LOT 115
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Girolamo Mocetto Portrait of a Young Woman with Downcast Eyes
作品估价：USD 60,000 - 80,000
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图录号：
115
拍品名称：
Girolamo Mocetto Portrait of a Young Woman with Downcast Eyes
拍品描述：
Property of the Estate of Eduardo Hauser
Girolamo Mocetto
Murano circa 1458 - 1531 Venice
Portrait of a Young Woman with Downcast Eyes
oil on panel
panel: 13 ⅜ by 10 ⅜ in.; 34.0 by 26.4 cm
framed: 23 ⅝ by 18 ⅜ in.; 60.0 by 46.7 cm
Property of the Estate of Eduardo Hauser
Girolamo Mocetto
Murano circa 1458 - 1531 Venice
Portrait of a Young Woman with Downcast Eyes
oil on panel
panel: 13 ⅜ by 10 ⅜ in.; 34.0 by 26.4 cm
framed: 23 ⅝ by 18 ⅜ in.; 60.0 by 46.7 cm
William Herbert (1580-1630), 3rd Earl of Pembroke, Wilton House, before 1625;
By whom exchanged with King Charles I, when Prince of Wales, Whitehall Palace (in the Cabinet Room, as John Bellin [Giovanni Bellini], "A moddest forward full faced painted younge womans picture in her yellow haire with her left breast naked, and her smock over her right breast—painted upon a blue ground"), by circa 1638-1639;1
The Commonwealth Sale, London, Somerset House, 8 October 1651, lot 348 (as Bellmore [Bellini]);
Where acquired by Captain Edward Bass, head of the 9th, 10th, and 13th Dividends;
Recovered at the Restoration of King Charles II and restored to the Crown, Whitehall Palace (in the Cabinet Room), shortly after 1660;
Thence by descent to James II, Whitehall Palace (in the Cabinet Room);
Possibly thence by descent George II, Windsor Castle (in the Water Closet), 1750;
Duits collection, London, by February 1936 (as Cima da Conegliano);
Private collection, London;
Anonymous sale, London, Sotheby's, 27 November 1963, lot 64 (as G. Bellini);
Where acquired by C. Brunner;
Anonymous sale, London, Sotheby's, 24 March 1976, lot 6 (as Vincenzo Catena);
Where acquired by the father of the late collector.
Pictures Belonging to King Charles the First, at his Several Palaces, London 1649, pp. 4-5, cat. no. 15 (as Giovanni Bellini);
G.M. Richter, "A Portrait of a Lady by Giovanni Bellini," in Burlington Magazine 69, no. 400 (July 1936), pp. 2-4, reproduced pl. 1 (as Giovanni Bellini, Portrait of La Morosina);
O. Millar, "Abraham van der Doort's Catalogue of the Collections of Charles I," in Walpole Society 37 (1958-1960), p. 79, inv. no. 15; p. 191, inv. no. 2; p. 208, inv. no. 19; p. 245, no. 348;
F. Heinemann, Giovanni Bellini e i belliniani, Venice 1962, vol. I, p. 78, cat. no. 289a; vol. II, reproduced p. 271 (as After a lost work by Giovanni Bellini).
This portrait by the sixteenth-century Venetian artist Girolamo Mocetto of a fair-haired woman reveals a delicate balance between sensuality and restraint. The sitter, perhaps a new bride, is rendered with downcast eyes and a serene, introspective expression. Her classically inspired white dress has slipped off her left shoulder to reveal her bare breast. She is set against a softly modulated blue background, her auburn curls crowned with a simple pearl diadem. The luminous treatment of her flesh, combined with the subtle modeling of her features, imbues the work with a quiet emotional depth.
The composition bears a close resemblance to a panel once attributed to Giovanni Bellini and now given to Girolamo da Santacroce.2 While both that work and the present painting derive from a (now lost) Bellini prototype, this panel shows particular affinities with the work of Girolamo Mocetto—particularly his Madonna and Child with Saints Catherine of Alexandria and Steven altarpiece in the Church of Santa Maria in Organo, Verona, executed circa 1520.3 Although Mocetto is best known for his engravings and collaborative work with Bellini, this painting reveals his ability to convey emotional subtlety in paint.
We are grateful to Professor Mauro Lucco for first proposing the attribution of the present painting to Girolamo Mocetto.
We are also grateful to Dr. Niko Munz for his assistance clarifying the seventeenth- and eighteenth-century provenance of the present lot. A full dossier on the work's provenance is available upon request.
1 Inventory of Charles I's Collection at Whitehall Palace, compiled by Abraham van der Doort, Keeper of the King's Collections, quoted in Millar 1958-1960, p. 79, inv. no. 15.
2 Formerly in the Sola Cabiati collection, Milan and later with Derek Johns. See Mauro Lucco, Pittura nel Veneto, il Cinquecento, Milan 1996, vol. I, p. 20, reproduced fig. 16.
