Antoine Perrenot de Granvelle

Artist Tiziano Vecellio, called Titian (Italian, 1488 - 1576)

Date1548

MediumOil on canvas

DimensionsUnframed: 43 13/16 × 34 3/4 inches (111.3 × 88.27 cm)
Framed: 56 1/4 × 45 1/2 × 4 inches (142.88 × 115.57 × 10.16 cm)

Credit LinePurchase: William Rockhill Nelson Trust

Object number30-15

Signedl.r., on clock, in black paint: "Titianus D Cador"

On View

On view

Gallery Location

Collections

European Art

Terms

DescriptionThree-quarter length portrait of a bearded man set against a plan brownish gray background. He wears a long-sleeve black tunic and A white undershirt which is visible only at the collar and wrists. He wears three rings on his left hand, which holds a green book that wrests upon a table. In his right hand the man holds a piece of paper. The table is covered by a crimson cloth, upon which it placed a small clock; behind the clock is a folded piece of paper with the inscription, "Titianus/D Cador."Exhibition History

Exhibition History

The Twentieth Anniversary Exhibition of the Cleveland Museum of Arts: The Official Art Exhibit of the Great Lakes Exposition,The Cleveland Museum of Art, June 26-October 4, 1936, no. 172.

Golden Gate International Exposition, Palace of Fine Arts, San Francisco, California, 1940, no. 125.

Four Centuries of Venetian Painting, The Toledo Museum of Art, March 1940, no. 64.

The Age of Titian, The Columbus Gallery of Fine Arts, October 6-November 10, 1946, no. 25.

Old Masters from Midwestern Museums, Dayton Art Institute, March 5-April 19, 1948, no. 3.

Titian, Smith College Museum of Art, Northampton, Massachusetts, January 4-25, 1950, unnumbered.

Great Portraits by Famous Painters, The Minneapolis Institute of Arts, November 13-December 21, 1952, no cat.

Exhibit of the Month, The Philbrook Museum of Art, Tulsa, February 1953, no cat.

Painters’ Painters, Albright-Knox Art Gallery, Buffalo, New York, April 16-May 30, 1954, no. 1.

Titian, Tintoretto, Paolo Veronese, The Art Gallery of Ontario, Toronto, Canada, February 12-March 13, 1960, no. 3.

Style, Truth, and the Portrait, The Cleveland Museum of Art, October 1- November 10, 1963.

Welt im Umbruch: Augsburg zwischen Renaissance und Barock, Rathaus, Augsburg, Germany, June 28- September 28, 1980, no. 488.

Heads of State and Some Friends, The Nelson-Atkins Museum of Art, Kansas City, Missouri, January 4-February 6, 1983, no. 31.

Felipe II: un monarca y su época. Un príncipe del Renacimiento, Museo Nacional del Prado, Madrid, October 13, 1998-January 10, 1999, no. 38.

Europe in the Renaissance: Metamorphoses, 1400-1600, Swiss National Museum, Landesmuseum Zürich, Switzerland, August 1-November 27, 2016, no. 114.

Gallery Label

As a portraitist, Titian was admired by his contemporaries both for bringing his sitters to life as individuals and for successfully evoking their social or professional status. In this example, the controlled refinement of de Granvelle's pose and his facial expression convey his cultural sophistication and his powerful position as a high official of the Holy Roman Empire. This effect is enhanced by the clock, a symbol of prudence, which may refer to his statesmanlike qualities.

Provenance

Jean-Baptiste-Joseph Wicar (1762-1834), Rome and Naples, by 1834;

Claudius Tarral, Paris, by June 11, 1847;

Purchased at his sale, The Choice Collection of Pictures, and of some Antique and Modern Bronzes, the Property of Claudius Tarral, Esq., Christie and Manson, London, June 11, 1847, lot 45, as The Portrait of a Man in Black, by C. R. Beauclerk, 1847-June 10, 1872;

Purchased at his sale, Ancient Pictures, Christie, Manson and Woods, London, June 10, 1872, lot 49, as Portrait of a Nobleman, by Graves;

Reginald A. Tatton (1857-1926), Cuerden Hall, Preston, Lancashire, by 1913-1926;

By descent to his son, T. A. Tatton, Cuerden Hall, Preston, Lancashire, 1926-December 14, 1928;

Purchased at his sale, Important Pictures by Old Masters and Fine Drawings by J.M.W. Turner, R.A., the Property of Capt. T. A. Tatton, M.C., Christie, Manson and Woods, London, December 14, 1928, lot 58, as Portrait of Daniello Barbaro, by Frank T. Sabin, London, 1928-May 23, 1930;

Purchased from Sabin by Thomas Agnew and Sons, London, stock no. 7154, May 23, 1930 [1];

Purchased from Agnew by The Nelson-Atkins Museum of Art, Kansas City, MO, 1930.

