Portrait of an architect, half-length, in black robes, holding a pair of dividers

Name: CIRCLE OF GIANLORENZO BERNINI (NAPLES 1598-1680 ROME)
Brand: Portrait of an architect, half-length, in black robes, holding a pair of dividers
Price: 16000.00 GBP
Availability: OutOfStock

Estimate

GBP 20,000 - GBP 30,000

Closed: 8 Jul 2022

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CIRCLE OF GIANLORENZO BERNINI (NAPLES 1598-1680 ROME)

Portrait of an architect, half-length, in black robes, holding a pair of dividers

Closed: 8 Jul 2022

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CIRCLE OF GIANLORENZO BERNINI (NAPLES 1598-1680 ROME)
Portrait of an architect, half-length, in black robes, holding a pair of dividers
oil on canvas
30 x 24¹⁄₄ in. (76.2 x 61.6 cm.)

Private collection, Surrey, England, 1804-1974.
with Trafalgar Galleries, London, England, by 1974.
The Barbara Piasecka Johnson Collection, by 1987, and by descent to the present owners.

M. Marini, 'Un contributo a Gianlorenzo Bernini 'al dipingere...molto inclinato', Arte Viva. Fima Antiquari, 1992, p. 42, fig. 1, as 'Gian Lorenzo Bernini'.
F. Petrucci, 'L'opera pittorica di Gian Lorenzo Bernini', in M.G. Bernardini (ed.), Bernini a Montecitorio. Ciclo di conferenze nel quarto centenario della nascita di Gian Lorenzo Bernini, Salerno, 2001, p. 91, no. 20, as 'Gian Lorenzo Bernini'.
F. Petrucci, Bernini Pittore dal disegno al 'maraviglioso composto', Rome, 2006, p. 377, no. 13, under 'ipotesi attributive, opere dubbie e di incerta attribuzione'.

London, The Royal Academy, Trafalgar Galleries at the Royal Academy III, 1983, as 'Gian Lorenzo Bernini'.

This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.
Please note this lot is the property of a consumer. See H1 of the Conditions of Sale.

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Lot Essay

In the 1983 catalogue of the exhibition at the Trafalgar Galleries, Maurizio Marini believed this work to be an autograph self-portrait of Bernini. Francesco Petrucci (, 2006) rejected this theory due to the marked physiognomic differences with the known likenesses of Bernini. He nonetheless noted its undoubted quality, and positioned it closer to the portraiture of Jacques Courtois, il Borgognone (1621-1676).