Gift of Lionel F. Straus Jr., in memory of his parents, Mr. and Mrs. Lionel F. Straus, 1958
Not on view
Inscription: Dated and inscribed: (left, on marble pedestal) M.D.LI; (below) ÆTATIS. SVÆ / ANNO.[X?]XX
marchese Spinola, Genoa (until 1911); [Dowdeswell & Dowdeswell, London, 1911; sold for £4,000 to Knoedler]; [Knoedler, New York, 1911–12; sold for $33,500 to Gary]; Judge Elbert H. Gary, New York (1912–d. 1927; his estate sale, American Art Association, New York, April 20, 1928, no. 35, as "Portrait of a Young Man, Probably of the Spinola Family," by Tintoretto, for $24,000, bought in); his widow, Mrs. Elbert H. (Emma T.) Gary, New York (1927–d. 1934); Lionel F. Straus, New York (1934–53; his estate sale, Parke Bernet, New York, March 11, 1953, no. 10, for $7,000, bought in); Lionel F. Straus Jr., New York (until 1958)
New York. The Metropolitan Museum of Art. "Venetian Paintings in the Metropolitan Museum," May 1–September 2, 1974, no catalogue.
Wichita Art Museum. "5000 Years of Art from The Metropolitan Museum of Art," October 23, 1977–January 15, 1978, no. 44.
Wilhelm von Bode. Letter. June 2, 1912 [see Gary sale catalogue 1928], attributes it to Tintoretto, calls it an early work, and notes the influence of Titian.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 562, as "Young Man aged twenty" in the collection of Mrs. E. H. Gary, New York.
Rodolfo Pallucchini. La giovinezza del Tintoretto. Milan, 1950, pp. 141, 164 n. 152, fig. 233, as current whereabouts unknown; reads the inscription as giving the sitter's age as 30, but calls the picture a portrait of a young man of 20; notes the connection with Titian's portraits, especially the portrait of a man in the Bache collection (now MMA 49.7.14 and attributed to Lambert Sustris).
Bernard Berenson. Italian Pictures of the Renaissance: Venetian School. London, 1957, vol. 1, p. 176; vol. 2, pl. 1277, as ex Judge Gary collection.
Edoardo Arslan. Le pitture del duomo di Milano. Milan, , p. 33 n. 44, incorrectly as in the Seaman collection, New York.
Pierluigi De Vecchi inL'opera completa del Tintoretto. Milan, 1970, pp. 94–95, no. 85, ill., erroneously as still in the Gary collection.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 200, 517, 521, 609, as possibly a portrait of Spinola.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Venetian School. New York, 1973, p. 73, pl. 89, date it to the end of Tintoretto's early period; state that the composition is based on a Titianesque prototype, "transformed through the influence of central Italian mannerism and realized with a very personal economy of colors"; add that the sitter's identity is unknown but he is traditionally called a member of the Spinola family of Genoa.
Paola Rossi. Jacopo Tintoretto. Vol. 1, I ritratti. Venice, [1974?], pp. 35, 37, 39, 96, 102, 108, 117–18, 132, figs. 61–62 (overall and detail), compares it with similar portraits, including a portrait of a knight of Malta (Hampton Court) and a portrait of a young man (Cincinnati Art Museum).
Paola Rossi inJacopo Tintoretto: ritratti. Exh. cat., Gallerie dell' Accademia, Venice. Milan, 1994, pp. 18–19, 36 nn. 29–30, p. 167, ill. [German ed., "Jacopo Tintoretto: Portraits"].