LOT 107
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After Tiziano Vecellio, called Titian, late 16th century Three Ages of Man
作品估价：USD 20,000 - 30,000
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图录号：
107
拍品名称：
After Tiziano Vecellio, called Titian, late 16th century Three Ages of Man
拍品描述：
Property of The Bass, Miami Beach to benefit the John and Johanna Bass Art Acquisition Fund
After Tiziano Vecellio, called Titian, late 16th century
Three Ages of Man
oil on canvas
canvas: 37 by 61 ¼ in.; 94.0 by 155.6 cm
framed: 59 ⅛ by 81 ⅞ in; 150.2 by 208.0 cm
Property of The Bass, Miami Beach to benefit the John and Johanna Bass Art Acquisition Fund
After Tiziano Vecellio, called Titian, late 16th century
Three Ages of Man
oil on canvas
canvas: 37 by 61 ¼ in.; 94.0 by 155.6 cm
framed: 59 ⅛ by 81 ⅞ in; 150.2 by 208.0 cm
Marchese Girolamo Manfrin (1742–1801), Palazzo Manfrin (formerly Priuli-Venier), Venice;
Thence by inheritance and descent, as part of the Galleria Manfrin, within the family;
From whom acquired by Alexander Barker (1797-1873), London, circa 1856;
From whom acquired by William Ward (1817-1885), 1st Earl of Dudley, Witley Court, Hereford, and London, by 1868;
His estate sale, Christie's, London, 25 June 1892, lot 66 (as Giorgione);
Where acquired by Sir William James Farrer (1822-1911), Sandhurst Lodge, Berkshire, for 520 gns.;
Thence by descent to his son, Gaspard Oliver Farrer (1861-1946), Sandhurst Lodge, Berkshire;
By whose executors sold ("The Property of G.O. Farrer, Esq.,") Sotheby's, London, 5 February 1947, lot 107 (as Titian);
Anonymous sale, London, Sotheby's, 25 April 1956, lot 170 (as Polidoro Lanziani, after Titian);
John and Johanna Bass, New York;
By whom donated to the Bass Museum of Art, Miami Beach, in 1963 (inv. no. 63.27).
Catalogo dei quadri esistenti nella Galleria Manfrin in Venezia, Venice 1856, n.p., cat. no. 403 (as Palma Giovane);
National Exhibition of Works of Art at Leeds, 1868, Official Catalogue, Leeds 1868, p. 25 (as Giorgione);
J.A. Crowe and G.B. Cavalcaselle,A History of Painting in NorthItaly, Cambridge 1877, vol. II, pp. 167-168 (as Polidoro Lanzani or Ludovico Fiumicelli, After Titian);
Exhibition of Venetian Art, exhibition catalogue, London 1894, p. 16, cat. no. 82 (as Giorgione);
B. Berenson, Venetian Painting, Chiefly After Titian, at the Exhibition of Venetian Art, The New Gallery, 1895, London 1895, pp. 35-36 (as probably Lanzani, After Titian);
C. Phillips, The Earlier Work of Titian, London 1897, p. 34 (as After Titian);
J. Burckhardt, Beiträge zue kunstgeschichte von Italien, Basel 1898, pp. 406-407 (as Giorgione);
Catalogue of Pictures in Sandhurst Lodge and 18 Upper Brook Street, Belonging to Sir W.J. Farrer, London 1899, pp. 28-29, cat. no. 125 (as Giorgione, hanging in the Dining Room);
H. Cook, Giorgione, London 1904, p. 18 note;
B. Berenson,Italian Pictures of the Renaissance, Venetian School,London 1957, vol. I, p. 143 (as Attributed to Lanzani);
H.E. Wethey,The Paintings of Titian, vol. III, London 1957, p. 184, under cat. no. 36 (as copy 7);
The John and Johanna Bass Collection at Miami Beach, Florida,Miami 1973, p. 13, cat. no. 27 (as Lanzani);
P.L. Roberts, inPaintings and Textiles of the Bass Museum of Art:Selections from the Collection, M. Russell (ed.), Miami 1990, p. 88, reproduced (as After Titian).
