Master Paintings

Master Paintings

View full screen - View 1 of Lot 34. Portrait of a Venetian Senator, possibly Marc Antonio Correr.

Domenico Robusti, called Domenico Tintoretto

Portrait of a Venetian Senator, possibly Marc Antonio Correr

Lot Closed

October 21, 04:34 PM GMT


30,000 - 40,000 USD

Lot Details


Domenico Robusti, called Domenico Tintoretto

Venice 1560 - 1635

Portrait of a Venetian Senator, possibly Marc Antonio Correr

inscribed upper left: ANTs CORRARIUS /EQVES; 

inscribed on the coat of arms upper right:  cor/inviabile/rarum 

oil on canvas

canvas: 44¾ by 32⅛ in.; 113.7 by 81.6 cm.

framed: 55⅞ by 43 in.; 141.9 by 109.2 cm.

Count Gianfrancesco Oliviero, Venice;

Elkan and Abris Silberman, Vienna and New York, by 1931;

Private collector, New York;

By whom gifted to the High Museum of Art, Atlanta, 1953 (inv. no. 1953.14);

By whom sold ("Property from the High Museum of Art"), New York, Sotheby's, 17 October 1997, lot 157;

There acquired by the present owner.  

Art News, 16 May 1931, vol. 29, no. 33;

E.M. Zafran, European Art in the High Museum, Atlanta 1984, p. 53, reproduced.

This large, imposing portrait of a Venetian senator is a characteristic work of Domenico Tintoretto, son of Jacopo Tintoretto. As recorded by contemporaries of the period, Domenico was among the first Venetian artists to build a career primarily off the genre of portraiture, and he specialized in portraits of the distinguished figures of his city. The inscription and crest on the present example suggest the identify of the sitter as Marc' Antonio Correr (1570-1638), a Venetian nobleman, scholar, and Senator whose important political roles included serving as Venetian Ambassador to England.  

The present portrait once formed part of the collection of the High Museum of Art in Atlanta, in whose files the opinions of George Gronau, Burton Fredericksen and Paolo Rossi are recorded as endorsing the attribution to Domenico Tintoretto.1

1. Zafran 1984, p. 53. George Gronau's opinion is noted as being recorded in the Museum Files, Burton Fredericksen's in a letter of 11 April 1980, and Paola Rossi's in a letter of 24 April 1982.