Titian
Found in 532 Collections and/or Records:
A Young Woman (Violante), A painting of an erotic ideal of a woman., c. 1514-1516
Vanderbilt photo identifier: SC.MSS.088.TITI.0048; Public Notes: This piece was formerly attributed to Palma Vecchio.
Adoration of the Maji (Detail of Worhsip), A detail of The Holy Family visited by the three kings, who have journeyed to adore the newborn king. The painting is filled with naturalistic details, as the riders struggle to keep the horses and mules still and a small dog urinates on a beam. Yet there are also references to antiquity, such as the horse's bent leg and the bowed head, which recall Roman sarcophagi. (Ana Dieglio 2008)
Vanderbilt photo identifier: SC.MSS.088.TITI.0420; Public Notes: There is a Handwritten note on the face of the print attributing the work to the collection of [Arthur] Sachs.
The print was originally within a folder attributing all the contained works to the Sachs Collection. Artstor reports in the acquisition history of the work that Sachs acquired the work in 1928, and that it was previously owned by Ralph Brocklebank, purchased in a London sale in 1922.
Adoration of the Maji (Detail of Worhsip), A detail of The Holy Family visited by the three kings, who have journeyed to adore the newborn king. The painting is filled with naturalistic details, as the riders struggle to keep the horses and mules still and a small dog urinates on a beam. Yet there are also references to antiquity, such as the horse's bent leg and the bowed head, which recall Roman sarcophagi. (Ana Dieglio 2008)
Vanderbilt photo identifier: SC.MSS.088.TITI.0421; Public Notes: There is a Handwritten note on the face of the print attributing the work to the collection of [Arthur] Sachs.
The print was originally within a folder attributing all the contained works to the Sachs Collection. Artstor reports in the acquisition history of the work that Sachs acquired the work in 1928, and that it was previously owned by Ralph Brocklebank, purchased in a London sale in 1922.
Adoration of the Maji, The Holy Family is visited by the three kings, who have journeyed to adore the newborn king. The painting is filled with naturalistic details, as the riders struggle to keep the horses and mules still and a small dog urinates on a beam. Yet there are also references to antiquity, such as the horse's bent leg and the bowed head, which recall Roman sarcophagi. (Ana Dieglio 2008)
Alfonso d'Avalos, Portrait of Alfonso d'Avalos del Vasto, Marquis of Pescara. He was the leading general under Emperor Charles V and became governor of Milan in 1538., 1533
Vanderbilt photo identifier: SC.MSS.088.TITI.0207; Public Notes: This piece was once part of the Contessa de Behague collection in Paris, France.
Allegory of Alfonso d'Avalos, Detail image of Alfonso d'Avalos, his wife Mary of Aragorn and the head of the allegorical figure of Victory., 1532
Vanderbilt photo identifier: SC.MSS.088.TITI.0197; Public Notes:
Allegory of Alfonso d'Avalos, Detail image of an orb carried by Mary of Aragorn., 1532
Vanderbilt photo identifier: SC.MSS.088.TITI.0196; Public Notes:
Allegory of Alfonso d'Avalos, Detail image of the allegorical figure of Love., 1532
Vanderbilt photo identifier: SC.MSS.088.TITI.0195; Public Notes:
Allegory of Alfonso d'Avalos, Detail image of the allegorical figures of Victory and Hymen. Hymen is holding a wreath., 1532
Vanderbilt photo identifier: SC.MSS.088.TITI.0198; Public Notes:
Allegory of Alfonso d'Avalos, Detail image of the allegorical figures of Victory and Love., 1532
Vanderbilt photo identifier: SC.MSS.088.TITI.0199; Public Notes:
Allegory of Alfonso d'Avalos, Portrait of Alfonso d'Avalos, a condottieri in the 16th century. He is shown with his wife Mary of Aragorn, who he is about to leave. On the right, he is consoled by Victory, Love and Hymen., 1532
Vanderbilt photo identifier: SC.MSS.088.TITI.0194; Public Notes: A replica, named "Allegory of Married Life", was created in the 17th century.