Leeds, National Exhibition of Works of Art, 1868, no. 220 (lent by the Earl of Dudley);
London, The New Gallery,Venetian Art, 1894 - 1895, no. 82 (lent by Sir William Farrer);
Miami, Bass Museum of Art,Highlights of the John and Johanna Bass Collection,3 November - 9 December 1990.
This late sixteenth-century copy of Titian’s Three Ages of Man captures the enigmatic lyricism and pastoral beauty of the Venetian master’s original.1 The painting presents an allegory of human life: infancy, depicted by three sleeping children beneath a dead tree guarded by a playful amorino; maturity, shown through two young lovers united by music; and old age and death, represented by a bearded man contemplating two skulls. Without a direct literary source, the composition resonates with the poetic invention evident in Titian’s poesie.
The painting boasts an illustrious provenance. Probably during the second half of the eighteenth century, the work entered the celebrated Galleria Manfrin, the distinguished collection of more than four hundred paintings assembled by Girolamo Manfrin, a wealthy Dalmatian tobacco merchant. Manfrin’s remarkable collection of Venetian art included several masterpieces, including Giorgione’s Tempest and La Vecchia.2 Open to the public and featured in many of Venice’s guidebooks, the gallery became a popular tourist attraction. Following Manfrin’s death, the collection passed to his son and daughter, and eventually her children, who, after an unsuccessful attempt to sell it en bloc to London’s National Gallery, began dispersing the works in the 1850s. Three Ages of Man was among those paintings purchased by the gentleman-dealer Alexander Barker, who subsequently sold them to prominent English collectors, including the Duke of Northumberland and Sir William Ward, Earl of Dudley, who acquired the present work. At Dudley’s estate sale, Sir William James Farrer purchased the painting—then attributed to Giorgione—for the substantial sum of 520 guineas. It was inherited by his only surviving son, Gaspard Farrer, who, in 1928, anonymously donated £500,000 to establish the National Fund, a British charity intended to pay off the United Kingdom’s national debt.
1 Harold Wethey listed eight known copies, the prime of which is in the collection of the Dukes of Sutherland (on long-term loan to the National Galleries of Scotland, Edinburgh). The present version is most closely related to the painting in the Galleria Doria Pamphilij, Rome.
2 Both among the twenty-one works from his collection now in the Accademia, Venice; another sixteen are in the National Gallery, London.
After Tiziano Vecellio, called Titian, late 16th century
Three Ages of Man
oil on canvas
canvas: 37 by 61 ¼ in.; 94.0 by 155.6 cm
framed: 59 ⅛ by 81 ⅞ in; 150.2 by 208.0 cm
Property of The Bass, Miami Beach to benefit the John and Johanna Bass Art Acquisition Fund
After Tiziano Vecellio, called Titian, late 16th century
Three Ages of Man
oil on canvas
canvas: 37 by 61 ¼ in.; 94.0 by 155.6 cm
framed: 59 ⅛ by 81 ⅞ in; 150.2 by 208.0 cm
Marchese Girolamo Manfrin (1742–1801), Palazzo Manfrin (formerly Priuli-Venier), Venice;
Thence by inheritance and descent, as part of the Galleria Manfrin, within the family;
From whom acquired by Alexander Barker (1797-1873), London, circa 1856;
From whom acquired by William Ward (1817-1885), 1st Earl of Dudley, Witley Court, Hereford, and London, by 1868;
His estate sale, Christie's, London, 25 June 1892, lot 66 (as Giorgione);
Where acquired by Sir William James Farrer (1822-1911), Sandhurst Lodge, Berkshire, for 520 gns.;
Thence by descent to his son, Gaspard Oliver Farrer (1861-1946), Sandhurst Lodge, Berkshire;
By whose executors sold ("The Property of G.O. Farrer, Esq.,") Sotheby's, London, 5 February 1947, lot 107 (as Titian);
Anonymous sale, London, Sotheby's, 25 April 1956, lot 170 (as Polidoro Lanziani, after Titian);
John and Johanna Bass, New York;
By whom donated to the Bass Museum of Art, Miami Beach, in 1963 (inv. no. 63.27).
