Domenico Tintoretto Paintings & Artwork for Sale | Domenico Tintoretto Art Value Price Guide

Jun. 25, 2026
Domenico Tintoretto, eigentlich „Domenico Robusti“, 1560 Venedig – 1635 ebenda
Est: €15,000 - €25,000
PORTRAIT EINES KAPITÄNS Öl auf Leinwand. Doubliert. 110,5 x 92 cm. Ungerahmt. Beigegeben ein Gutachten von Egidio Martini, Venedig, in Kopie. Die umfangreiche Herstellung offizieller Herrenportraits von Jacopo Tintoretto (1518–1594) definierte einen nahezu normativen Prototyp für venezianische Portraits Ende des 16. und Anfang des 17. Jahrhunderts, vielleicht sogar mehr noch als die unerreichbaren von Tizian. Der geschicktere und originellere Nachfolger Jacopos war sein Sohn Domenico, der auch ein ausgezeichneter Historienmaler war und an allen wichtigen öffentlichen Aufträgen der Serenissima beteiligt war. Dabei blieb er auch weiterhin der herausragendste Portraitmaler Venedigs seiner Zeit. Bei dem vorliegenden Gemälde handelt es sich um ein Portrait eines Kapitäns, dessen Funktion mittels der durch die Fensteröffnung zu erblickenden Schiffe Erläuterung findet. Ein vergleichbares Gemälde wird im Museo Civico in Padua (Inv.Nr. 14) verwahrt. Literatur: Das Gemälde in Padua abgebildet in: Franco Benucci, Un misconosciuto ritratto di Zuane Bembo al museo civico di Padova, in: Padova e il suo territorio, Jahrgang XXI, Ausgabe 121, Mai-Juni 2006, S. 23. (1481479) (13) Domenico Tintoretto, also known as “Domenico Robusti”, 1560 Venice – 1635 ibid. PORTRAIT OF A CAPTAIN Oil on canvas. Relined. 110.5 x 92 cm. Accompanied by an expert’s report by Egidio Martini, Venice, in copy. The present painting depicts captain, whose role is indicated by the ships visible through the window. A comparable work is held at the Museo Civico di Padova (inv. no. 14). Literature: The painting in Padua is depicted in: Franco Benucci, Un misconosciuto ritratto di Zuane Bembo al museo civico di Padova, in: Padova e il suo territorio, XXI, edition 121, May – June 2006, p. 23.
Hampel Fine Art Auctions
Jun. 09, 2026
TINTORETTO DOMENICO (1560 - 1635) - Portrait of a Venetian gentlewoman with a view of a villa in the background
Est: €7,000 - €9,000
TINTORETTO DOMENICO (1560 - 1635). Portrait of a Venetian gentlewoman with a view of a villa in the background. The artwork is accompanied by a text by Egidio Martini. Comparative literature: P. Rossi, Tintoretto. I Ritratti, Milano 1994. The unpublished painting belongs to the genre in which Domenico Robusti achieved his most personal and convincing results, partly emancipating himself from the cumbersome legacy of his father Jacopo. The female figure is shown standing, in three-quarter view: she wears a double pearl necklace and a black velvet dress adorned with a gold chain, with a wide lace collar and matching cuffs; in her right hand she holds a lace handkerchief, while her left rests naturally on a table covered with a red drapery, beside a small leather-bound book. Behind her, to the left, a red curtain enhances the figure’s plastic presence; to the right, a landscape opening reveals a view of a villa with a stretch of water and mountains in the background — a detail of rare iconographic interest, referring to the sitter’s identity and rank and constituting a distinguishing element compared to the more conventional typology of late 16th-century Venetian portraiture. The physiognomic characterization — the face with precise features, the direct yet slightly distant gaze — and the dense, compact rendering of fabrics and jewels are fully consistent with what Paola Rossi identified as a distinctive trait of Domenico’s portraiture: a ‘vividness and heightened realism’ responding to the self-representational needs of the new Venetian mercantile aristocracy, which led a substantial part of it to commission his work. The painting can be dated to the period between the late 1580s and the early 17th century, a phase in which Domenico’s portrait production reached its peak intensity, as evidenced by commissions from the doges Cicogna, Grimani and Memmo, and his journey to Ferrara in 1598 to portray Margherita of Austria.. 106 x 134 cm.
Capitolium Art
May. 28, 2026
Venetian Artist 17th Century
Est: €1,800 - €3,600
Venetian Artist 17th Century, pair of large paintings. Christ Qui Sine and Maria Magdalena. A pair. Oil on canvas. 100 x 125 cm. Previously attributed to Domenico Tintoretto (1560-1635).
Deutsch Auktionen
Mar. 27, 2026
Domenico Tintoretto (attribuito a) Ritratto di gentiluomo
Est: €2,000 - €3,000
Il dipinto presenta un ritratto a mezzobusto di un gentiluomo raffigurato di tre quarti, secondo un’impostazione compositiva pienamente coerente con la ritrattistica veneta tra la fine del Cinquecento e i primi anni del Seicento. L’opera si attribuisce con buona probabilità alla mano di Domenico Tintoretto, per le evidenti affinità stilistiche con la sua produzione nota.La costruzione volumetrica del volto, solida e calibrata, rivela un’attenta indagine luministica, mentre l’impostazione dell’effigiato – colto in una posa composta ma naturale – richiama modelli consolidati nella cultura figurativa veneziana del tempo. Particolarmente riuscita appare la resa dell’incarnato, ottenuta mediante pennellate morbide e sapienti passaggi tonali graduati che conferiscono al volto vibrazione e vitalità.La barba e i capelli sono definiti con tocchi rapidi e sicuri, capaci di suggerire consistenza e movimento senza indulgere nel dettaglio minuzioso. L’opera manifesta inoltre una notevole sensibilità nella caratterizzazione psicologica del soggetto: lo sguardo, diretto e penetrante, stabilisce un dialogo immediato con l’osservatore, instaurando un rapporto intimo e coinvolgente.Il dipinto è presentato entro cornice coeva.Provenienza:Asta Sotheby’s, New York, 27 marzo 1987 (come Domenico Tintoretto)
DAMS Casa d'Aste
Mar. 11, 2026
Attrib. to Domenico Tintoretto (1560-1635), Nude
Est: $800 - $1,000
Black and white chalk on grey paper 14.6x26 cm Initialed GB (lower right), with additional inscriptions including “Tintoretto” (on the reverse). Provenance: Estate of Yehuda and Shula Freier. Acquired at Christie's, London, Old Masters and 19th Century Continental Drawings, December 1980, lot 33. Notes: Sketch of hands on the reverse. Initialed EZ on the paper to which the drawing was formerly mounted. The original Christie's catalogues are not in our possession, and exact catalogue listing information is unavailable. Condition: For a detailed condition report, please contact us at office@alma.auction. Note that all are sold AS IS. It is up to potential buyers to inspect and verify.
