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Tiziano Vecellio Sold at Auction Prices

b. 1490 - d. 1576

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          • Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venezia 1576) bottega di
            Feb. 20, 2024

            Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venezia 1576) bottega di

            Est: €3,000 - €5,000

            Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venezia 1576) bottega di Concerto campestre (incompiuto) Olio su tela 105 x 138 cm La tela, nelle parti definite, evidenzia una squisita qualità, un far pittorico deciso e tipicamente veneziano per il sapiente uso della pennellata sfrangiata e dello sfregazzo. Supporto, materiali e tecnica inducono a datare la tela nel XVI secolo, e in virtù di queste considerazioni, si avvalora l'ipotesi che essa sia uscita dalla bottega del Tiziano, ovvero, a nostro avviso, realizzata sotto la sua diretta supervisione. L'opera originale, conservata al Louvre, è stata attribuita a Giorgione ma oggi l'opinione comune degli studiosi riconosce in Tiziano l'autore. Il tema colto e sofisticato, allude ai piaceri arcadici e al piacere dei sensi, alla purezza e all'eros alla simultaneità del visibile e dell'invisibile, dell'umano percepire e della percezione poetico filosofica. Appartenuta ai Gonzaga, venne acquisita da Carlo I d'Inghilterra e poi dal banchiere francese Eberhard Jabach, che a sua volta la vendette, nel 1671, a Luigi XIV re di Francia. Il celeberrimo dipinto Déjeuner sur l'herbe di Édouard Manet è l'omaggio dell'artista francese a quest'opera che ebbe modo vedere e amare profondamente. Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venice 1576) workshop of Country Concert (Unfinished) Oil on canvas 105 x 138 cm The canvas, in the defined parts, highlights an exquisite quality, a decisive and typically Venetian pictorial approach due to the skillful use of sfrangiato and sfregazzo. Support, materials, and technique led to dating the canvas in the 16th century, and by these considerations, the hypothesis is supported that it came out of Titian's workshop, or, in our opinion, created under his direct supervision. The original artwork, now in the Louvre, was attributed to Giorgione but today the common opinion of scholars recognizes Titian as the author. The cultured and sophisticated theme alludes to Arcadian pleasures and the pleasure of the senses, to purity and eros, to the simultaneity of the visible and the invisible, of human perception and poetic-philosophical perception. Having belonged to the Gonzaga family, it was acquired by Charles I of England and then by the French banker Eberhard Jabach, who in turn sold it, in 1671, to Louis XIV, king of France. The famous painting Déjeuner sur l'herbe di Édouard Manet is the French artist's homage to this artwork that he had the opportunity to see and love deeply.

            Lucas Aste
          • TIZIANO VECELLIO (PIEVE DI CADORE 1488/1490 - VENEZIA 1576) COPIA DEL XVIII SECOLO
            Dec. 05, 2023

            TIZIANO VECELLIO (PIEVE DI CADORE 1488/1490 - VENEZIA 1576) COPIA DEL XVIII SECOLO

            Est: €1,000 - €1,500

            Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venezia 1576) copia del XVIII secolo Incoronazione di spine Olio su tela 78 x 61,5 cm L'opera riprende il dipinto di Tiziano, realizzato nel 1576, conservato nella Alte Pinakothek di Monaco di Baviera, in Germania. Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venice 1576) 18th century copy The crowning with thorns Oil on canvas 78 x 61,5 cm The artwork takes up the painting by Tiziano, made in 1576, kept in the Alte Pinakothek in Munich, Germany.

            Lucas Aste
          • Tiziano Vecellio: Venus and Adonis
            Nov. 17, 2023

            Tiziano Vecellio: Venus and Adonis

            Est: €10,000 - €20,000

            VECELLIO, TIZIANO ('Tizian') ca. 1489 Pieve di Cadore - 1576 Venedig Circle Title: Venus and Adonis. Technique: Oil on canvas. Mounting: Relined. Measurement: 61 x 77cm. Frame: Framed. Provenance: Private ownership, Germany. Who in this country was worshipped and praised as a "Maler-Fürst" (engl. Painter Prince) in the 19th century, for example Franz von Lenbach or Franz von Stuck in Munich, he could not only show a splendid estate, but also had an almost public, opulent lifestlye and knew how to celebrate roaring artist parties with their followers. All of this, however, was nothing against the adoration of artists in Italy, especially in 16th century Italy. At that time, artists were downright put on a pedestal. He was celebrated as a genius and worshipped him almost like an "artist-god". Leonardo da Vinci, Raffael, Michelangelo, Tintoretto would be examples for this - and, of course, especially: Tiziano! Tiziano, actually Tiziano Vecellio, was born in 1488 in Pieve die Cadore and died at the age of ca. 86 in Venice in 1576. Already as a young person he had come to Venice. The brothers Gentile and Giovanni Bellini recognised his artistic talent and taught hime. At the age of 25 he already opened his own artist's workshop. he did not miss anything. His artistic talent quickly was highly praised and his reputation as a gifted painter hurried ahead of him. ALl over Europe, he received commissions, on which he worked alongside his most talented student. As a result Tizian portrayed, for example, Charles V, emperor of the Holy Roman Empire, and Pope Paul III in Rome, as well as Philipp II in Spain. No other painter infused the presented personalities with such vividness as he did at that time. No other treated the materiality of the substances in an as differentiated way as this artist. The silky shiny hair of a portrayed lady entice to touching, the velvety-soft garments prompt the oberserver's eyes to follow the fluid drapery, the exact representation of the precious satin fabric call for admiration on all sides. Tiziano knew how to handle colouring and used it in a way utterly surprising for his contemporaries. This was a new kind of painting that was, especially at that time, fascinating for all observers. Except for the portraits that were highly popular amongst chirch and aristocracy, Tiziano also painted ladscapes as well as mythological and religious motifs. In his brilliant versatility he produced moving depcitions of Madonna, impressive ceiling frescos and altar pieces rich in figures. Time and again he dealt with diverse motifs of Roman mythology all life long. This way he was also fascinated by the famous love story of Venus and Adonis and implemented this in a painting at the age of 65: The goddess of love, Venus, falls in love with the young Adonis because he is astoundingly beautiful. However, this erotic relatioship suddenly ends when Adonis is killed by a boar during the hunt. From his blood venus lets bloom a flower due to her aching heart, the so-called pheasant's eye. This way, Adonis can bloom as a flower on earth for some time of the year while he must reside in the underworld for the left time. In his painting Tizian now grasps the dramtic moment in his painting when Venus is trying to prevent her young beloved from the hunt because she knows that he would die if he actually went hunting. Despite all of her struggles she cannot hold back Adonis. The observer knows how the story will end and Tiziano confirms the uncomfortable feeling with all the means available to him. The artist lets the bare Venus cling in compicated body twists to Adonis who is rushing forward, cled in signal red garments.The accompanying hounds are already tugging at the leashes and are picking up the scent of the quarry. In the middle ground on the left Cupid is oversleeping the significant moment. He does not help her at all. And in the sky, mountains of clouds are looming in a threatening manner, from which the first rays of sunshine are tediously fighting their way out. This artwork of the almost worshipped artist shook up soceity at that time. No wonder that it had been copied by his students more than once within the artist's workshop during Tiziano's life time. And also after Tiziano's death it did not lose its radiance. There are once and again artists during that time that are inspired by the original that is exhibited at the Prado nowadays and then interpret it in their personal style. Our offered artwork was created shortly after Tiziano's death in his closest circle of students, according to our judgement. The artist perfectly managed to transfer the motif of the large-scale original with the measurements 186 x 207 cm to a smaller-scale version. It convinces with its strong contrasts of colours and its artistic treatment of details. Thus the elaboration of Venus' hair style for example hints distinctly ata Venetian artist. Only these were skilled enough to ban the silky soft hair of a female figure onto the canvas. The present painting radiates a personal artistic trademark. It grasps wide beyong being a mere copy of Tiziano's famous motif of Venus and Adonis by means of a self-confident artistic interpretation. Explanations to the Catalogue Estimated shipping costs for this lot: Germany: 77,31 Euro plus 14,69 Euro VAT EU: 100,84 Euro plus 19,16 Euro VAT Worldwide: 159,66 Euro plus 30,34 Euro VAT additional shipping insurance

            Van Ham Kunstauktionen
          • Vecellio, Tiziano
            Oct. 14, 2023

            Vecellio, Tiziano

            Est: €160 - €240

            (1477 Pieve di Cadore - Venedig 1576), nach. Das Märtyrium des Hl. Petrus. Kupferstich. Plgr. ca. 44 x 34,5 cm. Blgr. 46 x 36,5 cm. Mit Namenszug i.d.Pl. - Minimal fl. sowie kl. Löchlein im li. weißen Rand. D

            Kiefer Buch- und Kunstauktionen
          • Tiziano Vecellio, auch "Tizian", 1485 bei Belluno - 1576 Venedig, Werkstatt des
            Sep. 28, 2023

