Portrait Presumed to Be of Antonio Zantani

Painting and Sculpture of Europe

1550/60

Italian, Venice

Status: Currently Off View
Department: Painting and Sculpture of Europe

Artist: Unknown Italian
Title: Portrait Presumed to Be of Antonio Zantani
Place: Venice (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1550–1560
Medium: Oil on panel
Inscriptions: Inscribed upper left: ANTONIVS./ ZANTANI./ COMES.ET./ EQVES
Dimensions: 31.8 × 24.3 cm (12 1/2 × 9 9/16 in.)
Credit Line: Charles H. and Mary F. S. Worcester Collection
Reference Number: 1947.115
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/59969/manifest.json

Daniel Catton Rich, Catalogue of the Charles H. and Mary F. S. Worchester Collection of Paintings, Sculpture, and Drawings (Chicago, 1938), pp. 14–15, no. 10, pl. IX.
K. Kuh, “The Worcester Gift,” Art Institute of Chicago Bulletin 41 (1947), p. 63.
H. Comstock, “Tintoretto’s Portrait of a Venetian Senator,” Connoisseur 121 (1948), p. 46 (ill.).
Bernard Berenson, Italian Pictures of the Renaissance: Venetian School (London, 1957), vol. 1, p. 171.
P. Wescher, “I ritratti del Doge Girolamo Priuli del Tintoretto,” Arte veneta 9 (1957), p. 207.
The Art Institute of Chicago, Paintings in The Art Instiute of Chicago: A Catalogue of the Picture Collection, 1961, pp. 450–51.
Hans Huth, Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae (Munich, 1961), p. 518.
C. Bernari and P. De Vecchi, L’opera completa del Tintoretto, Milan, 1970, p. 134, fig. F14.
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass., 1972), pp. 199, 518, 520, 571.
P. Rossi, Jacopo Tintoretto, vol. 1, I ritratti, Venice, 1974, pp. 140–41.
Christopher Lloyd, Italian Paintings before 1600 in The Art Institute of Chicago (Chicago, 1993), pp. 269–271, ill.

Rushton Hall, Kettering (Northamptonshire) [ according to letter of 9 February, 1937 from Asscher and Welker to D. C. Rich in curatorial file; Rushton Hall changed hands several times during the nineteenth century (see Country Life, vol. 26, 1909, pp. 454–61, 490–501, and vol. 115, 1954, pp. 599–600). The most likely owners of the present picture were Henry Pfungst and J. J. van Alen]. L. Breitmeyer, London [according to the letter from Asscher and Welker cited above; they give Breitmeyer’s address as 11 Connaught Place]. Asscher and Welker, London, by 1935; sold to Charles H. Worcester, Chicago, 1935; given to the Art Institute, 1947.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.