Benvenuto Tisi called Garofalo

Possibly King Wilhelm II of Württenberg (1848 - 1921), until 1919 (according to literature since A. Ugolini 1984 [see Literature]);
Morgan collection, Breadalbane;
By whom sold London, Christie's 27 March 1925, lot 58;
Where acquired by A.L. Nicholson (for 17gns);
F.W. Schumacher, Columbus, from 1931 to 1957;
By whom bequeathed to the Columbus Gallery of Fine Arts, Columbus, in 1957 (inv. no. 31.289), deaccessioned in 2010 to aid the museum's acquisitions fund;
By whom sold, New York, Christie's 27January 2010, lot 167.

Columbus, Columbus Gallery of Fine Arts, Exhibition of Paintings from the Collection of Frederick W. Schumacher, January to February 1976, no. 250.

B. Berenson, Italian pictures of the Renaissance, Central Italian and North Italian Schools, London 1968, p. 153 and 474;
K. Paris, The Schumacher Collection, exhibition catalogue, Columbus 1976, pp. 148 - 149, cat. no. 250;
A. Ugolini, "Ancora sul Garofalo giovane", in Paragone, XXXV, no. 417, November  1984, pp. 63 and 65;
A.M. Fioravanti Barali, Il Garofalo, Benvenuto Tisi, pittore (c. 1475 - 1559), Rimini 1993, p. 122, reproduced fig. 49.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com, an independent restorer who is not an employee of Sotheby's. The restoration to this work on panel is attractive. The painting could be hung in its current condition. The panel is made from three or four pieces of wood joined vertically. There are no reinforcements on the reverse. There is a visible curve to the panel from left to right. The paint layer has become quite visibly disturbed through the center of the work. There is noticeable unevenness to the surface above the head of the Madonna, in her clothing and through the figure of Christ, which corresponds to restorations in these areas. The condition is good in the landscape in the upper left, and in much of the left side of the picture and the right side of the picture. However, restorations can be seen under ultraviolet light in the lower center running through the face of Christ, in his hips and in the Madonna's face, where paint losses have been retouched. The most extensive restorations are beneath the left arm of the Madonna and above her head.
"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."

This outstanding painting, dating to circa 1512, provides valuable insight into the artistic development of Garofalo, the foremost figure in classical painting in 16^th century Emilia.  From early in his career, Garofalo was employed by Ferrarese ducal family, the Este.  He is documented in 1506 as having been paid for his work in the decoration of the private apartments of Lucrezia Borgia, who had married Duke Alfonso d’Este I four years earlier.¹  The Este family patronage continued throughout the painter’s career, with Garofalo decorating the family’s luxurious villas, Delizia di Belriguardo and  La Montagnola, alongside Girolamo da Carpi, Battista Dossi and Camillo Filippi in 1537 and 1541.²   

The artist here retains the frontal pose of the Raphaelesque Madonna favored in his early works, however, the position of the Christ Child, who leans in to embrace his mother while inclining his head and gazing to the right, brings an advanced sense of interaction and immediacy to the composition.  The precision of the landscape beyond, with its intricate representation of grass and foliage, connote Garolfalo’s recent interest in models by Fra Bartolomeo, and the three-dimensionality of the figures and drapery is enhanced by the artist’s crisp and vivid use of light.³

1.  M. Tanzi, “Garofalo, Benvenuto Tisi”, in The Dictionary of Art, J. Turner, ed., London and New York 1996 p. 161.
2.  Ibid., p. 162.
3.  A.M. Fioravanti Barali, under Literature, op. cit.