Colnaghi Foundation Journal 01 - Page 125



124
TI TIA N / Unidentified Donor Presented to the Virgin and Child by Saint Luke
TI TI AN / Unidentified Donor Presented to the Virgin and Child by Saint Luke
N OTES
1.
2.
3.
4.
5.
6.
I am deeply grateful to Lucy Whitaker, Rosanna de
Sanchez, Chris Stevens and Desmond Shawe-Taylor
for access to, and discussion of, the Hampton Court
picture; my thanks also to Per Rumberg for further
discussion and, for assistance of various kinds, to:
Clare Baxter, Hugo Chapman, Martin Clayton,
Mark MacDonnell, Andrew McKenzie, Nicole
Myers, Agata Rutkowska, Cecilia Treves, Pamela
Wood.
Gert Adriani, Anton van Dyck. Italienischen Skizzenbuch
(Vienna: Schroll, 1940, ed. 1965), p.13, plate
12; Michael Jaffé, The Devonshire Collection of North
European Drawings, vol. I (Turin/ London/ Venice:
Umberto Allemandi & C., 2002), p. 80, no. 1008,
12b, noting the omission of St Luke.
All early references to the painting mention the
Dell’Orologio provenance.
It was Jonathan Yarker (cited in Sotheby’s entry)
who discovered that the picture was in Worsley’s
possession by 1797: earlier accounts of its modern
provenance began with Lucien Bonaparte.
William Suida, “Miscellane Tizianesca IV,” Arte
Veneta XIII-XIV (1959-1960): pp. 62-67. The
painting was mentioned only by Joseph Archer
Crowe and Giovanni Battista Cavalcaselle, Life and
Times of Titian, vol. II (London: J. Murray, 1877), p.
466: “’Marriage of St Catherine’, property of G.P.
Grenfell Esq. The style of this picture is akin to that
of the venetian Polidoro Lanzian.” It is absent from
the major compendia of Titian’s work published
in the first half of the twentieth century: the five
editions of Oskar Fischel, Tizian, Klassiker der Kunst
III (Stuttgart and Leipzig: Deutsche verlags-anstalt,
1904-1924); William Suida, Tiziano (Rome: Valori
Plastici, 1933) and Le Titien (Paris: W Weber, 1935);
Hans Tietze, Tizian, 2 vols. (Vienna: Phaidon
Verlag, 1936) and Titian, the Paintings and Drawings
(London: Phaidon Press, 1950). Nor does it appear
in Francesco Valcanover’s Tutta la Pittura di Tiziano,
2 vols. (Milan: Rizzoli, 1960). To the best of my
knowledge, save Van Dyck’s sketch, there exist no
early copies of this picture. However, it was exhibited
at the British Institution in 1829 as no. 129, lent by
Sir. J. Rae Reid, and Suida pointed out that it is
represented in John Scarlett Davis’ painting of that
year, The Interior of the British Institution Gallery, now in
the Yale Center for British Art (Inv. 1981.25.212), as
Peter Humfrey kindly informed me.
Rodolfo Pallucchini, Tiziano (Florence: G.C. Sansoni
Editore, 1969), p. 287, late 1540s; Valcanover, L’opera
completa di Tiziano, p. 111, no. 207, ca. 1540; Harold
Wethey, Titian, a Critical Catalogue, I, The Religious
Paintings (London: Phaidon, 1969), p. 17, no. 62, ca.
1560; Filippo Pedrocco, Titian, The Complete Paintings
(London and New York: Thames and Hudson, 2001),
p. 205, no. 152, 1547-1548; Peter Humfrey, Titian,
The Complete Paintings (London: Phaidon, 2007), p.
242, no. 177, ca. 1549-52; Giorgio Tagliaferro in
Le Botteghe di Tiziano, eds. Giorgio Tagliaferro and
7.
8.
9.
10.
11.
12.
i.
Bernard Aikema (Florence: Alinari, 2009), pp.
