View full screen - View 1 of Lot 109. Portrait of a Youth |《青年肖像》.
109

Piero del Pollaiuolo

Portrait of a Youth |《青年肖像》

Property from an English Private Collection | 英國私人收藏

Piero del Pollaiuolo

Piero del Pollaiuolo

Portrait of a Youth |《青年肖像》

Portrait of a Youth |《青年肖像》

Property from an English Private Collection

英國私人收藏


Piero del Pollaiuolo

皮耶羅・德爾・波萊烏洛

Florence 1441 - c. 1496 Rome

Portrait of a Youth

《青年肖像》


tempera and oil on panel

蛋彩及油彩畫板

49.2 x 35.5 cm.; 19 ⅜ x 14 in.

49.2 x 35.5 公分;19 3/8 x 14 英寸

The following condition report is provided by Henry Gentle who is an external specialist and not an employee of Sotheby's:


B7G4D

Piero Del Pollaiuolo

Portrait of a Youth

Tempera on panel, in modern gilt wood frame in good condition.


The lime wood support is stable and flat and has replaced tapering horizontal supports.

There is the remains of wood worm damage to the reverse.


The paint layer is stable and secure.


U-V light shows a reconstruction of the sitter’s proper left eye and the area above, the forehead and hair, and below in to the cheek. Further scattered pin prick paint loss through the skin tones of the face are visible; there is some loss to the ears and to the hair surrounding them.


The restoration has been professionally and sensitively executed.

The paint to the sky, the gilet and brocaded shoulders is well preserved.


There has been slight strengthening to the shadow of the collar and the red glazing to the brocade, here, and to the shoulders has faded a little, however the fine impasted detail is unaffected.


Fine detailing to the proper right eye and the right side of the face are well preserved with subtle modelling intact.


The chromatic and tonal nuances of the image are well preserved.


The painting presents well.


"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.

NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Probably acquired by William Wilshere (1806–1867), The Frythe, Welwyn, Hertfordshire, or by his brother Charles Willes Wilshere (1814–1906), whose wife Elizabeth Farmer's great-nephew inherited the estate;

Captain Gerald Maunsell Wilshere (1898–1972) – who changed his name from Farmer, in accordance with the terms of his great-aunt's will – The Frythe, Welwyn, Hertfordshire, 1934; 

By whom sold, London, Sotheby’s, 21 October 1942, lot 100 (as Florentine School), for £3,300 to Mendelssohn Bartholdy;

Edith Mendelssohn Bartholdy, née Speyer (1882–1969), London, acting for a private collector, probably Merton;

Sir Thomas Ralph Merton (1888–1969), Stubbings House, Maidenhead, Berkshire, by 1950;

Then by descent to his wife Lady Violet Marjory Merton (1891–1976);

By whose Trustees sold (‘The Property of the late Lady Merton, sold by Order of the Trustees’), London, Christie’s, 13 December 1985, lot 78 (as Cosimo Rosselli, dating to the 1460s);

Where acquired by the father of the present owners.

A.C.R. Carter, The Year's Art 1942–44, London 1944, pp. 97 and 112;

A. Scharf, Catalogue of Pictures and Drawings [in the Merton Collection], 1950, p. 36, no. XIV, reproduced (as Piero del Pollaiuolo);

E. Fahy, ‘An altarpiece by Cosimo Rosselli’, in Quaderni di Emblema, 2, Miscellanea, Bergamo 1973, p. 56 (as Cosimo Rosselli);

A. Padoa Rizzo, ‘La Cappella Salutati nel Duomo di Fiesole e l’attività giovanile di Cosimo Rosselli’, in Antichità viva, XVI, 3, 1977, pp. 7 and 12 n. 25, reproduced p. 9, fig. 11 (as Rosselli);

E. Fahy in Cosimo Rosselli, Painter of the Sistine Chapel, A.R. Blumenthal (ed.), exh. cat., Winter Park, Florida 2001, p. 252 under ‘List of Paintings by Cosimo Rosselli’ (as Rosselli);

A.  Wright, The Pollaiuolo Brothers, The Arts of Florence and Rome, New Haven and London 2005, pp. 133–34, 454 n. 96, 520–21, no. 48, fig. 103 (as Piero del Pollaiuolo, in the later 1460s or early 1470s; in good condition);

E. Gabrielli, Cosimo Rosselli, Catalogo Ragionato, Torino 2007, p. 256, R21, reproduced (listed under ‘Works wrongly attributed to Cosimo Rosselli’; as in good condition as verified by Wright 2005; Scharf’s attribution to Pollaiuolo, echoed by Wright and informally by Fahy [who previously published it as Rosselli], is more tenable than Rosselli ‘il dipinto trova una più felice collocazione nel catalogo di Piero del Pollaiolo’);

L. Kanter, Book Review ‘A. Wright, The Pollaiuolo Brothers, The Arts of Florence and Rome’, The Burlington Magazine, vol. 148, 1237, April 2006, pp. 280–81 (as not by either of the Pollaiuolo brothers; no alternative attribution proposed);

A. Natali and A. Tartuferi (eds), I Pollaiolo, Florence 2010, p. 34, reproduced in colour fig. 14 (as Piero del Pollaiuolo).

London, Royal Academy of Arts, Italian Art and Britain, 1960, no. 342.