Beschreibung:

DescriptionProperty from the Estate of Barbara Piasecka Johnson (1937–2013)
Circle of Titian The Dead Christ supported by an Angel
oil on canvas77.7 x 64.5 cm.; 30½ x 25⅜ in.
---------------------------------------------------
芭芭拉・比亞斯卡・強生（1937–2013）故藏提香圈子《天使扶著死去的基督》
油彩畫布77.7 x 64.5 公分；30½ x 25⅜ 英寸Condition reportThe following condition report is provided by Henry Gentle who is an external specialist and not an employee of Sotheby's:
The painting is lined and there is good adhesion between the original canvas and the lining fabric.A small horizontal fracture with minimal paint loss can be see running from the Angel's proper right hand to the right edge.
The paint layer is slightly raised but is stable and secure and in good preserved condition.
Under U-V light, strengthening of the paint layer to the left and right edges and up to and along the top edge, approximately 2cm in width, can be detected, this includes around the top of Christ's hairline.
Very minor scattered loss can be seen to Christ's torso.
Energetic brushwork is preserved and visible through the composition; original textured brushwork is visible through the drapery.
Removal of the discoloured varnish would enhance tonal values, particularly to Christ's torso and face which retain their original subtle modelling. 
Fine details are retained.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."ProvenancePossibly Palazzo Vendramin, Santa Fosca, Venice (according to Pallucchini 1959–60);
Count Polcenigo, Venice, by 1949;
Pier Maria Bardi, New York, before 1959;
Gaetano Miani, Brazil; 
From whom acquired by Barbara Piasecka Johnson (1937–2013) in 1982.LiteraturePossibly M. Michiel, Der Anonimo Morelliano: Marcanton Michiel's Notizia d'opere del disegno, 1530, Th. Frimmel (ed.), Vienna 1888, p. 106 (‘El Christo morto sopra el sepolcro, cun lanzolo chel sostenta, fo de man de Zorzi da Castelfranco reconzata da Titiano’);H. Tietze, Titian, London 1950, p. 12 (as begun by Giorgione and completed by Titian);R. Pallucchini, ‘Contributi alla pittura veneta del Cinquecento, I) "El Cristo Morto Vendramin"’, in Arte Veneta, XIII–XIV, 1959–60, pp. 39–45, reproduced before and after cleaning on pp. 40 and 41, figs 53 and 54; X-ray and reconstruction of underlying composition on p. 42, figs 55 and 56; and in colour on pp. 43 and 45, figs 57 and fig. 58, detail (as Giorgione and Titian);G. Robertson, ‘Some Recent Venetian Publications’, in The Burlington Magazine, June 1961, vol. 103, p. 284 (as Savoldo);Goya, no. 40, 1961, p. 309;E. Serra, Del ‘Cristo Morto’ di Giorgine, visto da Marcantonio Michiel, Florence 1962, pp. 14–20 (as not the Giorgione–Titian recorded in the Vendramin collection); P. Zampetti, L'opera completa di Giorgione, Milan 1968, pp. 93–94, no. 29, reproduced, with detail of X-ray (as begun by Giorgione and completed by Titian);R. Pallucchini, Tiziano, Florence 1969, vol. I, pp. 25, 65, 262–63, no. 190 (as begun by Giorgione and completed by Titian not before 1520, c. 1510–30); T. Pignatti, Giorgione, Venice 1969, pp. 109–10, reproduced pl. 107 (as begun by Giorgione and completed by Titian circa 1510, painted with two different techniques);F. Valcanover, L'opera completa di Tiziano, Milan 1969, p. 100, no. 88, reproduced (as authorship uncertain but he believes the figure of Christ is by Titian and datable circa 1519);H.E. Wethey, The Paintings of Titian, The Religious Paintings, vol. I, London 1969, p. 171, under ‘Appendix’, no. X-10 (as Venetian school, about 1530);J. Anderson, 'A further Inventory of Gabriel Vendramin's Collection', in The Burlington Magazine, vol. 121, October 1979, p. 643 (doubting the Vendramin provenance and the identification of the picture as the work by Giorgione seen by Michiel);T. Pignatti and K. Donahue, The Golden Century of Venetian Painting, exh. cat., Los Angeles 1979, pp. 50–51, no. 10, reproduced in colour (as begun by Giorgione and completed by Titian, circa 1508–10);H. Belting, Giovanni Bellini Pietà. Ikone und Bilderzählung in der venezianischen Malerei, Frankfurt 1985, p. 74, reproduced p. 73, fig. 33 (as Giorgione);A. Gentili, in Opus Sacrum, Catalogue of the exhibition from the collection of Barbara Piasecka Johnson, J. Grabski (ed.), exh. cat., Warsaw 1990, pp. 130–35, no. 21, reproduced in colour (as Giorgione, reworked by Titian ‘some time between 1522 and 1525’); A. Gentili, ‘Giorgione non finitio, finito, indefinito’, in R. Varese (ed.), Studi per Pietro Zampetti, Ancona 1993, pp. 289–90, 291 and 297 nn. 7 and 8, reproduced fig. 152 (as begun by Giorgione and reworked by Titian circa 1522–25); M. Lucco, Giorgione, Milan 1995, p. 151, reproduced (under other selected works attributed to Giorgione, as Titian); J. Anderson Giorgione, New York 1997, p. 337, reproduced (under rejected attributions, as workshop of Titian);T. Pignatti and F. Pedrocco, Giorgione, Munich 1999, p. 176, no. 28, reproduced in colour on p. 177 (as begun by Giorgione and completed by Titian);F. Pedrocco, Titian. The Complete Paintings, London 2001, p. 80, no. 13, reproduced in colour (as Giorgione, finished by Titian);B. Jestaz, ‘Les collections de peinture à Venise au XVIe siècle’, in Geografia del collezionismo. Italia e Francia tra il XVI e il XVIII secolo, conference proceedings of study days in honour of Giuliano Briganti, Rome, 19–21 September 1996, O. Bonfait, M. Hochmann, L. Spezzaferro and B. Toscano (eds), Rome 2001, p. 193, A 19, reproduced pl. IIa (doubting the identification of the picture as the work by Giorgione seen by Michiel in the Vendramin collection); R. Lauber, ‘"Et è il nudo che ho in pittura de l'istesso Zorzi". Per Giorgione e Marcantonio Michiel’, in Arte Veneta, 59, 2002, pp. 102–3, 112, nn. 64, 66 and 67, reproduced in colour p. 102, fig. 4; X-ray and detail, p. 103, figs 5 and 6 (as Giorgione and Titian);M. Lucco, in Antonello da Messina, l'opera completa, exh. cat., Milan 2006, p. 264, under no. 44 (noting Pallucchini's observation that the work was inspired by Antonello's painting now at the Prado);C.R. Puglisi and W.L. Barcham, Art and Faith in the Venetian World, Venerating Christ as the Man of Sorrows, Turnhout 2019, pp. 219–21, 394–95 nn. 66–73, reproduced in colour p. 220, fig. 168 and as a detail on p. 202 (as Titian, circa 1515–20).ExhibitedLos Angeles Country Museum of Art, The Golden Century of Venetian Painting, 30 October 1979 – 27 January 1980, no. 10, reproduced in colour;
Warsaw, The Royal Castle, Opus Sacrum, 10 April – 31 July 1990, no. 21, reproduced in colour.Catalogue note