austerity, as if fully aware of his portraiture’s capacity to declare piety, virtue, and prosperity. By the brush of Reni, Cardinal Ubaldini fashions himself as a learned man, fit to be the spiritual and political leader of Bologna on behalf of the Catholic papacy.

2024

Provenance

The sitter’s estate 1636, by inheritance to his brother;(1) Octaviano Ubaldini (1588–1632), to his brother’s wife and heir; Maria Isabella Accoramboni (d. 1672), Rome, by inheritance to her nephew; Marchese Mario Accoramboni,(2) Rome; by inheritance to his son; Ugo Accoramboni Octavian,(3) Rome, in 1694;(4) by inheritance 1719 to his son;(5) Mario Accoramboni, by descent to; Marchese Filippo Accoramboni, Rome, by inheritance to his widow; Marchesa Virginia Ossoli Vedova Accoramboni, Rome, in 1802.(6) Dr. Somerville, England, 1821. George James Welbore Agar-Ellis (1797–1833), 1st Baron Dover, Dover House, London, by inheritance to his widow; Georgiana Howard (d. 1860), Lady Dover, Dover House, London, by inheritance to her son; Henry Agar-Ellis (1825–1866), 3rd Viscount Clifden,(7) Lanhydrock House, Cornwall, England, by inheritance to his son; Henry George Agar-Ellis (1863–1895), 4th Viscount Clifden, Lanhydrock House, Cornwall, England (sale, London, Christie’s, 6 May 1893, lot 29, unsold),(8) (sale, London, Robinson and Fisher, 25 May 1895, lot 731, sold for £430.1 to); [Frank T. Sabin, London].(9) Robert Walton Goelet(10) (1880–1941), Ochre Court, Newport, RI, bequeathed with his Newport estate to; Salve Regina College, Newport, RI (sale, Newport, RI, 5 Dec. 1947, withdrawn). (Sale, New York, Sotheby’s, 21 Jan. 1982, lot 87, as "circle of Guido Reni," sold for $5,000 to);(11) [Bracaglie, Rome]. [Colnaghi, London and New York, sold 1983 to]; LACMA.

Footnotes

(1) According to Jennifer Montagu, "there are two Ubaldini inventories, the second of which is apparently a continuation of the first, made for his residuary legatee, the Propaganda Fide. Both are in the Archivio di Stato, Rome, Notaro della Tribunale dell’Auditor Camerae, Belgius. The first begins on 26 April 1636 and is in vol. 696, fols. 751–806; the second begins on 4 May and is in vol. 697, fols. 103–15v, 156–65r" (letter dated 22 April 1987, Reni object file, Department of European Painting and Sculpture, LACMA). Vol. 696, fol. 757v (Nella stanzino che responde sopra alla strada del Borgo S[anto] Sp[irt]o): "Un altro quadro grande di d[ett]o Card[inal]e a sedere di Guido Reno con cornice di legno rauescate d’oro." Two other unattributed portraits of the cardinal are also mentioned.

(2) Mario was the son of her brother Fabio Accoramboni.

(3) Included in the 1694 list published in De Marchi 1987, p. 64. The introduction to the inventory of Ugo’s estate in 1719 notes that Ugo Accoramboni Octavian, the son of Mario, came into the possession of the collection following the death of the father of the entail established by his greataunt Maria Isabella, wife and heir of Octavian Ubaldini. Ugo was appointed conservator of Rome in the years 1686, 1695, and 1704. On 8 November 1707 he married Frances, daughter of the marquis Giovanni Battista of the Dragon. They gave birth to Ugo, Mario, Andrea, and Fabio. Inventory of assets (A.C., sec. Not. XII, 53, not. F. Floridus, 22 May 1719; entered into the Getty Provenance Index, Archival Inventory Database I-614).

(4) Exhibited in Rome in 1694, lent from his collection: "Rittrato dei ard. Ubaldini, di Guido Reni."

(5) "Inventario de Beni ritrovati nella sua Eredità, doppo la morte dell’Illmo Sig.r Marchese Ugo Ottaviano Accoromboni," fol. 140: "Un ritratto di Card.le Ubaldini a. sedere, originale di Guido Reno [sic], con Cornice ant.a liscia tutta dorata." A second portrait of Ubaldini is recorded as a copy after Reni on fol. 139: "Un altro ritratto del Card. Le Ubaldini, copia di quello di Guido, con Cornice nera antica filettata di oro" (from the Archivio di Stato, Rome [Trenta Notai Capitolini, Ufficio 1, vol. 402, fols. 136–230v], as recorded in the Getty Provenance Index, Archival Inventory Database.

