View full screen - View 1 of Lot 9. Madonna and Child in a Landscape.

Giovanni Francesco Caroto

Madonna and Child in a Landscape

Property from the Martello Collection

Giovanni Francesco Caroto

Giovanni Francesco Caroto

Madonna and Child in a Landscape

Madonna and Child in a Landscape

Property from the Martello Collection

Giovanni Francesco Caroto

Verona 1480 - 1555

Madonna and Child in a Landscape

signed on the arm of the chair, lower right: IO.F. CHAROTUS F. 

oil on panel

panel: 23 ¼ by 18 ¾ in.; 59 by 47.5 cm.

framed: 31 ¼ by 25 ⅝ in.; 79.4 by 65.1 cm.

The following condition report has been provided by Karen Thomas of Thomas Art Conservation, 336 West 37th Street, Suite 1580, New York, NY 10018, 212-562-4024, , an independent restorer who is not an employee of Sotheby's.

For the most part, the paint layers are in very nice condition, including the

thinly painted but beautifully preserved carved chair arm, the delicate border of

Mary's head scarf, and the rich red lake and green resinous glazes of the

garments. The most recent retouching, clearly visible under UV illumination,

primarily addresses scattered, small old losses and cracks, and appears to

correct the color of underlying restoration, such as to losses to the left of the

Madonna's nose and in her forehead, and a loss through the bridge of the

child's nose. Some of the retouching no longer matches its surroundings due to

discoloration of the varnish. Beneath the strongly fluorescing varnish, there

appears to be older retouching in the modeling of the flesh passages and to

reinforce both the shadows and highlights of the child's curly hair. Isolated

areas of tenting in the direction of the wood grain — found in the right side of

the child's head, near Mary's nose, above and to the left of the orange — are

vulnerable to losses developing.

The fairly thick vanish is moderately discolored and does not fully saturate the

pigments. A network of microcraquelure within the varnish gives the surface a

dryish appearance.

The vertically grained wood panel support, comprised of three boards, displays

a mild compound lateral warp. The panel has been thinned and a mahogany

cradle attached to the reverse. Cracks have developed in the paint at the join


Cleaning to remove the aged varnish can be expected to have a positive impact

on the tonality and overall appearance. It is possible some wear to the flesh

tones may be revealed and will require new restoration. Regardless, the tenting

paint should be secured to prevent losses from the developing. Based on the

warp and cracks along the joins, the wood support is responsive to

environmental changes and fighting the cradle; removing the cradle and

replacing it with a more sympathetic secondary support should be considered.

The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Please note that there is a guarantee and an irrevocable bid on this lot.
Baron Heinrich von Tucher, Vienna and Berlin;
Offered in his sale, Berlin, P. Cassirer & H. Helbing, 8 December 1925, lot 68 (where unsold);
Louis F. Rothschild (1869–1957), New York;
Thence by bequest to Mrs. Leonard A. Hochstader (d. 1962), New York, 1956;
Anonymous sale, New York Parke-Bernet, 2 March 1967, lot 56;
There acquired by Azad B. Korabagui, New York;
By whom sold, New York, Sotheby’s, 17 January 1987, lot 13;
There acquired by the present collector.
G. Bernardini, La collezione di quadri del Museo Civico di Verona, Rome 1902, p. 52;
G. Bernardini, “La Quadereria Sandor-Lederer a Budapest,” in L’Arte IX, 1906, p. 98 passim;
B. Berenson, North Italian Painters of the Renaissance, London 1907, p. 191;
F. Wickhoff, “Die Sammlung Tucher,” in Münchener Jahrbuch I, 1908, p. 26, reproduced fig 8;
T. Borenius, in J.A. Crowe and B.G. Cavalcaselle, A History of Painting in North Italy, London 1912, vol. II, p. 193, no. 1;
G. Fiocco, in G. Vasari, Vita di Fra Giocondo, di Liberale e di altri Veronesi, Florence 1915, vol. II, pp. 17-75
A. Venturi, Storia dell’Arte italiana IX, no. 3, 1928, p. 888;
A Avena, Capolavori della pittura veronese, exhibition catalogue, Verona 1947, p. 39;
B. Berenson, Italian Pictures of the Renaissance. Central Italian and North Italian Schools, London 1968, vol. I, p. 81, reproduced vol. III, pl. 1883;
M. T. Franco Fiorio, Giovan Francesco Caroto, Verona 1971, pp. 56-57;
B. Brenzoni, Dizionario di artisti veneti, Florence 1972, p. 78;
P. Brugnoli, “Giovanni Francesco Caroto,” in Maestri della Pittura veronese, Verona 1974, pp. 164-66, reproduced p. 165, fig. 109, in reverse;
M. Natale and P.B. Barcelon, Pittura Italiana dal ‘300 al ‘500, Milan 1991, pp. 90-91;
M. Boskovits, The Martello collection: further paintings drawings and miniatures, 13-18th century, Florence 1992, pp. 40-43, cat. no. 7, reproduced in color p. 41;
P. Marini, G. Peretti, and F. Rossi, Museo di Castelvecchio. Catalogo generale dei dipinti e delle miniature delle collezioni civiche veronesi. Dalla fine del X all'inizio del XVI secolo, Milan 2010, p. 397.
Giovanni Francesco Caroto was active in his hometown of Verona and in Milan and continued the stylistic traditions of Liberale da Verona, Andrea Mantegna, and derived influence in his mature career from Correggio, Giulio Romano, and Raphael as well. Few of his works are dated, but on the basis of stylistic evolution, the present work likely dates to the early 1520s, while he was back in Verona between trips to Casale in 1517 and 1523. 

Caroto painted another, unsigned version of the present lot, which is now in the Museo Castelvecchio in Verona (inv. 1365-1B119). Differences between the two include the inclusion here of the folding chair, called a faldstool, with its decorative floral carving and prominent signature and the butterfly. The addition of the butterfly, which the Christ Child holds on a string, is a sweet iconographic reference to the Resurrection.