Alma
Nov. 12, 2025
Tintoretto, Domenico (Werkstatt/Studio)
Est: €1,800 - €2,500
Tintoretto, Domenico (Werkstatt/Studio) Venedig 1560 - 1635 53 x 42 cm Portrait of a Venetian. Study as a bust portrait. Oil/canvas, relined. Carved, and gilt frame. The canvas painting, which is unfortunately badly soiled and obscured by yellowed varnish and partial plastering, is likely to be a preliminary study for a portrait that was to be executed or had already been executed. The summarised, sketch-like sections painted with quick brushstrokes, such as the beard and hair, the texture and modelling of the cloak, the superficial treatment of the cloak's ornamentation, and even the rough hint of the shirt piping peeking out from under the cloak, argue against it being a copy of... but rather a study or sketch in preparation for... We see in the portrait the Venetian Giovanni Grimani (1506-1593), bishop and later patriarch of Aquileia. For comparison, we should refer to the two portrait paintings of Giovanni Grimani that were offered at auction by Lempertz/Cologne in November 2017 (portrait of Giovanni Gimani knee-length) and Sotheby's in November 2004 (bust portrait). The Grimani family was an influential, wealthy and highly respected family in 16th and 17th century Venice, and today you can still visit the ‘Palazzo Grimani di Santa Maria Formosa’ museum at the confluence of the San Severo and Santa Maria Formosa canals. Tintoretto, Domenico (Werkstatt/Studio) Venedig 1560 - 1635 53 x 42 cm Porträt eines Venezianers. Vorstudie als Brustbild. Öl/Leinwand, altdoubliert. Geschnitzter, vergoldeter Rahmen. Bei dem leider stark verschmutzten, von vergilbten Firnis und partiellen Verputzungen verunklärten Leinwandgemälde, dürfte es sich um die Vorstudie zu einem auszuführenden oder schon ausgeführten Porträt handeln. Die zusammengefaßten, mit schnellem Pinsel skizzenhaften Partien wie Bart - und Haupthaar, Stofflichkeit bzw. Modellierung des Mantels, der oberflächlichen Behandlung der Ornamentik des Mantels bis hin zur groben Andeutung der aus dem Mantel hervorschauenden Hemdpaspel, sprechen gegen eine Kopie nach…sondern vielmehr für eine Studie oder Skizze in Vorbereitung für… Wir sehen in dem Dargestellten den Venezianer Giovanni Grimani (1506 - 1593), Bischof und späterer Patriarch von Aquilea. Hier sollten zum Vergleich die beiden Porträtgemälde des Giovanni Grimani herangezogen werden, die in den Auktionshäusern Lempertz/Köln, Nov. 2017, Bildnis des Giovanni Grimani, Kniestück; und Sothebys, Nov. 2004, als Brustbild; angeboten wurden. Die Grimanis waren im Venedig des 16. und 17.Jh. eine einflußreiche, wohlhabende und hochangesehene Familie und noch heute kann man das Museum „Palazzo Grimani di Santa Maria Formosa“ am Zusammenfluß der Kanäle San Severo und Santa Maria Formosa besuchen.
Nagel Auction
Jun. 17, 2025
ROBUSTI DOMENICO
Est: €8,000 - €8,900
ROBUSTI DOMENICO detto TINTORETTO (1560-1635) 'Ritratto di notabile' olio cm. 94x126
Aste Boetto SRL
May. 21, 2025
Domenico Robusti detto Domenico Tintoretto (Venezia 1560 - 1635) cerchia di
Est: €2,000 - €3,000
Domenico Robusti detto Domenico Tintoretto (Venezia 1560 - 1635) cerchia di Santa Maria Penitente Olio su tela 83 x 73,5 cm Domenico Robusti fu istruito dal padre Jacopo, che lo aiutò a dipingere la Sala del Collegio e la Sala del Senato in Palazzo Ducale a Venezia. A partire dalla fine del Cinquecento si concentrò nella realizzazione di scene religiose per la devozione privata. Dimenticata la potente cromia paterna, egli si esprimeva in toni cupi, interpretando efficacemente le idee della Controriforma. La tela in esame è ispirata, con qualche modifica e in controparte, al dipinto di Domenico Robusti ora nella Pinacoteca Capitolina (olio su tela, 111,4 x 92 cm, inv. 44843). Domenico Robusti also called Domenico Tintoretto (Venice 1560 - 1635) circle of Penitent Saint Mary Oil on canvas 83 x 73,5 cm Domenico Robusti was taught by his father, Jacopo, who helped him paint the Sala del Collegio and the Sala del Senato in the Doge's Palace in Venice. From the late 16th century onwards, he concentrated on painting religious scenes for private devotion. Having forgotten his father's powerful colours, he expressed himself in sombre tones, effectively interpreting the ideas of the Counter-Reformation. The canvas under examination is inspired, with some modifications and in contrast, by the painting by Domenico Robusti now in the Pinacoteca Capitolina (oil on canvas, 111.4 x 92 cm, inv. 44843).
Lucas Aste
May. 18, 2025
L. GARREAU (18th) after TINTORETTO (*1560), Christ on the cross, Etching
Est: €120 - €200
Louis Garreau (18th century) after Tintoretto: Domenico Robusti Tintoretto (1560 Venice - 1635 ibid.): Christ on the cross with mourning Mary, 19th century, Etching Technique: Etching on Paper Stamp: Upper right Blank stamp, J. C. Heyse Verlag. Bremen Inscription: Lower right monogrammed: "L.G.". At the lower part inscribed in the printing plate: "Tintoreto". Date: 19th century Description: Christ on the cross with mourning Mary and John. Keywords: Jesus Christ, crucifixion, crucifixion group, Golgotha, apostles, disciples, Madonna, 19th century, Renaissance, Biblical, Italy, Size: Paper: 37,2 cm x 26,7 cm (14,6 x 10,5 in), Plate: 21,6 cm x 16,7 cm (8,5 x 6,6 in), Depiction: 19,0 cm x 12,1 cm (7,5 x 4,8 in)
Fichter Kunsthandel
May. 14, 2025
Domenico Tintoretto (Venise 1560 – Venise 1635) Portrait d’un pat
Est: CHF3,000 - CHF5,000
Domenico Tintoretto (Venise 1560 – Venise 1635) Portrait d’un patricien de Venise, huile sur toile, 106 x 88 cm. Provenance : Florence, Salocchi. L’écusson qui transparait en haut à gauche et dont le motif est répété aux quatre coins du cadre, doit avoir été ajouté à une époque ancienne. Bibliographie : Bologna, Fondazione Zeri, Fototeca, fiche n. 44911 (Domenico Tintoretto, autrefois Florence, Giovanni Salocchi).
Geneve Encheres
Mar. 27, 2025
Domenico Robusti, genannt „Tintoretto“, 1560 Venedig – 1635 ebenda, zug.
Est: €2,000 - €3,000
PORTRAIT EINES MANNES Öl auf Leinwand. Doubliert. 42 x 33 cm. Verso auf der Leinwand bezeichnet „Domenico Tintoretto / Familia Chigi“. Keilrahmen mit Etikett und rotem Lacksiegel der Familie Chigi. In vergoldetetem reliefverziertem Kehlrahmen. Vor unbestimmtem Grund das wohl fragmentarisch auf uns gekommene Portrait eines leicht nach links gerichteten Mannes mittleren Alters mit rotem Kragen und Vollbart, vielleicht ein Mitglied der Familie Chigi. Die umfangreiche Herstellung offizieller Herrenportraits von Jacopo Tintoretto (1518-1594) definierte einen nahezu normativen Prototpy für venezianische Portraits Ende des 16. und Anfang des 17. Jahrhunderts, vielleicht sogar mehr noch als die unerreichbaren von Tizian (1485-1576). Der geschicktere und originellere Nachfolger Jacopos war sein Sohn Domenico, der auch ein ausgezeichneter Historienmaler war und an allen wichtigen öffentlichen Aufträgen der Serenissima beteiligt war. Dabei blieb er auch weiterhin der herausragendste Portraitmaler Venedigs seiner Zeit. (1421245) (13)
Hampel Fine Art Auctions
Feb. 11, 2025
DOMENICO TINTORETTO (bottega di)
Est: €4,000 - €6,000
(Venezia, 1560 - 1635) Ritratto di Andrea Barbarigo Olio su tela, cm 104X92,5 L'opera in esame reca un'attribuzione collezionistica a Domenico Tintoretto e lo stile pittorico Ã¨ evocativo dell'espressione della sua arte, che sia pur priva di variazioni nel corso del proprio svolgimento cronologico, riesce a distaccarsi dai modelli paterni grazie a una conduzione estetizzante di sensibilitÃ giÃ seicentesca. La resa del viso, della veste e le lumeggiature ricorrono in tutta la produzione ritrattistica del maestro e della sua bottega, ma nel caso dell'opera qui illustrata, per la tensione chiaroscurale e plastica della figura, che si staglia scenograficamente su un fondale tenebroso, Ã¨ confacente una datazione in analogia con le opere della tarda maturitÃ . Bibliografia di riferimento: P. Rossi, Tintoretto. I Ritratti, Milano 1994, ad vocem S. Mason Rinaldi, Domenico Tintoretto e l'ereditÃ della bottega, in Jacopo Tintoretto, atti del congresso internazionale (Madrid, Museo Nazionale del Prado, 26-27 febbraio 2007) a cura di M. F. Falomir e B. Aikema, Madrid 2009, pp. 84-90
Wannenes Art Auctions
Feb. 06, 2025
Portrait of a Young Man
Est: $100,000 - $150,000
Domenico Robusti, called Domenico Tintoretto Venice 1560 - 1635 Portrait of a Young Man oil on canvas canvas: 27 ¾ by 21 ⅞ in.; 70.5 by 55.6 cm framed: 38 ⅛ by 32 ⅜ in.; 96.8 by 82.2 cm
Sotheby's
Dec. 05, 2024
Domenico Robusti, genannt „Tintoretto“, 1560 Venedig – 1635 ebenda, zug.
