Jacopo Robusti Tintoretto

Jacopo Robusti, called Jacopo Tintoretto (Venice 1519-1594) Portrait of Nicolò Doria inscribed and dated 'NICOLAI DORIA IACOBI · ANN·XX MDXXXXV·' (center right, on the pier) oil on canvas 76 x 45¼ in. (193 x 114.9 cm.) (Probably) Giovanni Carlo Doria (1576-1625), the sitter's nephew, Palazzo Doria di Vico di Gelsomino, Genoa, from whom inherited by his brother, Marc'Antonio Doria (1572-1651), Principe d'Angri (as of 1636), Genoa, from whom inherited by his son, Giovanni Francesco Doria (1601-1653). Giuseppe Finetti, Milan, by circa 1830. Algernon Eustace Hugh Heber-Percy (b. 1944), Hodnet Hall, Hodnet, Market Drayton, Shropshire; Christie's, London, 24 November 1967, lot 62 (16,000 gns. to J. Lewis). P. Rossi, Jacopo Tintoretto, I ritratti, Venice, 1974, I, pp. 21, 25, 110, fig. 3. F.R. Shapley, Catalogue of the Italian Paintings, Washington, D.C., National Gallery of Art, 1979, I, pp. 462-463, under no. 209 and 464, note 8. R. Palucchini and P. Rossi, Tintoretto, le opera sacre e profane, Milan, 1982, I, pp. 37, 125, 236, under no. R6. V. Pacelli, 'Il testamento di Marcantonio Doria: un avvio per la migliore conoscenza dei rapporti artistici fra Napoli e Genova', in Ricerche sul '600 napoletano, Milan, 1985, p. 84. P. Boccardo, 'Ritratti di genovesi di Rubens e di Van Dyck: Conteso ed identificazioni', Studies in the History of Art, XLVI, 1994, pp. 81-82, fig. 4. Venice, Gallerie dell'Accademia, Jacopo Tintoretto: ritratti, 1994, p. 167 (chronology by P. Rossi). P. Boccardo, 'Ritratti di Marc'Antonio Doria e di suoi famigliari', in F. Abbate and F. Sricchia Santoro, eds., Napoli, l'Europa: ricerche di storia dell'arte in onore di Ferdinando Bologna, Catanzaro, 1995, pp. 194 and 195, note 10. F. Polleross, 'Della Bellezza & della Misura & della Convenevolezza: Bemerkungen zur venezianischen Porträtmalerei anlässlich der Tintoretto- Ausstellung in Venedig und Wien', Pantheon, LIII, 1995, p. 35. W.R. Rearick, 'Reflections on Tintoretto as a Portraitist', Artibus et Historiae, XXXI, 1995, pp. 55, 66, note 8, fig. 3. P. Boccardo, 'Ritratti di collezionisti e committenti', in S. Barnes et al., eds., Van Dyck a Genova: grande pittura e collezionismo, exhibition catalogue, Milan, 1997, pp. 34-35, 42, fig. 7. T. Nicholas, Tintoretto: Tradition and Identity, London, 1999, p. 6. P. Boccardo, 'Il collezionismo delle classe dirigente Genovese nel Seicento,' in O. Bonfait et al., eds., Geografia del collezionismo: Italia e Francia tra il XVI e il XVIII secolo. Atti delle giornate di studio dedicate a Giuliano Briganti (Roma, 19-21 settembre 1996), Rome, 2001, p. 131 and note 5, pl. I (with incorrect caption as Domenico Tintoretto). V. Farina, Giovan Carlo Doria, promotore delle arti a Genova nel primo Seicento, Florence, 2002, pp. 125-126. V. Farina, 'Gio. Carlo Doria (1576-1625)', in P. Boccardo, ed., L'Età di Rubens: dimore, committenti e collezionisti genovesi, exhibition catalogue, Milan, 2004, pp. 190, 194, item 525. M. Falomir, 'Tintoretto's Portraiture', in M. Falomir, ed., Tintoretto, exhibition catalogue, Madrid, 2007, pp. 96, 100, and 113, note 33, p. 220, under no. 8 (entry by M. Falomir), and pp. 278, 280, under no. 28 (entry by M. Falomir), fig. 148. Genoa, Palazzo Ducale, El Siglo de los Genoveses e una lunga storia di arte e splendori nel Palazzo dei Dogi, 4 December 1999-28 May 2000, no. XI.8 and p. 326, under no. XI.9 (entries by P. Boccardo). Genoa, Palazzo Ducale, L'Età di Rubens: Dimore, committenti e collezionisti genovesi, 20 March-11 July 2004, no. 25 (entry by P. Boccardo) and p. 200, under no. 26 (entry by M. Priarone), illustrated, p.199. Painted in 1545, this striking portrait of the young Genoese aristocrat, Nicolò Doria, is among Jacopo Tintoretto's earliest known essays in the genre and a rare example of his use of the full-length format. Born circa 1525, Nicolò belonged to the ancient, noble Doria family, the most powerful in 16th-century Genoa. A direct descendant of the celebrated naval commander, Lamba Doria (1245-1323), Nicolò was the first-born son of Giacomo (or Jacopo) Doria and Bettina De' Mari. As was the case with his brothers and sisters, Nicolò made an advantageous marriage, taking as his bride a member of the Genoese patriciate, Aurelia Grimaldi, daughter of Nicolò Grimaldi, the banker to King Philip II of Spain. The marriage took place during the civil strife in Genoa of 1575-1576 that pitted the old nobility, such as the Dorias, against the new nobility, as represented by the Grimaldis. Nonetheless, the union resulted in nine children, of which the two sons eventually married into the illustrious Spinola family. By the time of his marriage, Nicolò had become one of the wealthiest men in Genoa. Doria's distinguished political career began some ten years after Tintoretto painted this portrait. With the support of his paternal uncle, the Doge Giovanni Battista Doria (c.1470-1554), he was appointed a member of Genoa's main legislative body, the Maggior Consiglio, in 1555. In 1566, he was among the Genoese representatives sent to Rome to witness Pius V's ascension to the papal throne, and in the later 1550s and 1560s, held numerous other important diplomatic and administrative posts. His political career culminated in 1579, when he was elected Doge of the Republic, receiving the largest majority of votes recorded to date. Nicolò died on 13 October 1592, and was buried in the family church of San Matteo, where his brother Agostino, also Doge, (1534-1608) was later laid to rest. As Tintoretto is not known to have visited Genoa, Nicolò must have posed for the artist on a visit to Venice, where his father had lived from 1529-1541, and where the family still had many close ties. In the early 1530s, Nicolò's father had commissioned Titian to paint his portrait, now preserved in the Ashmolean Museum, Oxford (fig. 1). It is not surprising that for his own portrait, the twenty-year-old Nicolò would turn to Tintoretto--a less established but promising artist of his own generation, who, like him, was then coming into his own. As in other of Tintoretto's early portraits, Titian's influence is here seen in the restrained palette and strong light which focuses on the sitter's relatively firmly defined facial features and hands. While Nicolò's intense and penetrating gaze echoes that of his father in Titian's portrait, he is here presented life-size and full length, a grander, more imposing format which may signal his youthful ambitions. While unusual at this time, the use of this format was likely inspired by Titian's so-called Portrait of Diego Hurtado de Mendoza of circa 1541, now in the Palazzo Pitti, Florence (fig. 2), which Tintoretto surely knew. In the present portrait, the sitter is turned at a three-quarter angle, with his right arm akimbo and his left hand poised on the hilt of his sword, suggesting energy and decisiveness. The sweeping curve of the curtain at left, with its zig-zag pattern of folds, underscores the figure's vitality, as does the strong diagonal accent of the sword. Set close to the picture plane and gazing resolutely at the viewer, Nicolò projects a commanding, forceful presence. While the monumental stone pier on the right augments this impression, it also identifies Nicolò as a member of Genoa's ancient ruling elite, who since the early 13th century had built churches and palaces faced with similar alternating bands of dark and light stone. The painted pier may specifically allude to the façade of San Matteo, the Doria family church since its founding in 1125, which is still faced with such stone coursings today (L'Età di Rubens, op. cit., p. 198). As Boccardo has shown, this picture is probably identifiable with 'uno ritrato in piedi mano del Tintoretto' [a portrait, full-length, by the hand of Tintoretto] listed in the inventory of the sitter's nephew, Giovanni Carlo Doria (1576-1625), drawn up by late 1621 (L'Età di Rubens, op. cit., pp. 194, 198). It subsequently passed to his brother, Marc'Antonio Doria (1572-1651), in whose inventory of 1651 it was erroneously given to Titian: 'Del quondam Illustrissimo Nicolò Doria zio paterno quando era giovine per mano di Titiano' [sic]. [Of the late most worthy Nicolò Doria, paternal uncle, when he was young, by the hand of Titian.] (Pacelli, op. cit., p. 84). The picture then passed, along with other of the most important family portraits, to Marc'Antonio's son, Giovanni Francesco Doria (1601-1653), after which it was lost to notice until circa 1830, when recorded in the collection of Giuseppe Finetti in Milan. The Portrait of Nicolò Doria resurfaced in the mid-20th century in the collection of Algernon Heber-Percy at Hodnet Hall, Shropshire. He may have inherited it from the descendants of Algernon Percy, nephew of the 5th Duke of Northumberland, who had married Emily Heber, daughter of Bishop Heber, in 1839. Sold by Heber-Percy at Christie's, London, in 1967, the Portrait of Nicolò Doria has remained in the same collection until the present day.

