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UnknownPortrait of a Gentleman
$45,000
£33,740.86
€39,117.54
CA$62,799.88
A$70,141.72
CHF 36,447.77
MX$854,185
NOK 462,968.10
SEK 436,249.39
DKK 291,864.33
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About the Item
Circle of Jacques-Louis David
(French, 18th Century)
Provenance:
Private Collection, Buenos Aires
Exhibited:
“Art of Collecting,” Flint Institute of Art, Flint, Michigan, 23 November 2018 – 6 January 2019.
This vibrant portrait of young man was traditionally considered a work by Jacques-Louis David, whose style it recalls, but to whom it cannot be convincingly attributed. Rather, it would appear to be by a painter in his immediate following—an artist likely working in France in the first decade of the nineteenth century. Several names have been proposed as the portrait’s author: François Gérard, Louis Hersent, Anne-Louis Girodet (Fig. 1), Theodore Gericault, and Jean-Baptiste Wicar, among others. Some have thought the artist Italian, and have proposed Andrea Appiani, Gaspare Landi, and Giuseppe Bossi (Fig. 2). The range of attribution proposals reflects both the quality of the portrait and the international nature of the neo-classical movement.
While the painter of this compelling portrait remains to be determined, the personality of the sitter, who engages directly with the viewer, seems frankly revealed. His fashionable attire—a tightly wound cravat over a white shirt, with a light brown waistcoat, topped by blue-grey coat (compare with the portrait by Girodet)—was very much the standard style of the first decades of the century, but is here animated and seemingly in motion, an appropriate compliment to the sensitive rendering of the sitter’s features, with his tussled hair, piercing eyes, and ruddy cheeks.
- Dimensions:Height: 17.125 in (43.5 cm)Width: 13.75 in (34.93 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: G12052410214

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View AllPortrait of a Man
Located in New York, NY
Provenance:
with Leo Blumenreich and Julius Böhler, Munich, 1924
Dr. Frederic Goldstein Oppenheimer (1881-1963), San Antonio, Texas; by whom given to:
Abraham M. Adler, New York, until 1985; thence by descent to the present owners
While old inscriptions on the verso of this panel propose its author to be Hans Holbein and the sitter Sir John More—a lawyer, judge, and the father of Sir Thomas More—this fine portrait has long been recognized to be by a Flemish hand. Max Friedländer gave the painting to Bernard van Orley (1487/1491 – 1541) in 1924, but did not include it in the volume dedicated to the artist in his Early Netherlandish Paintings...
Category
16th Century Old Masters Portrait Paintings
Materials
Oil, Panel
$52,500
Portrait of a Gentleman
By Ippolito Scarsella (Scarsellino)
Located in New York, NY
Provenance: Suida-Manning Collection, New York
Private Collection
Exhibited: Venetian Paintings of the Sixteenth Century, Finch College Museum of Art, New York, October 30-December 15, 1963, no. 31.
Veronese & His Studio in North American Collections, Birmingham Museum of Art, Oct. 1-Nov. 15, 1972, and Montgomery Museum of Fine Arts, Dec. 5-Dec. 31, 1972
Literature: Robert L. Manning, A Loan Exhibition of Venetian Paintings of the Sixteenth Century, exh. cat. New York 1963, cat. no. 31ill., as by Veronese
Stephen Clayton and Edward Weeks, eds., introduction by David Rosand, Veronese & His Studio in North American Collections, Birmingham 1972, as by Veronese, p. 38 ill.
Terisio Pignatti, Veronese, Venice 1976, I, p. 199, cat. no. A225, II, fig. 908, as attributed to Veronese
Terisio Pignatti and Filippo Pedrocco, Veronese; catalogo completo dei dipinti, Florence 1991, no. 54°, as attributed to Veronese.
Terisio Pignatti and Filippo Pedrocco, Veronese, Milan 1995, II, pp. 517-518ill., cat. no. A 56, under attributed paintings, by Veronese and workshop)
John Garton, Grace and Grandeur; The Portraiture of Paolo Veronese, London-Turnhout 2008, p. 237, fig. 77, cat. no. R16, as workshop of Veronese.
Scarsellino’s art is widely regarded as critical link between the Renaissance and the Baroque styles in Emilian painting; not only was he an important transmitter of the heritage of the Renaissance, but he was also open to innovative ideas, and was one of the earliest to experiment with the trend to naturalism that would become fundamental to art of the new century. Born around 1550, he received his earliest training from his father Sigismondo, an architect and painter; it was probably while working at his father’s side as a youth that he acquired the nickname Scarsellino, or “little Scarsella”. After absorbing the principles of his art in Ferrara and Parma, he went to Venice in 1570, staying for four years and working in the shop of Veronese. In the following decade, his art —especially in terms of its piety and its development of landscape— demonstrates a strong sympathy with that of the Carracci, with whom he worked in 1592-1593 at the Palazzo dei Diamanti in Ferrara. Maria Angela Novelli and later Alessandra Frabetti both propose that Scarsellino traveled to Rome, although such a trip has not been documented; if he did travel to Rome, it probably would have occurred during the years that Scarsellino’s colleagues Agostino and Annibale Carracci were there, that is, beginning in 1595 and until 1609. The last decades of Scarsellino’s career again involve stylistic experimentation, this time in a manner that would bring his work very close to the progressive figurative naturalism of Carlo Bononi and prepare the way for Guercino.