NOTES:

[1] The National Gallery, London, Thomas Agnew and Sons Ltd. Archive, NGA27/1/1, Picture Stock Books.

Published References

Catalogue of The Choice Collections of Pictures, and Some Antique and Modern Bronzes, The Property of Claudius Tarral, Esq. (London: Christie, Manson and Woods, June 11, 1847), 11.

Catalogue of The Collections of Ancient Pictures of the late C.R. Beauclerk, Esq., Comprising Capital Specimens of the Italian, Spanish, Dutch, and French Schools, purchased from King Louis Philippe’s, Cardinal Fesch’s, the Aguado, and other celebrated Collections, a few Pieces of Old French Furniture, Books of Prints, and Engravings, Also, a Few Pictures, the Property of a Personage of High Ranks (London: Christie, Manson and Woods, June 10, 1872), 8.

Catalogue of the Pictures at Cuerden Hall, Preston, The Property of Reginald A. Tatton (Manchester: G. Faulkner, 1913), 48, (repro.), as Portrait of Daniello Barbaro.

Catalogue of the Collection of Important Pictures by Old Masters and Fine Drawings by J.M.W. Turner, R.A. The Property of Capt. T.A. Tatton, M.C. of Cuerdon Hall, Preston, Also Fine Pastels the property of J. Wentworth Smith, Esq., Also Pictures by Old Masters, The Property of Capt. Arthur Finch Dawson, Deceased, Late of Barrow Hill, Rocester, And From Other Sources (London: Christie, Manson, and Woods, December 14, 1928), 22, as Portrait of Daniello Barbaro.

A.C.R. Carter, The Year’s Art: A concise epitome of all matters relating to the arts of painting, sculpture, engraving and architecture, and to schools of design, which have occured during the year (London: Macmillan, 1929), 242; as Portrait of Daniello Barbaro.

Written attestation by Georg Gronau, October, 29, 1929, NAMA Curatorial Files.

“More Rare Paintings Are Required for Nelson Gallery of Art,” Kansas City Post (May 20, 1930): 20, (repro.).

“Nelson Museum Puts $500,000 More Into Art,” New York Herald (May 20, 1930): 15.

Kansas City Star, May 20, 1930, clipping, NAMA Curatorial Files.

Art News 28, no. 35 (May 31, 1930): 14, (repro.).

“Art News,” Kansas City Journal-Post 77, no. 8 (June 15, 1930), 6D.

Carlyle Burrows, “Letter from New York,” Apollo 12 (July-December 1930): 298.

H.A.B., “Notes of the Month,” International Studio 97 (December 1930): 79, (repro.).

Wilhelm Reinhold Valentiner, ed., Unknown Masterpieces in Public and Private Collections, vol. 1 (London: A. Zwemmer, 1930), unpaginated, (repro.).

Written attestation by A.L. Mayer, undated (possibly 1930), NAMA Curatorial Files.

Wilhelm Reinhold Valentiner, “Pieter Bruegel, A Painter of the People, and Antonio Moro, A Painter of the Court,” Art in America 19 (April 1931): 109-10, (repro.).

Alfred M Frankfurter, “Thirty-five Portraits from American Collections,” Art News 29, no. 33 (May 16, 1931): 4, (repro.).

“Experts Praise Art Acquisitions Of Kansas City,” Art News 30, no. 30 (April 23, 1932): 15.

Bernard Berenson, Italian Pictures of the Renaissance (Oxford: Clarendon Press, 1932), 570.

“Art News” Kansas City Star (September 14, 1933): 67.

“Rare Furniture and Decorations for Kansas City” Art News 31, no. 40 (September 16, 1933): 1.

“Art Guest from Venice,” Kansas City Times (November 1, 1933): unpaginated.

“Like Helmeted Minerva, Springs Kansas City’s New Art Museum,” Art Digest 8, no. 5 (December 1, 1933): 1, (repro.).

Alfred M. Frankfurter, “Paintings in The William Rockhill Nelson Gallery of Art,” in “The William Rockhill Nelson Gallery of Art, Kansas City Special Number,” Art News 32, no. 10 (December 9, 1933): 29, (repro.).

