1112

Manner of Lorenzo Di Credi (Italian, b. ca. 1456-1536), "Portrait of Julia De Rubeis, from the House of De' Rossi", tempera and oil on wood panel, a tondo within an engaged frame, possibly a panel from a cassone, overall, 17-1/4" x 17-1/2". Provenance: Sotheby's, New York, July 21, 1981 sale; Collection of Richard Vernon and Bettie Long Rickenbach, Ocala, Florida.


De' Rossi (De Rubeis in Latin) was a prominent Florentine family during the Renaissance, closely allied with the Medici. Lionetto de' Rossi married Maria de' Medici, and served as the General Manger of the Medici Bank in Lyons. His son Luigi, educated in the court of Lorenzo de' Medici, went on to become a cardinal serving under his uncle, Pope Leo X. The dynastic power of this family is well captured in Raphael's famous portrait in the Uffizi of Leo X with his nephews Cardinals Giulio de' Medici (later Pope Clement VII) and Luigi de' Rossi. Given the heraldic ribbon, the sitter's affluent dress and jewels in the portrait offered here, it is quite possible that Giulia de' Rossi, identified in Latin on the ribbon, is a member of this Florentine dynasty.


Lorenzo di Credi, who studied under Andrea del Verrocchio alongside Leonardo da Vinci and Pietro Perugino, inherited his master's Florence workshop after his death in 1488. As one of the preeminent Florentine painters, di Credi went on to produce dozens of portraits and devotional scenes for his wealthy patrons, which included the Medici. This portrait of Giulia de' Rossi reflects Di Credi's style of portraiture from the mid-1480s through the early 1500s, which was strongly influence by Leonardo and Raphael, Perugino's pupil. The rich colors, absence of chiaroscuro through the use of sfumato--the soft blending of values and tones, and the use of a monumental pyramidal three-quarter length pose foregrounded before a diminutive landscape (redolent of the Tuscan hills), is characteristic of the portraiture di Credi and his workshop produced. Three fine examples that resemble the portrait offered here are di Credi's portraits of "Costanza de' Medici", ca. 1499, "Caterina Sforza", ca. 1483, and his "Portrait of a Young Girl", ca. 1490s. All three sitters' dress reflect Florentine fashion at the turn-of-the century, notably the fitted detachable sleeves and partlets (laced bodices), which were designed after the Italian 1464 decree that mandated that women cover their generous neck openings. Another notable feature is the distinctive trinzale-style headdress de' Rossi, de' Medici and the young girl wear. The "trinzale", a fine fabric or metallic cap, was worn between the center and back of the head and was held in place by a fine string ("lenza") that crossed the forehead. The jewelry is as equally telling as elaborate ruby or pearl pendants, such as the one de' Rossi wears were commonly regarded as "wifehood pendants", given as marital gifts. The tondo-style portrait and heraldic ribbon that denotes de' Rossi's name lends credence to this idea, as the circular form and serpentine ribbonry is commonly seen in majolica ceramic portrait plates, another ritual of courtship and betrothal that flourished in the late 1400s/early 1500s. Whether this portrait was painted by di Credi, his workshop, or another "St. Luke Guild" painter working in his manner, it is a stunning testament of Renaissance opulence and beauty worthy of further study.


  • Condition: Generally very good condition. Some abrading along edges where painting meets engaged frame. A reverse "L" surface scratch at right side, scratch at left side of headdress along with a small circular area of loss to paint surface. An age fracture crack to panel at mid-left, partially filled some time ago. Evidence of past restoration: scattered areas of inpainting along right edge, along proper left cheek and hairline, small areas in background. Scattered craquelure along bottom. Slight layer of soiling. Some yellowing of varnish layer. Frame of painting with scattered nicks, abrasions, and losses. Numerous wormholes, especially en verso. All consistent with age, material, and usage.

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