            Tiziano Vecellio, auch "Tizian", 1485 bei Belluno - 1576 Venedig, Werkstatt des

            Est: €50,000 - €70,000

            DANAE Öl auf Leinwand. Doubliert. 127 x 189 cm. In vergoldetem Profilrahmen. Beigegeben eine technische Analyse von Dr. Giuseppe Di Girolami, Ascoli Piceno vom 17. Oktober 2019, in Kopie. Die Analyse hat Stiche auf dem Pigment gezeigt, die von einem Vorlagekarton stammen dürften, sowie verschiedene Pentimenti. Ebenso beigegeben eine Korrespondenz mit Bernard Jan Hendrik Aikema, Fondazione Centro Studi e Cadori, der nach der Beurteilung von Fotografien nicht ausschließt, dass es sich um eine Werkstattsarbeit Tizians handeln könnte. Danae liegt auf ihrer Bettstatt in ihrem Turm, in den ihr Vater sie eingesperrt hatte, um zu verhindern, dass sie Nachkommen zeugt - denn es wurde prophezeit, dass ihr Sohn seinen Großvater töten würde. Wir werden als Betrachter Zeuge des wundersamen Augenblicks, in dem Zeus in Gestalt eines Goldregens mit Danae den Sohn Perseus zeugt - der seinen Großvater letztendlich doch versehentlich bzw. der Lenkung der Götter gemäß mit einem Diskus tötet. In diesem Moment läuft eine Amme herbei, um den Goldregen aufzufangen. Die Darstellung – ob nun aus der Werkstatt oder in der Nachfolge entstanden – geht zurück auf das berühmte Werk Tizians, welches 1560-65 ausgeführt wurde und im Prado in Madrid unter Inv.Nr. P00425 verwahrt wird und 129,8 x 181,2 cm misst. Auch in der Hermitage in St. Petersburg wird eine Version mit Amme verwahrt (120 x 187 cm). Die erste Danae wurde von Tizian in Rom 1544-45 für Cardinal Alessandro Farnese in Bezug auf seine Affäre mit einer Kurtisane gefertigt. Dieses Gemälde war Vorbild etwa für das Gemälde für Philip II, bei dem Cupido durch eine alte Amme ersetzt wurde, die einen willkommenen Kontrast zur jugendlichen Schönheit Danaes bietet. Das Pradogemälde entstand um 1565 und gehörte einst vermutlich Giovanni Carlo Doria und danach Velázquez, dem 1634 1000 Dukaten für 18 Gemälde - darunter die Danae - bezahlt wurden. (1370831) (13) Tiziano Vecellio, also known as "Titian", 1485 near Belluno – 1576 Venice, workshop of DANAË Oil on canvas. Relined. 127 x 189 cm. Accompanied by a technical analysis by Dr Giuseppe Di Girolami, Ascoli Piceno dated 17 October 2019, in copy. The analysis has shown pricks on the pigment that may originate from a cartoon and various pentimenti. Also enclosed is the correspondence with Bernard Jan Hendrik Aikema, Fondazione Centro Studi Tiziano e Cadore. After assessing the photographs, he does not rule out that this could be a work by Titian’s workshop.

            Hampel Fine Art Auctions
          • Follower of TIZIANO VECELLIO (Pieve di Cadore, Belluno, Veneto, ca. 1477/1490-Venice, 1576), c.1900. "Salome". Oil on canvas. It presents faults and restorations on the pictorial surface.
            Sep. 20, 2023

            Follower of TIZIANO VECELLIO (Pieve di Cadore, Belluno, Veneto, ca. 1477/1490-Venice, 1576), c.1900. "Salome". Oil on canvas. It presents faults and restorations on the pictorial surface.

            Est: €500 - €600

            Follower of TIZIANO VECELLIO (Pieve di Cadore, Belluno, Veneto, ca. 1477/1490-Venice, 1576), c.1900. "Salome. Oil on canvas. It presents faults and restorations on the pictorial surface. Measurements: 88 x 81 cm. Salome, Idumean princess, daughter of Herodias and wife of Herod Philip I, carries on a tray the decapitated head of Saint John the Baptist, illustrating a Gospel passage narrated by Matthew (14:1-11) and Mark (6: 22-28). Titian approached this subject as early as 1516 (Rome, Doria-Pamphilj), conceiving the scene in pyramidal form, with Salome holding the Baptist's head on a tray at chest level and a maid. The scene was set in an interior, with an arch in the background. Titian then gave the scene an erotic dimension, common in depictions of this episode in early 16th-century Venetian art, through Salome's suggestive clothing and the way her bare arm brushes the prophet's hair. Several historians believe that the Baptist's head is a self-portrait by Titian, who thus inaugurated a sub-genre, the décapité self-portrait, which would be taken up by Caravaggio. The present work, although executed in Spain in the 19th century, was originally conceived by Titian. In the present work, the main focus is on Salome, who holds up the Baptist's head. In contrast to the solid pyramidal structure of the first version, this one displays a dynamism that evokes the dance that Salome performed to seduce the Baptist. In a lively contrapposto, the body traces a diagonal line underlined in parallel by an ethereal gauze, balanced by the verticals of the head and the left arm. The addressee of the seduction is now the spectator, whom Salome interpellates with her gaze.

            Setdart Auction House
          • Follower of Tiziano Vecellio, called Titian (Pieve-di-Cadore 1485-1576 Venice) Portrait of an elderly man in senator's robes
            Sep. 13, 2023

            Follower of Tiziano Vecellio, called Titian (Pieve-di-Cadore 1485-1576 Venice) Portrait of an elderly man in senator's robes

            Est: £2,000 - £3,000

            Follower of Tiziano Vecellio, called Titian (Pieve-di-Cadore 1485-1576 Venice) Portrait of an elderly man in senator's robes indistinctly inscribed and dated 'MA***/CANC/MD*' (upper right) oil on canvas 70.7 x 55.2cm (27 13/16 x 21 3/4in).

            Bonhams
          • TIZIANO VECELLIO E AIUTI DI BOTTEGA, Olio su tavola
            Jun. 29, 2023

            TIZIANO VECELLIO E AIUTI DI BOTTEGA, Olio su tavola

            Est: €150,000 - €250,000

            TIZIANO VECELLIO E AIUTI DI BOTTEGA (Pieve di Cadone 1488/1490 - Venezia 1576) Busto di Cristo Olio su tavola Cornice non coeva in legno intagliato e dorato L'opera è corredata da expertise a cura del professore Maurizio Marini (l'expertise sarà riprodotto in forma digitale). cm 49 x 36,5.

            Benedetto Trionfante Casa d’Aste
          • Tiziano Vecellio Venere che benda Amore
            Jun. 27, 2023

            Tiziano Vecellio Venere che benda Amore

            Est: €1,000 - €1,500

            Il dipinto qui presentato riprende un particolare della celebre composizione del maestro veneto, attualmente conservata presso il Museo di Villa Borghese a Roma.

            Cambi Casa d'Aste
          • VECELLIO TIZIANO (1485 - 1576) From. Venus and Adonis
            Jun. 13, 2023

            VECELLIO TIZIANO (1485 - 1576) From. Venus and Adonis

            Est: €5,000 - €8,000

            VECELLIO TIZIANO (1485 - 1576). From. Venus and Adonis. Cm 124,50 x 138,00.

            Capitolium Art
          • EUROPEAN SCHOOL after Tiziano Vecellio, called Titian (1488–1576) 19th century A young woman in furs Oil on canvas
            Mar. 30, 2023

            EUROPEAN SCHOOL after Tiziano Vecellio, called Titian (1488–1576) 19th century A young woman in furs Oil on canvas

            Est: $400 - $600

            EUROPEAN SCHOOL after Tiziano Vecellio, called Titian (1488–1576) 19th century A young woman in furs Oil on canvas 83 x 62.5cm OTHER NOTES: After Titian's circa 1536 painting in the Kunsthistorisches Museum, Vienna (inv. Gemäldegalerie, 89).

            Leonard Joel
          • Porcelain miniature painting girl with fruit bowl, after Tiziano Vecellio (1485-1576), Porzellan Bildplatte Mädchen mit Fruchtschale Miniaturmalerei,
            Feb. 25, 2023

            Porcelain miniature painting girl with fruit bowl, after Tiziano Vecellio (1485-1576), Porzellan Bildplatte Mädchen mit Fruchtschale Miniaturmalerei,

            Est: €200 -

            porcelain around 1900, girl with fruit bowl after an original by Titian around 1555, reverse with sticky note, oval painting H 11.5 cm x W 9 cm, ceremonial frame 23.5 x 21.5 cm

            Antikauktion Krefeld
          • Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venezia 1576) seguace di
            Feb. 21, 2023

            Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venezia 1576) seguace di

            Est: €1,000 - €1,500

            Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venezia 1576) seguace di Ritratto di Francesco Maria della Rovere duca di Urbino Olio su tela incollata a tavola 21 x 19 cm Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venice 1576) follower of Portrait of Francesco Maria della Rovere, Duke of Urbino Oil on canvas on panel 21 x 19 cm

            Lucas Aste
          • AFTER TIZIANO VECELLIO, CALLED TITIAN (CIRCA 1488-1576), ANONYMOUS, Portrait of Suleyman the Magnificent
            Jan. 24, 2023

            AFTER TIZIANO VECELLIO, CALLED TITIAN (CIRCA 1488-1576), ANONYMOUS, Portrait of Suleyman the Magnificent

            Est: $150,000 - $250,000

            AFTER TIZIANO VECELLIO, CALLED TITIAN (CIRCA 1488-1576), ANONYMOUS, Portrait of Suleyman the Magnificent Block & Sheet 870 x 349 mm.

