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Portrait of Monsignor Cristoforo Segni (d. 1661)
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About the object

Portrait of Monsignor Cristoforo Segni (d. 1661), Maggiordomo to Pope Innocent X
US
NY, US
US

medium

Oil on canvas

condition

The following condition report is provided by Sarah Walden, an external conservator and not an employee of Sotheby's. This painting has a quite recent relining and stretcher, perhaps from France. The present restoration is more recent. Overall the paint is extremely well preserved, with just a few incidental damages mainly in the background. Old varnish has been completely removed and under ultra violet light the few retouched losses can be clearly seen: three retouched damages in the upper right background, a straight horizontal line about five inches long in the lower centre to the left of the hand, and some fairly small losses in the face by the right eye, an upper damage here being a curious square. There are some other less distinct areas with small retouchings, as in the lower right area, in parts of the upper right background and in the strengthening of the darks of the blue drapery. The top edge has also been retouched. The brushwork is largely finely intact, with magnificent areas such as the eyes, the hands, where pentimenti can be seen, and various other parts. The letter is rubbed in places, especially around the signature of Velazquez himself, while that of Neri is quite crisply preserved. This report was not done under laboratory conditions. "This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

dimensions

44 7/8  by 36 1/4  in.; 114 x 92 cm.

exhibition

Madrid, Casón del Buen Retiro, Velázquez y lo Velazqueño, 10 December 1960 – 23 February 1961, no. 103 (as Velázquez and Neri); Paris, Grand Palais, Velázquez, 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 Velázquez); G.C. Cruzada Villaamil, Anales de la vida y de las obras de Diego de Silva y Velázquez, escritos con ayuda de nuevos documentos, Madrid 1885, p. 322, no. 137 (as Velázquez); C. Justi, Diego de Velazquez und sein Jahrhundert, Bonn 1888, voI I, pp. 192–93, note 1 (as Velázquez and Neri); A.L. Mayer, Diego Velazquez, Berlin 1924, pp. 147–48 (as Velázquez); 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 Velázquez); H. Voss, ‘Zur Kritik des Velázquez-Werkes’, in Jahrbuch der Preußischen Kunstsammlungen, vol. 53, 1932, pp. 49–51, reproduced on p. 49 fig. 6 (as Velázquez and Neri); E. Lafuente Ferrari, ‘En torno a Velázquez: un artículo de Hermann Voss’, in Archivo Español de Arte, 22, 1932, pp. 268–70 (as Velázquez 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 Velázquez); B. de Pantorba, La vida y la obra de Velazquez: Estudio biográfico y crítico, Madrid 1955, pp. 236–37, no. 172, reproduced (as Velázquez and Neri); H. Voss, ‘Über das bildnis der Maggiordomo Segni von Velázquez’, in Varia velazqueña. Estudios sobre Velazquez y su obra, Madrid 1960, vol. I, pp. 335–38, vol. II, reproduced plates 103–105 (as Velázquez); J. López-Rey, Velázquez. A Catalogue Raisonné of his Œuvre, London 1963, pp. 283–84, cat. no. 474, reproduced plates 364 and 365 (as by Neri after Velázquez); A.E. Pérez Sánchez, Pintura italiana del s. XVII en España, Madrid 1965, p. 357 (as Velázquez and Neri); M. Bardi, L’opera completa di Velázquez, Milan 1969, pp. 110–11, no. 140 (as attributed to Velázquez); 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 Velázquez); E. Harris, Velazquez, Oxford 1982, pp. 151–52, reproduced p. 152, plate 155 (as copy by Neri of a lost original by Velázquez); R. Barbiellini Amidei, ‘L’iconografia 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 Velázquez); D. Ortiz,  A. E. Pérez Sánchez, J. Gallego (eds), Velázquez, exhibition catalogue, New York 1989, p. 236 (as a disputed work by Velázquez); O. Melasecchi, ‘Pietro Martire Neri ritrattista cremonese nella Roma di Innocenzo X’, in Innocenzo X Pamphilj: Arte e potere a Roma nell’età barocca, A. Zuccari and S. Macioce (ed.), Rome 1990, pp. 184–85, reproduced on pp. 183–84, figs 6–7 (as begun by Velázquez and completed by Neri); J. López-Rey, Velázquez. 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, Velázquez 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 Velázquez?); F. Petrucci, Pittura di Ritratto a Roma. Il Seicento, Rome 2007, vol. III, reproduced p. 700, fig. 558 (as Neri); J.M. Cruz Valdovinos, Velázquez: 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 Velázquez?]); V. Damian, in La Vierge enfant de Francisco de Zurbarán, Trois portraits par Simon Vouet, Pietro Martire Neri et Angelika Kauffmann, Tableaux Bolonais, Vénitiens et Napolitains du XVIe et XVIIe siècle, exh. cat., Galerie Canesso, Paris 2014, pp. 50–51, reproduced on p. 50, fig. 1 (as Pietro Martire Neri [and Diego Velázquez?]); G. Kientz, Velázquez, L’affrontement de la peinture, Paris 2015, pp. 262–77 and p. 365 (as Velázquez and Neri); G. Kientz in Velázquez, exhibition catalogue, Grand Palais, Paris, 2015, p. 26, p. 258, pp. 264–66, p. 344, no. 77, reproduced on p. 265 (as Velázquez 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 Velázquez); Salamanca Collection sale, Paris, Hotel Drouot, Pillet and Haro, 25–26 January 1875, lot 35, for 19,300 Francs, to Luisa Gonzalés (as Velázquez); 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 Velázquez), 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.

signedDate

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  

consignmentDesignation

Property from a Private Collection


*Note that the price is not recalculated to the current value, but refers to the actual final price at the time the product was sold.

*Note that the price is not recalculated to the current value, but refers to the actual final price at the time the product was sold.


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