Minna K. Powell, “The First Exhibition of the Great Treasures,” Kansas City Star (December 12, 1933): 94.

Lionello Venturi, Italian Paintings in America, vol. 3, Sixteenth to Eighteenth Century, trans. Countess van den Heuvel and Charles Marriott (New York: E. Wyhe, 1933), unpaginated, (repro.).

The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Handbook of the William Rockhill Nelson Gallery of Art (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1933), 15, 17, (repro.).

“Die William Rockhill Nelson Gallery in Kansas City,” Pantheon 13 (January-June 1934): 50, (repro.).

Ary Bob De Vries, Het noord-nederlandsch portret in de tweede helft van de 16^eeeuw (Amsterdam: N.v. Uitgevers-Maatschappij Enum, 1934), 32, 32n3.

Johannes Wilde, “Zwei Tizian-Zuschreibungen des 17. Jahrhunderts,” Jahrbuch der Kunsthistorischen Sammlungen in Wien 8 (1934): 166-167, 167n18, (repro.).

Wilhelm Suida, Le Titien (Paris: A. Weber, 1935), 109, 170, (repro.).

Hans Tietze, Meisterwerke Europäischer Malerei in Amerika (Vienna: Phaidon, 1935), 88, 330, (repro.), reproduced in reverse as Nicolas Perrenot Granvella.

Bernard Berenson, Pitture italiane del rinascimento (Milan: U. Hoepli, 1936), 490.

Catalogue of the Twentieth Anniversary Exhibition of the Cleveland Museum of Art: The Official Art Exhibit of the Great Lakes Exposition, exh. cat. (Cleveland: Cleveland Museum of Art, 1936), 72, (repro.).

Hans Tietze, Titian: Paintings and Drawings (Vienna: Phaidon Press, 1937), 324, (repro.).

Hans Tietze, Masterpieces of European Painting in America (New York: Oxford University Press, 1939), 90, 314, (repro.); as Nicolas Perrenot Granvella.

Ulrich Thieme and Felix Becker, eds., Allgemeines Lexikon der bildenden Künstler, vol. 34 (Leipzig: Verlag E. A. Seemann, 1940), 165.

Four Centuries of Venetian Painting, exh. cat. (Toldeo: Toledo Museum of Art, 1940), unpaginated, (repro.).

Official Catalog of the Golden Gate International Exposition, exh. cat. (San Francisco: Palace of Fine Arts: 1940), 10, 27, (repro.).

The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 2^nd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1941), 29, (repro.).

Aimée Crane, ed., A Gallery of Great Paintings (New York: Crown, 1944), 9, (repro.).

The Age of Titian, exh. cat. (Columbus, OH: Columbus Gallery of Fine Arts, 1946), 18, (repro.).

Lee H. B. Malone, “The Age of Titian,” Art News 45, no. 9 (November 1946): 28, 30, (repro.).

L.C.J. Frerichs, Antonio Moro (Amsterdam: Becht, 1947), 5, 8-10, (repro.).

Max J. Friedländer, Essays über die Landschaftsmalerei und andere Bildgattungen (The Hague: A.A.M. Stols, 1947), 309.

Old Masters from Midwestern Museums, exh. cat. (Dayton: Dayton Art Institute, 1948), unpaginated, (repro.).

The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 3^rd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1949), 45, (repro.).

Hans Tietze, Titian: The Paintings and Drawings (London: Phaidon, 1950), (repro.).

“Loan Exhibition of Great Portraits,” The Minneapolis Institute of Arts Bulletin 41, no. 28 (November 1, 1952): 150, 151, (repro.).

“Portrait by Titian,” Tulsa Sunday World (February 8, 1953): unpaginated, (repro.).

Maurice Van Durme, Antoon Perrenot, bisschop van Atrecht, kardinaal van Granvelle, minister van Karel V en van Filips II, 1517-1586 (Brussels: Paleis der Academiën, 1953), 240, 240n27, (repro.).

Edgar C. Schenck, Painters’ Painters, exh. cat. (Buffalo, NY: Buffalo Fine Arts Academy, 1954), 13, 58, (repro.).

Bernard Berenson, Italian Pictures of the Renaissance: A List of Their Principal Artists and their Works with an Index of Places; Venetian School, vol. 1 (London: Phaidon, 1957), 186.

Besançon: Le plus ancien Musée de France, exh. cat. (Paris: Musée des arts décoratifs, 1957), 53.

