Garofalo Sold at Auction Prices

BENVENUTO TISI detto IL GAROFALO

(Garofolo, 1476 o 1481 - Ferrara, 1559) Matrimonio Mistico di Santa Caterina Olio su tavola, cm 52X38 Provenienza: Collezione privata Bibliografia: A. M. Fioravanti Baraldi, Il Garofalo, Faenza 1993, p. 157, n. 93 Allievo di Domenico Panetti e Boccaccio Boccaccino, le prime opere dell'artista si collocano alla fine del XV secolo, valutando che agli inizi del 1500 si data il suo soggiorno capitolino che deve essersi concluso entro il 1505, quando eseguì alcune opere per la corte. Negli anni successivi lo sappiamo attivo con Ludovico Mazzolino, Michele Coltellini, Niccolò Pisano e Domenico Panetti a decorare il soffitto della Torre Marchesana, nel 1512-1513 si data il secondo viaggio a Roma e l'incontro con Raffaello che determinò la sua evoluzione in chiave classicista e la notevole fortuna professionale. Infatti, nel corso del secondo decennio sono numerose le pale d'altare e le opere di destinazione privata oggi conservate in gran parte nella Pinacoteca nazionale di Ferrara, alla Pinacoteca Capitolina e alla Galleria Doria Pamphilj, lì pervenute dopo la devoluzione di Ferrara alla Santa Sede (cfr. Il Museo senza confini. Dipinti Ferraresi del Rinascimento nelle raccolte romane, a cura di J. Bentini e Sergio Guarino, Milano 2002, ad vocem). Detto ciò, è indubbio che l'artista fu profondamente influenzato dalla maniera raffaellesca e lo ben avvertì il Vasari raccontando che: 'giunto Benvenuto in Roma, restò quasi disperato non che stupito nel vedere la grazia e la vivezza che avevano le pitture di Raffaello, e la profondità del disegno di Michelagnolo. Onde malediva le maniere di Lombardia, e quella che avea con tanto studio e stento imparato in Mantoa'. Tuttavia, nel corso della sua maturità, Garofalo esprimerà un dialogo con Giovanni Battista Benvenuti, detto l'Ortolano (Ferrara, 1480 circa ; 1525), mentre la sua arte manifesta una evidente flessione manieristica verosimilmente dettata da Giulio Romano, con un parallelismo con quanto accadde a Dosso Dossi che si evince in modo particolare nelle opere in piccolo, come osserviamo nella tavola raffigurante la Sacra Famiglia e Santi della National Gallery di Londra che, datata agli anni Venti, offre un utile confronto con questa in esame, altresì paragonabile con la Sacra Famiglia con Santa Caterina dei Musei Vaticani. Bibliografia di riferimento: A. Maria Fioravanti Baraldi, Il Garofalo, Benvenuto Tisi pittore (c. 1476-1559), Rimini 1998, ad vocem G. Mancini, N. Penny, Benvenuto Tisi, called Garofalo, in National Gallery Catalogues. The sixteenth century Italian paintings, III: Bologna and Ferrara, London 2016, pp. 206-274

After GAROFALO (*1481), Mary with Jesus and St Catherine, around 1830, Lithography

After Benvenuto Tisi Garofalo (1481 Ferrara - 1559 ibid.): Mary with Jesus and St Catherine, c. 1830, Lithography Technique: Lithography on Paper Date: c. 1830 Description: Joseph and Our Lady with Jesus", colour lithograph of a work by Garofalo Benvenuto 1481-1559. From the series: Pictures of the Romanesque School (Ecole de Florence). Inscribed: Tire du Musee Royal. Garofalo inv\ Pellicot del. Keywords: 19th century, Renaissance, Biblical, Italy, Size: Paper: 49,0 cm x 31,3 cm (19,3 x 12,3 in), Depiction: 26,7 cm x 20,3 cm (10,5 x 8 in)