            Christie's
          • E. SADELER (*1570) after TIZIAN (*1488), Portrait of Marcus Salvius Otho, around 1600, Copper engrav
            Dec. 10, 2022

            E. SADELER (*1570) after TIZIAN (*1488), Portrait of Marcus Salvius Otho, around 1600, Copper engrav

            Est: €450 - €600

            Egidius II Sadeler (around 1570 Antwerp - 1629 Prag) after Tizian: Tiziano Vecellio (around 1488 Belluno - 1576 Venice): Portrait of the Roman Emperor Marcus Salvius Otho (32 AD-69), c. 1600, Copper engraving Technique: Copper engraving on Paper Inscription: At the lower part signed in the printing plate: "AEgidius sadeler S.C.M. sculp. / Titianus inventor / Marcus sadeler excudit.". Upper middle inscribed in the printing plate: "M. SYLVIS OTHO.". At the lower part further inscription: "VIII. Ad regnum ingressus fuit hic vt apertus Othonie/Per miseram facta proditione necem: Hic idem fuit extremus regni exitus. Auli Vi sibi cum gladijs adueniente Super. / Suspector magni et quoniam fuit iste Neronis, Nomine quem voluit saepe referre Nero, Rettulit atque fuga: ac manibus tum denique mortem Persimilem sibi et hic coscijt suis.". Date: c. 1600 Description: Engraving by Sadeler, Egidius (1570 Antwerp - Prague 1629) and Sadeler, Marcus Christoph (before 1614 Munich - Prague 1660) after Titian (1477 Pieve di Cadore - Venice 1576). Marcus Salvius Otho (32-69 AD) was one of the four Roman emperors of the four-emperor year 69. On the copper engraving it is particularly striking that his right arm is bare, but his left arm is in 17th century armour. It is an interesting portrait of an ancient personage who, however, seems to have been transported to the 17th century by the armour. Person: Depicted: Marcus Salvius Otho (32 Ferentium - 69 Brixellum) Roman Emperor Keywords: Rome, Roman Empire, Antiquity, Empire, Emperor, Emperor portrait, Armour, Imperium Romanum, 17th century, Renaissance, Portraits, Italy, Rome (Latium),

            Fichter Kunsthandel
          • TIZIANO VECELLIO (PIEVE DI CADORE 1488/1490 - VENEZIA 1576) SEGUACE
            Nov. 29, 2022

            TIZIANO VECELLIO (PIEVE DI CADORE 1488/1490 - VENEZIA 1576) SEGUACE

            Est: €600 - €1,000

            Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venezia 1576) seguace di Ritratto di imperatore Olio su tela 114 x 94 cm Su commissione di Federico Gonzaga, tra il 1537 e il 1538 Tiziano Vecellio realizzò dodici ritratti di imperatori romani. Secondo quanto riporta Vasari, la serie completa risulta collocata nell'anticamera della Stanza di Troia nel Palazzo Ducale di Mantova. Nel 1628 i dipinti furono acquistati da Carlo I, quindi trasferiti in Inghilterra e successivamente in Spagna, dove vennero distrutti nell'incendio dell'Alcazar del 1734. Di essi rimane memoria nelle incisioni di Egidio Sadeler, nei disegni di Jacopo Strada e in numerose copie: le più famose ed interessanti sono quelle conservate presso la Pinacoteca Nazionale di Siena, eseguite da Ludovico Dondi e quelle di Bernardino Campi nella Galleria Nazionale di Capodimonte a Napoli. Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venice 1576) follower of Portrait of an emperor Oil on canvas 114 x 94 cm

            Lucas Aste
          • Titian, 1488 - 1576, Mary Magdalene
            Nov. 15, 2022

            Titian, 1488 - 1576, Mary Magdalene

            Est: €200 - €400

            Titian 1488 - 1576 Mary Magdalene Copper engraving from 1566 Cornelius Cort fec. 1533 - 1578 34,5 x 27,5 cm

            Tiberius Auctions
          • Kopie Tizian Magdalena / Copy after Titian, Magdalena
            Oct. 06, 2022

            Kopie Tizian Magdalena / Copy after Titian, Magdalena

            Est: -

            (Tiziano Vecellio), Tizian (um 1490 Pieve di Cadore (Belluno) - 1576 Venedig) Kopie nach ''Maddalena penitente'' (Die büßende Magdalena). Öl auf Leinwand, wohl erste Hälfte 20. Jh. Unsigniert. Rückseitig mit Stempel des ''Museo Nazionale di Napoli''. In Schmuckrahmen. 47 x 37 cm, 69 x 59 cm (Ra). Malschicht etwas berieben, kleine bis kleinste Retuschen. Diese Motiv hatte Tizian mehrfach ausgeführt, Variationen in Ausdruck und landschaftlicher Gestaltung auslebend. Die vorliegende Kopie wurde wohl nach einer in der Sammlung des Museo Nazionale di Capodimonte in Neapel befindlichen Ausführung angefertigt, wo sich einige der bedeutendsten Tizian-Werke befinden. In Wien wurde jüngst eine neuentdeckte Variation aus Tizians Hand veräußert, die der Sammlung des schwedischen Königshauses entstammte. Penitential Magdalen. Oil on canvas. Copy after Tizian by unknown, pres. first half 20th century. Backside with stamp and remarks from the Museum Capodimonte in Naples (Italy). Ornamtental frame. Paint a bit rubbed, smaller retouches.

            Kunstauktionshaus Günther
          • Tizian, „Tiziano Vecellio“, 1485/90 bei Belluno – 1576 Venedig, Nachfolge
            Sep. 22, 2022

            Tizian, „Tiziano Vecellio“, 1485/90 bei Belluno – 1576 Venedig, Nachfolge

            Est: €3,000 - €5,000

            Portrait der Caterina Cornaro, Königin von Zypern (Kopie nach Tizian) Öl auf Leinwand. Altdoubliert. 84,5 x 69 cm. In dekorativem, vergoldetem Rahmen. Idealbildnis der jungen Königin von Zypern nach links in prachtvollem weinrotem Seidenkleid mit Perlen, darüber ein offener Umhang mit Goldstickerei und goldener Bordüre, erneut mit Perlen versehen. Auf ihrem Haupt eine wertvolle goldene, mit Edelsteinen und Perlen verzierte Krone mit Schleier. Sie wird dargestellt als die Heilige Katharina von Alexandrien mit ihrem Martyrerattribut, einem Rad, das im Hintergrund rechts unten gezeigt wird. Feine, detailgenaue Malerei. Provenienz: Verso Aufkleber “Tho. Agnew & Sons, Manchester (Kunsthandlung)“. John Brandon Collection, Glasgow, 1919. Anmerkung 1: Das Originalgemälde der Dargestellten von Tizian von 1542 befindet sich in den Uffizien in Florenz. Das zeitgenössische Portrait der Caterina Cornaro von Gentile Bellini, um 1500, zeigt die Königin von kräftigerer Statur und lässt in der Darstellung Tizians ein Idealbildnis erkennen. Anmerkung 2: Caterina Cornaro (1454 Venedig-1510 Asolo) war von 1474 bis 1489 letzte Königin von Zypern. Der Urgroßvater ihres Vaters Marco Corner war von 1365 bis 1368 Doge von Venedig. Ihre Familie unterhielt seit Generationen Geschäftsbeziehungen mit Zypern. (1280093) (18)

            Hampel Fine Art Auctions
          • Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venezia 1576) cerchia di
            Sep. 20, 2022

            Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venezia 1576) cerchia di

            Est: €700 - €1,000

            Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venezia 1576) cerchia di Paesaggio con mulino, torri e case Acquerello e tracce di matita nera 140 x 235 mm Un interessante confronto si ottiene comparando il mulino dell'opera in questione, prima casa a sinistra, con l'analoga costruzione posta nella medesima posizione all'interno di due disegni di Tiziano conservati a Chatsworth nella Devonshire Collection, titolati Paesaggio con edifici e Coppia di innamorati. L'opera è stilisticamente molto affine alla cerchia di pittori cresciuti nel XVI secolo in Veneto, coinvolti dall'arte di Tiziano e dal suo rapporto poetico con la natura ed il paesaggio. Ci riferiamo a Girolamo Tessari detto Girolamo del Santo, Francesco Vecellio, Giulio e Domenico Campagnola e Bonifacio de' Pitati, detto Bonifacio Veronese. Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venice 1576) circle of Landscape with mill, towers and houses Watercolor and traces of black pencil 140 x 235 mm An interesting comparison can be obtained by comparing the mill of the artwork in question, the first house on the left, with the similar building placed in the same position in two drawings by Tiziano kept at Chatsworth in the Devonshire Collection, entitled Landscape with buildings and Couple of lovers.

            Lucas Aste
          • Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venezia 1576) allievo di
            Sep. 20, 2022

            Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venezia 1576) allievo di

            Est: €5,000 - €8,000

            Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venezia 1576) allievo di Giove e Antiope Olio su tela 108 x 140 cm L'opera è corredata dalla fotocopia di un'indagine scientifica ed estetica del Professor Alessandro Strini, disponibile su richiesta via mail. Il soggetto di quest'opera è stato dipinto in più varianti da Tiziano Vecellio. La versione più famosa è conservata al Louvre di Parigi, ed è conosciuta anche come Venere del Pardo. Una seconda versione che rappresenta solo i visi dei personaggi, oggi perduta, è tramandata grazie all’incisione di A. H. Payne. Una terza versione, da cui deriva l’opera in esame, è anch’essa perduta e la si conosce grazie all’incisone di Abraham Raimbach. L'opera è da assegnare alla produzione della stretta cerchia del Tiziano e realizzata in un periodo posteriore alla sua morte . Il riferimento va dunque all'entourage del maestro e a quei pittori cresciuti affianco a Tiziano nei suoi quasi cinquant'anni di attività. La fonte principale degli aiutanti fu la sua famiglia, quindi troviamo il fratello Francesco Vecellio, il figlio Orazio Vecellio e i suoi due cugini Cesare Vecellio e Marco Vecellio. Fuori dal campo parentale, ritroviamo Girolamo Dente detto Girolamo di Tiziano, Polidoro da Lanciano o Polidoro de' Renzi, Parrasio Michiel, Damiano Mazza e Camillo Ballini. Infine, tra coloro che fecero brillare il verbo tizianesco per tutto il XVI secolo e che lo traghettarono nel XVII secolo, si ricordano Simone Peterzano, Leonardo Corona, Giovanni Contarini e Jacopo Palma il Giovane. Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venice 1576) pupil of Jupiter and Antiope Oil on canvas 108 x 140 cm The artwork is accompanied by a copy of scientific and aesthetic investigation by Professor Alessandro Strini, available on request via email.