Federico Zeri, Pittura e controriforma: L’ “arte senza tempo” di Scipione da Gaeta (Turin: Einaudi, 1957), 24n1.

Kenneth Clark et al., Catalogue of the Lee Collection (London: Courtauld Institute of Art, 1958), 43.

Ross E. Taggart, ed., Handbook of the collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 4^th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959), 68, (repro.).

Titian, Tintoretto, Paolo Veronese, with a group of sixteenth-century Venetian drawings, exh. cat. (Toronto: Art Gallery of Toronto, 1960), unpaginated, (repro.).

Francesco Valcanover, All the Paintings of Titian, part 3 (1546-1576) (New York: Hawthorn Book, 1960), 11, 34, (repro.).

Gerald Reitlinger, The Economics of Taste: The Rise and Fall of Picture Prices, 1760-1960 (London: Barrie and Rockliff, 1961), 118, 466-467.

Rémy G. Saisselin, Style, Truth and the Portrait, exh. cat. (Cleveland Museum of Art, 1963), unpaginated, (repro.).

Max J. Friedländer, Landscape, Portrait, Still-Life (New York: Schocken Books, 1963), 246, (repro.).

Alfred Werner, review of Style, Truth and the Portrait, by Rémy G. Saisselin, Pantheon 22, no. 1 (January/February 1964): 55, (repro.).

Geoffrey Agnew, Agnew’s, 1817-1967 (London: Bradbury Agnew, 1967), unpaginated, (repro.).

Mark W. Roskill, Dolce’s “Aretino” and Venetian Art Theory of the Cinquecento (New York: New York University, 1968), 320.

Corrado Cagli and Francesco Valcanover, L’ opera complete di Tiziano (Milan: Rizzoli, 1969), no. 292, pp. 118-119, (repro.).

Rodolfo Pallucchini, Tiziano, vol. 1 (Florence: G.C. Sansoni, 1969), no. 335, pp. 122-23, 290, (repro.).

Helmut Georg Koenigsberger, The Habsburgs and Europe, 1516-1660 (Ithaca: Cornell University, 1971), unpaginated.

Harold Edwin Wethey, The Paintings of Titian, vol. 2, The Portraits (London: Phaidon, 1971), no. 77, p. 126, (repro.), as by Titian and workshop.

Klaus Demus, Katalog der Gemäldegalerie: Holländische Meister des 15., 16. und 17. Jahrhunderts (Vienna: Kunsthistorisches Museum, 1972), 64.

Violette de Mazia, “Creative Distortion III: In Portraiture,” The Barnes Foundation. Journal of the Art Department 4, no. 2 (Autumn 1973): unpaginated, (repro.).

Maurice Piquard, Jura, Franche-Comté, Belfort (Paris: Arthaud, 1973), 226, 228, 230, (repro.).

Henri Pirenne, Histoire de Belgique, vol. 2 (Brussels: La Renaissance du Livre, 1973), 310, (repro.).

Ross E. Taggart and George L. McKenna, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City Missouri, vol. 1, Art of the Occident, 5^th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 89, (repro.).

Johannes Wilde, Venetian Art from Bellini to Titian (Oxford: Clarendon Press, 1974), 226, 228, 230, (repro.).

Max J. Friedländer, Early Netherlandish Painting, vol. 13, Antonis Mor and his Contemporaries, trans. Heinz Norden (Leyden: A.W. Sijthoff, 1975), 66, 117n25.

Harold Edwin Wethey, The Paintings of Titian, vol. 3, The Mythological and Historical Paintings (London: Phaidon, 1975), 249-50.

Manuel Fernández Álvarez, Charles V (London: Thames and Hudson, 1976), (repro.).

Clemente Gandini, Tiziano: Le lettere dalla silloge di documenti tizianeschi di Celso Fabbro (Belluno, 1977), (repro.), as by Titian and workshop.

Michel Laclotte, ed., Petit Larousse de la Peinture, vol. 2 (Paris: Larousse, 1979), 1837.

John D. Morse, Old Master Paintings in North America (New York: Abbeville Press, 1979), 276.

Rolf Kultzen, Welt im Umbruch: Augsburg zwischen Renaissance und Barock, vol. 2, exh. cat. (Augsburg: Augsburger Druck- und Verlagshaus, 1980), 140-143, (repro.)

Charles Hope, Titian (London: Harper & Row, 1980), 113-14, (repro.), as probably by Titian and workshop.

