LOT DETAILS

Materials:

oil on canvas

Measurements:

44.88 in. (114.00 cm.) (height) by 36.22 in. (92.00 cm.) (width)

Markings:

inscribed on the letter: Alla Sant.[i]ta di N[ost]ro Sig[no]re / Innocenzio Xo / Monsre Maggiordomo / ne parti a S[ua] S[anti]ta / Per /,and signed, or bears signature: Dieg[?]o d. Silva Velasqu[ez] / [and in a different hand:] e Pietro Martire Neri

Exhibited:

Madrid, Casón del Buen Retiro,. Velazquez y lo Velazqueño , 10 December 1960 - 23 February 1961, no. 103 (as Velazquez and Neri);. Paris, Grand Palais,. Velazquez , 25 March - 13 July 2015, no. 77

Literature:

A. Palomino,. Museo pictórico , 1724, Madrid 1936 ed., p. 167;. C.B. Curtis,. Velazquez and Murillo: A Descriptive and Historical Catalogue of the Works of Don Diego de Silva Velazquez and Bartolomé Estéban Murillo , London and New York 1883, no. 156, p. 66 (as Velazquez);. G.C. Cruzada Villaamil,. Anales de la vida y de las obras de Diego de Silva y Velazquez, . escritos con ayuda de nuevos documentos , Madrid 1885, p. 322, no. 137 (as Velazquez);. C. Justi,. Diego de Velazquez und sein Jahrhundert , Bonn 1888, voI I, pp. 192-93, note 1 (as Velazquez and Neri);. A.L. Mayer,. Diego . Velazquez , Berlin 1924, pp. 147-48 (as Velazquez);. A.L. Mayer, Pietro Martine Negri, ein italienischer Nachahmer des Velazquez, in. Belvedere , September 1928, Vol. XIII, pp. 60-63, reproduced (as Neri perhaps after Velazquez);. H. Voss, Zur Kritik des Velazquez-Werkes, in. Jahrbuch der Preußischen Kunstsammlungen , vol. 53, 1932, pp. 49-51, reproduced on p. 49 fig. 6 (as Velazquez and Neri);. E. Lafuente Ferrari, En torno a Velazquez: un artículo de Hermann Voss, in. Archivo Español de Arte , 22, 1932, pp. 268-70 (as Velazquez and Neri);. A.L. Mayer,. Velazquez: A Catalogue Raisonné of the Pictures and Drawings , London 1936, p. 100, no. 426, reproduced plate 141 (as Neri for the greater part; at best begun by Velazquez);. B. de Pantorba,. La vida y la obra de Velazquez: Estudio biografico y crítico , Madrid 1955, pp. 236-37, no. 172, reproduced (as Velazquez and Neri);. H. Voss, Úber das bildnis der Maggiordomo Segni von Velazquez, in. Varia velazqueña. . Estudios sobre Velazquez y su obra , Madrid 1960, vol. I, pp. 335-38, vol. II, reproduced plates 103-105 (as Velazquez);. J. López-Rey,. Velazquez. A Catalogue Raisonné of his Œuvre , London 1963, pp. 283-84, cat. no. 474, reproduced plates 364 and 365 (as by Neri after Velazquez);. A.E. Pérez Sanchez,. Pintura italiana del s. XVII en España , Madrid 1965, p. 357 (as Velazquez and Neri);. M. Bardi,. Lopera completa di . Velazquez , Milan 1969, pp. 110-11, no. 140 (as attributed to Velazquez);. J. López-Rey,. Velazquez. . The Artist as a Maker, Lausanne and Paris 1979, pp. 113-14, reproduced plate 39 (as Neri, presumably after a lost sketch by Velazquez);. E. Harris,. Velazquez , Oxford 1982, pp. 151-52, reproduced p. 152, plate 155 (as copy by Neri of a lost original by Velazquez);. R. Barbiellini Amidei, Liconografia pamphiliana. Notizie dei ritratti di Papa Innocenzo X, in S. Alloisi ed.,. Imago Pietatis 1650. I Pamphilj a San Martino al Cimino , exhibition catalogue, Rome 1987, p. 100 (as Neri after a lost sketch by Velazquez);. D. Ortiz, A. E. Pérez Sanchez, J. Gallego (eds),. Velazquez , exhibition catalogue, New York 1989, p. 236 (as a disputed work by Velazquez);. O. Melasecchi, Pietro Martire Neri ritrattista cremonese nella Roma di Innocenzo X, in. Innocenzo X Pamphilj: Arte e potere a Roma nelletà barocca , A. Zuccari and S. Macioce (ed.), Rome 1990, pp. 184-85, reproduced on pp. 183-84, figs 6-7 (as begun by Velazquez and completed by Neri);. J. López-Rey,. Velazquez. Painter of Painters , 2 vols, Cologne 1996, vol. I, p. 176 (as Neri, presumably after a sketch by the Master that has not been preserved);. S. Salort Pons,. Velazquez . en Italia , Madrid 2002, p. 233, pp. 370-73, no. 24, reproduced in colour on p. 233, plate 197, and on p. 371 (as Neri and Velazquez?);. F. Petrucci,. Pittura di Ritratto a Roma. Il Seicento , Rome 2007, vol. III, reproduced p. 700, fig. 558 (as Neri);. J.M. Cruz Valdovinos,. Velazquez: vida y obra de un pintor cortesano , Zaragoza 2011, p. 291, reproduced on p. 292 (as Neri);. M. Tanzi,. Pietro Martire Neri: . Celebratory Portrait of Ancislao Gambara , Paris 2011, p. 9, p. 11, reproduced fig. 4 (as Neri [and Velazquez?]);. V. Damian, in. La Vierge enfant de Francisco de Zurbaran, Trois portraits par Simon Vouet, Pietro Martire Neri et Angelika Kauffmann, Tableaux Bolonais, Vénitiens et Napolitains du XVI e et XVII e siècle , exh. cat., Galerie Canesso, Paris 2014, pp. 50-51, reproduced on p. 50, fig. 1 (as Pietro Martire Neri [and Diego Velazquez?]);. G. Kientz,. Velazquez . , Laffrontement de la peinture , Paris 2015, pp. 262-77 and p. 365 (as Velazquez and Neri);. G. Kientz in. Velazquez , exhibition catalogue, Grand Palais, Paris, 2015, p. 26, p. 258, pp. 264-66, p. 344, no. 77, reproduced on p. 265 (as Velazquez and Neri

Provenance:

Private collection, Bologna;. Don José de Salamanca y Mayol, Marqués de Salamanca and 1st Conde de Llanos (1811-83);. His sale (Galerie Salamanca), Paris, Hôtel Salamanca, Rue de la Victoire, 50, Pillet, Le Roy and Febvre, 3-6 June 1867, lot 37, unsold at 16,200 Francs (as Velazquez); Salamanca Collection sale, Paris, Hotel Drouot, Pillet and Haro, 25-26 January 1875, lot 35, for 19,300 Francs, to Luisa Gonzalés (as Velazquez);. Luisa Gonzalés (1847-1924), wife of Auguste Dreyfus (1827-97), Hôtel Dreyfus, 3 avenue Ruysdaël, Paris;. His sale, Paris, Galerie Georges Petit, 29 May 1889, lot 115, for 5,600 francs (as Velazquez), where probably unsold;. Thence probably by family descent to Anne de Talleyrand Périgord, Duchess de Premio Real, self-styled Duchess of Dreyfus-Gonzalez (1877-1945), Paris, by 1936;. Probably acquired from the above, or from her heirs, by the father of the present owner in Paris, 1958