Est: €3,000 - €5,000
PORTRAIT EINES MANNES Öl auf Leinwand. Doubliert. 42 x 33 cm. Verso auf der Leinwand bezeichnet: Domenico Tintoretto / Familia Chigi. Keilrahmen mit Etikett und rotem Lacksiegel der Familie Chigi. In vergoldetetem reliefverziertem Kehlrahmen. Vor unbestimmtem Grund das wohl fragmentarisch auf uns gekommene Portrait eines leicht nach links gerichteten Mannes mittleren Alters mit rotem Kragen und Vollbart, vielleicht ein Mitglied der Familie Chigi. Die umfangreiche Herstellung offizieller Herrenportraits von Jacopo Tintoretto (1518 - 1594) definierte einen nahezu normativen Prototpy für venezianische Portraits Ende des 16. und Anfang des 17. Jahrhunderts, vielleicht sogar mehr noch als die unerreichbaren von Tizian. Der geschicktere und originellere Nachfolger Jacopos war sein Sohn Domenico, der auch ein ausgezeichneter Historienmaler war und an allen wichtigen öffentlichen Aufträgen der Serenissima beteiligt war. Dabei blieb er auch weiterhin der herausragendste Portraitmaler Venedigs seiner Zeit. (1421245) (13)
Hampel Fine Art Auctions
Oct. 22, 2024
Domenico Robusti, called Domenico Tintoretto
Est: €25,000 - €30,000
(Venice 1560–1635) Portrait of a lady, three-quarter-length, oil on canvas, 101 x 77 cm, framed Provenance: Private European collection; thence by descent to the present owner We are grateful to Mauro Lucco for endorsing the attribution of the present painting after examination in the original. The present portrait is a recent addition to the oeuvre of Domenico Tintoretto and can be dated to around 1595. The sitter appears in three-quarter-length before a monochrome background, with her right hand resting on a table covered by a red cloth. She is dressed in the Venetian fashion of the late 16th century, with a loosely puffed collar. Her reddish-blonde hair, coiffed upwards, also corresponds to the Venetian – originally Petrarchan – ideal of beauty, as the English traveller Thomas Coryat noted in his travel report in 1611: ‘All the women of Venice every Saturday in the afternoone doe use to annoint their haire with oyle, or some other drugs, to the end to make it looke faire, that is whitish. For that colour is most affected of the Venetian Dames and Lasses. […] then they sit in some sun-shining place […] till it be thoroughly dried […] and last of they curle it up in curious locks with a frisling or crisping pinne of iron […] (see T. Coryat, Coryat’s Crudities Hastily gobled up in five Moneths travells in France, Savoy, Italy, Rhetia commonly called the Grisons country, Helvetia alias Switzerland, some part of High Germany and the Netherlands, Glasgow 1905, pp. 401–402). Domenico Tintoretto was trained in his family workshop under the guidance of his father Jacopo. At the age of 17 he became a member of the Venetian painters’ guild and assisted his father on prestigious commissions, such as the painting decorations in the Sala del Senato in the Doge’s Palace. After Jacopo’s death in 1594, Domenico took over the flourishing studio, continuing the legacy of his father. However, Domenico’s own artistic personality eventually emerged, with a tendency towards a smooth chiaroscuro modelling of forms instead of Jacopo’s quick, expressive brushstrokes. He became extremely sought after for his portraits, reflecting his great ability to capture the individuality of his sitters.
Dorotheum
Sep. 25, 2024
Domenico Robusti, gen. Tintoretto, nach Penitent Magdalene
Est: €1,000 - €1,200
Domenico Robusti, gen. Tintoretto, nach 1560 Venedig - 1635 ebenda Penitent Magdalene Oil auf canvas. 67.5 x 53.5 cm. Relined. Restored. Minor damage. Damage to frame (76 x 61 cm). Laterally inverted and reduced copy of the painting in the Capitoline Museums, Rome, inventory number PC 32. provenance: private collection, South Germany.
Neumeister
Sep. 20, 2024
DOMENICO TINTORETTO
Est: CHF5,000 - CHF7,000
DOMENICO TINTORETTO (1560 Venice 1635) Portrait of a bearded man. Oil on canvas. 60 × 50.5 cm. Provenance: - Sale Sotheby's, London, 4.7.1990, Lot 196 (inscribed verso). - Private collection, Switzerland. ------------------------------------------------- DOMENICO TINTORETTO (1560 Venedig 1635) Bildnis eines bärtigen Herren. Öl auf Leinwand. 60 × 50,5 cm. Provenienz: - Auktion Sotheby's, London, 4.7.1990, Los 196 (verso bezeichnet). - Schweizer Privatsammlung.
Koller Auctions
Sep. 19, 2024
Domenico Robusti (Venezia 1560 - 1635)
Est: €7,000 - €10,000
Domenico Robusti (Venezia 1560 - 1635) Ritratto di fanciulla con collana di perle Olio su tela 112 x 96 cm L'opera trova il suo riferimento attributivo con la tela, di formato ovale, presentata in asta presso Dorotheum, lotto n. 92, il 15 dicembre 2020 come dipinto di Domenico Tintoretto grazie al parere del professore Mauro Lucco. Domenico Robusti fu allievo e aiuto del grande Tintoretto, suo padre. Collaborò nella realizzazione delle tele per le sale del Collegio e del Senato di Palazzo Ducale e nel Paradiso della sala del Maggior Consiglio. Operò nella Scuola di San Marco e nella Scuola dei Mercanti. Ereditò la bottega paterna e, oltre che a Venezia, operò per i Gonzaga a Mantova. Le sue opere figurano in molti importanti musei, come l'Alte Pinakothek di Monaco, la Gemäldegalerie di Dresda, la Pinacoteca Civica di Pesaro, il Museo di Galleria Colonna di Roma, il Museo Galleria Capitolina di Roma e il Museè de Beux Arts di Besanzone. Domenico Robusti (Venice 1560 - 1635) Portrait of a Maiden with Pearl Necklace Oil on canvas 112 x 96 cm The canvas finds its attributive reference in the oval format, presented at auction at Dorotheum, lot no. 92, on the 15th of December 2020 as the artwork of Domenico Tintoretto thanks to the opinion of Professor Mauro Lucco.
Lucas Aste
Jun. 14, 2024
ATTRIBUÉ À DOMENICO ROBUSTI DIT DOMENICO TINTORETTO (1560-1635) Double port
Est: €30,000 - €50,000
ATTRIBUÉ À DOMENICO ROBUSTI DIT DOMENICO TINTORETTO (1560-1635) Double portrait du Tintoret et du Titien huile sur toile, agrandie le long du bord droit 53,3 x 66,2 cm (21 x 26 in.)
