FLORENTINE SCHOOL, CIRCA 1540
FLORENTINE SCHOOL, CIRCA 1540
FLORENTINE SCHOOL, CIRCA 1540
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A Lifelong Pursuit: Important Italian Paintings from a Distinguished Private Collection
FLORENTINE SCHOOL, CIRCA 1540

Portrait of a man, half-length, in a black cap and doublet, holding a sheet of music

Details
FLORENTINE SCHOOL, CIRCA 1540
Portrait of a man, half-length, in a black cap and doublet, holding a sheet of music
dated '1540' (lower left, on the sheet music)
oil on panel
23 x 19 5⁄8 in. (58.4 x 49.7 cm.), with later additions of approx ¼ in. (0.5 cm.) to the vertical edges
inscribed 'S Altra fiama gh... / Se mado...' (lower left, on the sheet music)
Provenance
Röhrer collection, Munich, by 1910.
with Julius Böhler, Munich.
[Sold by Order of the Trustees]; Christie's, London, 7 July 1989, lot 89, as Jacopino del Conte.
Anonymous sale; Christie's, London, 7 July 2000, lot 72, as Attributed to Jacone.
with Galerie Canesso, Paris, by 2005, by the present owner.
Literature
W. Schmidt, 'Gemälde aus der Sammlung Röhrer', Montatshefte für Kunstwissenschaft, III, no. 4, 1910, pp. 141, plate 29, fig. 2, as Pontormo.
H. Voss, 'Italienische gemälde des 16. and 17. Jahrunderts in der Galerie des Kunsthistorischen Hofmuseums zu Wien', Zeitschrift für Bildende Kunst, new issue 23, 1912, pp. 42-44, fig. 4, as Francesco Salviati.
H. Voss, Die Malerei der Spätrenaissance in Rom und Florenz, I, 1920, p. 244, as Francesco Salviati.
H.C. Slim, 'Giovanni Girolamo Savoldo's "Portrait of a Man with a Recorder"', Early Music, XIII, no. 3, August 1985, pp. 403-4 and 406, notes 41-43, fig. 5, as Francesco Salviati.

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Taylor Alessio
Taylor Alessio Junior Specialist, Head of Part II

Lot Essay

A young man is shown in bust-length, clasping a sheet of music in his right hand. Professor Colin Slim has identified the musical score as the opening nine breves of the cantus part to 'S'altra fiamma giamai m'arse, madonna, il core', a madrigal composed by the Florentine Giovanni Animuccia (c. 1500-1571), which was not published until 1551 in Animuccia's Il secondo libro dei madigali a cinque voci, suggesting either that the piece was known in Florentine musical circles some years before its publication, or that it was received by the artist from the composer himself. As Slim observeds, 'by revealing the madrigal's amorous text and depicting folds in the sheet of music, the artist suggests that the young man has just received from a lady friend or is about to send to her this musical message' (loc. cit.).

Varied attributions to Pontormo, Francesco Salviati, Jacopino del Conte, and Jacone have previously been suggested. We are grateful to Carlo Falciani for generously sharing his observations on the attribution (written communication, 8 November 2025).

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