Giovanni Buonconsiglio, called il Marescalco

Sir Otto Beit (1865-1930), Tewin Water, Welwyn, Herts;
By descent to his daughter, Mrs Anthony Bull;
By whom sold, London, Christie's, 25 October 1946, lot 6 (as Boccaccino);
Anonymous sale, London, Sotheby's, 24 March 1971, lot 65, for £1,200 to Louis (as Buonconsiglio).

B. Berenson, Italian Pictures of the Renaissance, Oxford 1932, p. 121;
B. Berenson, Italian Pictures of the Renaissance, Milan 1936, p. 104;
B. Berenson, Italian Pictures of the Renaissance: The Venetian School, London 1957, vol. I, p. 51;
B. Berenson, Pitture italiane del Rinascimento. La scuola veneta, London 1958, vol. 1, p. 52;
L. Puppi, "Giovanni Buonconsiglio detto Marescalco", in Rivista dell’Istituto Nazionale d’Archaelogia e Storia dell’Arte, XVIII-XIV, 1964-1965, p. 374, note 120;
E.M. Dal Pozzolo, Giovanni Buonconsiglio detto Marescalco: l'opera completa, Milan 1998, p. 201, cat. no. A42, reproduced fig. 115, (all the above as Buonconsiglio).

The painting is more muted in tone and fresher in colour than the catalogue illustration would suggest. The flat bevelled panel has two vertical baton supports affixed to the reverse however the panel seems to be structurally sound. The paint surface appears to be in good overall condition and there is evidence of minor old horizontal cracking along the grain which has now stabilised. The colours remain fresh and vivid however the darker pigments are thin in places. There is a thick varnish and scattered areas of surface dirt overall. Examination under ultrviolet confirms the presence of the milky varnish and reveals several campaigns of localised retouching to old areas of now restrored damage. The first is in the red cloak the lower right and measures approx. 2 in. in diameter. There is further retoucing to an old area of restored damage in St. Catherine's neck measuring approx. 1 in. in diameter. There is also retoucing to an aforementioned horizontal but stabilsied crack measuring approx. 6 in. running from the Virgin's right armpit through Christ's chin to her left shoulder. There is further retouching to a minor horiztonal crack in her right forearm measuring approx. 1 in. There is also retouching to an old area of damage in the background by her left shoudler measuring approx. 1 in. in diameter. Finally there is retoucing to two old restored cracks in Jerome's face measuring approx. 4 in and 1 in. respectively. Elsewhere there are scattered minor cosmetic retouches in the clothes. Overall though the picture appears to the naked eye to be in good ready to hang condition. Offered in a gilt wood and plaster frame in good overal condition.
"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."

Buonconsiglio first worked under the influence of Bartolomeo Montagna in Vicenza before moving to Venice, where he is recorded from 1494, where he came under the influence of Giovanni Bellini and Bartolomeo Vivarini. Datable to the first half of the 1520s, this Madonna and Child with saints can be compared to the Concert in the Museo Civico, Vicenza.¹


1. See Dal Pozzolo, under Literature, p. 201, cat. no. A41, reproduced fig. 119.