Christie's
May. 19, 2024
DOMENICO ROBUSTI DETTO IL TINTORETTO - (cerchia di)
Est: -
(cerchia di) Ritratto di gentiluomo con lettera Olio su tela, 91x74 cm
Meeting Art Casa D'Aste
Apr. 18, 2024
Domenico Robusti Tintoretto (seguace di) Penitent Magdalene
Est: €3,000 - €4,000
Oil on canvas Canvas cm. 106,5x91. Framed
Bertolami Fine Art s.r.l.
Apr. 15, 2024
Domenico Robusti, also known as Domenico Tintoretto, (1560 – 17 May 1635) Portrait of a Venetian commander
Est: €16,000 - €30,000
Domenico Tintoretto was the son of Jacopo Tintoretto, whose workshop he worked for and whose style he continued. The portrait shows a general in black armor facing right, holding the general's baton in his right hand and his left hand resting on his helmet, which is placed on a table. A red cloak is draped around his shoulders and pinned to his right side with gold snail-shaped buttons. The portrait shows the man in advanced age with gray, short-cropped hair and a white, carefully groomed beard and facial features marked by age, but still strong-willed and vital. The gaze is directed energetically at the viewer. In the window we see a view of a city by the sea with a mountain in the background. So it is not Venice, but a Venetian colony, whose governor (provveditore) the general was probably. Oil on canvas 113 x 98 cm
Fine Antiques Prague s.r.o.
Feb. 21, 2024
DOMENICO TINTORETTO (ITALIAN 1560 - 1635), SAINT FRANCIS RECEIVING THE STIGMATA
Est: £3,000 - £5,000
DOMENICO TINTORETTO (ITALIAN 1560 - 1635)SAINT FRANCIS RECEIVING THE STIGMATAOil on canvas142 x 103cm (55¾ x 40½ in.)Provenance:With Thos. Agnews & sons, London, 1985 (as by Jacopo Tintoretto)From whom acquired by CG Hoare, CMG, CBEThence by descentSale, Sotheby's, London, Old Master Paintings, 24 April 2008, lot 310Exhibited: London, Agnew's Coronation Exhibition of thirty-five Masterpieces of Venetian Painting, 1953, no 34 (as by Jacopo Tintoretto)Kings Lynn, Fermor Art Gallery, The Collection made by CG Hoare MC, and family, 1970, no. 5 (as by Jacopo Tintoretto)Literature: P Rossi, Per la grafica di Domenico Tintoretto. Il Arte Veneta, 1984, XXXV111, p. 60, reproduced plate 6.Though long attributed to Jacopo Tintoretto, the attribution to his son, Domenico, was first proposed by Paola Rossi in 1984.
Dreweatts 1759 Fine Sales
Oct. 25, 2023
Domenico Robusti, called Domenico Tintoretto
Est: €30,000 - €40,000
(Venice 1560–1635) Saint Anthony banishing the devils of temptation, oil on canvas, 171 x 199.5 cm, framed Provenance: sale, Francesco Semenzato & C. Sas, Venice, 8 December 1982, lot 639 (as Domenico Tintoretto, with wrong measurements); Private European collection; sale, Wannenes, Genoa, 29 November 2022, lot 307 (as Domenico Tintoretto); where acquired by the present owner Literature: P. Rossi, Per il catalogo di Domenico e Jacopo Tintoretto: novità e precisioni, in: Arte veneta, vol. 55, 1999, p. 34, 36, fig. 9 (as Domenico Tintoretto); P. Rossi, Disegni della bottega di Jacopo Tintoetto, in: Arte veneta, vol. 68, 2012, mentioned p. 58, note 8 (as Domenico Tintoretto) The present painting relates to a drawing by Domenico Tintoretto in the British Museum, London (inv. no. 1907,0717.74). We are grateful to Giorgio Fossaluzza for his help in cataloguing the present lot. A similar painting by Domenico Tintoretto, of the same dimensions, also representing the temptations of Saint Anthony Abbot was sold at Dorotheum, 10 November 2021, lot 41. This work demonstrates the inventiveness and pictorial quality of Domenico Tintoretto’s advanced style of painting following the death of his father, Jacopo Tintoretto (Venice 1518–1594). It can be compared to a sizeable group of disegni pennellati (oil and brush works on paper) in the artist’s so-called ‘British Museum album’, in which he revisits the same subject as in the present painting. The album consists of twenty drawings in which Saint Anthony is shown tempted by female figures, while another thirteen depict the saint’s temptation by monstrous creatures (see S. Mason, in: Dal Pordenone a Palma il Giovane: devozione e pietà nel disegno del Cinquecento, Milan 2000, pp. 178–179; W. R. Rearick, Il disegno veneziano del Cinquecento, Milan 2001, pp. 206–207, 236, no. 345). The artist repeatedly explored this theme throughout his career, experimenting with the subject and composition. Indeed, the subject evidently preoccupied him to such an extent that no other theme within the entirety of his vast corpus was studied by him with equivalent intensity. The rendering of the subject verges on a brusque realism which inclines toward the ugly, almost in a deliberate refusal of beauty, and through this, the erotic passages emerge in a series of dynamic of contrasts (see W. R. Rearick, ibid., 2001, pp. 203–207). Giorgio Fossaluzza has suggested dating the present work to the beginning of the 1600s, the period during which the artist repeatedly dedicated himself to the subject of the temptation of Saint Anthony (see C. Ridolfi, Le maraviglie dell’arte, vol. II, Venice 1648, p. 259).
Dorotheum
Jul. 20, 2023
Attributed to Domenico Robusti Tintoretto (1560-1635)
Est: $600 - $800
Attributed to Domenico Robusti Tintoretto (1560-1635), study of feet, watercolor on paper, 10X16 cm, signed in pencil. The sheet is attached to another page. Stains. Not examined out of the frame.
