National Gallery of Art :: The Collection :: Portrait of a Young Man
  • Provenance
  • Bibliography

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Provenance

Possibly Don Gaspar Méndez de Haro y Guzmán, 7th Marquis del Carpio e Heliche and 5th Conde Duque de Olivares [d. 1687], Madrid, 1651.[1] Count Ferdinand Bonaventura Harrach [1636-1706], Vienna, by 1697;[2] by inheritance to his son, Count Alois Thomas Raymund Harrach [1669-1742], Viceroy of Naples from 1728 until 1731; remained in the Galerie Harrach, Vienna, until 1930, when Count Otto Harrach[3] sold it to (Duveen Brothers, Inc., London and New York); purchased 15 December 1936 by The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[4] gift 1937 to NGA.

[1] José M. Pita Andrade, "Los cuadros de Velázquez y Mazo que poseyó el séptimo Marques del Carpio," Archivo Español de Arte 25 (1952): 227, identifies the painting as a work listed in the 1651 inventory of Haro y Guzmán.

[2] Several conflicting dates have been published regarding Count Harrach's acquisition of this painting. Walter W. S. Cook, "Spanish Paintings in the National Gallery of Art," Gazette des Beaux-Arts, XXVIII (1945): 79, said that the portrait was "acquired in 1677 in Madrid," while José López-Rey, Velázquez. A Catalogue Raisonné of His Oeuvre, (London, 1963): 316, stated that it was purchased in 1687. José Gudiol, Velázquez (1974): 150, suggested that Count Harrach bought the painting in 1687. In his 1926 catalogue for the Harrach collection (Katalog der Erlaucht Gräflich Harrach'schen Gemäldegalerie in Wien), Hermann Ritschl noted that Count Harrach mentioned the painting in a 1690 document as "ein Contrefait, Bruckstück von einem Mann im grauen Wamms mit dunklen Ermeln, kleinen Überschlag mit Spitzen, von Velasca."

[3] See entry from the David Finley notebook, as well as the 30 May 1988 letter from Dr. Robert Keyszelitz of the Gallerie Harrach (both in NGA curatorial files). Although the Finley entry identifies the owner as "Harrach (Count Johann von H.)," Keyszelitz states in his letter that when the painting was sold to Duveen's in 1930, Count Otto Harrach was the head of the family. Upon his death in 1935, his son Count Johann inherited this position.

[4] The original Duveen Brothers invoice is in Gallery Archives, copy in NGA curatorial files.

Exhibition History

Bibliography

1889
Pazaurek, Gustav E. Carl Skreta (1610-1674). Ein Beitrag zur Kunstgeschichte des XVII. Jahrhunderts. Prague, 1889: 91, no. 162.
1902
Bredius, Abraham. "Ein vergessener Velázquez." Zeitschrift für bildende Kunst 13 (1902): 110, repro. 111.
1905
Gensel, Walther. Velázquez. Des Meisters Gemälde. Klassiker der Kunst. Stuttgart and Leipzig, 1905: 127, repro.
1907
Thieme-Becker. 1907-1950. Leipzig, 1930: 24:301, s.v. "Mazo".
1914
Gensel, Walter, and Valerian von Loga. Velázquez. Klassiker der Kunst. Stuttgart and Berlin, 1914: 239, repro.
1925
Gensel, Walter, and Juan Allende-Salazar. Velázquez. Des Meisters Gemälde. Klassiker der Kunst. Berlin and Leipzig, 1925: 265, repro. 288.
1926
Ritschl, Hermann. Katalog der erlaucht Gräflich Harrachschen Gemälde-Galerie in Wien. Vienna, 1926: 129-130, no. 333.
1936
Mayer, August L. Velázquez: A Catalogue Raisonné of the Pictures and Drawings. London, 1936: 389, pl. 131.
1941
Duveen Brothers. Duveen Pictures in Public Collections of America. New York, 1941: no. 228, as by Diego Velázquez.
1941
Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 208, as by Diego Velázquez de Silva.
1942
Book of Illustrations. National Gallery of Art, Washington, 1942: 240, repro. 216, as by Diego de Silva y Velázquez
1943
Lafuente Ferrari, Enrique. Paintings and Drawings of Velázquez. Complete Edition. London and New York, 1943: appendix O, pl. 68.
1945
Cook 1945, 79-80, fig. 8.
1945
Soria, Martin S. Review of The Paintings and Drawings of Velázquez by Enrique Lafuente Ferrari. In The Art Bulletin 27 (September, 1945): 214.
1949
Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 45, repro., as by Velázquez.
1952
Pita Andrade, José M. "Los cuadros de Velázquez y Mazo que poseyó el séptimo Marqués del Carpio." Archivo Español de Arte y Arqueologia 25 (1952): 227.
1955
Pantorba, Bernardino de [José López Jiménez]. La vida y la obra de Velázquez; estudio biográfico y crítico. Madrid, 1955: 226, no. 157.
1959
Kubler, George, and Martin Soria. Art and Architecture in Spain and Portugal and Their American Dominions, 1500-1800. Baltimore, 1959: 338, n. 10.
1960
Temboury Alvarez, Juan. "Alonso Cano y Velázquez." In Varia Velázqueña. 2 vols. Madrid, 1960: 1:433-434, pl. 626.
1963
López-Rey, José. Velázquez: A Catalogue Raisonné of His Oeuvre. London, 1963: 316, pl. 386.
1964
Camón Aznar, José. Velázquez. 2 vols. Madrid, 1964: 1:435-437, repro. 436.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 134, as by Velázquez.
1968
European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 121, repro., as by Velázquez.
1969
Asturias, M.A., and P.M. Bardi. L'opera completa di Velázquez. Milan, 1969: 111, no. 145, repro.
1974
Gudiol y Ricart, José. Velázquez: 1599-1660. Trans. Kenneth Lyons. London, 1974: 150, 332, no. 89.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 360, repro., as Circle of Velazquez.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 247, no. 315, color repro., as by Circle of Velázquez.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 419, repro.
1990
Brown, Jonathan, and Richard G. Mann. Spanish Paintings of the Fifteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1990: 120-122, repro. 121.

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