            Lucas Aste
          • TITIAAN (TIZIANO VECELLIO) (1488-1576) (AFTER)
            Jun. 09, 2022

            TITIAAN (TIZIANO VECELLIO) (1488-1576) (AFTER)

            Est: €250 - €350

            Animated landscape. Etching. By Valentin Lefevre, published by Van Campen. Framed. Description FR Paysage animé. Gravure. Par Valentin Lefevre, publiée par Van Campen. Encadrée. Beschrijving NL Personage in landschap. Ets. Door Valentin Lefevre, uitgegeven door Van Campen. Uit de reeks 'Opera Selectiora'. Kader.

            Bernaerts Auctioneers
          • TITIAAN (TIZIANO VECELLIO) (1488-1576) (COPIE OF)
            Jun. 08, 2022

            TITIAAN (TIZIANO VECELLIO) (1488-1576) (COPIE OF)

            Est: €1,500 - €2,000

            Portrait of a girl (Titian's daughter Lavinia?) holding a bowl of fruit. Canvas. After the original of Titian in the Gemäldegalerie Staatliche Museen zu Berlin inv. 166. Description FR Portrait d'une jeune fille (Lavinia, la fille de Titien ?) avec un bol de fruits. Toile. D'après l'original de Titien dans la Gemäldegalerie Staatliche Museen zu Berlin inv. 166. Beschrijving NL Portret van een meisje (Titiaans dochter Lavinia?) met een schaal met vruchten. Doek. Naar het origineel van Titiaan in de Gemäldegalerie Staatliche Museen zu Berlin inv. 166.

            Bernaerts Auctioneers
          • TIZIAN (1488-1576), Girl with Fruit Bowl (1555), 1905, Photogravure
            May. 29, 2022

            TIZIAN (1488-1576), Girl with Fruit Bowl (1555), 1905, Photogravure

            Est: €150 - €200

            Tizian: Tiziano Vecellio (around 1488 Belluno - 1576 Venice): Girl with Fruit Bowl (1555), Old Masters Picture Gallery, Dresden, 1905, Photogravure Technique: Photogravure on Paper Date: 1905 Description: From the catalogue: Masterpieces of Painting. Old Masters. Reproductions in Photogravure. With a preface and accompanying text by Wilhelm Bode and Fritz Knapp, Berlin 1905. Please note further offers from the Masterpieces catalogue in our online shop. The photogravure is accompanied by the corresponding picture text by Wilhelm Bode on an additional sheet. In Bode's and Knapp's catalogue, the lady in the picture is identified as Lavinia, the painter's daughter. Source: Meisterwerke der Malerei. Alte Meister. Reproductionen in Photogravure. Mit einem Vorwort und begleitendem Text von Wilhelm Bode und Fritz Knapp, Berlin 1905 | Book, Religion, Mythology, Genre, Landscape Keywords: 20th century, Renaissance, Portraits, Italy,

            Fichter Kunsthandel
          • TIZIAN (1488-1576), The interest penny (1516), 1905, Photogravure
            May. 29, 2022

            TIZIAN (1488-1576), The interest penny (1516), 1905, Photogravure

            Est: €150 - €200

            Tizian: Tiziano Vecellio (around 1488 Belluno - 1576 Venice): The Interest Groschen (1516), Old Masters Picture Gallery, Dresden, 1905, Photogravure Technique: Photogravure on Paper Date: 1905 Description: From the catalogue: Masterpieces of Painting. Old Masters. Reproductions in Photogravure. With a preface and accompanying text by Wilhelm Bode and Fritz Knapp, Berlin 1905. Please note further offers from the Masterpieces catalogue in our online shop. The photogravure is accompanied by the corresponding picture text by Wilhelm Bode on an additional sheet. Source: Meisterwerke der Malerei. Alte Meister. Reproductionen in Photogravure. Mit einem Vorwort und begleitendem Text von Wilhelm Bode und Fritz Knapp, Berlin 1905 | Book, Religion, Mythology, Genre, Landscape Keywords: 20th century, Renaissance, Biblical, Italy,

            Fichter Kunsthandel
          • TIZIAN (1488-1576), Heavenly & Earthly Love (1515), 1905, Photogravure
            May. 29, 2022

            TIZIAN (1488-1576), Heavenly & Earthly Love (1515), 1905, Photogravure

            Est: €150 - €200

            Tizian: Tiziano Vecellio (around 1488 Belluno - 1576 Venice): Heavenly and Earthly Love (1515), Galleria Borghese, Rome, 1905, Photogravure Technique: Photogravure on Paper Inscription: Signed on the right below the image with: "D. Anderson, Phot. Rome." Date: 1905 Description: From the catalogue: Masterpieces of Painting. Old Masters. Reproductions in Photogravure. With a preface and accompanying text by Wilhelm Bode and Fritz Knapp, Berlin 1905. Please note further offers from the Masterpieces catalogue in our online shop. The photogravure is accompanied by the corresponding picture text by Wilhelm Bode on an additional sheet. Source: Meisterwerke der Malerei. Alte Meister. Reproductionen in Photogravure. Mit einem Vorwort und begleitendem Text von Wilhelm Bode und Fritz Knapp, Berlin 1905 | Book, Religion, Mythology, Genre, Landscape Keywords: 20th century, Renaissance, Biblical, Italy,

            Fichter Kunsthandel
          • Titian (±1490-1576). (Landscape with a milkmaid).
            May. 20, 2022

            Titian (±1490-1576). (Landscape with a milkmaid).

            Est: €200 - €300

            Titian (±1490-1576). (Landscape with a milkmaid). Woodcut, 37,3x52,5 cm. - Professionally restored; doubled and remargined w. thin Japanse; lacks upper corners (the losses repaired w. matching paper and retouched by hand); a few grey spots in the image (possibly former foxed spots restored outer margins appear very brittle; vertical middle fold; some foxing on verso. = With a small round (a circle?) watermark.

            Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
          • Salome with the Head of John the Baptist and two Assistants
            May. 19, 2022

            Salome with the Head of John the Baptist and two Assistants

            Est: €6,000 - €8,000

            VECELLIO, TIZIANO ('Tizian') ca. 1489 Pieve di Cadore - 1576 Venedig Follower 16th/17th C. Title: Salome with the Head of John the Baptist and two Assistants. Technique: Oil on canvas. Measurement: 106 x 93.5cm. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. Explanations to the Catalogue

            Van Ham Kunstauktionen
          • Tiziano Vecellio (copia da) (Pieve di Cadore 1488/1490-Venezia 27 agosto 1576) - Miniature depicting sacred and profane love
            Apr. 16, 2022

            Tiziano Vecellio (copia da) (Pieve di Cadore 1488/1490-Venezia 27 agosto 1576) - Miniature depicting sacred and profane love

            Est: €200 - €100,000,000

            Painting on ivory In gilded frame.

            ArtLaRosa
          • After Tiziano Vecellio, called Titian, 19th Century The Madonna of the Rabbit
            Apr. 12, 2022

            After Tiziano Vecellio, called Titian, 19th Century The Madonna of the Rabbit

            Est: £3,000 - £5,000

            After Tiziano Vecellio, called Titian, 19th Century The Madonna of the Rabbit oil on panel 69.8 x 85.3cm (27 1/2 x 33 9/16in). For further information on this lot please visit the Bonhams website

            Bonhams
          • Tiziano Vecellio, auch genannt „TIZIAN“, 1485 Pieve di Cadore–1576 Venedig, zug.
            Mar. 31, 2022

            Tiziano Vecellio, auch genannt „TIZIAN“, 1485 Pieve di Cadore–1576 Venedig, zug.

            Est: €30,000 - €50,000

            PORTRAIT EINES EDELMANNES MIT JAGDHUNDÖl auf Leinwand. Doubliert. 110 x 86 cm. In geschnitztem teilvergoldetem Rahmen. Dreiviertelportrait eines jungen Mannes mit zu seiner Linken stehendem Windhund vor abgedunkeltem Hintergrund, der die Konturen der schwarzen Kleidung verunklären lässt. Umso wirkungsvoller wird das Gesicht aus einer Lichtquelle von links oben beleuchtet, wie ebenso der Kopf des graufelligen Jagdhundes zu seiner Seite, wie auch die Hände, der weiße Kragen und der goldene Knauf einer Blankwaffe am Gürtel. Die leichte Wölbung der Brust wird auf dem schwarzen Farbgrund des Gewandes durch gereihte Silberknöpfe deutlich. Das Gesicht nobel und intelligent wiedergegeben, mit entschlossenem Blick, der auf den Betrachter gerichtet ist. Die fülligen, geschlossenen Lippen unterstreichen diese Charakteristik. Diese Beobachtungen verweisen auf einen Maler von Rang, wobei der Stil Tizians hier außer Frage steht. Allerdings zeigt sich der Malauftrag etwas feiner und mehr geglättet, als wir dies vom Meister selbst kennen. Hier wäre zum Vergleich das „Bildnis eines jungen Mannes“ („Der junge Engländer“, Palazzo Pitti) heranzuziehen, oder „Der Mann mit dem Handschuh“, um 1520 (Louvre). Das Gemälde dürfte in den Jahren 1550/60 entstanden sein. Der vergoldete Rahmen ist im typischen venezianischen Stil gearbeitet. A.R. (1301759) Tiziano Vecellio, also known as “TITIAN”, 1485 Pieve di Cadore - 1576 Venice, attributed/ workshop of PORTRAIT OF A NOBLEMAN WITH GUN DOGOil on canvas. Relined. 110 x 86 cm.