After IL GAROFALO (*1481), The vision of St Augustine, 1816, Crayon manner

After Il Garofalo: Benvenuto Tisi (1481 - 1559 ): The Vision of Saint Augustine With Madonna and Christ Child in coastal landscape, 1816, Crayon manner Technique: Crayon manner on China paper, rolled-on on Paper Date: 1816 Description: The depiction shows "The Vision of St Augustine", after Garofalo, Benvenuto Tisi da (1481-1559) painted around 1520. In the right foreground St Augustine is seen with St Catherine in a landscape, writing in a book. In the upper left corner are the Holy Family and angels playing music.Titled and inscribed "From the original Picture by Benvenuto da Garofolo, in the Possession of / the Rev.d W.m Holwell Carr / Drawn by W W Hodgson, Engraved with permission by P. W. Tomkins, Historical / Engraver to Her Majesty', and 'London, Published Nov.r 1 1816, by Longman, Hurst, Rees, Orme & Brown / J. White, Cadell & Davies, and P.W. Tomkins, 54 New Bond Street'. Keywords: 19th century, Baroque, Religious, Italy, Size: Paper: 43,3 cm x 32,7 cm (17 x 12,9 in), Depiction: 20,5 cm x 25,6 cm (8,1 x 10,1 in)

After GAROFALO (*1481), Mary with Jesus and St Catherine, around 1830, Lithography

After Benvenuto Tisi Garofalo (1481 Ferrara - 1559 ibid.): Mary with Jesus and St Catherine, c. 1830, Lithography Technique: Lithography on Paper Date: c. 1830 Description: Joseph and Our Lady with Jesus", colour lithograph of a work by Garofalo Benvenuto 1481-1559. From the series: Pictures of the Romanesque School (Ecole de Florence). Inscribed: Tire du Musee Royal. Garofalo inv\ Pellicot del. Keywords: 19th century, Renaissance, Biblical, Italy, Size: Paper: 49,0 cm x 31,3 cm (19,3 x 12,3 in), Depiction: 26,7 cm x 20,3 cm (10,5 x 8 in)

TISI, IL GAROFALO (1476/81-1559) BENVENUTO - Follower of. Deposition of Christ

TISI, IL GAROFALO (1476/81-1559) BENVENUTO. Follower of. Deposition of Christ. 27,50 x 38,00 cm.

BENVENUTO TISI detto IL GAROFALO (seguace di)

BENVENUTO TISI detto IL GAROFALO (seguace di) (Garofalo, circa 1476 ; Ferrara, 1559) San Girolamo Olio su tavola, cm 34X48 Riconducibile a un seguace di Benvenuto Tisi, la tavola trova verosimile ispirazione dai dipinti di medesimo soggetto realizzati dall'artista appartenenti alla Collezione Kress [New Orleans, Isaac Delgado Museum of Art, Kress collection, K. 1111] e alla Gemäldegalerie di Berlino [Staatliche Museen zu Berlin,Gemäldegalerie, inv. 243]. Bibliografia di riferimento: A. Neppi, Il Garofalo, Benvenuto Tisi, Milano 1959; A. M. Fioravanti Baraldi, Il Garofalo. Benvenuto Tisi pittore (c. 1476-1559). Catalogo generale, Rimini 1993, ad vocem

BENVENUTO TISI detto IL GAROFALO (cerchia di)

(Garofalo, ca. 1476 ; Ferrara, 1559) Cristo e la Samaritana Olio su tela, cm 218X160 Riconducibile a un seguace di Benvenuto Tisi, l'opera trova verosimile ispirazione dai dipinti di medesimo soggetto realizzati dall'artista. Bibliografia di riferimento: A. Neppi, Il Garofalo, Benvenuto Tisi, Milano 1959, ad vocem A. M. Fioravanti Baraldi, Il Garofalo. Benvenuto Tisi pittore (c. 1476-1559). Catalogo generale, Rimini 1993, ad vocem

After IL GAROFALO (*1481), The vision of St Augustine, 1816,

After Il Garofalo: Benvenuto Tisi (1481 - 1559 ): The Vision of Saint Augustine With Madonna and Christ Child in coastal landscape, 1816, Crayon manner Technique: Crayon manner on , rolled-on on Paper Date: 1816 Description: The depiction shows "The Vision of St Augustine", after Garofalo, Benvenuto Tisi da (1481-1559) painted around 1520. In the right foreground St Augustine is seen with St Catherine in a landscape, writing in a book. In the upper left corner are the Holy Family and angels playing music.Titled and inscribed "From the original Picture by Benvenuto da Garofolo, in the Possession of / the Rev.d W.m Holwell Carr / Drawn by W W Hodgson, Engraved with permission by P. W. Tomkins, Historical / Engraver to Her Majesty', and 'London, Published Nov.r 1 1816, by Longman, Hurst, Rees, Orme & Brown / J. White, Cadell & Davies, and P.W. Tomkins, 54 New Bond Street'. Keywords: 19th century, Baroque, Religious, Italy,

