拍品 115
115
EMILIAN SCHOOL, 16TH CENTURY
EMILIAN SCHOOL, 16TH CENTURY
EMILIAN SCHOOL, 16TH CENTURY
EMILIAN SCHOOL, 16TH CENTURY
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Property from the Arizona State University Art Museum Sold to Benefit Acquisitions and Direct Collections Care
EMILIAN SCHOOL, 16TH CENTURY

Portrait of a gentleman, three-quarter-length, in a fur-lined coat and feathered cap, with a dog by his side

细节
EMILIAN SCHOOL, 16TH CENTURY
Portrait of a gentleman, three-quarter-length, in a fur-lined coat and feathered cap, with a dog by his side
oil on panel
46 x 34 ½ in. (116.8 x 87.6 cm.)
来源
Sir John Leslie, 1st Baronet of Glasslough (1822-1916), Castle Leslie, Co. Monaghan, by 1877, and by descent until sold; [Property of Sir John Leslie, Bart.], Christie’s, London, 15 June 1923, lot 88, as 'Pontormo (Jacopo Carrucci.) Portrait of Cardinal Ippolito de' Medici', to Hopkins.
[Property of David James, Esq.]; Sotheby's, London, 21 June 1950, lot 85.
with Satin Bros, London, by 1951.
Lewis J. Ruskin (1903-1981) and his wife, Lenore Ruskin Heavenrich, née Ginsburg (1920-1993), Scottsdale, by whom gifted in 1969 to the Arizona State University Art Museum.
出版
B.B. Fredericksen and F. Zeri, Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections, 1972, pp. 159 and 641, as Follower of Parmigianino.
A. Nesi, 'Michelangelo Membrini, Bernardino Detti, Zacchia il Vecchio, e Benedetto Pagni: Note sulla pittura tra Lucca e Pistoia nel Cinquecento', Arte cristiana, XCVII, no. 855, 2009, note 28, as Bernardino Detti.
展览
London, Royal Academy of Arts, Exhibition of works by the old masters and by deceased masters of the British school, Winter 1877, no. 257, as Jacopo da Pontormo, 'Portrait of Ippolito de' Medici'.

荣誉呈献

Taylor Alessio
Taylor Alessio Junior Specialist, Head of Part II
+1 212 636 2295

拍品专文

While this portrait exhibits clear Emilian stylistic influences deriving from Parmigianino, certain elements, such as the intricate floral arrangement and detailed depiction of the dog, suggest potential French artistic influences, possibly linked to the circle of Niccolò dell’Abate. Alessandro Nesi published the portrait with an attribution to Bernardino Detti, but has subsequently rejected the attribution upon reviewing color photographs (A. Nesi, op. cit.; written communication, 28 March 2024). Alternatively, connections to artists active in Cremona have been proposed.

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