- 6
Follower of Tiziano Vecellio, called Titian
Estimate
10,000 - 15,000 USD
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Description
- Tiziano Vecellio, called Titian
- The entombment of Christ
- oil on canvas
- 29 3/4 by 24 3/4 in.
- 75.5 by 63 cm.
Provenance
Sale: Kulonfele, Budapest, December 2-6, 1935, no. 36, illus.
E. and A. Silberman Galleries, New York
Private collection, New York (acquired from the above)
E. and A. Silberman Galleries, New York
Private collection, New York (acquired from the above)
Exhibited
Flint, Michigan, Flint Institute of Arts, Six Centuries of Painting, lent by E.A. Silberman Galleries, New York, February 7-27, 1941, no. 7, illus. (as by Titian)
Baltimore, Baltimore Museum of Art, Religious Art, December, 1938, no. 36, illus.
Kalamazoo, Michigan, Kalamazoo Institute of Arts, March 3-15, 1941
Montclair, New Jersey, Montclair Art Museum, Religious Art from Giotto to Gauguin, April 3-23, 1941, no. 39 (as by Titian)
Louisville, J.B. Speed Memorial Museum, March, 1943
Oklahoma, Oklahoma Art Center, April, 1946
Baltimore, Baltimore Museum of Art, Religious Art, December, 1938, no. 36, illus.
Kalamazoo, Michigan, Kalamazoo Institute of Arts, March 3-15, 1941
Montclair, New Jersey, Montclair Art Museum, Religious Art from Giotto to Gauguin, April 3-23, 1941, no. 39 (as by Titian)
Louisville, J.B. Speed Memorial Museum, March, 1943
Oklahoma, Oklahoma Art Center, April, 1946
Literature
Harold E. Wethey, Titian, 1969, p. 93 (copy no. 2)
Condition
Lined canvas. The surface is very flat and thin, particularly on the flesh colors and the sky. Under UV light: various stages of restoration are visible: a few small touch-ups to the rocks at upper left, to Jesus' hair, to Mary Magdalen's hair and eyebrows, and to the nails at lower left. Older restoration can be seen throughout but is difficult to detect.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
When this lot was offered for sale at Sotheby's in 1985, it was accompanied by photo-certificates from Prof. William Suida, Prof. Giuseppe Fiocco, and Robert Eisenberger, dated September 1936, and another from Gustav Gluck, dated November 1936, ascribing the present painting to Titian.
Whethey (see below) relates it to a composition of which only a 16th century workshop version at the Kunsthistorisches Museum, Vienna, is known.
Whethey (see below) relates it to a composition of which only a 16th century workshop version at the Kunsthistorisches Museum, Vienna, is known.