97, 100, ca. 1550-1555. However, John Shearman,
The Pictures in the Collection of Her Majesty the Queen,
the Early Italian Pictures (Cambridge: Cambridge
University Press, 1983), p. 175, “it does not seem to
me that this attribution is beyond question.”
My thanks to Sotheby’s for allowing me to reproduce
this previously unknown lay-in. It may be that an
ox’s head next to the Apostle was painted out, but it
is hard to be sure of this.
Oliver Millar, ed., Abraham Van der Doort’s Catalogue of
the Collections of Charles I, The Walpole Society, XXXVII
(Oxford: Walpole Society, 1958-1960), p. 21: (“Item A
Lardge peece of our Ladie and Christ where St Luke
is preferring to Christ a Genua Gentleman Done
by Tichain. Being the first Peece of Tichian whiuch
is one of the Number of the 23 Itallian Collection
pecees which the kinge bought of ffrezley 4 Intire
figures Soe bigge as ye life. In an all over guilded
frame”); p. 181 ([7] “It. in the said third privy lodging
roome the greate peece of or Lady and Christ wth
St Luke presenting a Genua Gentleman to Christ”);
(“item prijmus a larg pis auff tizian bing a madon Wit
krijst and san luck Wit a ganowus gentilman plist atis
tijm inde tird and last priffi lossi No. 3”).
Royal Collection Inv. 13526, grey wash with touches
of red and white, 169 x 219 mm; Adolph Paul
Oppé, English Drawings, Stuart and Georgian Periods,
in the Collection of His Majesty the King at Windsor
Castle (London: Phaidon Press, 1950), p. 80, no.
467, as “After Titian: St Luke Preferring a Genoa
Gentleman to Christ.”
Adriani, Skizzenbuch, p. 28, verso; Jaffé, Devonshire
Collection, I, p. 92, 1037b; neither scholar identified
the source which, it seems, was recognized only
by Charles Sterling, “Notes brèves sur quelques
tableaux vénetiens inconnus à Dallas,” Arte Veneta
VIII (1954): pp. 265-271, p. 268, n. 3.
Oliver Millar, ed., The Inventories and Valuations of the
King’s Goods 1649-1651, The Walpole Society, XXXXIII
(Oxford: Walpole Society, 1970-1972), p. 299, no.
29: “Mary. Christ St Marke & a genious kneeling by
tytsian” ( “Whitehall piece”).
Incorporating those listed by Shearman, I count the
following – some of which are no doubt identical:
Northumberland Collection, formerly: The 8th Duke
and Duchess of Northumberland with the advice
and assistance of Charles Henry Collins Baker,
Catalogue of the Pictures in the Collection of the Duke and
Duchess of Northumberland (London: 1930), no. 720,
“TITIAN SCHOOL, S. LUKE PRESENTING A
DONOR TO THE VIRGIN, Copy of the picture
at Hampton Court, other versions are known, e.g.
Nottingham Museum; Abbot Hall, Grange-overSands. Canvas 52 1/2 x 67 ins” (133 x 170 cm). In
Symon Stone’s Inventory of pictures at Petworth
in 1671 and in the Syon House inventory of 1847
as by Lely after Titian (an intriguing and not
necessarily incorrect attribution). According to Clare
Baxter, who kindly provided all this information,
the painting is no longer in the Northumberland
Collection. Its date of deaccession is unrecorded but
various pictures were sold at Sotheby’s in March
1952 and November 1953 and through Sotheby’s
and Agnew’s in the early 1960s. Wethey mistakenly
classed the Northumberland canvas as after the
dell’Orologio version.
ii. Mr Hope’s Collection (Wethey also classed this as
after the dell’Orologio version, but Charles Henry
Collins Baker, Catalogue of the Pictures at Hampton Court
(London: 1929), p. 147, says it was after that in the
Royal Collection).
iii. Christie’s Sale, London, 3 July 1953, lot 6, 125 x 168
cm, as Titian.
