- 10
Bartolomeo Passarotti
Description
- Bartolomeo Passarotti
- Portrait of Lope Varona di Villanahue of Burgos, half length with a book in his right hand
- Oil on canvas
Provenance
Sale: Sotheby's, New York, June 4, 1987, lot 20 (sale of the Estate of the above)
Acquired at the above sale by A. Alfred Taubman
Literature
Angela Ghirardi, in Vera Fortunati (ed.), “Bartolomeo Passerotti,” in Pittura bolognese del ‘500, Bologna, 1986, vol. II, p. 546, illustrated p. 570
Corinna Höper, Bartolomeo Passarotti, Worms, 1987, vol. II, p. 57, no. G43, illustrated no. 9b
Angela Ghirardi, Bartolomeo Passerotti, Pittore (1529-1592), Rimini, 1990, p. 248-249, no. 75, illustrated p. 248, no. 75
Condition
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."
Catalogue Note
Don Lope Varona graduated from the Spanish College in 1573 and, after a period studying law in Salamanca, was appointed Rector of the institution in 1579 (A. Ghirardi Bartolomeo Passerotti..., Rimini, 1990, p. 248). That same year he was simultaneously employed at the University of Bologna and is listed in the Annuario della Regia Università di Bologna as Rector from 1579 to 1580 (Annuario della Regia università di Bologna, Bologna 1887, p. 249). Don Lope’s coat-of-arms (fig. 1) can still be seen among those decorating the reading rooms of Bologna's Biblioteca Comunale dell’Archiginnasio, along with an inscription referring to his tenure there (C.G. Forni and G.C. Pighi, Le iscrizioni dell’Archiginnasio, Bologna, 1962, no. 200). Don Lope would be last to retain the position of Rector at the university. The role was by now a symbol of the antiquated Studio regime, a reminder which both the papal authorities and City of Bologna were glad to be rid of (A. Ghirardi, op. cit.) Don Lope, meanwhile, was destined for greater things and in 1588 was appointed by King Philip II of Spain to a high ranking position in Sicily, a territory then under Spanish rule (C. Malagola, “Serie dei Rettori e dei Vice Rettori, reggenti e pro-reggenti nel Antico Studio e nella moderna Università di Bologna”, in Monografia storico dello Studio bolognese, Bologna, 1888, p. 204).
It was likely Don Lope’s appointment at the University of Bologna that occasioned the commission of this portrait from the city’s preeminent artist, and the painting is certainly characteristic of works from this period. From the 1570s onward, Passarotti’s portraits took on a distinctly mannerist quality and were typically composed in three-quarter length. The sitter is often turned to one side and shown holding a letter, reaching toward a dog or gesturing to an assemblage of objects, indicative of the person’s position or character. Don Lope’s portrait is no exception: he stands with one hand resting on the elaborately worked hilt of his sword, an affirmation of his noble status, and the other resting on one of a number of books piled on the table beside him, signifying his erudition.