Andrea del Michieli, called Andrea Vicentino
(Vicenza circa 1542 – circa 1619 Venice)
Portrait of a noblewoman, full-length, traditionally identified as Eleonora Gonzaga; and
Portrait of a nobleman, full-length, traditionally identified as Guglielmo Gonzaga,
oil on canvas, each 202 x 123 cm, framed, a pair (2)
Provenance:
Collection of Sir William Worsley (1828–1897), Hovingham Hall, North Yorkshire (as Tintoretto);
sale, Sotheby’s, London, 24 July 1968, lot 148 (as Tintoretto);
Private European collection
Exhibited:
York, Fine Art and Industrial Exhibition, 24 July – 31 October 1866, no. 443 (as Tintoretto)
Literature:
s. a., The History of the Yorkshire Fine Art & Industrial Exhibition, exhibition catalogue, York 1866, p. 216, cat. no. 443 (the first one as ‘Portrait of Eleanora, Duchess of Mantua […] is the most striking portrait in our gallery […]. We suggest […] that it is the work of Marietta Robusti’);
R. Pallucchini, La pittura veneziana del Seicento, Milan 1993, vol. I, p. 40, vol. II, p. 464, fig. 69 (as Andrea Vicentino);
E. Brotto, Proposte per Cesare da Congeliano, in: Aldèbran, vol. 6, 2021, pp. 55–57, illustrated p. 56, figs. 8 and 9 (as Cesare da Congeliano ?)
Both paintings are registered in the Fototeca Zeri under nos. 31326 and 31327 (as Francesco Montemezzano).
We are grateful to Mauro Lucco for endorsing the attribution of the present paintings after examination of both works in the original.
The present portraits are typical of Andrea Vicentino’s artistic production in the late 16th century, when his style showed the influence of Tintoretto’s expressionist brushwork and Veronese’s heavy, static quality of form. The sitters are depicted full-length in front of a continuous background setting, with a table covered with a red cloth, an ochre coloured carpet, heavy curtains, and a stone ledge in the foreground. It is very likely that these representative portraits were painted on the occasion of the marriage of the sitters.
The female sitter is wearing an elegant whitish silk dress with the depiction of Cupid embroidered to the bodice and a refined lace collar, corresponding to the Venetian fashion of the time. Her reddish-blonde hair is styled upwards, forming two peaks above her forehead. Her left hand is resting on a small book, probably a prayer book, underlining the sitter’s piety. The male sitter is elegantly dressed in black, evidencing his social status by pointing to the prestigious armour in the foreground. A dog appears to his left as a symbol of fidelity.
After an early training in his native Vicenza, Andrea Vicentino moved to Venice in the mid-1570s, where he enrolled in the painters’ guild in 1583. He worked with Tintoretto in the Palazzo Ducale, significantly contributing to the ceiling decorations. In the Sala dello Scrutinio he painted a replacement for Tintoretto’s 1577 destroyed Battle of Lepanto, which was praised for its successful chiaroscuro and multi-figural composition. His success was further sealed with important state commissions, such as the Arrival of Henri III in Venice in the Sala delle Quattro Porte, Palazzo Ducale, Venice. Vicentino’s style is very much influenced by the dominant stylistic idioms in Venice in the second half of the 16th century, formed by Paolo Veronese, Jacopo Tintoretto, Jacopo Bassano and Palma il Giovane.
Expert: Mark MacDonnell
Mark MacDonnell
+43 1 515 60 403
old.masters@dorotheum.at
22.10.2024 - 18:00
- Dosažená cena: **
-
EUR 46.200,-
- Odhadní cena:
-
EUR 60.000,- do EUR 80.000,-
Andrea del Michieli, called Andrea Vicentino
(Vicenza circa 1542 – circa 1619 Venice)
Portrait of a noblewoman, full-length, traditionally identified as Eleonora Gonzaga; and
Portrait of a nobleman, full-length, traditionally identified as Guglielmo Gonzaga,
oil on canvas, each 202 x 123 cm, framed, a pair (2)
Provenance:
Collection of Sir William Worsley (1828–1897), Hovingham Hall, North Yorkshire (as Tintoretto);
sale, Sotheby’s, London, 24 July 1968, lot 148 (as Tintoretto);
Private European collection
Exhibited:
York, Fine Art and Industrial Exhibition, 24 July – 31 October 1866, no. 443 (as Tintoretto)
Literature:
s. a., The History of the Yorkshire Fine Art & Industrial Exhibition, exhibition catalogue, York 1866, p. 216, cat. no. 443 (the first one as ‘Portrait of Eleanora, Duchess of Mantua […] is the most striking portrait in our gallery […]. We suggest […] that it is the work of Marietta Robusti’);
R. Pallucchini, La pittura veneziana del Seicento, Milan 1993, vol. I, p. 40, vol. II, p. 464, fig. 69 (as Andrea Vicentino);
E. Brotto, Proposte per Cesare da Congeliano, in: Aldèbran, vol. 6, 2021, pp. 55–57, illustrated p. 56, figs. 8 and 9 (as Cesare da Congeliano ?)
Both paintings are registered in the Fototeca Zeri under nos. 31326 and 31327 (as Francesco Montemezzano).
We are grateful to Mauro Lucco for endorsing the attribution of the present paintings after examination of both works in the original.
The present portraits are typical of Andrea Vicentino’s artistic production in the late 16th century, when his style showed the influence of Tintoretto’s expressionist brushwork and Veronese’s heavy, static quality of form. The sitters are depicted full-length in front of a continuous background setting, with a table covered with a red cloth, an ochre coloured carpet, heavy curtains, and a stone ledge in the foreground. It is very likely that these representative portraits were painted on the occasion of the marriage of the sitters.
The female sitter is wearing an elegant whitish silk dress with the depiction of Cupid embroidered to the bodice and a refined lace collar, corresponding to the Venetian fashion of the time. Her reddish-blonde hair is styled upwards, forming two peaks above her forehead. Her left hand is resting on a small book, probably a prayer book, underlining the sitter’s piety. The male sitter is elegantly dressed in black, evidencing his social status by pointing to the prestigious armour in the foreground. A dog appears to his left as a symbol of fidelity.
After an early training in his native Vicenza, Andrea Vicentino moved to Venice in the mid-1570s, where he enrolled in the painters’ guild in 1583. He worked with Tintoretto in the Palazzo Ducale, significantly contributing to the ceiling decorations. In the Sala dello Scrutinio he painted a replacement for Tintoretto’s 1577 destroyed Battle of Lepanto, which was praised for its successful chiaroscuro and multi-figural composition. His success was further sealed with important state commissions, such as the Arrival of Henri III in Venice in the Sala delle Quattro Porte, Palazzo Ducale, Venice. Vicentino’s style is very much influenced by the dominant stylistic idioms in Venice in the second half of the 16th century, formed by Paolo Veronese, Jacopo Tintoretto, Jacopo Bassano and Palma il Giovane.
Expert: Mark MacDonnell
Mark MacDonnell
+43 1 515 60 403
old.masters@dorotheum.at
Horká linka kupujících
Po-Pá: 10.00 - 17.00
old.masters@dorotheum.at +43 1 515 60 403 |
Aukce: | Obrazy starých mistrů |
Typ aukce: | Sálová aukce s Live bidding |
Datum: | 22.10.2024 - 18:00 |
Místo konání aukce: | Wien | Palais Dorotheum |
Prohlídka: | 12.10. - 22.10.2024 |
** Kupní cena vč. poplatku kupujícího a DPH
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