iv. Museum of Fine Arts, Dallas, formerly, 131 x 170
cm (Sterling, “Notes brèves,” pp. 268-269), from
the collection formed in Lima, Peru, by Manuel
Ortiz de Zevallos, Marquis de Torre Tagle, who
made extensive purchases in Europe in the second
half of the nineteenth century. Between 1912 and
1914, some 200 of these were acquired by Clarence
Hoblitzelle, who in 1936, sold 43 Old Masters
to his brother, Karl Hoblitzelle and Karl’s wife
Esther Walker Hobliztelle. The couple put them on
loan to the Dallas Museum of Art from 1936 until
1987 when ownership was officially transferred to
the museum by the Hoblitzelle Foundation. The
painting was deaccessioned and at Christie’s, New
York, 15 October 1992, lot 70, the catalogue entry
noting that it was after the Royal Collection painting
(information kindly provided by Nicole Myers).
v.
Nottingham Castle Museum (NCM 1910-58), as
After Titian, 129.5 x 176.5 cm, gift of Sir Kenneth
Muir Mackenzie, 1910. I am most grateful to Pamela
Wood for help with this painting, reproduced here
as Fig. 7.
vi. Phillips, Son and Neale, London, 27 Ocober, 1987,
lot 20, a reduction, 104 x 122 cm, as Follower
of Titian. The same painting re-appeared at
Christie’s South Kensington, 7 July, 1988 as lot
104 (Information kindly provided by Andrew
McKenzie).
vii. St Paul’s Cathedral (Inv. 7652), canvas, 134.5 x
160.5 cm, gift of John Underwood, 1952.
viii. Dorotheum, Vienna, 10 December, 2015, lot 68,
Tizian Nachfolger, 126 x 173 cm. Reproduced here
as Fig. 8 with thanks to Dorotheum.
ix. The P. De Boer Gallery, Amsterdam, in 1954
(Sterling, “Notes brèves,” p. 268 [citing information
from Rodolfo Pallucchini]).
x.
Galerie Fischer, Lucerne in 1954, attributed to Van
Dyck (Sterling, “Notes brèves,”p. 268).
13. Johann David Passavant, Tour of a German Artist in
England, trans. Lady Eastlake, vol. I (London: 1836),
p. 103, “A Holy Family, half length figures, with
the Donataire, is here ascribed to Schiavone, but it is
much obliterated”; Gustave Waagen, Treasures of
Art in Great Britain, vol. II (London: 1854), p. 433,
14.
15.
16.
17.
“TINTORETTO – The Holy Family, with a Saint.
Of unusual nobility and grandeur of character, and
of masterly execution.”
Shearman, Collection of Her Majesty the Queen, no. 176,
pp.175-176.
Bernard Berenson, Italian Paintings of the Renaissance,
Venetian Schools (London: Phaidon Press, 1957), p.186;
Pallucchini, Tiziano, p. 287.
Sterling, “Notes brèves,” after noting the acquisition
of the painting by Charles I and its widespread
fame, continues: “Pourtant, le personage de St Luc
est bien difficile à placer dans l’oeuvre du maître.
C’est dans les années 1550-1560 qu’il faudrait de
toute façon envisager la création de l’original s’il
était de Titien. Car la type de la Vierge et les plis
en molles courbes parallèles ressemblent à ceux de
la Descente du St Esprit à la Salute, qui date de cette
période. C’est dans ce grand tableau qu’on remarque
également des Apôtres d’un dessin apparenté au
Tintoret, si frappant dans la figure de St Luc.
Pourtant, le personnage de Saint Luc ne me paraît
pas de nature à être concilié avec l’art de Titien.
Le contour continu qu’englobe la silhouette, les plis
d’une articulation sommaire et sculptural, le tête
du Saint au front très haut sur lequel tombent des
boucles pointues, relèvent nettement du répertoire
de forms et de types de Tintoret. Le nimbe est tout
à fait inhabituel pour les saints de Titien; il est chez
Tintoret, pour ainsi dire, de règle. D’autre part on
ne saurait supposer qu’au groupe de la Madone et
du donateur, parfaitement titianesque, un copiste
aurait ajouté un Saint Luc de son cru: l’agencement
de l’ensemble est trop réussi, les lignes majeures
en sont trop bien accordées, la composition a du
naître telle que nous voyons. Il y a donc peu de
chances que l’invention de ce tableau soit de Titien.