Ishtar Auctions Ltd
Jun. 20, 2023
ROBUSTI DOMENICO
Est: €8,000 - €8,900
ROBUSTI DOMENICO detto TINTORETTO (1560-1635) 'Ritratto di notabile' olio cm. 94x126
Aste Boetto SRL
Dec. 08, 2022
Tintoretto, eigentlich „Domenico Robusti“, 1560 Venedig – 1635 ebenda
Est: €24,000 - €35,000
Bildnis des Kardinalkönigs Enrico I von Portugal Öl auf Leinwand 115 x 100 cm. In breitem altem vergoldetem Rahmen. Beigegeben eine Expertise von Prof. Dr. Arabella Cifani, Storico ed esperto d´Arte Perito d’Arte del Tribunale di Torino. Der Dargestellte in Dreiviertelfigur in Lebensgröße, mit rotem Birett und rotem Umhang, hier in seiner Funktion als Kardinal. Er regierte Portugal in den Jahren 1578 und 1580. Gemäß seinem religiösen Gelübde blieb er kinderlos, was zur Folge hatte, dass das Herrschergeschlecht des Hauses Aviz erlosch. Aus der folgenden Krise sollte die Spanisch-Habsburgische Herrschaft hervorgehen. Domenico Robusti, gen. Tintoretto, war der Sohn des Jacopo. Er hat sich weit mehr als dieser der Literatur zugewandt, portraitierte etwa den Dichter Celio Magno. Als Vorstand der Werkstatt seines Vaters und dessen Mitarbeiter vollendete er etliche von dessen Werken. Nach dem Tode des Vaters führte er die Werkstatt und schuf selbständig zahlreiche Werke, wie etwa sein berühmtes Gemälde „Traum des Heiligen Markus“, oder den Zyklus für die Scuola di San Giovanni Evangelista. Er trat nunmehr vor allem als Portraitist bedeutender Persönlichkeiten hervor, namentlich aus dem Hause der Dogen, wie: Pasquale Ciocogna, Marino Grimani, Marcantonio Memo, La Dogaressa Morosina Morosini (um 1597). Aber auch Portraitaufträge von außerhalb Venedigs wurden an ihn vergeben. In der hier beigegebenen gutachterlichen Dokumentation werden Vergleichsbeispiele genannt, wie etwa das von Cristofano dell‘Altissimo geschaffene Bildnis dieses Kardinalkönigs (Uffizien, Florenz). Die Zuweisung der Expertise an Domenico Tintoretto begründet sich nicht zuletzt auf den Vergleich mit dem Gruppenbildnis „Ritratto dei Confratelli della Scuola dei Mercanti“, das sich in der Galleria dell‘Accademia befindet. Die Bezeichnung auf dem Säulensockel rechts im Bild: “HENRIC.S CARD.S / REX. PORTV / GALIAE. ETC. /. AETATIS / SUAE LXII“. Durch die Nennung des Alters von 62 Jahren ist die Datierung des Bildes fürs Jahr 1579 gesichert. A.R. Literatur: Vgl. Paola Rossi, Jacopo Tintoretto. I Ritratti, Venedig 1976. Vgl. Marsel Grosso, Robusti. Domenico, detto Tintoretto, in: Raffaele Romanelli (Hrsg.), Dizionario Biografico degli Italiani (DBI), Bd. 88: Robusti-Roverella, Rom 2017. Vgl. Paolo Mastandrea, Sebastiano Pedrocco, I dogi nei ritratti „parlanti“ di Palazzo Ducale a Venezia, Sommacampagna 2017. (13300567) (2) (11) Tintoretto, actually "Domenico Robusti", 1560 Venice – 1635 ibid. PORTRAIT OF HENRY, CARDINAL-KING OF PORTUGAL Oil on canvas. 115 x 100 cm. Accompanied by an expert‘s report by Prof Dr Arabella Cifani, Storico ed esperto d’Arte. Perito d’Arte del Tribunale di Torino. The enclosed report lists comparative examples, such as the portrait of this cardinal-king created by Cristofano dell’Altissimo (Uffizi Gallery, Florence). The report identifies the creator of the painting as Domenico Tintoretto, based not least on the comparison with the group portrait Ritratto colletti dei Confratelli della Scuola dei Mercanti held at the Galleria dell’Accademia. The inscription on the column base on the right of the painting reads: “HENRIC.S CARD.S / REX. PORTV / GALIAE. ETC. /. AETATIS / SUAE LXII“. By giving the age of the depicted as 62, the painting can clearly be dated to 1579.
Hampel Fine Art Auctions
Nov. 29, 2022
DOMENICO ROBUSTI DETTO IL TINTORETTO (VENEZIA 1560 - 1635)
Est: €1,500 - €2,500
Domenico Robusti detto Il Tintoretto (Venezia 1560 - 1635) Ritratto di procuratore della Repubblica di Venezia Olio su tela 103 x 83 cm Domenico Robusti fu allievo e aiuto del grande Tintoretto, suo padre. Collaborò nella realizzazione delle tele per le sale del Collegio e del Senato di Palazzo Ducale e nel Paradiso della sala del Maggior Consiglio. Operò nella Scuola di San Marco e nella Scuola dei Mercanti. Ereditò la bottega paterna e oltre che a Venezia operò per i Gonzaga a Mantova. Le sue opere figurano in molti importanti musei, come l'Alte Pinakothek di Monaco, la Gemäldegalerie di Dresda, la Pinacoteca Civica di Pesaro, il Museo di Galleria Colonna di Roma, il Museo Galleria Capitolina di Roma e il Museè de Beux Arts di Besanzone. Domenico Robusti called Il Tintoretto (Venice 1560 - 1635) Portrait of the attorney of the Republic of Venice Oil on canvas 103 x 83 cm
Lucas Aste
Nov. 29, 2022
DOMENICO TINTORETTO
Est: €30,000 - €50,000
(Venezia, 1560 - 1635) I demoni che volano via da Sant'Antonio Olio su tela, cm 171X199,5 Bibliografia: P. Rossi, Per il catalogo di Domenico e Jacopo Tintoretto: novità e precisioni, in: Arte veneta, vol. 55, 1999/II, p. 36, fig. 9 (come Domenico Tintoretto) P. Rossi, Disegni della bottega di Jacopo Tintoretto, in: Arte veneta, vol. 68, 2012, citato pp. 57-58 (come Domenico Tintoretto) Del dipinto in esame è noto un olio su carta conservato al British Museum (n. inv. 1907.0717.74 mm. 256X305) e l'opera finita è il pendant della tela raffigurante le Tentazioni di Sant'Antonio (Cfr. Rossi 1999, p. 34) recentemente esitata a Vienna presso Dorotheum (10 novembre 2021, lotto 41). I due dipinti formavano verosimilmente una coppia e si osserva che il bozzetto inerente alla tela in esame presenta strette analogie con l'opera finita ed è partecipe di una serie spettacolare di modernissimi studi su carta 'pennellati' (Rossi, 2001 e 2012). I recenti studi riconoscono che la fonte d'ispirazione del pittore fu la Legenda Aurea di Jacopo da Varagine, in cui è così descritto il momento immediatamente successivo al crudele attacco dei diavoli: '...Poi d'un tratto brillò una luce meravigliosa nel luogo e scacciò tutti i demoni...'. Nell'olio su carta si nota chiaramente la Luce meravigliosa che appare nella parte superiore del foglio, che nel dipinto sarà integrata dalla figura di Cristo. Si deve evidenziare come l'artista abbia dedicato una particolare attenzione al concepimento compositivo di queste opere, su un tema che ha ripetutamente affrontato nel corso della sua carriera, sperimentando diverse soluzioni compositive. Infatti, scorrendo il vasto repertorio grafico e bozzettistico dell'artista, nessun altro soggetto trova così tanti riscontri progettuali, altresì ostentando esiti di accentuata drammaticità. (Cfr. W. R. Rearick, Il disegno veneziano del Cinquecento, Milano 2001, pp 203-207). Per quanto riguarda la datazione, si segue l'indicazione data da Giorgio Fossaluzza inerente alla tela già Dorotheum, collocata ai primi anni del XVII secolo, quando il pittore si dedicò più volte al tema della tentazione di sant'Antonio (vedi C. Ridolfi, Le maraviglie dell'arte, vol. II, Venezia 1648, p. 259). Ringraziamo Giorgio Fossaluzza. Bibliografia di riferimento H. Tietze, E. Tietze-Conrat, The Drawings of the Venetian Painters in the 15th and 16th Centuries, New York, 1944, n. 1526/74, p. 266
Wannenes Art Auctions
Nov. 25, 2022
Tintoretto, Domenico — Christus in der Rast
Est: -
Tintoretto, Domenico: — Christ in Distress. (Venice 1560-1635 ibid.) Jesus is sitting on a stone in anticipation of his crucifixion, clothed only in a linen cloth, and holding his head propped up in his hand as an expression of sadness and melancholy. Oil on canvas. 96 x 75 cm. - Domenico is the eldest son of Jacopo Tintoretto, who took over the workshop after his death in 1594 and continued in his tradition. - In his expert opinion Allessandro Delpriori dates the painting to the period between 1595 and 1600. // Tintoretto, Domenico — Christus in der Rast — (Venedig 1560-1635 ebd.) Jesus sitzt in Erwartung seiner Kreuzigung nur mit einem Lendentuch bekleidet auf einem Stein, und hält den Kopf in seiner Hand als Ausdruck von Traurigkeit und Melancholie gestützt. Öl/Lwd. 96 x 75 cm. - Domenico ist der älteste Sohn des Jacopo Tintoretto, der nach dessen Tod 1594 die Werkstatt übernahm und in dessen Tradition fortführte. - In seinem Gutachten datiert Allessandro Delpriori das Gemälde in die Zeit von 1595 bis 1600.
