Portrait of a young man, half-length, in a black saione and white shirt, and a black hat with a white bow, his right hand resting on a ball, on a stone ledge

细节

Lombard School, early-16th century
Portrait of a young man, half-length, in a black saione and white shirt, and a black hat with a white bow, his right hand resting on a ball, on a stone ledge
oil on panel
29 3/8 x 22 3/8 in. (74.6 x 56.8 cm.)
in a 16th-century North Italian frame

来源

Guidi, Faenza; their sale, Galleria G. Sangiorgi, Rome, 21-27 April 1902, lot 319, illustrated, as 'Bartolomeo Veneto'.
Baron von Back of Szegedin, Hungary.
A.L. Erlanger, New York, by 1936.
with Wildenstein, New York, 1943.
with Acquavella Galleries, New York, 1964.
with E.A. Silbermann, New York.
Anonymous sale; Sotheby's, New York, 19 January 1984, lot 53, as 'Attributed to Bartolomeo Veneto'.

出版

S. Reinach, Repertoire de Peintures, Paris, 1905, I, p. 556, no. 2, as 'Attributed to Bartolomeo Veneto'.
A. Locatelli Milesi, 'Due ritratti di Bartolomeo Veneto all'Accademia Carrara', Atti dell'Ateneo di Scienze, Lettere ed Arti in Bergamo, XXVI, 1921, pp. 3 and 6, illustrated, as 'Bartolomeo Veneto'.
H. Tietze, 'La mostra di Giorgione e la sua cerchia a Baltimora, Arte Veneta, I, 1947, p. 141, no. 41, as 'Bartolomeo Veneto'.
F. Heinemann, Giovanni Bellini e i belliniani, Venice, 1962, I, p. 88, no. S.7, as 'Bartolomeo Veneto, circa 1505'.
B. Berenson, Pitture italiane del Rinascimento. La scuola veneta, Florence, 1958, I, p. 11, as 'Bartolomeo Veneto'.
C. Gilbert, 'Bartolomeo Veneto and his Portrait of a Lady', Bulletin of the National Gallery of Canada, 22, 1973, p. 14, note 12, as 'Bartolomeo Veneto'.
L. Pagnotta, Bartolomeo Veneto. L'opera completa, Florence, 1997, pp. 313-4, no. A.53, as not by Bartolomeo Veneto.

展览

Budapest, Szépmüvészeti Múzeum, early 20th century (Frick Library archive).
Baltimore, The John Hopkins University, Giorgione and His Circle, 1942, no. 41, as 'Bartolomeo Veneto'.

荣誉呈献

Alexis Ashot

aashot@christies.com +44 (0)20 7389 2248

拍品专文

An attribution to Bartolomeo Veneto was first proposed by Adolfo Venturi in the catalogue of the Guidi collection sale in 1902. This attribution was not questioned until the New York sale in 1984, when the picture was offered as 'Attributed to Bartolomeo Veneto'. In her catalogue on the artist (op. cit.), Laura Pagnotta finally excludes the attribution to Bartolomeo Veneto, noting that the overall handling points more towards a Lombard artist, clearly influenced by Giorgione and Venetian art in general, with a certain knowledge of Northern art as well. She tentatively proposes an attribution to Cesare Cesariano (1475-1543), better known as an architect and the traslator of Vitruvius into Italian, comparing it with the altarpiece of The Madonna and Child with Saints Euphemia, Agnes, Sostene and Victor in the church of Saint Euphemia in Piacenza. This attribution to Cesariano has not been accepted by the most recent scholarship.

We are grateful to Jane Bridgeman for dating this portrait to circa 1515-1518 on the basis of the costume, noting that the hat worn by the sitter, ornamented with a white ribbon threaded through it and tied in place with a large bow, was especially popular with soldiers. It occurs in Lorenzo Lotto's predella panel of The Stoning of Saint Stephen of 1516 (Bergamo, Accademia Carrara). The saione (ample overgarment) is found in the Miracle of the Miser's Heart of 1511, attributed to Francesco Vecellio (Padua, Scuola del Santo), Raphael's Mass at Bolsena of 1512 at the Vatican and Romanino's Portrait of a man of c. 1515-1517 (The Royal Collection).