Lombard School, early 17th century

The painting presents a striking and fresh image beneath a clear varnish, and it appears to have been recently conserved. The canvas is lined, and both the paint surface and it support are stable and in good condition. There is a little abrasion in the sitter's hair and in the shadows of the tablecloth and helmet. The shadows in the blue and gold hose have bitumenized very slightly, but this is only apparent upon very close inspection and does not distract from the overall image. Inspection under UV reveals strengthening to the upper most plumes and shadows of the helmet, some strengthening to the shadows of the armor on the sitter's right shoulder and at the very point of the west. There is also strengthening to the shadows of the contours of the sitter's neck and face. There are further minor cosmetic retouches scattered here and there in the background. Offered in a simply carved black and gilt wood frame.
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While the author of this painting is unknown, the artist appears to have been influenced by the Lombard painter Antonio d'Enrico, called Tanzio da Varallo (circa 1575-circa 1632).  The high forehead, strong cheekbones, elongated nose and crisp treatment of the eyes recall the features of Tanzio’s half-length Portrait of a Gentleman, in the Pinacoteca di Brera, Milan (inv. no. 251).¹  The lace collar and long, voluminous hose worn by the dashing sitter here suggest a dating of this portrait to the mid-1620s or 1630s.  The nobleman steps forward with his left leg and the pleats of the exquisite blue and gold brocaded textile smooth over his thigh to prominently display a crown motif.  This distinctive symbol, so deliberately presented to the viewer, may well be a reference to his family coat-of-arms, potentially holding the key to his identity.

 

1. For the Brera portrait see M. Bona Castellotti (ed.), Tanzio da Varallo, Realismo e contemplazione in un pittore del Seicento, Milan 2000, p. 100-101, cat. no. 15, reproduced p. 103, fig. 15.