Portrait of a gentleman, bust-length, in a black cap and fur-trimmed coat

Name: VITTORE DI MATTEO BELLINIANO (ACTIVE VENICE 1507-AFTER 1529)
Brand: Portrait of a gentleman, bust-length, in a black cap and fur-trimmed coat
Price: 38000.00 GBP
Availability: SoldOut

Price Realised GBP 47,500

Estimate

GBP 40,000 - GBP 60,000

Closed: 8 Dec 2021

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VITTORE DI MATTEO BELLINIANO (ACTIVE VENICE 1507-AFTER 1529)

Portrait of a gentleman, bust-length, in a black cap and fur-trimmed coat

Price Realised GBP 47,500

Closed: 8 Dec 2021

Price Realised GBP 47,500

Closed: 8 Dec 2021

Details Lot Essay Related Articles More from

VITTORE DI MATTEO BELLINIANO (ACTIVE VENICE 1507-AFTER 1529)
Portrait of a gentleman, bust-length, in a black cap and fur-trimmed coat
signed and dated 'VICTOR / BELLINIAN[US] / MDXXI' (upper right)
oil on canvas
21¹⁄₂ x 19 in. (54.6 x 48.2 cm.)

Thimothée Francillon (1766-1829); his sale, Bon-Thomas and Lacoste, Paris, 14 April 1828 (=1st day), lot 147, where described as a self-portrait, 300 francs to 'Bercol', probably the following,
Gabriel Leonhard von Berckholtz (1781-1863), Ortenberg Castle, Karlsruhe, and by descent to his daughter,
Alexandra von Berckholtz (1821-1899), Karlsruhe.
Han Coray (1880-1974), Erlenbach, by 1923; his sale, A. Wertheim, Berlin, 1 October 1930, lot 1.
with P. Jackson Higgs; his sale, American Art Association, New York, 7 December 1932, lot 41 ($650).
Olga von Foerster, Wiesbaden and Heidelberg, by 1957.
Anonymous sale; Christie’s, London, 20 July 1973 (=2nd day), lot 156.
Private collection, London.

T. Francillon, Traduction abrégée de la Storia pittorica della Italia de l'abbé Lanzi, Paris, 1823, p. 138, note 1, illustrated opposite p. 132.
A. Venturi, Storia dell'Arte Italiana, La Pittura del Cinquecento, Milan, 1928, IX, part 3, pp. 68-69, fig. 46.
B. Berenson, Italian Pictures of the Renaissance; Venetian School, London, 1957, I, p. 38, pl. 614.
F. Heinemann, Giovanni Bellini e I Belliniani, Venice, 1962, p. 200, no. S.808.
G. Fossaluzza, 'Vittore Belliniano, Fra' Marco Pensaben e Giovan Girolamo Savoldo: la 'Sacra conversazione' in San Nicolò a Treviso', Studi Trevisani, II, no. 4, 1985, p. 46.

Zurich, Kunsthaus, Sammlung Coray-Stoop, Autumn 1923, no. 13, as 'Johannus Bellinianus'.

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Lot Essay

Born Vittore di Matteo, the artist assumed the name Belliniano after 1516 in honour of his master, Giovanni Bellini, and, like most Venetian painters of this moment, fell under the spell of Giorgione. Dated 1521, this canvas is one of few surviving portraits by the artist and can be compared with the (Bergamo, Accademia Carrara). There are numerous similar heads in the large canvas of the for the Scuola di San Marco, Venice (Venice, Accademia, on deposit at the Ospedale Civile), commissioned from Bellini in 1515 shortly before his death and signed by Vittore in 1526. Comparison of this with Vittore's other signed works suggests that while Bellini probably designed the work, the execution must be mainly that of Vittore. Although his style closely followed that of his master, Vittore was also responsive to the romantic tonalism and soft mysterious lighting of Giorgione’s work, as is evident in the present portrait. A number of works have been recently identified as by Belliniano, including in the Royal Collection, a work previously attributed to Giorgione, and the renowned double portrait in the Louvre (inv. no. 101), variously given to Giovanni and Gentile Bellini and Giovanni Cariani.