The present portrait of a distinguished gentleman had been long thought to be by Paolo Veronese and was in fact attributed to him by such distinguished connoisseurs as Adolfo Venturi and Wilhelm Suida. The portrait’s style is, however, distinct from Veronese’s, although clearly indebted to it, and the attribution to the young Scarsellino is wholly convincing. The painting would then date from the 1570s – a date confirmed by the costume the subject wears. The puffed hat that appears in the painting had a rather short-lived vogue in the early 1570s. One sees it in Giambattista Moroni’s Portrait of Count...
Category
18th Century and Earlier Baroque Portrait Paintings
Materials
Canvas, Oil
Portrait of a Bewigged Gentleman
By Vittore Ghislandi
Located in New York, NY
Vittore Ghislandi, called Fra Galgario
Provenance:
Robert L. and Bertina Suida Manning, New York, ca. 1966-1996
Private Collection, USA
Exhibited:
“Eighteenth Century European Pai...
Category
18th Century Baroque Paintings
Materials
Copper
Portrait of an Artist (possibly a Self-Portrait)
Located in New York, NY
Provenance:
Bradley Collection.
Private Collection, Upperville, Virginia.
Literature:
Katlijne van der Stighelen and Hans Vlieghe, Rubens: Portraits of Unidentified and Newly Identified Sitters painted in Antwerp, Corpus Rubenianum Ludwig Burchard, vol. 19, pt. 3, London and Turnhout, 2021, under cat. no. 189, p. 161, and fig. 75.
This painting had previously been considered to be by an anonymous Tuscan painter of the sixteenth century in the orbit of Agnolo Bronzino. While the painting does in fact demonstrate a striking formal and compositional similarity to Bronzino’s portraits—compare the nearly identical pose of Bronzino’s Portrait of a Young Man in the Metropolitan Museum of Art (Fig. 1)—its style is completely foreign to Italian works of the period. That it is painted on an oak panel is further indication of its non-Italian origin.
This portrait can in fact be confidently attributed to the Antwerp artist Huybrecht Beuckelaer. Huybrecht, the brother of Joachim Beuckelaer, has only recently been identified as the author of a distinct body of work formerly grouped under the name of the “Monogrammist HB.” In recent studies by Kreidl, Wolters, and Bruyn his remarkable career has been delineated: from its beginnings with Joachim in the workshop of Pieter Aertsen; to his evident travels to Italy where, it has been suggested, he came into contact with Bronzino’s paintings; to his return to Antwerp, where he seems to have assisted Anthonis Mor in painting costume in portraits; to his independent work in Antwerp (where he entered the Guild of Saint Luke in 1579); and, later to his career in England where, known as “Master Hubberd,” he was patronized by the Earl of Leicester. Our painting was recently published by Dr. Katlijne van der Stighelen and Dr. Hans Vlieghe in a volume of the Corpus Rubenianum, in which they write that the painting “has a very Italian air about it and fits convincingly within [Beuckelaer’s] oeuvre.” Stighelen and Vlieghe compare the painting with Peter Paul Ruben’s early Portrait of a Man, Possibly an Architect or Geographer in the Metropolitan Museum of Art, in which the sitter holds a compass and wears a similarly styled doublet (Fig. 2).
Huybrecht both outlived and travelled further afield than his brother Joachim, who made his career primarily in Antwerp. Whereas Joachim was the main artistic inheritor of their uncle and teacher, Pieter Aertson, working in similar style and format as a specialist in large-scale genre and still-life paintings, Huybrecht clearly specialized as a painter of portraits and was greatly influenced by the foreign artists and works he encountered on his travels. His peripatetic life and his distinctly individual hand undoubtedly contributed to the fact his career and artistic output have only recently been rediscovered and reconstructed. His periods abroad seem to have overlapped with the mature phase of his brother Joachim’s career, who enrolled in the Antwerp Guild of Saint Luke much earlier than his brother, establishing himself as an independent painter in 1560. Joachim’s activity was confined to the following decade and half, and his latest work dates from the last year of his life, 1574. Our portrait was likely produced in the late 1560s, a dating supported by the dendrochronological investigation performed by Dr. Peter Klein, which established that it is painted on an oak panel with an earliest felling date of 1558 and with a fabrication date of ca. 1566.
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Category
16th Century Old Masters Paintings
Materials
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Located in New York, NY
Provenance:
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Located in New York, NY
Provenance:
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Mississippi Band of Choctaw Indians, 2004-2010
Lit...
Category
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