(6) "Un quadro rapresentate il ritratto del Cardinale Ubaldini che si crede di Guido." The inventory, which was one of the inventories of Roman private collections ordered by the pope on 2 October 1802, includes a number of portraits of Duca Ubaldini, as well as an "altro rapresentant un Cardinale" (Rome 1995, pp. 77–78).

(7) Henry Agar-Ellis was the grandson of Henry Agar-Ellis, 2nd Viscount Clifden.

(8) As Pepper 1984, p. 151, noted, the sale catalogue entry incorrectly states: "From the Spada Palace, Rome. Bought in for Mr. Irving, through Mr. Yates, the picture dealer." Pepper identifies Irving as William Buchanan’s associate, who was a wellknown importer of pictures from Italy. No mention of the painting appears in Buchanan 1824.

(9) Frank Sabin’s obituary in the Burlington Magazine 28 (Nov. 1915): 81, notes, "the bulk of his trading was done with America." The firm Frank T. Sabin was established in 1848 when Jos. Sabin (1821– 1881) moved from England to New York City and started trading under the name J. Sabin & Sons in 1867. In 1870 Jos.’s second son, Frank T. Sabin, returned to London, where he established a branch office of J. Sabin & Sons.

(10) Robert Walton Goelet was a wealthy New York landlord and socialite, who inherited a fortune estimated to be $40 million when his mother died in 1915. His mansion, Ochre Court, built in 1892 for $4.5 million by his uncle Ogden Goelet, was the second largest mansion in Newport, Rhode Island, exceeded in size only by the Breakers.

(11) The sale catalogue notes: "This painting is a replica of a work by Guido Reni in the B. Guinness collection, England." The painting was reported to have been very dirty when it was brought up at the sale and doubted by Sotheby’s experts, as well as Stephen Pepper, all of whom later came to recognize it as a major work by Guido Reni himself. See "Reni Reattributed" 1983.

Selected Bibliography
  • The Age of Correggio and the Carracci : Emilian Painting of the Sixteenth and Seventeenth Centuries. Washington: National Gallery of Art, 1986.
  • Conisbee, Philip et al. The Ahmanson Gifts: European Masterpieces in the Collection of the Los Angeles County Museum of Art. Los Angeles: Los Angeles County Museum of Art, 1991.


  • Schaefer, Scott, and Peter Fusco. European Painting and Sculpture in the Los Angeles County Museum of Art: an Illustrated Summary Catalogue. Los Angeles: Los Angeles County Museum of Art, 1987.
  • Price, Lorna. Masterpieces from the Los Angeles County Museum of Art. Los Angeles: Los Angeles County Museum of Art, 1988.
  • Pepper, Stephen. Guido Reni: A Complete Catalogue of His Works with an Introductory Text. New York: New York University Press, 1984.
  • Caroselli, Susan L., ed. Guido Reni: 1575-1642. Los Angeles: Los Angeles County Museum of Art, 1988.
  • Phil Freshman. Los Angeles County Museum of Art Report, July 1, 1981-June 30, 1983. Los Angeles: Los Angeles County Museum of Art, 1984.
  • Bacchi, Andrea, Catherine Hess, and Jennifer Montagu, eds. Bernini and the Birth of Baroque Portrait Sculpture. Los Angeles: J. Paul Getty Trust, 2008.

  • Henning, Andreas, and Scott Schaefer, eds. Captured Emotions: Baroque Painting in Bologna, 1575-1725. Los Angeles: J. Paul Getty Museum, 2008.

  • Nell'Etá di Correggio e dei Carracci: Pittura in Emilia dei Secoli XVI e XVII. Bologna: Pinacoteca Nazionale, 1986.
  • L'Opera Completa di Guido Reni. Milan: Rizzoli Editore, 1971.
  • Pepper, Stephen. Guido Reni: L'Opera Completa. Novara: Istituto Geografico de Agostini, 1988.
  • Lehmbeck, Leah, editor. Gifts of European Art from The Ahmanson Foundation. Vol. 1, Italian Painting and Sculpture. Los Angeles: Los Angeles County Museum of Art, 2019.
  • Eclercy, Bastian, editor. Guido Reni: The Divine. Frankfurt am Main: Städel Museum, 2022.
  • Guercino: L'Era Ludovisi a Roma. Naples: Arte'm, 2024.