LOT DETAILS

Materials:

oil on canvas

Measurements:

26.38 in. (67.00 cm.) (height) by 37.80 in. (96.00 cm.) (width)

Markings:

inscribed on the dog's collar: B.T.

Exhibited:

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.

Literature:

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).

Provenance:

Possibly Giovanni Battista Tiepolo’s wife, Cecilia Tiepolo;. Edward Cheney, 4 Audley Square, London, and Badger Hall, Shropshire;. His (deceased) sale, London, Christie’s, 29 ff April 1885, lot 139, for 31 Guineas, to Davis (as P. Longhi);. Archibald Philip (1847-1929), 5 th Earl of Rosebery, Mentmore, Bedfordshire;. By descent to Eva (1892-1987), Countess of Rosebery, widow of the 6 th 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.