- 430
Roman School, early 16th century
Estimate
40,000 - 60,000 USD
bidding is closed
Description
- Portrait of a bearded gentleman, bust length, in a ruff and black doublet
- oil on panel
Provenance
Giovanni Andrea de Marinis, Marchese of Genzano, Naples, before 1824;
By whom bequeathed to Giuseppe de Sangro (1776–1837), 3rd Prince of Fondi, Naples;
Thence by descent in the de Sangro family collection, until 1895 (as Raphael, their inventory labels on the reverse);
Their sale, Naples, Sangiorgi Auctions, Naples, 22 April 1895, lot 651 (as Regillo Licinio, called Pordenone, when inscribed along the upper edge: DIVVS BONA VENTURA);
European private collection.
By whom bequeathed to Giuseppe de Sangro (1776–1837), 3rd Prince of Fondi, Naples;
Thence by descent in the de Sangro family collection, until 1895 (as Raphael, their inventory labels on the reverse);
Their sale, Naples, Sangiorgi Auctions, Naples, 22 April 1895, lot 651 (as Regillo Licinio, called Pordenone, when inscribed along the upper edge: DIVVS BONA VENTURA);
European private collection.
Literature
Inventory of assets of Ecc. M.se di Genzano, Giovanni Andrea de Marini: 1824, Archivio di Stato di Napoli, Archivio de Sangro (as Raphael, “Raffaello Sanzio, San Bonaventura, sopra tavola”);
"Catalogue of paintings comprising the gallery of the Prince of di Fondi", in Inventory of the De Sangro collection from the mid-19th century, ACS, Min. P.I., Dir., Gen. AA.BB.AA., Dr. Musei Gallerie e Pinacoteche, Naples, b. 250, fasc. 117–121, (as Raphael, “Stanza Rossa. nos. 154, 11, Raffaello, Testa di san Bonaventura”);
O. Turchetti, Napoli e il suo congresso, Napoli al cospetto della civiltà contemporanea, Pistoia 1846, p. 182;
S. D’Aloe, Naples ses monuments et ses curiosités, Naples 1853, p. 525;
G. Manieri Elia, "La quadreria napoletana de Marinis-de Sangro dall’influenza del classicismo romano al dissolvimento del collezionismo aristocratico," in E. Debenedetti, Collezionismo e ideologia: mecenati, artisti, teorici dal classico al neoclassico, Rome 1991, pp. 317, 318, 326, 333, nos. 96 and 99;
M. Savarese, "La collezione de Sangro dei principi di Fondi in tre inediti inventari di famiglia: da quadreria seicentesca a moderna raccolta di arti decorative", in Napoli nobilissima, July 2006, 5/6, pp. 192, 203.
"Catalogue of paintings comprising the gallery of the Prince of di Fondi", in Inventory of the De Sangro collection from the mid-19th century, ACS, Min. P.I., Dir., Gen. AA.BB.AA., Dr. Musei Gallerie e Pinacoteche, Naples, b. 250, fasc. 117–121, (as Raphael, “Stanza Rossa. nos. 154, 11, Raffaello, Testa di san Bonaventura”);
O. Turchetti, Napoli e il suo congresso, Napoli al cospetto della civiltà contemporanea, Pistoia 1846, p. 182;
S. D’Aloe, Naples ses monuments et ses curiosités, Naples 1853, p. 525;
G. Manieri Elia, "La quadreria napoletana de Marinis-de Sangro dall’influenza del classicismo romano al dissolvimento del collezionismo aristocratico," in E. Debenedetti, Collezionismo e ideologia: mecenati, artisti, teorici dal classico al neoclassico, Rome 1991, pp. 317, 318, 326, 333, nos. 96 and 99;
M. Savarese, "La collezione de Sangro dei principi di Fondi in tre inediti inventari di famiglia: da quadreria seicentesca a moderna raccolta di arti decorative", in Napoli nobilissima, July 2006, 5/6, pp. 192, 203.
Condition
The panel is uncradled and slightly bowed from right to left side. Overall the paint surface has been well retained and image is strong. The black pigments of the jacket are slightly thin and some small discolored old retouches can be seen with naked eye at right below collar. Examination under UV light reveals tiny dots of retouching on face, hair and beard. Other retouchings can be see on white collar and in green background. These have all been well applied and painting is presentable as is.
In a plain black frame with gilt inner trim and outer edge.
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
By 1895, at the time of de Sangro sale (see Provenance), this striking portrait had been over-painted to transform the sitter's costume into a monk's habit and it bore an inscription along the upper edge, DIVVS BONA VENTVRA, identifying the subject as Saint Bonaventure. The overpaint was removed in recent conservation to reveal the sitter's white linen ruff and the original contours of his high collared doublet.