BENVENUTO TISI detto IL GAROFALO (seguace di)

(Garofalo, circa 1476 - Ferrara, 1559) San Girolamo Olio su tavola, cm 34X48 Riconducibile a un seguace di Benvenuto Tisi, la tavola trova verosimile ispirazione dai dipinti di medesimo soggetto realizzati dall'artista appartenenti alla Collezione Kress [New Orleans, Isaac Delgado Museum of Art, Kress collection, K. 1111] e alla Gemäldegalerie di Berlino [Staatliche Museen zu Berlin,Gemäldegalerie, inv. 243]. Bibliografia di riferimento: A. Neppi, Il Garofalo, Benvenuto Tisi, Milano 1959; A. M. Fioravanti Baraldi, Il Garofalo. Benvenuto Tisi pittore (c. 1476-1559). Catalogo generale, Rimini 1993, ad vocem

After GAROFALO (*1481), Mary with Jesus and St. Catherine, around 1830, Lithography

After Benvenuto Tisi Garofalo (1481 Ferrara - 1559 ibid.): Mary with Jesus and St. Catherine, c. 1830, Lithography Technique: Lithography on Paper Date: c. 1830 Description: Joseph and Our Lady with Jesus", colour lithograph of a work by Garofalo Benvenuto 1481-1559. From the series: Pictures of the Romanesque School (Ecole de Florence). Inscribed: Tire du Musee Royal. Garofalo inv\ Pellicot del. Keywords: 19th century, Renaissance, Biblical, Italy,

Garofalo Benvenuto Tisi (attribuito a) (Ferrara, 1481 - Ferrara, 1559) Orazione nell'orto degli ulivi olio su tavola cm 156,5x75,4; con cornice cm 19x111

Garofalo Benvenuto Tisi (attribuito a) (Ferrara, 1481 - Ferrara, 1559) Orazione nell'orto degli ulivi Dipinto originariamente realizzato ad olio su tavola. Soggetto a trasporto della pellicola pittorica da tavola a tela cm 156,5x75,4; con cornice cm 19x111 Il dipinto reca nella parte superiore Cristo intento a pregare nell'orto del Getsemani ed in quella inferiore, come indicato nei Vangeli sinottici, gli apostoli Pietro, Giovani e Giacomo che dormono.  Immagini ad alta risoluzione disponibili su richiesta.

Benvenuto Tisi, genannt „Il Garofalo“, 1481 Ferrara – 1559, zugeschrieben

MARIA ASSUNTA Öl auf Nussholz. Durchmesser: 41 cm. Verso zwei Einschubleisten. Tondogemälde, das die Aufnahme Mariens in den Himmel thematisiert; hier jedoch zwischen Wolkenbänken, empfangen von geflügelten Putten. Die bei diesent sonst üblichen Figuren wie Gottvater und Sohn fehlen. Deren Beisein wird lediglich durch den Blick der Maria auf die Göttlichkeit außerhalb der Bilddarstellung deutlich. Die hier so ausschließlich ins Bild genommenen kleinen Engel lassen sich dadurch erklären, dass es sich hier gemäß der religiösen Vorstellung um den Himmel verstorbener Kinder handelt. Dies legt den Gedanken nahe, dass das kleine Gemälde als Andachtsbild für deren Andenken handelt, etwa in einem Ospedale degli innocenti. Die feinpinselige Malweise entspricht dem Werk des genannten Malers, der 1491 bei Domenico Panetti in Ferrara studierte und sich 1498 nach Cremona begab. Schon ein Jahr später ging er nach Rom, dann nach Bologna, wo er bei Lorenzo Costa arbeitete. Zurück in Ferrara wirkte er im Kreis der Brüder Battista und Dosso Dossi. Später erhielt er Aufträge von Herzog Alfons in seiner Heimatstadt. Seine Stilnähe zu Raffael ist nahezu in allen seinen Werken zu spüren. Auch der Farbcharakter des vorliegenden Bildes erweist dies. Den Zunamen „Garofalo“, Nelke, erhielt er, da er diese Blume im Wappen führte. Erblindet starb er in Ferrara 1559. A.R. (13508611) (4) (11) Benvenuto Tisi, also known as "Il Garofalo" 1481 Ferrara – 1559, attributed SANTA MARIA ASSUNTA Oil on walnut. Diameter: 41 cm.