Catalogo dei quadri esistenti nella Galleria Manfrin in Venezia, Venice 1856, n.p., cat. no. 403 (as Palma Giovane);
National Exhibition of Works of Art at Leeds, 1868, Official Catalogue, Leeds 1868, p. 25 (as Giorgione);
J.A. Crowe and G.B. Cavalcaselle,A History of Painting in NorthItaly, Cambridge 1877, vol. II, pp. 167-168 (as Polidoro Lanzani or Ludovico Fiumicelli, After Titian);
Exhibition of Venetian Art, exhibition catalogue, London 1894, p. 16, cat. no. 82 (as Giorgione);
B. Berenson, Venetian Painting, Chiefly After Titian, at the Exhibition of Venetian Art, The New Gallery, 1895, London 1895, pp. 35-36 (as probably Lanzani, After Titian);
C. Phillips, The Earlier Work of Titian, London 1897, p. 34 (as After Titian);
J. Burckhardt, Beiträge zue kunstgeschichte von Italien, Basel 1898, pp. 406-407 (as Giorgione);
Catalogue of Pictures in Sandhurst Lodge and 18 Upper Brook Street, Belonging to Sir W.J. Farrer, London 1899, pp. 28-29, cat. no. 125 (as Giorgione, hanging in the Dining Room);
H. Cook, Giorgione, London 1904, p. 18 note;
B. Berenson,Italian Pictures of the Renaissance, Venetian School,London 1957, vol. I, p. 143 (as Attributed to Lanzani);
H.E. Wethey,The Paintings of Titian, vol. III, London 1957, p. 184, under cat. no. 36 (as copy 7);
The John and Johanna Bass Collection at Miami Beach, Florida,Miami 1973, p. 13, cat. no. 27 (as Lanzani);
P.L. Roberts, inPaintings and Textiles of the Bass Museum of Art:Selections from the Collection, M. Russell (ed.), Miami 1990, p. 88, reproduced (as After Titian).
Leeds, National Exhibition of Works of Art, 1868, no. 220 (lent by the Earl of Dudley);
London, The New Gallery,Venetian Art, 1894 - 1895, no. 82 (lent by Sir William Farrer);
Miami, Bass Museum of Art,Highlights of the John and Johanna Bass Collection,3 November - 9 December 1990.
This late sixteenth-century copy of Titian’s Three Ages of Man captures the enigmatic lyricism and pastoral beauty of the Venetian master’s original.1 The painting presents an allegory of human life: infancy, depicted by three sleeping children beneath a dead tree guarded by a playful amorino; maturity, shown through two young lovers united by music; and old age and death, represented by a bearded man contemplating two skulls. Without a direct literary source, the composition resonates with the poetic invention evident in Titian’s poesie.
The painting boasts an illustrious provenance. Probably during the second half of the eighteenth century, the work entered the celebrated Galleria Manfrin, the distinguished collection of more than four hundred paintings assembled by Girolamo Manfrin, a wealthy Dalmatian tobacco merchant. Manfrin’s remarkable collection of Venetian art included several masterpieces, including Giorgione’s Tempest and La Vecchia.2 Open to the public and featured in many of Venice’s guidebooks, the gallery became a popular tourist attraction. Following Manfrin’s death, the collection passed to his son and daughter, and eventually her children, who, after an unsuccessful attempt to sell it en bloc to London’s National Gallery, began dispersing the works in the 1850s. Three Ages of Man was among those paintings purchased by the gentleman-dealer Alexander Barker, who subsequently sold them to prominent English collectors, including the Duke of Northumberland and Sir William Ward, Earl of Dudley, who acquired the present work. At Dudley’s estate sale, Sir William James Farrer purchased the painting—then attributed to Giorgione—for the substantial sum of 520 guineas. It was inherited by his only surviving son, Gaspard Farrer, who, in 1928, anonymously donated £500,000 to establish the National Fund, a British charity intended to pay off the United Kingdom’s national debt.
1 Harold Wethey listed eight known copies, the prime of which is in the collection of the Dukes of Sutherland (on long-term loan to the National Galleries of Scotland, Edinburgh). The present version is most closely related to the painting in the Galleria Doria Pamphilij, Rome.
2 Both among the twenty-one works from his collection now in the Accademia, Venice; another sixteen are in the National Gallery, London.