Sotheby Parke Bernet & Co. 1981. Fine Old Master Paintings, sale code CATKIN. 8 April 1981, London.
","citation":"Sotheby Parke Bernet & Co. 1981. Fine Old Master Paintings, sale code CATKIN. 8 April 1981, London.
","date":1981,"id":4987,"uri":"https://search.worldcat.org/title/162441191"},{"boilertext":"Catalogue of important pictures by old masters: the property of the Right Hon. the Earl of Yarborough ... the property of Capt. the Hon. Marcus Pelham, (London: Christie, Manson & Woods, 1929).","citation":"Catalogue of important pictures by old masters: the property of the Right Hon. the Earl of Yarborough ... the property of Capt. the Hon. Marcus Pelham, (London: Christie, Manson & Woods, 1929)., no. 74","date":1929,"id":4988,"uri":"https://search.worldcat.org/title/171453555"},{"boilertext":"David Franklin et al., Leonardo Da Vinci, Michelangelo, and the Renaissance in Florence, (Ottawa: National Gallery of Canada; New Haven, CT: Yale University Press, 2005).","citation":"David Franklin et al., Leonardo Da Vinci, Michelangelo, and the Renaissance in Florence, (Ottawa: National Gallery of Canada; New Haven, CT: Yale University Press, 2005)., cat. no. 47, 164, illus.; p. 164-165","date":2005,"id":198,"uri":"https://search.worldcat.org/title/60668687"},{"boilertext":"\"Acquisitions of the Art Museum 1983,\" Record of the Art Museum, Princeton University 43, no. 1 (1984): p. 18-42.","citation":"\"Acquisitions of the Art Museum 1983,\" Record of the Art Museum, Princeton University 43, no. 1 (1984): p. 18-42., pp. 18–19 (illus.)","date":1984,"id":1857,"uri":"https://www.jstor.org/stable/3774671"},{"boilertext":"Bernard Berenson, Italian pictures of the Renaissance: a list of the principal artists and their works, with an index of places: Florentine school, (London: Phaidon Press, 1963).","citation":"Bernard Berenson, Italian pictures of the Renaissance: a list of the principal artists and their works, with an index of places: Florentine school, (London: Phaidon Press, 1963)., p. 64; pl. 1365","date":1963,"id":4166,"uri":"https://search.worldcat.org/title/971269"},{"boilertext":"Ulrich Thieme and Felix Becker, eds., Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, (Leipzig: Engelmann, 1907-1950).","citation":"Ulrich Thieme and Felix Becker, eds., Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, (Leipzig: Engelmann, 1907-1950)., Vol. 13 p. 325; \r\nVol. 17: p. 459.","date":1907,"id":4242,"uri":"https://search.worldcat.org/title/61954385"},{"boilertext":"Le XVIIème siècle: racines et développements = The 17th century, roots and developments, (Paris: G. Sarti, 2003).
","citation":"Le XVIIème siècle: racines et développements = The 17th century, roots and developments, (Paris: G. Sarti, 2003).
, Black and White - Existing Negative","date":2003,"id":135,"uri":"https://search.worldcat.org/title/53784323"},{"boilertext":"Allen Rosenbaum and Francis F. Jones, Selections from The Art Museum, Princeton University, (Princeton, NJ: The Art Museum, Princeton University, 1986)","citation":"Allen Rosenbaum and Francis F. Jones, Selections from The Art Museum, Princeton University, (Princeton, NJ: The Art Museum, Princeton University, 1986), p. 77 (illus.)","date":1986,"id":1899,"uri":"https://search.worldcat.org/title/14244748"}],"nowebuse":"False","periods":[],"department":"European Painting and Sculpture ","attribute_groups":[{"id":2199321,"term":"European Art","termtype":"Collecting Area"},{"id":2199338,"term":"Nazi-era gaps","termtype":"Provenance & Cultural Heritage"}],"daterange":"A.D. 1500-1600","dateend":1516,"depicted":[],"titles":[{"title":"Portrait of a Jeweler","titletype":"Primary Title","displayorder":1}],"hasimage":"true","creditlinerepro":"","objectnumber":"y1983-4","inscribed":null,"texts":[{"texttype":"Online","textpurpose":"Gallery Label","textentryhtml":"The Florentine artist Franciabigio was particularly known for his portraits, such as this penetrating image of a jeweler. The painting demonstrates the continuing Renaissance revitalization of portraiture, a genre that played a secondary role in medieval European art. In Florence, profile portraits were customary until 1470, when full-face and three-quarter views like this, as well as the half-length format, became more prominent. This pose, following the lead of Leonardo da Vinci’s Mona Lisa, includes the hands and allows the viewer to see more of the face and psychology of the subject. Here the sitter holds a touchstone—one of the instruments of his profession—which was used to test the quality of gold and silver alloys.","remarks":"K1-3 May 2012"},{"texttype":"Online","textpurpose":"Provenance","textentryhtml":"Worsley Family, England; Earls of Yarborough, London and Brocklesby Park (by 1857–1929; sale, Christie’s London, July 12, 1929, lot 34, to Abraham); A. J. Sulley, Esq., England (until 1934; sale, Christie, Manson and Woods, London, June 1, 1934, lot 19, to ?Betts); ?Betts, London; Arthur Kauffmann, London (in 1955; sold to Rosenberg); Trude Rosenberg, London (1955–81; sale, Sotheby’s London, April 8, 1981); Piero Corsini, New York (in 1983; sold to Princeton University Art Museum).","remarks":"Migrated from 9.35 12/2013"}],"datebegin":1516,"sortnumber":"1983 4y","published_date":"2026-02-11 10:30:39.239657","objectid":32640,"dimensions":"69.5 × 51.6 cm (27 3/8 × 20 5/16 in.)\r\nframe: 87.6 × 71.4 × 8.3 cm (34 1/2 × 28 1/8 × 3 1/4 in.)","on_view":false}