Attributed to Francesco Montemezzano

Sir Joseph B. Robinson, Cape Town, South Africa;
Anonymous sale, London, Christie's, 6 July 1923, lot 47 (as "P. Veronese") to Ashley;
With Julius Weitzner by 1971;
From whom acquired by the present owner.

Los Angeles, Los Angeles County Museum of Art, The Golden Century of Venetian Painting, October 1979-January 1980, no. 38 (as Domenico Tintoretto);
Athens, Georgia Museum of Art, Venetian Paintings of the Renaissance, March-June 1990, no. 5 (as Domenico Tintoretto).

This canvas appears to have been comprised of two pieces of canvas seamed centrally. No signs of this joining are visible on the painted surface. The surface has a dirty varnish which has rendered retouches underneath largely invisible, though it is likely that some would be found should the paining be cleaned. Visible over the varnish are some retouches along the book in the sitters hand. Also visible to the naked eye is a likely area of repair running along the top edge of the canvas, which may have been from an old frame or may possibly be an early addition to the canvas to fit an old frame. Overall though no major damages are visible and the painting is in very fresh state. In an elaborately carved and gilt wood frame.
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.

The sitter of this exquisite portrait is adorned in sumptuous fabrics woven with gold and appliquéd with precious stones.  A luxurious pelt sits by her side, strings of natural pearls hang from her neck, and an intricate lace rebato standing collar draws attention to her elegant face.  With her opulent costume and delicately coiffed hair style, she exudes an air of courtly grandeur.

The art historian Federico Zeri attributed the present work to Francesco Montemezzano.  Past attributions, however, have also been given to Montemezzano’s contemporary, Domenico Tintoretto, the son of the celebrated Venetian artist Jacopo Tintoretto.  Similarities can be drawn between the present work and Domenico's Portrait of a Seated Lady formerly in the Liechtenstein Gallery in Vienna.¹

1. P. Rossi, Jacopo Tintoretto, Venice 1973, p. 153, reproduced fig. 264.