Portrait of a Bearded Man

ca. 1515

Titian Italian, ca.1488-1576

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About the Artwork

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Markings

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Provenance

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Exhibition History

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Published References

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Catalogue Raisonné

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About the Artwork

Title Portrait of a Bearded Man

Artwork Date ca. 1515

Artist Titian

Life Dates ca.1488-1576

Nationality Please note: Definitions for nationality may vary significantly, depending on chronology and world events. Some definitions include: Belonging to a people having a common origin based on a geography and/or descent and/or tradition and/or culture and/or religion and/or language, or sharing membership in a legally defined nation. Italian

Culture Please note: Cultures may be defined by the language, customs, religious beliefs, social norms, and material traits of a group. Venetian

Medium Oil on canvas

Dimensions Unframed: 31 3/4 × 27 3/4 inches (80.6 × 70.5 cm) Framed: 43 1/8 × 39 × 3 7/8 inches (109.5 × 99.1 × 9.8 cm)

Classification Paintings

Department European Painting

Credit Bequest of Eleanor Clay Ford

Accession Number This unique number is assigned to an individual artwork as part of the cataloguing process at the time of entry into the permanent collection. Most frequently, accession numbers begin with the year in which the artwork entered the museum’s holdings. For example, 2008.3 refers to the year of acquisition and notes that it was the 3rd of that year. The DIA has a few additional systems—no longer assigned—that identify specific donors or museum patronage groups. 77.4

Markings

Inscriptions ------

Provenance

by 1648, collection of Cristoforo Orsetti [1608-1664] (Venice, Italy). 1786, purchased by Sir Abraham Hume, 2nd Baronet [1749-1838] (Wormleybury House, Hertfordshire, England)

1838, by inheritance, John Hume Egerton, Viscount Alford [1812-1851] (grandson of the second Abraham Hume, son of first Earl Brownlow) (Ashridge Park, Hertfordshire, England)

1851-1921, by inheritance, collection of Lords Brownlow, primarily Adelbert Wellington Brownlow Cust, 3rd Earl Brownlow [1844-1921] (Ashridge Park, Hertfordshire, England)

1926, sold by (Duveen Brothers, New York, New York, USA)

1926, collection of Mr. Edsel Bryant Ford [1893-1943] and Mrs. Eleanor Clay Ford [1916-1976] (Grosse Pointe Shores, Michigan, USA)

1977-present, bequest to the Detroit Institute of Arts (Detroit, Michigan, USA)

For more information on provenance and its important function in the museum, please visit:

Provenance page

Exhibition History

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The exhibition history of a number of objects in our collection only begins after their acquisition by the museum, and may reflect an incomplete record.

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Published References

Ridolfi, Carlo. Le Meraviglie d'Arte. Venice, 1648, vol. 1, p. 182.

Fifth Loan Exhibition of Old and Modern Masters. Exh. cat., DIA. Detroit, October 1927, p. 21, cat. 21. [as "Old Man"].

Heil, Walter. The Sixth Loan Exhibition of Old Masters: Paintings by Titian. Exh. cat., DIA. Detroit, 1928, unpaginated, cat. 3 (ill.). [lent by Mr. & Mrs. Edsel Ford].

Washburn Freund, Frank. "Paintings by Titian in America," International Studio 90, no. 372 (May 1928): pp. 35-42, p. 40 (ill.).

Venturi, Lionello. Pitture Italiane in America. Milan, 1931, unpaginated, no. 377 (ill.).

Berenson, Bernard. Italian Pictures of the Renaissance; a list of the principal artists and their works. Oxford, 1932, p. 569. [as by Titian].

Suida, Wilhelm. Tizian. Leipzig, 1933, pp. 33, 156–157, 183, pl. 64a (ill.).

Suida, Wilhelm. Tiziano. Rome, 1933, pp. 32, 153, 180, pl. 64a (ill.).

Venturi, Lionello. Italian Paintings in America. New York, 1933, unpaginated, no. 509 (ill.).

Suida, Wilhelm. Le Titien. Paris, 1935, pp. 32-33, 161, 191, pl. 64a [as early Titian; notes Hume, Brownlow provenance].

Berenson, Bernard. Pitture Italiane del Rinascimento. Milan, 1936, 489.

Gronau, Georg. "Some Portraits by Titian and Raphael," Art in America 25 (1937): pp. 93-104, pp. 93-103, 92 (ill.).

Tietze, Hans. Titian: The Paintings and Drawings. New York, 1950, p. 369. [as a copy after Titian by a close follower of Tintoretto].

Tietze, Hans. Tizian: Gemälde und Zeichnungen. London, 1950, p. 371. [as early Titian; picture omitted in 1936 edition].

Berenson, Bernard. Italian Pictures of the Renaissance, The Venetian School. London, 1957, vol. 1: p. 184.

Valcanover, Francesco. Tutta la pittura di Tiziano, vol. 1. Milan, 1960, p. 96. [doubts attribution; see 2nd ed., 1969, no. 70; dated ca. 1515].

Valcanover, Francesco. L'Opera Completa di Tiziano. Milan, 1969, p. 98 (ill.).

Palluchini, Rodolfo. Tiziano, Florence, 1969, p. 223, (fig. 668). [as by close follower of Titian].

Wethey, Harold E. The Paintings of Titian. vol. 2: The Portraits. London, 1971, p. 175, cat. X-78. [described as generic Venetian school].

Rearick, William. Tiziano e il Disegno Veneziano del suo tempo. Gabinetto Disegni e Stampe degli Uffizi 45. Florence, 1976, pp. 123–24. [see no. 84. DIA picture, then in Ford collection, attributed to Girolamo Romanino on the basis of drawing by Romanino in the Uffizi].

"Annual Report 1976/1977," Bulletin of the DIA 56, no. 1 (1977): pp. 9, 23, 27.

Detroit City Council Journal. Detroit, 1977, p. 1060.

Bridenstine, James. Edsel and Eleanor Ford House. 1988, p. 20.

Secrest, Meryle. Duveen: a life in art. New York, 2004, p. 494.

Ferino-Pagden, Sylvia. Late Titian and the Sensuality of Painting. Venice, 2008, p. 87, note 25.

Borean, Linda. "Sir Abraham Hume as Collector and Writer." In The Reception of Titian in Britain from Reynolds to Ruskin. ed., P. Humfrey. London, 2013, pp. 88–89 (ill.).

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