            Hampel Fine Art Auctions
          • J.ANDERSON (*1813) after TIZIAN (*1488), Heavenly & Earthly Love, Titian, Black and white photograph
            Feb. 19, 2022

            J.ANDERSON (*1813) after TIZIAN (*1488), Heavenly & Earthly Love, Titian, Black and white photograph

            Est: €150 - €200

            James Anderson (1813 Blencarn - 1877 Rom) after Tizian: Tiziano Vecellio (around 1488 Belluno - 1576 Venice): Black and white photograph of the painting Heavenly and Earthly Love, Titian in the Galleria Borghese, Rome, 19th century, Black and white photograph Technique: Black and white photograph on Paper Date: 19th century Description: Signed on the glass plate; no. 1223. The work is from the series of baroque and antique works of art from Rome and Florence. Keywords: 19th century, Historicism, Eroticism, Italy, Size: 25,5 cm x 20,0 cm (10 x 7,9 in) Condition: Good condition. sporadic slight discolourations and light margins visible, lower left corner bumped. The photograph is in good condition.

            Fichter Kunsthandel
          • Tiziano Vecellio (1488-1576)-circle
            Dec. 14, 2021

            Tiziano Vecellio (1488-1576)-circle

            Est: €1,800 - €3,600

            Tiziano Vecellio (1488-1576)-circle, Portrait of a man with red coat and cap, looking to the side; oil on wooden panel; the vertical sides left and right later adapted (about 3cm); in an original carved and gilded collectors frame around 1600; on the reverse old paper label with provenance Collection Alice Schönfeld, Master of Brescia, Portrait of a monk? 53x40cm

            Deutsch Auktionen
          • Tiziano Vecellio (1488 o 1490 - 1576) bottega/seguace di
            Nov. 30, 2021

            Tiziano Vecellio (1488 o 1490 - 1576) bottega/seguace di

            Est: €3,000 - €5,000

            Tiziano Vecellio (1488 o 1490 - 1576) bottega/seguace di Madonna e Gesù Bambino con San Giovannino e Santa Elisabetta Olio su tela 98 x 126 cm L'opera in esame dimostra un brio e una sveltezza esecutiva che fa supporre possa trattarsi di un maestro veneto o lombardo, cresciuto nell'ambiente tizianesco o dal quale abbia subito una forte influenza. Il riferimento va dunque all'entourage del maestro, a quei pittori cresciuti affianco a Tiziano nei suoi quasi cinquant'anni di attività. La fonte principale degli aiutanti era la sua famiglia, quindi troviamo il fratello Francesco Vecelio (Pieve di Cadore 1475 - Venezia 1560, il figlio Orazio Vecelio (Venezia 1528 circa - 1576) e i suoi due cugini Cesare Vecelio (Pieve di Cadore 1530 - Venezia 1601) e Marco Vecelio (Pieve di Cadore 1545 - Venezia 1611). Infine, fuori dal campo parentale, Girolamo Dente (Ceneda 1510 - 1568), che fu un ossequioso pittore tizianesco, tanto da essere chiamato Girolamo di Tiziano e Polidoro da Lanciano, nato Polidoro de' Renzi, fortemente influenzato dalla produzione tizianesca della prima maturità con reminiscenze del Giorgione. Tiziano Vecellio (1488 or 1490 - 1576) workshop/follower of Madonna and Child Jesus with Saint John the Baptist and Saint Elizabeth Oil on canvas 98 x 126 cm

            Lucas Aste
          • Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venezia 1576) bottega/seguace
            Nov. 30, 2021

            Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venezia 1576) bottega/seguace

            Est: €2,000 - €3,000

            Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venezia 1576) bottega/seguace Mater dolorosa Olio su tela 68 x 51 cm Il soggetto dell'opera in esame è desunto da Tiziano, che ha dipinto due varianti di questo tema, entrambe conservate al Prado di Madrid, assieme alle due immagini dell'Ecce Homo con cui formano il pendant. Il tema di origine nordica ebbe molto successo, soprattutto in Spagna, e questo spiega la doppia commissione di Carlo V e Filippo II al maestro. La pennellata a velature tanto morbida quanto precisa, la cura meticolosa dei particolari, nonché la notevole introspezione del dolore materno, la forte capacità espressiva che cristallizza il solitario dolore della Madre di Dio, lascia intendere che sia stata eseguita da un artista perfettamente e profondamente a conoscenza dell'arte e della tecnica tizianesca e non un di semplice copista. L'opera è da assegnare alla produzione della stretta cerchia del Tiziano, probabilmente realizzata nella sua bottega sotto il suo diretto controllo oppure, qualche anno dopo da uno dei suoi migliori allievi. Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venice 1576) workshop / follower Mater dolorosa Oil on canvas 68 x 51 cm

            Lucas Aste
          • Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venezia 1576) seguace
            Nov. 30, 2021

            Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venezia 1576) seguace

            Est: €3,000 - €4,000

            Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venezia 1576) seguace Ritratto dell'imperatore Giulio Cesare Olio su tela 107 x 83,5 cm Tra il 1537 e il 1538 Tiziano Vecellio, su commissione di Federico Gonzaga, realizza dodici ritratti di imperatori romani. La serie completa risulta collocata nell'anticamera della Stanza di Troia nel Palazzo Ducale di Mantova, secondo quanto riporta Vasari. L’effige dell'imperatore Domiziano è attribuito sia a Giulio Romano che a Bernardino Campi. Nel 1628 i dipinti furono acquistati da Carlo I, quindi trasferiti in Inghilterra e successivamente in Spagna, dove furono distrutti nell'incendio dell'Alcazar del 1734. Di essi rimane memoria nelle incisioni di Egidio Sadeler, nei disegni di Jacopo Strada e in numerose copie; le più famose ed interessanti, di queste, sono quelle conservate presso la Pinacoteca Nazionale di Siena, eseguite da Ludovico Dondi e quelle di Bernardino Campi nella Galleria Nazionale di Capodimonte a Napoli. Tiziano Vecellio (Pieve di Cadore 1488/1490 - Venice 1576) follower Portrait of the emperor Julius Caesar Oil on canvas 107 x 83,5 cm

            Lucas Aste
          • Tiziano Vecellio (1488 o 1490 - 1576) copia da
            Nov. 30, 2021

            Tiziano Vecellio (1488 o 1490 - 1576) copia da

            Est: €600 - €1,000

            Tiziano Vecellio (1488 o 1490 - 1576) copia da Venere di Urbino Olio su tavola 21 x 27 cm Tiziano Vecellio (1488 or 1490 - 1576) copy from Venus of Urbino Oil on wood 21 x 27 cm

            Lucas Aste
          • J.LEPAUTRE (*1618) after TIZIAN (*1488), Assumption of Mary, from the "Bénitiers" series, 1667, Etc
            Nov. 21, 2021

            J.LEPAUTRE (*1618) after TIZIAN (*1488), Assumption of Mary, from the "Bénitiers" series, 1667, Etc

            Est: €135 - €225

            Jean Lepautre (1618 Paris - 1682 ibid.) after Tiziano Vecellio, called 'Tizian' (um 1488 Belluno - 1576 Venedig), Assumption of Mary, from the "Bénitiers" series, 1667, Etching Technique: Etching on Paper Inscription: Inscribed in the lower centre of the printing plate: "P. Mariette ex. The artist's signature is only fragmentarily visible on the right. Date: 1667 Description: Emblematic depiction of the Assumption of Mary on a cloud carried by putti. The scene is embedded in a lavishly decorated frame with angel figures, cornucopia and garlands. The sheet comes from a six-part series of Lepautre with religious depictions. Keywords: Mary, Jesus Christ, Bible, Assumption, Titian, Venice, Putti, Angels, Glory, 17th century, Baroque, Religious, France, Size: 28,9 cm x 21,1 cm Condition: Rather good Condition. Pale foxing. On the left side of the image there is a light stain. The corners and edges are damaged by bruises and multiple creases as well as tears in the paper. At the top there are also holes of two punctures in the paper. The image makes a good impression.

            Fichter Kunsthandel
          • J.PASS (19th) after TIZIAN (*1488), TITIAN; PASS, Portrait of Augustus Caesar, Steel engraving
            Nov. 20, 2021

            J.PASS (19th) after TIZIAN (*1488), TITIAN; PASS, Portrait of Augustus Caesar, Steel engraving

            Est: €30 - €50

            J Pass (19th century) after Tiziano Vecellio, called 'Tizian' (um 1488 Belluno - 1576 Venedig), TITIAN; PASS, Portrait of Augustus Caesar, 19th century, Steel engraving Technique: Steel engraving on Paper Inscription: Signed "Titian delt." on the left below the picture and "J. Pass sc." on the right. Inscribed below with the sitter's name "AUGUSTUS CAESAR". Date: 19th century Description: Signed "Titian delt." on the left below the picture and "J. Pass sc." on the right. Inscribed below with the sitter's name "AUGUSTUS CAESAR". Keywords: 19th century, Romanticism, Portraits, Germany, Size: 27,0 cm x 21,0 cm, Plate: 17,8 cm x 13,0 cm Condition: Very good Condition. Sheet edges slightly discoloured with age. Isolated pale foxing. The print appears fresh.

