Please note that this work is displayed in an Italian Salvator Rosa frame dating from the second half of the 17th century. This frame has been kindly lent to us by Arnold Wiggins & Sons. Should you wish to purchase it please contact the Old Master Paintings department.
Oil on canvas
Giandomenico (Giovanni Domenico) Tiepolo
The following condition report is provided by Sarah Walden who is an external specialist and not an employee of Sotheby's: Giovanni Domenico Tiepolo. The Tiepolo Family. B.T. inscribed on the dog's collar. This painting has had a quite recent lining and stretcher, with a restoration of the same period. The paint surface has been imprinted with the fairly distinctive Venetian texture of the canvas. The light paint layer seems to have been delicate, and perhaps became rather dry in its early life, with minute, slightly brittle, tiny lost flakes in places. However there is no sign of any present insecurity or fragility at all. Any past little lost flakes are scarcely visible even under ultra violet light, with just a few scattered touches apparently in the deep red background and minutely elsewhere, which have slightly darkened. The immediacy and vividness of the scene has been well preserved overall. This report was not done under laboratory conditions. "This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."
67 by 96 cm.; 26 3/8 by 37 3/4 in.
London, Whitechapel Art Gallery, Eighteenth Century Venice, 3 January – 14 March 1951, and Birmingham Museum and Art Gallery, 21 March – 18 April, no. 57 (as by Pietro Longhi); Venice, Ca' Rezzonico, Mostra del Tiepolo, 16 June – 7 October 1951, no. 127 (as Lorenzo Tiepolo); London, Royal Academy, European Masters of the Eighteenth Century, 27 November 1954 – 27 February 1955, no. 319 (here and henceforth as by Giovanni Domenico Tiepolo); On loan, Doncaster Museum, 1977–1993; Paris, Musée du Petit Palais, Le portrait en Italie au siècle de Tiepolo, 7 May – 5 September 1982, no. 49; London, Thos. Agnew & Son Ltd., Thirty-five paintings from the Collection of the British Rail Pension Fund, November – December 1984, no. 32.
Possibly G.F. Waagen, Galleries and Cabinets of Art in Great Britain, supplementary vol. IV, London 1857, p. 171 (as by Pietro Longhi); J. Byam Shaw in The Burlington Magazine, no. 575, vol. XCIII, February 1951, pp. 61–62, reproduced p. 60, fig. 27 (as by Giovanni Domenico Tiepolo); F.J.B. Watson in The Burlington Magazine, no. 579, vol. XCIII, June 1951, p. 204 (as by Giovanni Domenico Tiepolo); F.J.B. Watson in The Burlington Magazine, no. 587, vol. XCIV, February 1952, p. 44, note 10 (as by Giovanni Domenico); T. Pignatti in L’Arte, 1951, vol. 2, no. 4 (as by Lorenzo Tiepolo); A. Morassi, G.B. Tiepolo, London 1955, p. 13 (as by Lorenzo); C. Donzelli, I Pittori veneti del ’700, Florence 1957, p. 314 (as Lorenzo); J. Byam Shaw, The Drawings of Domenico Tiepolo, 1962, p. 83 under no. 54, and p. 85, no. 56 (as Giovanni Domenico); M. Precerutti-Garberi, ‘Segnalazioni Tiepolesche’, in Commentari, vol. XV, 1964, pp. 10–12 (as by Giovanni Domenico); G. Piovene & A. Pallucchini, L’Opera completa di Giambattista Tiepolo, Milan 1968, reproduced p. 83 (mentioning the various attributions); M. Muraro in Atti del Congresso Internazionale di Studi sul Tiepolo, Udine 1970, p. 72, reproduced fig. 8 (as by Lorenzo); A. Rizzi, Giambattista Tiepolo, exhibition catalogue, Udine 1971, pp. 183 and 185, reproduced fig. 113 (mentions the attributions to Lorenzo and Giovanni Domenico Tiepolo); G. Knox, Giambattista and Domenico Tiepolo, A Study and Catalogue Raisonné of the Chalk Drawings, Oxford 1980, vol. I, pp. 235, 303, cat. no. P.104 (as by Giovanni Domenico); M. Levey, G.B. Tiepolo, 1986, pp. 251–52, reproduced plate 216 (as by Giovanni Domenico); F. C. Thiem, ‘Lorenzo Tiepolos Position innerhalb der künstlerfamilie Tiepolo’, in Pantheon, 1993, vol. LI, pp. 141–42, reproduced plate 8, (as by Lorenzo); R. Pallucchini, La pittura nel Veneto, Il Settecento, Milan 1996, vol. II, p. 199, reproduced fig. 291 (as probably by Lorenzo); F. Pedrocco in Lorenzo Tiepolo e il suo tempo, exhibition catalogue, Milan 1997, p. 18, reproduced p. 19 (as by Lorenzo).
Possibly Giovanni Battista Tiepolo’s wife, Cecilia Tiepolo; Edward Cheney, 4 Audley Square, London, and Badger Hall, Shropshire; His (deceased) sale, London, Christie’s, 29ff April 1885, lot 139, for 31 Guineas, to Davis (as P. Longhi); Archibald Philip (1847–1929), 5th Earl of Rosebery, Mentmore, Bedfordshire; By descent to Eva (1892–1987), Countess of Rosebery, widow of the 6th Earl; By whom sold, London, Sotheby's, 24 March 1976, lot 11 (here and henceforth as by Giovanni Domenico Tiepolo); Thence acquired by the British Rail Pension Fund; By whom sold, London, Sotheby's, 5 July 1995, lot 52; Private collection, USA.
Inscribed on the dog's collar: B.T.
Property from a Private Collection
Venice 1727 - 1804