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拍品專文
Garofalo was one of the leading painters working in Ferrara in the early sixteenth century, a period when Ferrarese art was flourishing under the patronage of the ruling d’Este family. Born Benvenuto Tisi, the artist is normally referred to by his nickname, Garofalo, which is thought to have derived from his habit of signing some works with a picture of a carnation — in Italian, garofano. Ferrara at this moment was bustling with creative energy, and his artistic rivals were Ludovico Mazzolino and Ortolano, and later Dosso and Battista Dossi. Despite this, Garofalo was clearly also looking to artists outside the city for inspiration and we see the influence of Bolognese classicism on his painting during this period, particularly the works of Francesco Francia and Lorenzo Costa the elder. Garofalo may have travelled to Venice circa 1506-8, as during these years his work starts to show resemblances to work of Giorgione.
Like many Ferrarese Renaissance paintings, the present work has been assigned to several different artists before scholars correctly reverted to the opinion first forwarded by Berenson in 1907, that this is a characteristic early work by Garofalo. It was probably painted around the time of his Nativity with Shepherds in Strasbourg, generally dated to around 1510, as suggested by Baraldi (loc. cit.). Typical of Garofalo’s Ferrarese training is the almost miniaturist detail of the folds of the cloth and the deft, free touches of the brush to the vegetation in the landscape. The glorious evening light holding over the blue mountains suggests Giorgione’s naturalistic landscapes had a lasting impact on Garofalo.
Reverse en grisaille:
The reverse of the panel is painted en grisaille with the monogram ihs surrounded by elaborate grotesques, which may have been painted by Garofalo himself. Garofalo was strongly involved in several decorative schemes in Ferrara and these grotesques recall his grisaille decorations of the inside door of a cupboard which displays his Annunciation in the Fondazione Giorgio Cini, Venice.
A note on the provenance:
The present painting was owned by a fascinating cast of twentieth-century collectors, including Charles Brinsley Marlay (1831-1912) and Otto Lanz (1865-1935), from whose collection it was acquired by Hans Posse on behalf of Adolf Hitler for the Führer-Museum at Linz. It was later discovered by the Allied forces in the salt mines at Alt-Aussee in Austria in March 1945 and subsequently restituted back to the Lanz family. A painting of this description ('Garofalo. The Holy Family - Mary and Joseph are kneeling before the Infant Jesus, placed in a cradle between them') was recorded in the collection of John Rushout, 2nd Baron Northwick (1770–1859) at Thirlestaine House, and was sold in his late sale at Phillips, 19 August 1859, lot 1572, where it was acquired by C.F. Beauclerk, Esq. It may have been from Beauclerk that Charles Brinsley Marlay acquired the painting.
Like many Ferrarese Renaissance paintings, the present work has been assigned to several different artists before scholars correctly reverted to the opinion first forwarded by Berenson in 1907, that this is a characteristic early work by Garofalo. It was probably painted around the time of his Nativity with Shepherds in Strasbourg, generally dated to around 1510, as suggested by Baraldi (loc. cit.). Typical of Garofalo’s Ferrarese training is the almost miniaturist detail of the folds of the cloth and the deft, free touches of the brush to the vegetation in the landscape. The glorious evening light holding over the blue mountains suggests Giorgione’s naturalistic landscapes had a lasting impact on Garofalo.
Reverse en grisaille:
The reverse of the panel is painted en grisaille with the monogram ihs surrounded by elaborate grotesques, which may have been painted by Garofalo himself. Garofalo was strongly involved in several decorative schemes in Ferrara and these grotesques recall his grisaille decorations of the inside door of a cupboard which displays his Annunciation in the Fondazione Giorgio Cini, Venice.
A note on the provenance:
The present painting was owned by a fascinating cast of twentieth-century collectors, including Charles Brinsley Marlay (1831-1912) and Otto Lanz (1865-1935), from whose collection it was acquired by Hans Posse on behalf of Adolf Hitler for the Führer-Museum at Linz. It was later discovered by the Allied forces in the salt mines at Alt-Aussee in Austria in March 1945 and subsequently restituted back to the Lanz family. A painting of this description ('Garofalo. The Holy Family - Mary and Joseph are kneeling before the Infant Jesus, placed in a cradle between them') was recorded in the collection of John Rushout, 2nd Baron Northwick (1770–1859) at Thirlestaine House, and was sold in his late sale at Phillips, 19 August 1859, lot 1572, where it was acquired by C.F. Beauclerk, Esq. It may have been from Beauclerk that Charles Brinsley Marlay acquired the painting.