Madonna and Child in Glory
Madonna and Child in Glory
- Artist
- Benvenuto Tisi da Garofalo
- Artist Dates
- 1481-1559
- Artist Nationality
- Italian
- Title
- Madonna and Child in Glory
- Date
- c. 1535
- Medium
- tempera and oil on panel
- Dimensions
- 39.4 x 26 cm (15-1/2 x 10-1/4 in)
- K Number
- K60
- Repository
- Lowe Art Museum
- Accession Number
- 61.007.000
- Notes
Provenance
Cardinal Carlo Pio di Savoia, Rome, by 1689; by inheritance to Principe Francesco Pio di Savoia, Rome until 1724; by inheritance to Principe Girberto Pio di Savoia. Sir Thomas Baring, 2nd Bt. [1772-1848] until 1843; Robert Stayner Holford [1808-1892], Dorchester House, London; by inheritance to Sir George Lindsay Holford [1860-1926], Dorchester House, London; (his estate sale, Christie’s, London, 15 July 1927, no. 58); Buttery, London. [1] (Count Alessandro Contini Bonacossi [1878-1955] Rome-Florence); sold to Samuel H. Kress on 15 May 1929; gift 1961 to the Lowe Art Museum, University of Miami, Coral Gables, no. 61.007.000 [1] This could be Horace Buttery, a British restorer and an artist, whose father Ayerst Hooker Buttery died in 1929.
Catalogue Entry
Benvenuto Tisi da Garofalo
Madonna and Child in Glory
K60
Coral Gables, Fla., Joe and Emily Lowe Art Gallery, University of Miami (61.7), since 1961.(1) Wood. 15 1/2 X 10 1/4 in. (39.4X 26 cm.). Very good condition except for a few restorations. The Madonna floating on cloud banks over a wide landscape was a favorite subject with Garofalo, usually painted in larger size than K60. The paintings were probably votive offerings, invoking the Virgin's protection for a district with its city and outlying villas. K60 is thoroughly characteristic of Garofalo's style,(2) and is probably to be dated about 1535 since it is comparable to his large version of the subject assigned to this period in the Capitoline Gallery, Rome. Landscape seems to have interested the artist as much as the figures in these paintings and it is not surprising to find the lower half of K60 reproduced in a book on landscape painting.(3) Provenance: Sir Thomas Baring, Stratton Park, Hampshire (sold 1843 to the following).(4) Sir George Lindsay Holford, Dorchester House, London (catalogue by R. Benson, vol. I, 1927, no. 59,(5) as Garofalo) – exhibited: 'School of Ferrara Bologna,' Burlington Fine Arts Club, 1894, no. 46, as Garofalo. Holford sale (Christie's, London, July 15, 1927, no. 58, as Garofalo; bought by Buttery). Contini Bonacossi, Rome. Kress acquisition, 1929 – exhibited: 'Golden Gate International Exposition,' San Francisco, Calif., 1940, no. 124 of catalogue, as Garofalo; National Gallery of Art, Washington, D.C., 1951-56.(6)
References
(1) Catalogue by F. R. Shapley, 1961, p. 44, as Garofalo. (2) K60 has been attributed to Garofalo by G. F. Waagen (Treasures of Art in Great Britain, vol. II, 1854, p. 195), B. Berenson (North Italian Painters of the Renaissance, 1907, p. 226), G. Fiocco, R. Longhi, F. M. Perkins, and A. Venturi (in ms. opinions). (3) Paesaggi inattesi nella pittura del rinascimento, 1952, pl. 158 (preface by B. Berenson). (4) This provenance is indicated as tentative in Benson's catalogue cited in Provenance, above. (5) The reproduction on pl. LV of Benson's catalogue shows additions at upper left and right, to give the panel a rectangular shape. When owned by Contini Bonacossi the picture had again its arched top. (6) Paintings and Sculpture from the Kress Collection, 1951, p. 53 (catalogue by W. E. Suida), as Garofalo.