Follower of Titian The Concert

Property from Ollerton Grange: an Interior by Robert Kime

Follower of Titian
The Concert

oil on canvas, in a fine 17th-century French carved and gilt wood frame
unframed: 88 x 116.5 cm.; 34⅝ x 45⅞ in.
framed: 121 x 149 cm.; 47⅝ x 58⅝ in.

Condition Report:
The canvas is lined. The paint surface is slightly dirty and the varnish has become cloudy and uneven in parts. A cluster of small losses to the paint surface can be noted in the lower right corner, perhaps caused by abrasion from the frame. A handful of retouchings, a few of which have become discoloured, are visible to the naked eye. They can be found primarily in the headpiece, on the face, and on the clothing of the figure on the left, over the hands of the figure in the centre, as well as in his clothing and on his face, on the face and tunic of the man on the right, and in a couple of spots in the background. The largest of these is a horizontal line, covering what may be an old scratch or perhaps a repaired tear in the canvas, over the clothing of this last figure on the right: this measures approximately 40 cm. in length. Another, curved line of retouching found in the hair of the man in the centre likewise appears to cover an old repaired tear in the canvas. Inspection under ultraviolet light confirms much of the above, while revealing a couple of further retouchings, such as those used to strengthen the darks on the top of the musical instrument held by the figure on the right. Overall, the painting is in fairly good condition.

Catalogue Note:
This is an early copy after the well-known painting by Titian (c. 1485/90–1576) in the Pitti Palace, Florence, which is dateable to 1510–11.1 The subject can be interpreted both literally and allegorically: while these men are gathered together to make music, as suggested by the spinet which is being played lower left by the black-robed performer in the centre, and the viola da gamba, held by the Dominican monk lower right, they also represent the 'Three Ages of Man'.2 Youth is personified by the boy on the left, who is thought to be aged around fifteen, maturity by the gentleman in the centre, and older age by the bald and tonsured chorister on the right.

Note on Provenance

This picture was likely owned by the Cossé family, counts of Brissac during the 16th century, as suggested by their seal on its reverse. The Cossés had acquired the fief of Brissac at the end of the 15th century. The land was later assigned the status of a county in 1560, upon which Charles de Cossé (1505/06–1563) became the first Count of Brissac. Since 1540, Charles had occupied the post of Grand Falconer of France in the King's household. This role was not purely honorary, as the King still hunted with falcons. Brissac was also Grand Panetier and his position as Colonel General of the Cavalry (1548–1549) was a court appointment. In 1546, Charles was made Grand Master of the Artillery and he was raised to Marshal of France in 1550. Perhaps most interestingly given the subject of this painting, Charles is thought to have introduced the Italian violin to the French court.

Upon Charles' death in 1563, his son Timoléon (1543–1569) inherited the county. Timoléon was killed in a siege in 1569, however, so the title passed to his brother, Charles II de Cossé (c. 1550–c. 1621). The county of Brissac was raised in status to a duchy in 1611, upon which Charles II's title, along with that of his successors, was changed to Duke of Brissac. The seal on the reverse of this picture features a coronet with nine visible tines topped by pearls, which is the symbol used by counts specifically. It is therefore possible to suggest that this work was owned by the Cossé family prior to their change in title in 1611, thus demonstrating that it is an early copy.

The Cossé family's close associations with the French crown may explain how this picture likely ended up in the collection of Charles Philippe, Comte d'Artois, later King Charles X of France (1757–1836). Charles Philippe was born in 1757, the youngest son of the Dauphin Louis Ferdinand (1729–1765), and his wife, the Dauphine Marie Josèphe (1731–1767), at the Palace of Versailles. He was a noted womaniser, wit and a favourite of Queen Marie Antoinette (1755–1793). He ascended to the thrones of France and Navarre upon the death of his brother Louis XVIII (1755–1824), who had died without issue, and was to rule as King Charles X from 1824 until the July revolution of 1830.

1 Inv. 1912 no. 185, oil on canvas, 86.5 x 123.5 cm.; The Concert by Titian | Uffizi Galleries.

2 H.E. Wethey, The Paintings of Titian, 3 vols, London 1971, vol. II ('The Portraits'), pp. 91–2, no. 23.

Provenance:
Probably the Cossé family, Counts of Brissac in Anjou, before 1611;

Probably Charles Philippe, Comte d'Artois, later King Charles X of France (1757–1836) (this and the above according to wax seals on the stretcher bars);

Anonymous sale, London, Sotheby's, 24 April 2007, lot 214, for £9,360 (as after...