            Fichter Kunsthandel
          • Tizian,eigentlich „Tiziano Vecellio“, 1485/90 bei Belluno – 1576 Venedig, Umkreis/ Nachfolge
            Sep. 24, 2021

            Tizian,eigentlich „Tiziano Vecellio“, 1485/90 bei Belluno – 1576 Venedig, Umkreis/ Nachfolge

            Est: €3,000 - €5,000

            PORTRAIT DER CATERINA CORNARO, KÖNIGIN VON ZYPERN (KOPIE NACH TIZIAN) Öl auf Leinwand. Altdoubliert. 84,5 x 69 cm. In dekorativem, vergoldetem Rahmen.Idealbildnis der jungen Königin von Zypern nach links in prachtvollem weinrotem Seidenkleid mit Perlen, darüber ein offener Umhang mit Goldstickerei und goldener Bordüre, erneut mit Perlen versehen. Auf ihrem Haupt eine wertvolle goldene, mit Edelsteinen und Perlen verzierte Krone mit Schleier. Sie wird dargestellt als die Heilige Katharina von Alexandrien mit ihrem Martyrerattribut, einem Rad, das im Hintergrund rechts unten gezeigt wird. Feine, detailgenaue Malerei. Eine kleine Retusche, am Rand teils leicht berieben.Provenienz: Verso Aufkleber „Tho. Agnew & Sons, Manchester (Kunsthandlung)“. John Brandon Collection, Glasgow, 1919. Anmerkung 1: Das Originalgemälde der Dargestellten von Tizian von 1542 befindet sich in den Uffizien in Florenz. Das zeitgenössische Portrait der Caterina Cornaro von Gentile Bellini, um 1500, zeigt die Königin von kräftigerer Statur und lässt in der Darstellung Tizians ein Idealbildnis erkennen. Anmerkung 2: Caterina Cornaro (1454 Venedig-1510 Asolo) war von 1474 bis 1489 letzte Königin von Zypern. Der Urgroßvater ihres Vaters Marco Corner war von 1365 bis 1368 Doge von Venedig. Ihre Familie unterhielt seit Generationen Geschäftsbeziehungen mit Zypern. (1280093) (18)

            Hampel Fine Art Auctions
          • Tiziano Vecellio (1488 o 1490 - 1576) allievo/seguace di - follower
            Sep. 14, 2021

            Tiziano Vecellio (1488 o 1490 - 1576) allievo/seguace di - follower

            Est: €6,000 - €8,000

            Tiziano Vecellio (1488 o 1490 - 1576) allievo/seguace di - follower Ecce Homo Olio su tavola Ecce Homo Oil on panel 75 x 54 cm Copia dal prototipo tizianesco conservato alla National Gallery of Ireland, che nel tempo ha ottenuto tanta fortuna, l'opera in esame si distingue per l'estrema qualità e la pennellata materica con cui è stata realizzata. La forte capacità espressiva, che cristallizza il solitario dolore di Gesù, lascia intendere che sia stata eseguita da un artista perfettamente e profondamente a conoscenza dell'arte e della tecnica tizianesca e non di un semplice copista. Quindi, in via del tutto prudenziale viste le sopraccitate qualità, l'opera è da assegnare alla produzione della stretta cerchia del Tiziano; probabilmente realizzata nella sua bottega sotto il suo diretto controllo oppure, qualche anno dopo, da uno dei suoi migliori allievi

            Lucas Aste
          • TIZIAN (EIGENTLICH: TIZIANO VECELLIO) (NACHFOLGER DES 19.JH.), DANAE MIT NURSEMAID
            Sep. 11, 2021

            TIZIAN (EIGENTLICH: TIZIANO VECELLIO) (NACHFOLGER DES 19.JH.), DANAE MIT NURSEMAID

            Est: €600 - €1,200

            TITIAN (ACTUALLY: TIZIANO VECELLIO) (FOLLOWER OF THE 19. CENTURY) About 1488 Pieve di Cadore - 1576 Venice DANAE WITH NURSEMAID Oil on canvas. 64 x 74 cm (F. 73 x 83 cm). Part. slightly old restored. Frame. Provenance: Rhenish Private Collection. TIZIAN (EIGENTLICH: TIZIANO VECELLIO) (NACHFOLGER DES 19.JH.) Um 1488 Pieve di Cadore - 1576 Venedig DANAE MIT NURSEMAID Öl auf Leinwand. 64 x 74 cm (R. 73 x 83 cm). Part. leicht altrest. Rahmen. Provenienz: Rheinische Privatsammlung.

            Hargesheimer Kunstauktionen Düsseldorf
          • TIZIANO VECELLIO (Copia da) La Madonna del coniglio
            Jul. 02, 2021

            TIZIANO VECELLIO (Copia da) La Madonna del coniglio

            Est: €5,000 - €6,000

            TIZIANO VECELLIO (Copia da) (Pieve di Cadore 1490 - Venezia 1576) PITTORE VENETO DEL XVII SECOLO La Madonna del coniglio Olio su tela Provenienza: Nobile famiglia romana. cm 64 x 77,5.

            Benedetto Trionfante Casa d’Aste
          • Titian (Tiziano Vecellio) (circa 1488/90 Pieve di Cadore - 1576 Venice), follower of - \"OMNIA VANITAS\"
            Jun. 24, 2021

            Titian (Tiziano Vecellio) (circa 1488/90 Pieve di Cadore - 1576 Venice), follower of - \"OMNIA VANITAS\"

            Est: €2,000 - €3,000

            Personification of transience. Oil on canvas. 70 x 61 cm. Relined. Restored. Minor damage to frame. Provenance: Leo Spik, Berlin, Auction 26-28 March 1992. - Private collection, North Germany.

            Neumeister
          • Tiziano Vecellio (Pieve di Cadore, 1488/1490 – Venezia, 27 agosto 1576) copia seicetesca
            Apr. 19, 2021

            Tiziano Vecellio (Pieve di Cadore, 1488/1490 – Venezia, 27 agosto 1576) copia seicetesca

            Est: €2,000 - €3,000

            Tiziano Vecellio (Pieve di Cadore, 1488/1490 – Venezia, 27 agosto 1576) copia seicentesca - copy of the 17th century "Venere che benda Amore" Olio su tela "Venus blindfolding Love" Oil on canvas MISURE L'opera proviene da un'importante collezione privata lombarda. Le dimensioni, la qualità pittorica e la splendida cornice rendono l'insieme di assoluto fascino e fanno presupporre che in origine fosse conservata nel palazzo cittadino