3 See Fototeca Zeri, no. 12309.
Girolamo Mocetto
Murano circa 1458 - 1531 Venice
Portrait of a Young Woman with Downcast Eyes
oil on panel
panel: 13 ⅜ by 10 ⅜ in.; 34.0 by 26.4 cm
framed: 23 ⅝ by 18 ⅜ in.; 60.0 by 46.7 cm
Property of the Estate of Eduardo Hauser
Girolamo Mocetto
Murano circa 1458 - 1531 Venice
Portrait of a Young Woman with Downcast Eyes
oil on panel
panel: 13 ⅜ by 10 ⅜ in.; 34.0 by 26.4 cm
framed: 23 ⅝ by 18 ⅜ in.; 60.0 by 46.7 cm
William Herbert (1580-1630), 3rd Earl of Pembroke, Wilton House, before 1625;
By whom exchanged with King Charles I, when Prince of Wales, Whitehall Palace (in the Cabinet Room, as John Bellin [Giovanni Bellini], "A moddest forward full faced painted younge womans picture in her yellow haire with her left breast naked, and her smock over her right breast—painted upon a blue ground"), by circa 1638-1639;1
The Commonwealth Sale, London, Somerset House, 8 October 1651, lot 348 (as Bellmore [Bellini]);
Where acquired by Captain Edward Bass, head of the 9th, 10th, and 13th Dividends;
Recovered at the Restoration of King Charles II and restored to the Crown, Whitehall Palace (in the Cabinet Room), shortly after 1660;
Thence by descent to James II, Whitehall Palace (in the Cabinet Room);
Possibly thence by descent George II, Windsor Castle (in the Water Closet), 1750;
Duits collection, London, by February 1936 (as Cima da Conegliano);
Private collection, London;
Anonymous sale, London, Sotheby's, 27 November 1963, lot 64 (as G. Bellini);
Where acquired by C. Brunner;
Anonymous sale, London, Sotheby's, 24 March 1976, lot 6 (as Vincenzo Catena);
Where acquired by the father of the late collector.
Pictures Belonging to King Charles the First, at his Several Palaces, London 1649, pp. 4-5, cat. no. 15 (as Giovanni Bellini);
G.M. Richter, "A Portrait of a Lady by Giovanni Bellini," in Burlington Magazine 69, no. 400 (July 1936), pp. 2-4, reproduced pl. 1 (as Giovanni Bellini, Portrait of La Morosina);
O. Millar, "Abraham van der Doort's Catalogue of the Collections of Charles I," in Walpole Society 37 (1958-1960), p. 79, inv. no. 15; p. 191, inv. no. 2; p. 208, inv. no. 19; p. 245, no. 348;
F. Heinemann, Giovanni Bellini e i belliniani, Venice 1962, vol. I, p. 78, cat. no. 289a; vol. II, reproduced p. 271 (as After a lost work by Giovanni Bellini).
This portrait by the sixteenth-century Venetian artist Girolamo Mocetto of a fair-haired woman reveals a delicate balance between sensuality and restraint. The sitter, perhaps a new bride, is rendered with downcast eyes and a serene, introspective expression. Her classically inspired white dress has slipped off her left shoulder to reveal her bare breast. She is set against a softly modulated blue background, her auburn curls crowned with a simple pearl diadem. The luminous treatment of her flesh, combined with the subtle modeling of her features, imbues the work with a quiet emotional depth.
The composition bears a close resemblance to a panel once attributed to Giovanni Bellini and now given to Girolamo da Santacroce.2 While both that work and the present painting derive from a (now lost) Bellini prototype, this panel shows particular affinities with the work of Girolamo Mocetto—particularly his Madonna and Child with Saints Catherine of Alexandria and Steven altarpiece in the Church of Santa Maria in Organo, Verona, executed circa 1520.3 Although Mocetto is best known for his engravings and collaborative work with Bellini, this painting reveals his ability to convey emotional subtlety in paint.
We are grateful to Professor Mauro Lucco for first proposing the attribution of the present painting to Girolamo Mocetto.
We are also grateful to Dr. Niko Munz for his assistance clarifying the seventeenth- and eighteenth-century provenance of the present lot. A full dossier on the work's provenance is available upon request.
1 Inventory of Charles I's Collection at Whitehall Palace, compiled by Abraham van der Doort, Keeper of the King's Collections, quoted in Millar 1958-1960, p. 79, inv. no. 15.
2 Formerly in the Sola Cabiati collection, Milan and later with Derek Johns. See Mauro Lucco, Pittura nel Veneto, il Cinquecento, Milan 1996, vol. I, p. 20, reproduced fig. 16.
3 See Fototeca Zeri, no. 12309.