Kunstauktionshaus Schlosser
Oct. 21, 2022
Portrait of a Venetian Senator, possibly Marc Antonio Correr
Est: $30,000 - $40,000
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: 44 by 32 in.; 113.7 by 81.6 cm. framed: 55 by 43 in.; 141.9 by 109.2 cm. Bid on Sotheby's
Sotheby's
Sep. 27, 2022
Attributed to Domenico Tintoretto (Italian, 1566-1635)
Est: £15,000 - £25,000
Attributed to Domenico Tintoretto (Italian, 1566-1635) Attributed to Domenico Tintoretto (Italian, 1566-1635) Portrait of a lady, three-quarter-length seated, in a red dress, with a child beside her oil on canvas 115 x 94cm Provenance: Dorotheum, Vienna, Austria, 4 October 2006, Lot 12. Literature: Paola Rossi, 'I Ritratti femminili di Domenico Tintoretto', Arte Illustrate, Anno III, 1970, pp.93-98, ill. II. p.98.
Sworders
Sep. 27, 2022
Domenico Tintoretto (1560-1635)-circle
Est: €1,600 - €3,200
Domenico Tintoretto (1560-1635)-circle, life size portrait of an elegant young gentleman dressed in black robe with white lace collar in front of a window with landscape view by a table with his dog on his right side, standing on red floor in front of dark background, oil on canvas in a deeply and finely carved and gilted collectors frame ,130x190cm
Deutsch Auktionen
Sep. 22, 2022
Tintoretto, eigentlich Domenico Robusti, 1560 Venedig – 1635 ebenda
Est: €30,000 - €40,000
Bildnis des Kardinalkönigs Enrico I von Portugal Öl auf Leinwand 115 x 100 cm. In breitem altem vergoldetem Rahmen. Beigegeben eine Expertise von Prof. Dr. Arabella Cifani, Storico ed esperto d´Arte Perito d'Arte del Tribunale di Torino. Der Dargestellte in Dreiviertelfigur in Lebensgröße, mit rotem Birett und rotem Umhang, hier in seiner Funktion als Kardinal. Er regierte Portugal in den Jahren 1578 und 1580. Gemäß seinem religiösen Gelübde blieb er kinderlos, was zur Folge hatte, dass das Herrschergeschlecht des Hauses Aviz erlosch. Aus der folgenden Krise sollte die Spanisch-Habsburgische Herrschaft hervorgehen. Domenico Robusti, gen. Tintoretto, war der Sohn des Jacopo. Er hat sich weit mehr als dieser der Literatur zugewandt, portraitierte etwa den Dichter Celio Magno. Als Vorstand der Werkstatt seines Vaters und dessen Mitarbeiter vollendete er etliche von dessen Werken. Nach dem Tode des Vaters führte er die Werkstatt und schuf selbständig zahlreiche Werke, wie etwa sein berühmtes Gemälde „Traum des Heiligen Markus“, oder den Zyklus für die Scuola di San Giovanni Evangelista. Er trat nunmehr vor allem als Portraitist bedeutender Persönlichkeiten hervor, namentlich aus dem Hause der Dogen, wie: Pasquale Ciocogna, Marino Grimani, Marcantonio Memo, La Dogaressa Morosina Morosini (um 1597). Aber auch Portraitaufträge von außerhalb Venedigs wurden an ihn vergeben. In der hier beigegebenen gutachterlichen Dokumentation werden Vergleichsbeispiele genannt, wie etwa das von Cristofano dell´Altissimo geschaffene Bildnis dieses Kardinalkönigs (Uffizien, Florenz). Die Zuweisung der Expertise an Domenico Tintoretto begründet sich nicht zuletzt auf den Vergleich mit dem Gruppenbildnis „Ritratto dei Confratelli della Scuola dei Mercanti“, das sich in der Galleria dell´Accademia befindet. Die Bezeichnung auf dem Säulensockel rechts im Bild: „"HENRIC.S CARD.S / REX. PORTV / GALIAE. ETC. /. AETATIS / SUAE LXII“. Durch die Nennung des Alters von 62 Jahren ist die Datierung des Bildes fürs Jahr 1579 gesichert. A.R. Literatur: Vgl. Paola Rossi, Jacopo Tintoretto. I Ritratti, Venedig 1976. Vgl. Marsel Grosso, Robusti. Domenico, detto Tintoretto, in: Raffaele Romanelli (Hrsg.), Dizionario Biografico degli Italiani (DBI), Bd. 88: Robusti-Roverella, Rom 2017. Vgl. Paolo Mastandrea, Sebastiano Pedrocco, I dogi nei ritratti „parlanti“ di Palazzo Ducale a Venezia, Sommacampagna 2017. (13300567) (2) (11) Tintoretto, actually Domenico Robusti 1560 Venice – 1635 ibid. PORTRAIT OF HENRY, CARDINAL-KING OF PORTUGAL Oil on canvas. 115 x 100 cm. Accompanied by an expert´s report by Prof Dr Arabella Cifani, Storico ed esperto d’Arte. Perito d'Arte del Tribunale di Torino. The enclosed report lists comparative examples, such as the portrait of this cardinal-king created by Cristofano dell’Altissimo (Uffizi Gallery, Florence). The report identifies the creator of the painting as Domenico Tintoretto, based not least on the comparison with the group portrait Ritratto colletti dei Confratelli della Scuola dei Mercanti held at the Galleria dell’Accademia. The inscription on the column base on the right of the painting reads: “HENRIC.S CARD.S / REX. PORTV / GALIAE. ETC. /. AETATIS / SUAE LXII”. By giving the age of the depicted as 62, the painting can clearly be dated to 1579.
