LOT DETAILS

Materials:

oil on canvas

Measurements:

64.49 in. (163.80 cm.) (height) by 47.01 in. (119.40 cm.) (width)

Exhibited:

Amsterdam, Rijksmuseum, De Triomf van het Manierisme, 1 July – 16 October, 1955; Zurich, Kunsthaus, Unbekannte Schonheit: Bedeutende Werke aus funf Jahrhunderten, 9 June – 31 July 1956; New York, Wildenstein, The Painter as Historian, 15 November - 31 December 1962; Paris, Galerie d'Art, L'Ecole de Fontainbleau, December 1963 - February 1964; London, The National Gallery. Making and Meaning: Holbein's Ambassadors, 5 November 1997 – 1 February 1998; New York, The Metropolitan Museum of Art, Heroic Armour of the Italian Renaissance: Filippo Negroli and His Contemporaries, 5 October 1998 – 31 January 1999.

Literature:

Arts, 14-20 September 1955, reproduced p. 10;. Le Triomphe du maniérisme européen de Michel-Ange au Gréco, exhibition catalogue, Amsterdam 1955, pp. 86-88, cat. No. 101, pl. 18, as by Primaticcio, attribution apparently due to Charles Sterling but his name does not appear in the exhibition catalogue;. M. Levey, The German School. National Gallery Catalogues, London 1959, pp. 48, 52;. S. Béguin, L'École de Fontainbleau, Paris 1960, pp. 54-55, as by Primaticcio and of Jean de Dinteville, both rejected in a private conversation with E.A.R. Brown 13 July 1994;. J. Pope-Hennessy, The Portrait in the Renaissance, London 1963, pp. 251-252, fig. 276, as by Primaticcio and of Jean de Dinteville, datable to 1544;. A.P. de Mandiagues, 'L'École de Fontainbleau', in L'Oeil, no. 108, December 1963, p. 10, reproduced p. 11;. 'La Passion de Fontainbleau', in Le Figaro Litteraire, December 19-25, 1963, p. 20;. 'La Boga del Manierismo', in Goya, no. 61, July-August 1964, p. 41;. P. Barrocchi, 'Francesco Primaticcio', in Kindlers Malerei Lexikon, IV, Zurich, 1967, p. 819, reproduced, p. 817;. G. Kauffmann, Die Kunst des 16. Jahrhunderts, Berlin 1970, pp. 189-90, no. 62, as by Primaticcio datable to 1544-45;. C. Ragghianti, 'Pertinenze francesi nel cinquecento', in Critica d'arte, 19, 1972, 122, p. 64, no. 14, as by Primaticcio and of Jean de Dinteville;. B. Walbe, Studien zur Entwicklung des allegorischen Porträts in Frankreich von seinen Anfängen bis zur Regierungszeit König Heinrichs II, Frankfurt 1974, pp. 102-3, 216, note 333, as by Primaticcio and of Jean de Dinteville, datable to 1544;. D. de Marly, 'The Establishment of Roman Dress in Seventeenth-Century Portraiture' in The Burlington Magazine, CXVII, 1975, p. 444, note 13, reproduced p. 442, fig. 11, as by Primaticcio;. S. Foister, Making and Meaning. Holbein's Ambassadors, exhibition catalogue, new York 1997, pp. 23, 106 as of Jean de Dinteville, attributed to Primaticcio and circa mid 1540's;. I. Wardropper, 'Le voyage italien de Primatice en 1550', in Bulletin de la Société de l'histoire de l'art français, 1981, pp. 27-31, as attributed to Primaticcio and of Jean de Dinteville, datable to circa 1551-2;. I. Wardropper, Domenico del Barbiere, New York 1985, p. 99, as of Jean de Dinteville but possibly by Domenico del Barbiere;. H. Zerner, L'art de la Renaissance, en France. L'invention du classicisme, Paris 1996, pp. 134, 136, as not of Dinteville and possibly by Luca Penni;. S.W. Pyhrr and J.A. Godoy, Heroic Armour of the Italian Renaissance, New York 1998, as by Primaticcio and of Jean de Dinteville, datable circa 1550;. E.A.R. Brown, 'The Dinteville family and the allegory of Moses and Aaron before Pharaoh' in Metropolitan Museum Journal, vol. 34, 1999, Appendix pp. 87-89.

Provenance:

The Collection of Charles Sterling, 1952; With Wildenstein & Co., New York, 1980, from whom acquired by the present owner.