Allocution of Marquis del Vasto to his Troops, This scene depicts what is considered one of the most important moments in the Marquis' life: the speech he delivered in 1537 that managed to subdue the mutiny by Spanish troops in Lombardy. Next to him stands his son, who was ceded as a hostage to ensure that the Marquis kept his promises., c. 1540
Vanderbilt photo identifier: SC.MSS.088.TITI.0253; Public Notes:
Altarpiece of Saint Nicholas of Bari, "Crasso’s patron saint is shown seated on an ornate, carved chair of marble and precious stone. An angel just below the throne holds his bishop’s mitre, which is always removed when a bishop is praying. At the saint’s feet are three gold balls that allude to the legend that he threw purses of gold through a poor nobleman’s window to provide a dowry for each of his daughters, so that they would not be obliged to enter a life of prostitution. As the patron of children, sailors and travelers, the guardian of nubile maidens, and the prototype of Father Christmas, Nicholas presumably was chosen as the subject for the altarpiece because he was Niccolo Crasso’s namesake. In addition, among the saint’s most well-known epigrams is, “Love righteousness, you that be judges of the earth” (Wisdom 1.1)."
(Meilman, Patricia. "Titian’s Altarpiece of St. Nicholas of Bari," Save Venice Journal, 1993.), c. 1560-65
Vanderbilt photo identifier: SC.MSS.088.TITI.0478; Public Notes: The caption on the front of the print includes the following: "13834 - VENEZIA - S. Nicolo - Tiziano - S. Sebastiano - Riproduzione Interdetta - Anderson Roma"
The print was previously contained in a folder labeled "signed work" (opera firmata) and attributed to S. Sebastiano, Venezia, c. 1563.
Altarpiece of Saint Nicholas of Bari (Detail), "Crasso’s patron saint is shown seated on an ornate, carved chair of marble and precious stone. An angel just below the throne holds his bishop’s mitre, which is always removed when a bishop is praying. At the saint’s feet are three gold balls that allude to the legend that he threw purses of gold through a poor nobleman’s window to provide a dowry for each of his daughters, so that they would not be obliged to enter a life of prostitution. As the patron of children, sailors and travelers, the guardian of nubile maidens, and the prototype of Father Christmas, Nicholas presumably was chosen as the subject for the altarpiece because he was Niccolo Crasso’s namesake. In addition, among the saint’s most well-known epigrams is, “Love righteousness, you that be judges of the earth” (Wisdom 1.1)."
(Meilman, Patricia. "Titian’s Altarpiece of St. Nicholas of Bari," Save Venice Journal, 1993.)
This detail features the angel and bishop’s mitre., c. 1560-65
Vanderbilt photo identifier: SC.MSS.088.TITI.0480; Public Notes: The handwritten note on the back attributes the detail to the work St. Nicholas of Bari and the collection of the monastery at San Sebastiano. There is also a photographer's stamp.
The print was previously contained in a folder labeled "signed work" (opera firmata) and attributed to S. Sebastiano, Venezia, c. 1563.
Altarpiece of Saint Nicholas of Bari (Detail), "Crasso’s patron saint is shown seated on an ornate, carved chair of marble and precious stone. An angel just below the throne holds his bishop’s mitre, which is always removed when a bishop is praying. At the saint’s feet are three gold balls that allude to the legend that he threw purses of gold through a poor nobleman’s window to provide a dowry for each of his daughters, so that they would not be obliged to enter a life of prostitution. As the patron of children, sailors and travelers, the guardian of nubile maidens, and the prototype of Father Christmas, Nicholas presumably was chosen as the subject for the altarpiece because he was Niccolo Crasso’s namesake. In addition, among the saint’s most well-known epigrams is, “Love righteousness, you that be judges of the earth” (Wisdom 1.1)."