JACOPO TINTORETTO Venedig 1519-1594, tillskriven Porträtt av påvligt sändebud, möjligen den venetianske generalen Jacopo Soranzano d.y. (1518-1587) Otydlig signerad Tintoretto. Olja på duk, 100 x 83 cm. Indistinctly signed. Oil on canvas. EXPERTIS: Cabinet Turquin, Stéphane Pinta, Paris PROVENIENS Carl Moll (1861-1945), painter of the Vienna Secession, Vienna; Cassier und Helbing, Berlin, 20 mars 1917, med ett förord av Georg Gronau, katalognr 30, presenterad som "Tintoretto" Schloss Paalen, Sagan (troligen Gustaf Robert Paalen, at Schloss St. Rochusberg, (Zagán, Silesia) Ivar Kreuger, Stockholm Svensk-Franska Konstgalleriet, Stockholm, 14-16 september 1932, såld som "Jacobo Robusti Tintoretto", katalognr 85, avbildad helsida, sidan 32, klubbat pris 10.000 kr. Jägmästare David Hultmark UTSTÄLLD Nationalmuseum, Stockholm 1944 LITTERATUR Svenska Dagbladet, Stockholm, april 1944, avbildad med text: "En ny Tintoretto på Nationalmuseum" We are grateful to Dr. Jan Bridgeman for his assistance in cataloguing this lot. The sitter is possibly the same Venetian commander portrayed by an artist from the circle of Tintoretto at the Art Institute of Chicago (illustrated in P. Rossi, Jacopo Tintoretto. I ritratti, Venice, 1974, pp. 140-1, fig. 278). The Chicago portrait is inscribed 'Antonivs. Zantani. Comes. et. Eqves.', an inscription which refers to the famous humanist Antonio Zantani, a great connoisseur of coins and medals. However, it is now believed that the inscription was added at a later date, partly because the costume of the sitter, which is similar to that in the present picture, is not typical for the portrait of a humanist. The costume is in fact related to that described and illustrated by Cesare Vecellio for a 'Generale di Venezia in tempo di guerra' (Degli habiti antichi et moderni di diverse parti del mondo, Venice, 1590, I, p. 103; see also G. Grevenbroch, Gli abiti dei Veneziani di quasi ogni eta con diligenza raccolti e dipinti nel secolo XVIII, Venice, 1981, p. 66, 'Capitano Generale'), including a cloth-of-gold paludamento fastened with four large buttons, derived from the military cloak of Roman officers. It has also been noted that the sitter resembles a gentleman identified as Jacopo Soranzo in a family portrait in the Castello Sforzesco, Milan. Soranzo was one of the commanders in the War of Cyprus (1570-1573), when Venice fought alongside the Holy League, a coalition of Christian states under the auspices of the Pope, against the Ottoman Empire. This interpretation may be supported by the Papal insignia on the paludamento. The two stoles born by the sitter are an unusual feature, as a stole, usually an indication of rank or honour, was not usually worn with a paludamento, and more than one worn at a time is not recorded elsewhere.

