Viscount Rothermere Collection, 1932
With Central Picture Gallery, New York
Where acquired by Lewis Ruskin, 1958
Private collection, Arizona
P. G. Konody, Works of Art in the Collection of Viscount Rothermere (privately printed, London, 1932), pl. 31 (as by Lorenzo Lotto, close to the paintings of his Bergamasque period (c. 1518-1528))
R. A. Peltzer, ‘Nicolas Neufchatel und seine Nürnberger Bildnisse’ in Münchner Jahrbuch der Bildenden Kunst, Band. III (1926), pp. 187-231
J. Chipps Smith, 'Netherlandish Artists and Art in Renaissance Nuremberg' in Simiolus - Netherlands Quarterly for the History of Art, Vol. 20 (1990-1991), pp. 153-167
Nicolas Neufchâtel was trained in Antwerp, but his career led him across Europe and his style is in many ways international. For this reason, it is not entirely surprising that the present portrait was attributed to Lorenzo Lotto when in the collection of Viscount Rothermere and later given to Giovanni Battista Moroni.
Neufchatel’s style is in fact Italianate, although it is based on the precedents of such artists as Frans Floris and Willem Key. The artist’s career took him to Nuremberg, where he was active from 1561 well into the 1570s. In the present portrait the formal pose of the sitter, underscored by the apse-like architecture behind him, is offset by his quiet, engaging and sympathetic expression. The spray of flowers in a vase is a motif that appears in Neufchâtel’s Portrait of Wenzel Jamnitzer in the Musée d’Art et d’Histoire in Geneva (Inv. no. 1825-0023).