Terisio Pignatti, “Titian: Master of the Venetian Cinquecento,” review of Titian, by Charles Hope, Apollo 113, no. 231 (1981): 338n5.

Terisio Pignatti, Titian: Every Painting, trans. J. Carroll, vol. 1 (New York: Rizzoli, 1981), no. 287, p. 94, (repro.).

Ross E. Taggart and Roger Ward, Heads of State and Some Friends, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 1983), 22.

F.A.B. Ward, “Clocks in the paintings of Titian,” Antiquarian Horology (March 1985): 224.

Götz von Pölnitz and Hermann Kellenbenz, Anton Fugger, vol. 3, part 2, 1555-1560: Die letzten Jahre Anton Fuggers, Anton Fuggers Persönlichkeit und Werk (Tübingen: Mohr, 1986), (repro.).

Letter from Charles Hope to Eliot W. Rowlands, October 2, 1989, NAMA curatorial files, as by Titian and workshop.

Lorne Campbell, Renaissance Portraits (New Haven and London: Yale University Press, 1990), 124, 236, 238-239, (repro.).

Titian: Prince of Painters, exh. cat. (Munich: Prestel, 1990), 22.

Michael Churchman and Scott Erbes, High Ideals and Aspirations: The Nelson-Atkins Museum of Art 1933-1993 (Kansas City, MO: Nelson-Atkins Museum of Art, 1993), 25, (repro.).

Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 153, (repro.).

Le siècle de Titien: L’âge d’or de la peinture à Venise, exh. cat. (Paris: Réunion des musées nationaux, 1993), 530-31.

Kristie C. Wolferman, The Nelson-Atkins Museum of Art: Culture comes to Kansas City (Columbia, Missouri: University of Missouri Press, 1993), 92, 93,130, (repro.).

Pierre Curie, “Quelques Portraits du Cardinal de Granvelle,” in Les Granvelle et I’Italie au XVIe siècle: Le Mécénat d’une famille: actes du colloque international (Besançon: Cêtre, 1996), 162-166, (repro.).

Eliot Wooldridge Rowlands, Italian Paintings, 1300-1800 (Kansas City, MO: Nelson-Atkins Museum of Art, 1996), 17, 167-175, (repro.).

Klaus Bergdolt and Joschen Brüning, eds., Kunst und ihre Auftraggeber im 16. Jahrhundert: Venedig und Augsburg im Vergleich, vol. 5 (Berlin: Akademie Verlag, 1997), 37-38, 240, (repro.).

Fernando Checo Cremades, ed., Felipe II: un monarca y su época: Un prícipe del Renacimiento, exh. cat. (Museo Nacional del Prado: Sociedad Estatal para la Conmemoracion de los Centenaries de Felipe II y Carlos V, 1998), 328-329, (repro.).

Krista de Jonge and Gustaaf Janssens, Les Granvelle et les anciens Pays-Bas (Leuven: Universitaire Pers Leuven, 2000), 250-51, 273n17, (repro.).

Fernando Checa Cremades, Carlos V, A Caballo, en Mühlberg de Tiziano (Madrid: Tf. Editors, 2001), 15-16, 149, (repro.).

Charles Hope, Titian: Essays, ed. David Jaffé (London: National Gallery, 2003), unpaginated.

“Society of Fellows: Lecture and High Tea Titian as a Realist,” Newsletter (The Nelson-Atkins Museum of Art) (May 2003): 5, (repro.).

Herman Roodenburg, ed., Cultural exchange in early modern Europe, vol. 4, Forging European Identities, 1400-1700 (Cambridge: Cambridge University Press, 2007), 10.

Joanna Woodall, Anthonis Mor: Art and Authority (Zwolle: Waanders Publishers, 2007), 137-138, 148, 157, 159-160, 170, 172, (repro.).

Bernhard Aikema et al., Europe in the Renaissance: Metamorphoses, 1400-1600, exh. cat. (Zürich: Swiss National Museum, 2016), 94, 202, (repro.).

Barbara Furlotti, Antiquities in Motion: From Excavation Sites to Renaissance Collections (Los Angeles: Getty Research Institute, 2019), 192, (repro.).

Information about a particular artwork or image, including provenance information, is based upon historic information and may not be currently accurate or complete. Research on artwork and images is an ongoing process, and the information about a particular artwork or image may not reflect the most current information available to the Museum. If you notice a mistake or have additional information about a particular artwork or image, please e-mail provenance@nelson-atkins.org.