Hampel Fine Art Auctions
Jun. 09, 2022
Follower of Domenico Tintoretto (Italian, 1560-1635) The Virgin of Sorrows Oil o
Est: $1,000 - $1,500
Follower of Domenico Tintoretto (Italian, 1560-1635) The Virgin of Sorrows Oil on canvas 11-1/2 x 10 inches (29.2 x 25.4 cm) Property from the Estates of Ramon Osuna and Robert Lennon, Washington, D.C. HID01801242017
Heritage Auctions
Apr. 01, 2022
DOMENICO TINTORETTO
Est: CHF40,000 - CHF60,000
DOMENICO TINTORETTO (1560 Venice 1635) Portrait of a nobleman and a boy, probably brothers. Oil on canvas. 104 × 90 cm. Certificate: - Dr Paolo Rossi, 1.2.1975 (as Jacopo Tintoretto). - Prof. Dr Rodolfo Palluchini, 10.11.1976 (as Jacopo Tintoretto). Provenance: - Collection of Baron Detlev von Hadeln (1878–1935), Florence. - Collection of Count Dr Alexander von Frey (1882–1951), Paris. - With P. de Boer, Amsterdam, 1963. - With Galerie Nicoline Pon, Zurich, 1982. - European private collection. Literature: - Erich von der Bercken: Allgemeines Lexikon der bildenden Kuenstler, vol. XXXIII, Leipzig 1939, p. 194. - Erich von der Bercken: Die Gemälde des Jacopo Tintoretto, Munich 1942, p. 102, cat. no. 285 (as Jacopo Tintoretto, circa 1570–80). - Bernard Berenson: Italian Pictures of the Renaissance, vol. I, London 1957, p. 173 (as Jacopo Tintoretto). - Rodolfo Pallucchini and Paolo Rossi (ed.): Tintoretto. Le opere sacre e profane, Milan 1982, vol. I, pp. 236–237, cat. no. R11, ill. vol. II, p. 618, fig. 614 (as Jacopo Tintoretto). --------------- DOMENICO TINTORETTO (1560 Venedig 1635) Bildnis eines Edelmannes und eines Jungen, wohl zwei Brüder. Öl auf Leinwand. 104 × 90 cm. Gutachten: - Dr. Paolo Rossi, 1.2.1975 (als Jacopo Tintoretto). - Prof. Dr. Rodolfo Palluchini, 10.11.1976 (als Jacopo Tintoretto). Provenienz: - Sammlung Freiherr Detlev von Hadeln (1878–1935), Florenz. - Sammlung Graf Dr. Alexander von Frey (1882–1951), Paris. - Kunsthandel P. de Boer, Amsterdam, 1963. - Galerie Nicoline Pon, Zürich, 1982. - Europäischer Privatbesitz. Literatur: - Erich von der Bercken: Allgemeines Lexikon der bildenden Kuenstler, Bd. XXXIII, Leipzig 1939, S. 194. - Erich von der Bercken: Die Gemälde des Jacopo Tintoretto, München 1942, S. 102, Kat.-Nr. 285 (als Jacopo Tintoretto, um 1570–80). - Bernard Berenson: Italian Pictures of the Renaissance, Bd. I, London 1957, S. 173 (als Jacopo Tintoretto). - Rodolfo Pallucchini und Paolo Rossi (Hg.): Tintoretto. Le opere sacre e profane, Mailand 1982, Bd. I, S. 236–237, Kat.-Nr. R11, Abb. Bd. II, S. 618, Fig. 614 (als Jacopo Tintoretto). Das hier angebotene Porträt zweier Herren ist eindeutig von Jacopo Tintorettos (1518–1594) Werk inspiriert und wurde bisher als ein Werk Jacopos Hand betrachtet. Neuere Untersuchungen zeigen jedoch, dass es charakteristische Merkmale seines Sohnes Domenico Tintoretto enthält, wie eine reichere Farbpalette und Vielfalt in den Details, so beispielsweise in der Landschaftsdarstellung dieser Arbeit, die einen bedeutenden Teil des Gemäldes einnimmt. Jacopo integrierte ebenfalls venezianische Landschaften in seinen Porträts, unter anderem in demjenigen von Marino Grimani, das sich im Los Angeles County Museum of Art befindet (Paul Rodman Mabury Collection, Inv.-Nr. 39.12.23). Seine charakteristischen Porträts hingegen legen den Schwerpunkt auf die porträtierte Person, ohne die Hintergrunddetails stark auszuprägen. Domenico entwickelte die Darstellung detailreicher Landschaften in seinen Porträts im bewussten Gegensatz zum väterlichen Œuvre weiter und inspirierte sich dabei von den flämischen Mitarbeitern aus der Werkstatt seines Vaters, wie etwa Lodewijk Toeput genannt il Pozzoserrato (um 1550–1603) und Paolo Fiammingo (1540–1596). So beispielsweise in dem Bildnis eines Malers in der Alten Pinakothek in München (Inv.-Nr. 965). Die Landschaft im vorliegenden Werk erinnert dabei stark an diejenige in dem Bildnis der Dogaressa Morosina Morosini, welches im Minneapolis Institute of Art als ein Werk aus Jacopos Werkstatt aufbewahrt wird und möglicherweise ebenfalls von Domenico stammt (Inv.-Nr. 24.4). Domenico Tintoretto und seine ältere Schwester Marietta (um 1560–1590) arbeiteten beide im Atelier ihres Vaters, Jacopo Tintoretto. Domenico konzentrierte sich dabei mehr auf Porträtmalerei und war damit einer der ersten venezianischen Maler, der sich auf dieses Genre spezialisierte, wie dies Carlo Ridolfi (1594–1658), der Biograph seines Vaters, bemerkte. Die Identität der hier dargestellten Herren ist unbekannt, und es kann darüber spekuliert werden, ob das Porträt einen Vater und seinen Sohn oder ein Brüderpaar darstellt. Das Thema des Doppelporträts mit unterschiedlichen Altersstufen, die auf das Erwachsenwerden bzw. die Vergänglichkeit der Zeit hinweisen, war bereits bei der vorherigen venezianischen Malergeneration vertreten, so beispielsweise im Œuvre Tizians (um 1488–1576) oder Jacopo Bassanos (1510–1592), und auch bei Domenicos Vater Jacopo und dessen Porträt eines alten Mannes und eines Knaben im Kunsthistorischen Museum, Wien (Inv.-Nr. 37). Somit greift Domenico auf eine bevorzugte Motivwahl zurück und setzt diese individuell um. Die Provenienz unseres Gemäldes, welches ehemals dem Kunsthistoriker Detlev von Hadeln gehörte, ist von besonderer Bedeutung. Von Hadeln spielte eine wichtige Rolle in der Geschichtsschreibung der venezianischen Renaissance, indem er Werke über Tintoretto, Tizian und Veronese (1528–1588) veröffentlichte, und 1924 eine kommentierte Ausgabe von Ridolfis Biographien der venezianischen Künstler von 1648, Maraviglie dell'arte, ovvero le vite degli pittori e dello stato, herausgab. Er studierte zwischen 1909 und 1910 am Kunsthistorischen Institut in Florenz, wo er das dortige fotografische Archiv gründete.
Koller Auctions
Mar. 03, 2022
Domenico Tintoretto (Venezia, 1560 - 1635), “Ritratto di uomo”.
Est: €2,800 - €10,000
Ancient paintings - Domenico Tintoretto (Venezia, 1560 - 1635), “Ritratto di uomo”. Olio su tela entro cornice coeva, H cm 40x29 - con cornice, H cm 70x55 L'opera è accompagnata da una lettera di attribuzione del professor Carlo Volpe e da una copia di una pubblicazione databile agli anni '30.
Gregory's Casa d'Aste
Feb. 22, 2022
Domenico Robusti detto Domenico Tintoretto (Venezia 1560 - 1635) cerchia di
Est: €3,500 - €5,500
Domenico Robusti detto Domenico Tintoretto (Venezia 1560 - 1635) cerchia di Santa Maria Penitente Olio su tela 83 x 73,5 cm Domenico Robusti fu istruito dal padre Jacopo, che lo aiutò a dipingere la Sala del Collegio e la Sala del Senato in Palazzo Ducale a Venezia. A partire dalla fine del Cinquecento si concentrò nella realizzazione di scene religiose per la devozione privata. Dimenticata la potente cromia paterna, egli si esprime in toni cupi, interpretando efficacemente le idee della Controriforma. La tela in esame è ispirata, con qualche modifica e in controparte, al dipinto di Domenico Robusti ora nella Pinacoteca Capitolina (olio su tela, 111,4 x 92 cm, inv. 44843). Domenico Robusti known as Domenico Tintoretto (Venice 1560 - 1635) circle of St. Mary Penitent Oil on canvas 83 x 73,5 cm
Lucas Aste
Nov. 26, 2021
DOMENICO TINTORETTO (attr. a)
Est: €3,000 - €5,000
(Venezia, 1560 - 1635) Ritratto del capitano da mar veneziano Augusto Barbarido (Venezia, 1516 - Golfo di Patrasso, 1571) Olio su tavola, cm 113X88 Provenienza: Vienna, Dorotheum, 16 aprile 2008, lotto 289 (come dopo Jacopo Tintoretto) Dopo innumerevoli incarichi politici e militari, nel 1567 Barbarido fu eletto Luogotenente Generale dell'isola di Cipro e negli anni successivi ha poi l'opportunità di dimostrare le sue abilità di comandante quando il Senato veneziano ha voluto porre rimedio all'inefficienza della flotta alla fine del 1570. Giunto a Corfù Barbarigo nel 1571 ben presto assunse il comando di capitano generale di Mar al posto di Sebastiano Venier e nella battaglia di Lepanto comandò l'ala sinistra della flotta cristiana dove fu ferito a morte.