(Meilman, Patricia. "Titian’s Altarpiece of St. Nicholas of Bari," Save Venice Journal, 1993.)
This detail features the bishop's face and mitre, and the angel who holds the mitre., c. 1560-65
Vanderbilt photo identifier: SC.MSS.088.TITI.0482; Public Notes: The handwritten note on the back attributes the detail to the work St. Nicholas of Bari and the collection of the monastery at San Sebastiano. There is also a photographer's stamp.
The print was previously contained in a folder labeled "signed work" (opera firmata) and attributed to S. Sebastiano, Venezia, c. 1563.
Altarpiece of Saint Nicholas of Bari (Detail), "Crasso’s patron saint is shown seated on an ornate, carved chair of marble and precious stone. An angel just below the throne holds his bishop’s mitre, which is always removed when a bishop is praying. At the saint’s feet are three gold balls that allude to the legend that he threw purses of gold through a poor nobleman’s window to provide a dowry for each of his daughters, so that they would not be obliged to enter a life of prostitution. As the patron of children, sailors and travelers, the guardian of nubile maidens, and the prototype of Father Christmas, Nicholas presumably was chosen as the subject for the altarpiece because he was Niccolo Crasso’s namesake. In addition, among the saint’s most well-known epigrams is, “Love righteousness, you that be judges of the earth” (Wisdom 1.1)."
(Meilman, Patricia. "Titian’s Altarpiece of St. Nicholas of Bari," Save Venice Journal, 1993.)
This detail features the bishop's hand and bible., c. 1560-65
Vanderbilt photo identifier: SC.MSS.088.TITI.0481; Public Notes: The handwritten note on the back attributes the detail to the work St. Nicholas of Bari and the collection of the monastery at San Sebastiano. There is also a photographer's stamp.
The print was previously contained in a folder labeled "signed work" (opera firmata) and attributed to S. Sebastiano, Venezia, c. 1563.
Altarpiece of Saint Nicholas of Bari (Detail), "Crasso’s patron saint is shown seated on an ornate, carved chair of marble and precious stone. An angel just below the throne holds his bishop’s mitre, which is always removed when a bishop is praying. At the saint’s feet are three gold balls that allude to the legend that he threw purses of gold through a poor nobleman’s window to provide a dowry for each of his daughters, so that they would not be obliged to enter a life of prostitution. As the patron of children, sailors and travelers, the guardian of nubile maidens, and the prototype of Father Christmas, Nicholas presumably was chosen as the subject for the altarpiece because he was Niccolo Crasso’s namesake. In addition, among the saint’s most well-known epigrams is, “Love righteousness, you that be judges of the earth” (Wisdom 1.1)."
(Meilman, Patricia. "Titian’s Altarpiece of St. Nicholas of Bari," Save Venice Journal, 1993.)
This detail features the face of Saint Nicholas., c. 1560-65
Vanderbilt photo identifier: SC.MSS.088.TITI.0479; Public Notes: The handwritten note on the back attributes the detail to the work St. Nicholas of Bari and the collection of the monastery at San Sebastiano. There is also a photographer's stamp.
The print was previously contained in a folder labeled "signed work" (opera firmata) and attributed to S. Sebastiano, Venezia, c. 1563.
Altarpiece of the Resurrection, An altarpiece depicting Christ before two men. Surrounding him are (left to right): Saint Gabriel the Archangel, the Virgin of the Annunciation, the kneeling patron Altobello Averoldo and Saint Sebastian., 1518-1522
Vanderbilt photo identifier: SC.MSS.088.TITI.0118; Public Notes:
Altarpiece of the Resurrection, Detail of an angel kneeling at Saint Sebastian's feet., 1518-1522
Vanderbilt photo identifier: SC.MSS.088.TITI.0126; Public Notes:
Altarpiece of the Resurrection, Detail of Saint Gabriel the Archangel., 1518-1522
Vanderbilt photo identifier: SC.MSS.088.TITI.0120; Public Notes:
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