Circle of Albrecht Altdorfer (c. 1480-1538 Regensburg)
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Circle of Albrecht Altdorfer (c. 1480-1538 Regensburg)

Portrait of a cleric, half-length, holding a book

細節
Circle of Albrecht Altdorfer (c. 1480-1538 Regensburg)
Portrait of a cleric, half-length, holding a book
inscribed '1520/I. H' and with a heraldic sign of a beaver (on the reverse)
oil on panel
13¾ x 10¼ in. (34.7 x 26 cm.)
來源
Conte Enrico Luling Buschetti, Treviso.
Dr. Cohn, Florence, 1952.
Private collection, England.
with Otto Wertheimer, Paris, from whom acquired in 1963 by the family of the present owner and thence by descent.
出版
B. Berenson, Italian Pictures of the Renaissance. Venetian School, I, London, 1957, p. 10, as 'Jacopo de' Barbari'.
C.L. Ragghianti, Il Collezionista, Rome 1963, p. 77, fig. 126, as 'attributed to Hieronimus Hopfer'.
A. Stange, 'Das Bildnis im Werke Albrecht Altdorfers', Pantheon, 25, 1967, pp. 91ff., illustrated pp. 93 and 95 (front and reverse), as 'Albrecht Altdorfer'.
F. Winzinger, Albrecht Altdorfer. Die Gemälde, Munich, 1975, no. 42, figs. 42 and A52 (front and reverse) as 'Albrecht Altdorfer'.
A. Dülberg, Privatporträts. Geschichte und Ikonologie einer Gattung im 15. und 16. Jahrhundert, Berlin, 1990, no. 24, figs. 476-7 (front and reverse).
展覽
Basel, Kunstmuseum, Die Malerfamilie Holbein in Basel, June-September 1960.
注意事項
VAT rate of 5% is payable on hammer price plus buyer's premium
拍場告示
Please note the additional provenance:

Conte Enrico Luling Buschetti, Treviso; Christie's, London, 12 July 1963, lot 84, as Hieronimus Hopfer, signed with monogram and dated (sold 7,000 gns.)

拍品專文

First recorded by Berenson (loc. cit.), as a work by Jacopo de' Barbari, the author of this early portrait remains elusive. Stange and Winzinberger both regarded it as a work by Altdorfer who, along with such artists as Hans von Kulmbach and Jan Gossart, was strongly influenced by the work of the Italian artist. However, as noted by Dr. Kurt Löcher, to whom we are very grateful for his assistance in cataloguing this lot, the fact that only one such portrait by Altdorfer is known (the Portrait of a lady in the Museo Thyssen-Bornemisza, Madrid, the attribution of which is in any case uncertain), makes that attribution hard to confirm. Dr. Löcher notes, however, the stylistic influence of Regensburg, and of Altdorfer in particular, remarking that '[das Bild] steht keinem Maler näher als Altdorfer.'

Dr. Ludwig Meyer, to whom we are also very grateful, suggests that the artist may possibly be the Monogrammist TK, the unknown author of the portraits of Georg Thurzo and his wife Anna Fugger also in the Thyssen-Bornemisza collection, both of which are signed with that artist's monogram and dated 1518. Dr. Meyer also notes that the initials on the reverse (which would originally have been the outer face of a diptych) of the present work are likely to represent those of the sitter, rather than the artist, accompanied by his coat-of-arms.