Wannenes Art Auctions
Nov. 18, 2021
Domenico Robusti: The Temptation of Saint Anthony
Est: €10,000 - €15,000
, DOMENICO ROBUSTI ('Tintoretto') Venice 1560 - 1635 attributed Title: The Temptation of Saint Anthony. Date: 1st h. 17th c.. Technique: Oil on canvas. Mounting: Relined. Measurement: 75 x 74cm. Frame/Pedestal: Framed. Provenance: Private ownership, Italy. Domenico Tintoretto was Jacopo's firstborn: at the age of twenty he began working in his father's workshop and was actively involved in Jacopo's commissions. In his will, his father designated him heir to "all things belonging to his profession" and to carry on the unfinished works. Domenico was a prolific painter and throughout his career he experimented with all drawing techniques and means, from chalk to modern oil sketches on paper: it was with this technique that he produced the spectacular series of the Temptations of St Anthony, which is preserved in the British Museum in London. Roland Krischel kindly pointed out that the present painting can be related compositionally to two of the London sheets, including a sketch showing St Anthony seated on the floor on the left with his hands folded, surrounded by animals, a crouching figure on the right and another holding a cannon (inv. no. 1907.0717.67). The canvas faithfully reproduces the left part with the figure of the saint and perhaps suggests that the two works were created at the same time and dependent on each other. Presumably the painting remained in Domenico's studio as a draft or unfinished work and was only sold after the painter's death in 1635. We are grateful to Roland Krischel, Cologne, who confirmed the attribution after examining the present painting in the original.
Van Ham Kunstauktionen
Nov. 05, 2021
17th C. Italian School: Doge Portrait - Painting
Est: $600 - $800
17th century Italian School oil on canvas portrait of a doge, possibly Marino Grimani (Venetian, 1532-1605), 89th Doge of Venice, after the original by Domenico Robust Tintoretto (1560-1635). Signature not found. [Sight: 48 3/4" H x 35 1/4" W; Frame: 57 1/2" H x 45" W]. Punctures; restoration; re-painting; accretion. Abrasions; losses.
Roland Auctions NY
Oct. 14, 2021
DOMENICO TINTORETTO (VENICE 1560-1635) A group portrait of four Venetian se
Est: $300,000 - $500,000
DOMENICO TINTORETTO (VENICE 1560-1635) A group portrait of four Venetian senators, bust-length oil on canvas 23 x 44 ½ in. (58.5 x 113.2 cm.)
Christie's
Jun. 16, 2021
Domenico Robusti (Venezia 1560-1635), attribuito a, Ritratto di un senatore veneziano
Est: €6,000 - €8,000
olio su tela, cm 120x98
Cambi Casa d'Aste
Mar. 26, 2021
Tintoretto, Domenico: Christus in der Rast
Est: -
Tintoretto, Domenico — Christ in Distress (Venice 1560-1635 ibid.) Jesus is sitting on a stone in anticipation of his crucifixion, clothed only in a linen cloth, and holding his head propped up in his hand as an expression of sadness and melancholy. Oil on canvas. 96 x 75 cm. - Domenico is the eldest son of Jacopo Tintoretto, who took over the workshop after his death in 1594 and continued in his tradition. - In his expert opinion Allessandro Delpriori dates the painting to the period between 1595 and 1600. // Tintoretto, Domenico Christus in der Rast (Venedig 1560-1635 ebd.) Jesus sitzt in Erwartung seiner Kreuzigung nur mit einem Lendentuch bekleidet auf einem Stein, und hält den Kopf in seiner Hand als Ausdruck von Traurigkeit und Melancholie gestützt. Öl/Lwd. 96 x 75 cm. - Domenico ist der älteste Sohn des Jacopo Tintoretto, der nach dessen Tod 1594 die Werkstatt übernahm und in dessen Tradition fortführte. - In seinem Gutachten datiert Allessandro Delpriori das Gemälde in die Zeit von 1595 bis 1600.
Kunstauktionshaus Schlosser
Mar. 26, 2021
Tintoretto, Domenico (Attrib.): Bildnis eines jungen Mannes an einem Pult mit Briefen
Est: -
Tintoretto, Domenico - attributed to: — Portrait of a young man at a desk with letters. (Venice 1560-1635 ibid.) Oil on canvas, relined. 111 x 86,5 cm. - Restored. // Tintoretto, Domenico (Attrib.) Bildnis eines jungen Mannes an einem Pult mit Briefen (Venedig 1560-1635 ebd.) Öl/Lwd., doubl. 111 x 86,5 cm. - Restauriert.
Kunstauktionshaus Schlosser
Dec. 04, 2020
Domenico Robusti Tintoretto, 1560 Venedig – 1635 ebenda
Est: €9,000 - €12,000
Christus-Schmerzensmann Öl auf Leinwand. 97 x 75 cm. Ungerahmt. Durch Expertise von Dr. Alessandro Delpriori, o. J., an den Künstler zugewiesen. In der beiliegenden Expertise mit Recht auf die hohe Qualität des Bildes verwiesen, insbesondere auch auf die Tatsache, dass Domenico Tintoretto, der Sohn des berühmten Jacopo, zu einem der bedeutendsten Porträtisten seiner Zeit gezählt hat, was auch den psychologisch realistischen Gesichtsausdruck erklärt. Verglichen wird das vorliegende Bild mit einer von Domenico geschaffenen „Geißelung“ die sich im Kapitolinischen Museum in Rom befindet. Auch vergleicht der Experte hierzu das Gemälde der „Santa Giustina“ das möglicherweise in Zusammenarbeit mit dem Vater Jacopo um 1580 entstand und sich im Museum Corer in Venedig befindet. Ebenso wird zum Vergleich das Bildnis eines Bildhauers (Ascanio detto dei Christi) herangeführt das sich in der Alten Pinakothek München befindet. Domenico Tintoretto übernahm nach 1594 die Werkstatt seines Vaters als Ateliervorstand bis nach 1600 sein Ruhm durch andere Meister, wie etwa Jacopo Palma d. J. verdrängt wurde. Im Gutachten wird das Gemälde in das Spätwerk des Künstlers zwischen 1595 und 1600 eingeordnet. Der gegeißelte Christus in Lebensgröße im Dreiviertelbildnis sitzend dargestellt. Die Körperhaltung mit gekrümmtem Rücken nach links der Körper entkleidet, ein weißes Tuch zieht über die Lendenpartie. Der Kopf auf die Hand gestützt, die linke Hand über das Knie gelegt. Die Leidensgestalt von rechts oben schlaglichtartig beleuchtet, hebt sich vor schwarzem Hintergrund ab. Einige Blutstropfen an Arm und Rücken weisen auf die Geißelung hin. Besonders ausdrucksvoll ist das Gesicht gestaltet, der Mund leicht geöffnet, das Auge glasig in die Ferne gerichtet, mit rot unterlaufenen Liedern. Wie ein erlöschendes Licht erscheinen die Strahlen über dem Haupt. (1252097)
Hampel Fine Art Auctions
Nov. 30, 2020
Attrib. Domenico Tintoretto (1560-1635), Nude
Est: $1,500 - $2,500
Black and white chalk on grey paper Inscribed with initials GB (lower right) and additional inscriptions including "Tintoretto" (on the reverse). 14.6 x 26 cm Provenance: Estate of Yehuda and Shula Prihar. Purchased at Christie's, London, "Old Masters and 19th Century Continental Drawings", December 11th, 1980, number 33 in the catalogue. Notes: A study of hands (on the reverse), Initialed EZ on a paper it was laid down on and later separated. The original Christie's catalogue is not in our possession and we don't have knowledge about their precise classification.
Hammersite
Oct. 11, 2020
Domenico Tintoretto (1560-1635) attribué à. Portrait d'un noble vénitien en
Est: €40,000 - €45,000
Domenico Tintoretto (1560-1635) attribué à. Portrait d'un noble vénitien en adoration devant l'Enfant Jésus. Huile sur toile. Dim: 112x88,5 cm. Une lettre du 8 Août 2001 de William R. Rearick University of Maryland confirmant l'attribution à Dominico Tintoretto accompagne le tableau.
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