            Lucas Aste
          • TIZIANO VECELLIO called TITIAN
            Mar. 26, 2021

            TIZIANO VECELLIO called TITIAN

            Est: CHF800,000 - CHF1,200,000

            TIZIANO VECELLIO called TITIAN (Pieve de Cadore 1485/1490–1576 Venice) Portrait of a nobleman. Oil on canvas. 93.5 × 73.4 cm. Provenance: - Duke of Sachsen-Coburg and Gotha, probably Charles Edward, 1884–1954. - Seligman collection, Rey and Co., New York, circa 1939. - Private collection, Venice. - Semenzato auction, Venice, 31.10.1998, Los 118 (estimate 880 Million Lire). - Private collection, Italy until 2013. - Acquired from the above. Private collection. Literature: - Exh. cat. Seven Century of Painting. A Loan Exhibition of Old and Modern Masters, The California Palace of the Legion of Honor and The m. H. de Young Memorial Museum San Francisco, 1939, cat. no. Y-21 (as Tizian). - Herold E. Wethey: The Paintings of Titian, Bd. II, The Portraits, London 1971, p. 168, cat. no. X-57 (as ‘Venetian School’). Exhibited: - New York 1939, New York World Art Fair, 1939, no. 21. - San Francisco 1939, California Palace of the Legion of Honor, no. Y21, 1939–40 (ill.). We are grateful to Professor Paul Joannides and Professor Peter Humfry for each independently confirming Titian’s authorship of this remarkable portrait following their first hand inspection of the painting. Professor Joannides suggests a date of c. 1545–55, while Professor Humfrey similarly proposes circa 1550. The following text is extracted from a report prepared by Professor Joannides. "This portrait, which only recently came to light after having been lost to sight since its exhibition in 1939–40, was formerly in the collection of the Duke of Saxe Coburg Gotha, whose family was the antecedent of the British Royal House of Windsor. Datable c.1545-55, it was most likely painted as a friendship portrait. It was evidently known to Rubens and Van Dyck for, as noted below, it seems to have inspired self-portraits by both artists: Rubens’ in his Self-Portrait with Friends of 1602 in the Wallraf Richartz Museum (fig. 1); and Van Dyck’s in his Self Portrait with Endymion Porter of c.1535 in the Prado (fig. 2). Having now examined the portrait in the flesh, restored and cleaned, I have no doubt that it is an autograph work by Titian. I would place the painting between c. 1545 and 1555, and probably near 1550, in line with the date given in the exhibition catalogues of 1939-40. In support of this dating I would mention the large-scale portrait of Doge Andrea Gritti in Washington – in which the hand of the Doge is constructed in a similar way. As for the boldness with which the right sleeve is painted one might cite the left sleeve of St John in St John on Patmos of c. 1549 now in Washington; for the rather powerful left hand I would mention that of the Antoine Granvelle of 1548 in Kansas City, although that painting is more highly finished. The rather shiny cloak, with an inventive arrangement of folds, also has links with the Granvelle and ‘Titian’s Friend’ in San Francisco. In the photograph of the painting which shows it before restoration, the sitter was accompanied on the left by a fall of curtain; however it is improbable that Titian ever intended to include a curtain in this portrait and the matter is discussed below. It should be pointed out that the sitter’s right sleeve originally extended a little further up the wrist and the outline of his cloak was changed on the right side: it originally extended further out to the right. Although I do believe this portrait to be a finished picture, some areas are executed much more loosely than others, most notably the left hand and cuff, which are slashed in. The employment of one hand holding a book and the other placed expressively is not infrequent in Titian. Something similar is found in the splendid over half-length Portrait of a Man in profile in Boston, of the early 1530s, but he is clad in courtly garb and looks ahead, not at the viewer. There is also some relation to the frontally placed Count Porcia in the Brera, of c.1540. Both paintings also employ the formula of one glove on, one glove off, which runs through Titian’s work from the mid-1510s onwards. This formula was developed and modified in the lost portrait of Ariosto of c. 1530 (which survives in a presently unlocated copy illustrated in Oskar Fischel, Tizian, Klassiker der Kunst, 5th ed., plate 280). But the closest precedent for the present Portrait is Titian’s famous (unidentified) Musician in Galleria Spada, of about 1513 (fig. 3). It is this formula that the present portrait pursues, although it is modified to the extent that the sitter leans backward slightly, to give his outward-turned face a greater urgency, as though he is appealing to the view rather than simply presenting himself: this effect is amplified by the ungloved right hand placed on his chest, as though in a gesture of plighting troth, or fidelity. The effect is of response to the viewer rather than self-presentation. After mid-1550s Titian seems to have painted no potentates and he tried to escape from the monotonous task of representing doges. As far as we can judge, he appears to have concentrated on portraits of residents of, and visitors to, Venice and he no doubt also represented some of his friends, relatively informally. The likelihood of identifying the sitter in this portrait is slim, unless there is some inscription on the reverse, concealed by the old lining, or unless some labelled copy of it is found. However, Vasari does refer to a number of individuals painted by Titian whose portraits have not been identified and among these was a man called ‘Sinistro’ – about whom nothing further seems to be known. One might venture the hypothesis that he could be the subject of the ex-Seligman portrait, given the prominence accorded to his left hand. Considering the sitter’s very direct address, he may have been one of Titian’s literary friends. The sitter has blue eyes and Titian has emphasised these by taking up varied hues of blue in the shadows of his purple doublet, and by a slight scattering of blue accents over his cloak. The section of canvas on which sitter’s head and part of his bust are painted is not part of the same piece of canvas as the rest of the picture, but is painted on a rectangular insert with chamfered corners – effectively an elongated octagon. The sitter’s head was presumably painted ad vivum on this piece of canvas, which was then added to the main one. A portrait of Paul III of c. 1545 by Titian has recently re-appeared in which the Pope’s head was also painted on a separate piece of canvas. Much earlier, c. 1509, Titian inserted the Saviour’s head in his Risen Christ (Florence, Uffizi) on a separate panel; and his Portrait of a Young Man in Frankfurt, also on panel, which is composed like a close-up snap-shot, might well have been painted with view to insertion. It has further been suggested that the head of a Magistrate on canvas sold at Christie's in 2013 (and which I published in 2006) is not, as I had thought, a fragment, but a head-study planned for insertion into a larger canvas. Such insertions are also found in portraits by a contemporary of Titian, Jacopo Tintoretto, and insertion is a phenomenon that I have observed in the works of many different portrait-painters of many different periods: it is unsurprising to find Titian doing the same thing. This fact must be coordinated with another. As noted above when the portrait was sent for restoration a red curtain was present at the left side. Examination revealed that while the upper part of this curtain was original, the lower part was a later addition, probably of the 19th or even the 20th century, which came away easily. Although technical examination shows that the curtain extended above the ‘insert’ carrying the sitter’s head, no trace of the curtain appears in the insert itself. This means that when the head was inserted, Titian decided – or may already have decided - to eliminate the curtain. This further suggests that the main canvas had been used – but probably no more than begun – previously. It may even have been cut from a much larger canvas on which at least part of a now redundant curtain was painted. There are many examples of Titian painting over laid-in compositions and one of the most relevant is the Venus and Two Cupids in Washington which is superimposed upon a double portrait. The present painting seems to have been known to Rubens and to have been the source of his self-representation in his Self Portrait with Friends painted in Mantua c. 1602 and now in the Wallfraf Richarts Museum in Cologne. In this picture Rubens’ left arm is abbreviated and seems to disappear behind his friend, but the relation is very close and the effect of the head being leant back further establishes the link. Van Dyck too employs this pose in his Self Portrait with Endymion Porter (Madrid, Prado) although whether he knew Titian’s portrait directly – but there is no record of it in his Italian sketch-book – or through Rubens is conjectural. In favour of the former however is that he does wear a Titianesque grey glove on his left hand while with his bare right hand he touches his breast in a gesture of friendship and fidelity. And the cloak in the present picture is handled with a proto-Van Dyck-ian fluency. Professor Peter Humfrey has noted that a ‘Man holding a book’ by Titian is recorded in Van Dyck’s posthumous inventory and it is possible, although hardly provable, that that is the present picture. Given Rubens’ employment of it c.1602, it may be that this portrait by Titian was then in Mantua. Titian was in regular contact with Mantua from the mid 1520s onwards and soon after 1530 became a regular employee of the Duke, Federico Gonzaga, who held him in considerable personal affection." --------------- TIZIANO VECELLIO genannt TIZIAN (Pieve de Cadore 1485/1490–1576 Venedig) Bildnis eines Edelmannes. Öl auf Leinwand. 93,5 × 73,4 cm. Provenienz: - Herzog von Sachsen-Coburg und Gotha, wohl Charles Edward, 1884–1954. - Sammlung Seligman, Rey and Co., New York, um 1939. - Privatsammlung Venedig. - Auktion Semenzato, Venedig, 31.10.1998, Los 118 (Zuschlagspreis 880 Millionen Lire). - Privatsammlung Italien bis 2013. - Von Obigem erworben, Privatsammlung. Literatur: - Ausst.-Kat. Seven Century of Painting. A Loan Exhibition of Old and Modern Masters, The California Palace of the Legion of Honor and The m. H. de Young Memorial Museum San Francisco, 1939, Kat.-Nr. Y-21 (als Tizian). - Herold E. Wethey: The Paintings of Titian, Bd. II, The Portraits, London 1971, S. 168, Kat.-Nr. X-57 (als ‘Venetian School’). Ausstellungen: - New York 1939, New York World Art Fair, 1939, Nr. 21. - San Francisco 1939, California Palace of the Legion of Honor, Nr. Y21, 1939–40 (mit Abb.). Wir danken Professor Paul Joannides und Professor Peter Humfry, die unabhängig voneinander die Autorschaft dieses bemerkenswerten Porträts von Tizian nach Untersuchung des Originals bestätigen. Professor Joannides schlägt eine Datierung um ca. 1545–55 vor, Professor Humfrey datiert das Gemälde um 1550. Der folgende Text ist einer Analyse von Professor Joannides entnommen. "Das Bildnis, das erst kürzlich wiederentdeckt wurde, nachdem es zuletzt anlässlich der Ausstellung von 1939–40 in der Öffentlichkeit zu sehen war, befand sich in der ehemaligen Sammlung des Herzogs von Sachsen-Coburg und Gotha, aus dessen Familie das britische Königshaus Windsor hervorging. Datierbar um 1545–55, wurde es höchstwahrscheinlich als Freundschaftsporträt gemalt. Es dürfte sowohl Rubens als auch Van Dyck bekannt gewesen sein, denn es scheint beide Künstler für ihre Selbstporträts inspiriert zu haben: Rubens für sein “Selbstbildnis in den Kreisen der Mantuaner Freunde” von 1602 im Wallraf-Richartz-Museum (Abb. 1) und Van Dyck für das “Selbstbildnis mit Endymion Porter” von ca. 1535 im Prado (Abb. 2). Nachdem ich nun das restaurierte und gereinigte Porträt in natura betrachtet habe, hege ich keinen Zweifel, dass es sich um ein eigenhändiges Werk von Tizian handelt. Ich würde das Gemälde zwischen ca. 1545 und 1555 und wahrscheinlich um 1550 ansiedeln, in Übereinstimmung mit der Datierung, die in den Ausstellungskatalogen von 1939–40 angegeben wird. Zur Unterstützung dieser Datierung würde ich das grossformatige Porträt des Dogen Andrea Gritti in Washington erwähnen, in dem die Hand des Dogen auf ähnliche Weise gemalt ist. Der rechte Ärmel des Edelmannes kann mit dem linken Ärmel des "Heiligen Johannes Evangelist auf Patmos" von ca. 1549 (Museum in Washington) verglichen werden, die kräftige linke Hand der Figur mit derjenigen des "Antoine Granvelle" von 1548 in Kansas City. Der glänzend erscheinende Mantel mit innovativem Faltenwurf lässt eine Nähe zu "Granvelle" und "Tizians Freund" in San Francisco herstellen. Auf einer Fotografie des Gemäldes vor der Restaurierung wurde die Figur links noch von einem drapierten Vorhang flankiert. Es ist jedoch wahrscheinlich, dass Tizian nie wirklich beabsichtigte, einen Vorhang in dieses Porträt zu integrieren. Dieser Punkt wird weiter unten eingehender diskutiert. Es sollte auch darauf hingewiesen werden, dass der rechte Ärmel des Dargestellten ursprünglich etwas weiter über das Handgelenk reichte und der Umriss seines Umhangs auf der rechten Seite verändert wurde. Obwohl ich dieses Porträt für ein fertiges Bild halte, sind einige Bereiche viel freier ausgeführt als andere, allem voran die linke Hand und der eingeschlagene Ärmel. Die Darstellung einer Hand, die ein Buch hält, und der anderen, die Tizian prominent und expressiv platziert, ist keine Seltenheit in seinem Œuvre. Ein ähnliches Arrangement findet man im prächtigen Halbfigurenporträt eines Mannes im Profil in Boston aus den frühen 1530er Jahren. Jener ist jedoch in einer höfischen Tracht gekleidet und blickt nach vorne, vom Betrachter abgewandt. Es besteht auch eine gewisse Verwandtschaft zu dem frontal gestellten Grafen Porcia in der Brera, um 1540. Beide Gemälde verwenden die ab den 1510er Jahren für den Künstler geläufige Formsprache eines an- und ausgezogenen Handschuhs. Diese Repräsentationsweise wurde in dem verschollenen Porträt von Ariosto von ca. 1530 eingesetzt und modifiziert (dieses Werk ist uns durch eine Kopie – unbekannter Verbleib – vertraut, die bei Oskar Fischel, Tizian, Klassiker der Kunst, 5, illustriert ist). Das am nächsten kommende Vorbild für das vorliegende Porträt ist Tizians berühmter Musiker, dessen Name bislang unbekannt ist, in der Galleria Spada, von etwa 1513 (Abb. 3). Es ist eben diese Formel, die das vorliegende Porträt verfolgt, obwohl sie insofern modifiziert ist, als sich der Dargestellte leicht nach hinten lehnt, um seinem nach aussen gewandtem Gesicht eine grössere Dominanz zu verleihen, als ob er an den Betrachter appelliert, anstatt sich einfach nur zu präsentieren. Dieser Effekt wird durch die freiliegende, unbedeckte rechte Hand verstärkt, die auf seine Brust gelegt ist, wie in einer Geste eines Treuegelöbnisses. Durch diese Raffinesse legt der Künstler den Fokus auf die Reaktion zwischen Dargestellten und Betrachter im Gegensatz zu einer reinen Selbstdarstellung. Nach der Mitte der 1550er Jahre malte Tizian offenbar keine Potentaten mehr und er versuchte, der einseitigen Darstellung von Dogen zu entkommen. Soweit wir das beurteilen können, schien er sich vorwiegend auf Porträts von Bewohnern und Besuchern Venedigs zu konzentrieren. Zweifellos hat Tizian zu dieser Zeit auch einige seiner Freunde dargestellt und das relativ informell. Die Wahrscheinlichkeit, den Dargestellten auf dem vorliegenden Porträt zu identifizieren, erscheint gering. Es sei denn, es gebe eine Inschrift auf der Rückseite, die durch eine alte Leinwand verdeckt wird oder man fände eine betitelte Kopie. Vasari verweist jedoch auf eine Reihe von Personen, die von Tizian gemalt wurden und deren Porträts nicht identifiziert werden konnten. Darunter befindet sich ein Mann namens "Sinistro", über den keine weiteren Informationen vorhanden sind. Es erlaubt sich die Vermutung, dass es sich bei dem ehemaligen Seligman Portrait aufgrund der bedeutungsvollen Positionierung der linken Hand, um ihn handeln könnte. In Anbetracht der Frontalität zum Dargestellten könnte ein Literatenfreund Tizians dargestellt sein. Der Edelmann besticht durch seine blauen Augen, die Tizian durch verschiedene Blautöne im Kontrast zu seinem purpurnen Wams und durch eine leichte Streuung von blauen Akzenten auf seinem Mantel hervorhebt. Der Kopf des Dargestellten und ein Teil seines Oberkörpers sind auf einem separaten Leinwandstück wie der Rest des Gemäldes gemalt – auf einem quasi verlängerten Achteck. Der Kopf des Dargestellten wurde vermutlich ad vivum auf dieses Leinwandstück gemalt, das dann dem Gesamtwerk hinzugefügt wurde. Kürzlich ist ein Porträt Pauls III. von Tizian aus der Zeit um 1545 wiederaufgetaucht, bei dem der Kopf des Papstes ebenfalls auf ein separates Leinwandstück gemalt wurde. Um einiges früher, um 1509, fügte Tizian den Kopf des Erlösers in seinem Auferstandenen Christus (Florenz, Uffizien) auf einer separaten Holztafel ein; und sein Bildnis eines jungen Mannes in Frankfurt, ebenfalls auf einer Holztafel, das wie eine Nahaufnahme komponiert ist, könnte durchaus im Hinblick auf ein ähnliches späteres Einfügen gemalt worden sein. Es wurde ausserdem vorgeschlagen, dass der Kopf eines Magistraten auf Leinwand, der 2013 bei Christie's verkauft wurde (und den ich 2006 veröffentlicht habe), nicht wie ich dachte, ein Fragment ist, sondern eine Kopfstudie, die für eine Einfügung in eine größere Leinwand geplant war. Solche eingefügten Porträts finden sich auch in den Bildnissen des Zeitgenossen von Tizian, Jacopo Tintoretto. Allgemein ist dieser Werkprozess ein Phänomen, das ich bei vielen verschiedenen Porträtmalern aus unterschiedlichen Epochen beobachtet habe. Es überrascht daher nicht, dass Tizian dieses Prinzip ebenfalls anwendet. Dieses Vorgehen muss allerdings auch noch mit einem weiteren Punkt in Zusammenhang gebracht werden. Wie bereits erwähnt, war der Dargestellte vor der Restaurierung des Werkes von einem roten Vorhang an der linken Seite flankiert. Die Untersuchung ergab, dass zwar der obere Teil dieses Vorhangs eigenhändig war, der untere Teil sich allerdings als eine spätere Ergänzung aus dem 19. oder sogar 20. Jahrhundert herausstellte, der sich aber leicht ablösen liess. Obwohl die technische Untersuchung zeigt, dass der Vorhang über das eingefügte Kopfstück des Dargestellten hinausreichte, findet sich auf dem Leinwandeinsatz selbst keine Spur des Vorhangs. Das lässt vermuten, dass Tizian beim Integrieren des Kopfes wohl beschloss – oder vielleicht schon beschlossen hatte – den Vorhang zu entfernen. Dies deutet ferner darauf hin, dass die Hauptleinwand bereits zuvor, wenn auch nur partiell, verwendet worden war. Es könnte sogar aus einer viel grösseren Leinwand geschnitten worden sein, auf der zumindest ein Teil des nun überflüssigen Vorhangs gemalt war. Es gibt viele Werkbeispiele, die solche eigenhändigen Übermalungen aufweisen. Eines der entscheidendsten Vergleichsbeispiele ist die Venus mit dem Spiegel in Washington, das über ein Doppelporträt gemalt wurde. Das vorliegende Gemälde scheint Rubens bekannt gewesen zu sein und diente ihm als Inspirationsquelle für sein “Selbstbildnis im Kreise der Mantuaner Freunde” von 1602 im Wallraf-Richartz-Museum. In jenem Selbstporträt ist sein linker Arm verkürzt und verschwindet hinter seinem Freund. Seine Pose und der leicht zurückgelehnte Kopf verstärken die Nähe zu Tizians Werk. Auch Van Dyck verwendet diese Pose in seinem Selbstbildnis mit Endymion Porter (Madrid, Prado), wobei der Austausch mit diesem Bildnis von Tizian nicht belegt ist – in seinem italienischen Skizzenbuch gibt es keinen Eintrag hierüber. Einiges spricht jedoch dafür. So trägt er an der linken Hand einen tizianesken grauen Handschuh, während er mit der blossen rechten Hand in einer Geste der Freundschaft und Treue seine Brust berührt. Der Mantel in unserem Gemälde bezeugt einen proto-van Dyck'schen Einfluss. Professor Peter Humfrey hebt hervor, dass in Van Dycks posthumen Inventar ein "Mann mit einem Buch" von Tizian verzeichnet ist. Es ist möglich, wenn auch bislang nicht bewiesen, dass es sich um das vorliegende Werk handelt. Angesichts der motivischen Verwendung im Werk Rubens um 1602 lässt sich vermuten, dass sich dieses hier angebotene Porträt von Tizian damals in Mantua befand. Tizian stand seit Mitte der 1520er Jahre in stetigem Kontakt mit Mantua und war bald nach 1530 regelmäßig im Auftrag des Herzogs, Federico Gonzaga, tätig."