Il est plus probable qu’en dépit de sa célébrité,
cette composition ne soit que l’oeuvre d’un artiste
travaillant dans le denier tiers du siècle, d’un disciple
du Titien subissant en meme temps l’influence du
Tintoret.”
Suida, “Miscellane Tizianesca IV,” pp. 65-66;
noting that the Apostle in the Dell’Orologio picture
lacks any attribute: “Proponiamo però di chiamarlo
San Luca perchè una variante della nostra
composizione, che si trova nel Castello di Hampton
Court, lo ritroviamo con l’attributo del toro. Nel
dipinto di Hampton Court invece di Santa Caterina
si vede il ritratto di un Donatore, de cui si ignora il
nome... Questa variante, meno brillante di colore
della nosta tela, ha un pedigree notevole. Il Catalogo
della Raccolta di re Carlo I lo descrive: ‘our Lady
and Christ where St Luke is presenting a Genoa
Gentleman – By Titian’. Appare perciò prababile
che il dipinto di Hampton Court comprato dal Re
da un certo Froesch (Frosley) nel 1637, provvenga da
un palazzo Genovese; e non merita affato ne l’oblio
in cui cadde nell’ottocento ne di essere relegate alla
Titian School, come è avvenuta anche nei Cataloghe
18.
19.
20.
21.
22.
recente. Due copie antiche, una a Syon House
(Duke of Northumberland) e l’altra nella ‘Mr Hope’s
Collection’, attestano l’ammirazione di generazioni
anteriori per questo dipinto. L’esistenza altamente
quotata in passato, da rilievo indirettamente anche
al nosto quadro (i.e. the dell’Orologio picture) che,
considerando le sue caratteristiche di colore, ci pare
la prima versione della composizione”.
My thanks to Dorotheum for help with this.
Shearman, Collection of Her Majesty the Queen, pp.
175-176; Titian had long-standing links with the
family; he is traditionally supposed to have painted
a portrait of Caterina Cornaro, his early portrait
of Gerolamo Cornaro came to light a few years ago
(Paul Joannides, “A Portrait by Titian of Gerolamo
Cornaro,” Artibus et Historiae XXXIV 67 (2013): pp.
239-249) and the triple portrait of Gerolamo Cornaro
with his Son Marco and his Brother Cardinal Marco in
Washington (Inv 1590), of about 1520, must at least
come from his studio. (See Fern Rusk Shapley, The
National Gallery of Art, Washington, Catalogue of the
Italian Paintings (Washington: National Gallery of
Art, 1979), pp. 497-498, as Attributed to Titian and
an Assistant.)
Nicola Ivanoff and Pietro Zampetti, “Jacopo Negretti
detto Palma il Giovane,” in I Pittori Bergameschi; Il
Cinquento II, eds. Gian Alberto Dell’Acqua and Pietro
Zampetti (Bergamo: Poligrafiche Bolis, 1980), pp.
401-741; Stefania Mason Rinaldi, Palma il Giovane,
L’opera completa (Milan: Electa, 1984).
For the former see Ivanoff and Zampetti, “Jacopo
Negretti,” p. 536, no. 56, and Mason Rinaldi, Palma
il Giovane, p. 84, no. 87; for the latter Don Giuseppe
Beorchia, ed., La chiesa di San Pietro Martire (Venice:
Tipografia commerciale, 1980), pp. 58 and 65.
Edward Chaney, Inigo Jones’s ‘Roman Sketchbook.’ A
facsimile with an Introduction and Commentary, vol. I
(London: Roxburghe Club, 2006), p. 43. Cf. Jeffrey
M. Muller and Jim Murrell, eds., Edward Norhgate,
Miniatura or the Art of Limning (New Haven and
London: Yale University Press, 1997), pp. 106 and
206. Jones certainly knew the paintings by Polidoro
da Caravaggio, which were acquired from Frosely at
the same time, because he mentioned them.
125

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