LOT 58 PROPERTY FROM A EUROPEAN PRIVATE COLLECTION JACOPO ROBUSTI, CALLED JACOPO TINTORETTO VENICE 1518 - 1594 PORTRAIT OF A NOBLEMAN Inscribed on the reverse of the canvas with a ducal crown with theinitials D.G.H. (in ligature) and the numbers 274 and 14 oil on canvas 108 by 77 cm.; 42 1/2 by 30 1/2 in.

Auktion W228 Lot 6493 - 30 March2011 16:30 Old copy after TINTORETTO, JACOPO (1518 Venice 1594) Magdalene in atonement. Oilon copper. 19.2 x 15 cm. CHF 1 000. - / 1 500. - € 770. - / 1150.- TINTORETTO, JACOPO (ALTE KOPIE NACH) (1518 Venedig 1594) Büssende Magdalena. Öl aufKupfer. 19,2 x 15 cm. CHF 1 000. - / 1500. - € 770. - / 1150.-

Jacopo Tintoretto (Venice 1519-1594) Portrait of a bearded man, bust-length, in a red gown oil on canvas 24¾ x 16 7/8 in. (62.9 x 42.7 cm.), including an addition of circa4½ in. (11.4 cm.) to the upper edge VAT rate of 5% is payable on hammer price and at 17.5% on thebuyer's premium. Property from the Collection of the late John Appleby (Lots 1& 3) This hitherto unpublished portrait is a notable addition toJacopo Tintoretto's late oeuvre. In the 1570s and 1580s Tintorettowas much in demand, working extensively at the Scuola Grande di SanRocco as well as playing a major role in the redecoration of theDoge's Palace after the fires of 1574 and 1577. As a result of thisTintoretto was able to produce fewer portraits than previously.Nevertheless those that he did paint tended to concentrate on theinner personality of the sitter and, as here, are inbued with adeep sense of humanity. One might cite as an example the Portraitof an old man in a fur-trimmed coat in the Kunsthistorisches Museumin Vienna, dated to the early 1570s. The use of a strong but morerestricted palette in his later portraiture resulted in works of aparticularly dramatic nature, as evident in his Portrait ofGiovanni Mocenigo, in the Staatliche Museen in Berlin, also shownin three-quarter profile.