            Koller Auctions
          • After Tiziano Vecellio, called Titian, Italian c.1488/90-1576- A Man with a Quilted Sleeve; oil
            Mar. 23, 2021

            After Tiziano Vecellio, called Titian, Italian c.1488/90-1576- A Man with a Quilted Sleeve; oil

            Est: £200 - £300

            After Tiziano Vecellio, called Titian, Italian c.1488/90-1576- A Man with a Quilted Sleeve; oil on canvas, 61x51cm Note: The original portrait is held by the National Gallery, London (ref. NG1944). Please refer to department for condition report

            Roseberys
          • 18th c. Italian Portrait Oil Painting LA BELLA After Titian
            Jan. 24, 2021

            18th c. Italian Portrait Oil Painting LA BELLA After Titian

            Est: $4,000 - $8,000

            Remarkable 18th Century Portrait Oil Painting after the Italian master Titian (Tiziano Vecelli or Tiziano Vecellio 1488 - 1576) | Entitled LA BELLA (Woman in a Blue Dress) | On hand-woven linen canvas, relined | The original painting, created by Titian circa. 1536, is on permanent exhibit at the Palazzo Pitti, Florence, Italy | Housed in a an antique gold gilt gesso wood frame | Approx. Dimensions: 51" H x 40" W x 2.5" D | Very Good + Antique Condition | Provenance: Private California Collection, acquired in Belgium in early 20th Century, in the family since.

            Worthington Galleries
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