Benvenuto Tisi detto Garofalo (Canaro 1481 - Ferrara 1559) seguace di

Benvenuto Tisi detto Garofalo (Canaro 1481 - Ferrara 1559) seguace di Messa di San Nicola da Tolentino Olio su tavola 34 x 38 cm L'opera riprende parzialmente la tavola conservata alle Gallerie Estensi, Pinacoteca Nazionale di Ferrara, già facente parte della serie dedicata alle storie di San Nicola. Benvenuto Tisi called Garofalo (Canaro 1481 - Ferrara 1559) follower of Mass of St. Nicholas of Tolentino Oil on panel 34 x 38 cm The artwork partially reproduces the panel conserved in the Gallerie Estensi, Pinacoteca Nazionale of Ferrara, which was already part of the series dedicated to the stories of St. Nicholas.

BENVENUTO TISI, CALLED GAROFALO (FERRARA 1481-1559) The Holy Family oil on

BENVENUTO TISI, CALLED GAROFALO (FERRARA 1481-1559) The Holy Family oil on panel 19 1/4 x 14 3/8 in. (48.9 x 36.7 cm.)

Benvenuto Tisi zugeschrieben Ruhe auf der Flucht nach Ägypten, mit dem Porträt von Lionello del Pero

Attributed to Benvenuto Tisi Rest on the Flight into Egypt, with the portrait of Lionello del Pero oil on panel 124 x 87 cm private collection, Germany

F.VILLAIN (19th), Porträt Benvenuto Tisi Garofalo (1481-1559), around 1830, Lithography

François le Villain (19th century), Porträt Benvenuto Tisi Garofalo (1481-1559), c. 1830, Lithography Technique: Lithography on Paper Date: c. 1830 Description: Portrait: GAROFALO. Benvenuto Tisi Garofalo, also II Garofalo (1481-1559), painter of the Romanesque School. Colour lithograph. Inscribed: J. lith. de Villain. Stamp in the lower left half of the sheet. ,,Separate text information In French by Chabert). Embossed stamp in the lower part of the sheet. From the time around 1830. Person: Benvenuto Tisi Garofalo (1481 Ferrara-1559 Ferrara) Was an Italian painter. Keywords: , 19th century, Romanticism, Portraits, Italy, Size: 18,5 cm x 29,2 cm, additional specification: Portrait: portrait: 19 cm, sheet: 18.5 x 29.2 cm, motif: 26.1 x 21.7 cm, text sheet: 49 x 31.3 cm Condition: Portrait: The subject is in good condition, the sheet shows hardly any age spots. The margins are slightly wavy.

Benvenuto Tisi Christ and the Samaritan woman at well Oil on panel, 56x102 cm. (defects and restorations) The painting is present in the Federico Zeri Photo Archive, catalogued as a work by Benvenuto Tisi called "Garofalo" (file no. 47205...

(Ferrara 1481 - 1559) Christ and the Samaritan woman at well Oil on panel, 56x102 cm. (defects and restorations) The painting is present in the Federico Zeri Photo Archive, catalogued as a work by Benvenuto Tisi called "Garofalo" (file no. 47205; inventory photo no. 91333) For comparisons, see: A. M. Fioravanti Baraldi, Il Garofalo. Catalogo generale, Luisè, Rimini, 1993, n. 81 on p. 148 and n. 95 on p. 159. IT Cristo e la samaritana al pozzo Olio su tavola, cm 56x102 (difetti e restauri) Il dipinto è presente nell'archivio della Fototeca Zeri, catalogato come opera di Benvenuto Tisi detto il "Garofalo" (n. scheda 47205; foto inventario n. 91333) Per confronti si rimanda a: A. M. Fioravanti Baraldi, Il Garofalo. Catalogo generale, Luisè, Rimini, 1993, n. 81 a pag. 148 e n. 95 a pag. 159.

Huile sur cuivre "Piéta". Attribué à Benvenuto Tisi da Garofalo. Ecole ital

Huile sur cuivre "Piéta". Attribué à Benvenuto Tisi da Garofalo. Ecole italienne. Provenance: Ancienne collection José T. (Ecaillements). Dim.:+/-29x22,5cm.

ATTRIBUTED TO BENVENUTO TISI, IL GAROFALO (FERRARA 1481-1559) - The Adoration of the Shepherds

ATTRIBUTED TO BENVENUTO TISI, IL GAROFALO (FERRARA 1481-1559) The Adoration of the Shepherds oil on panel, unframed 15 1/8 x 13 in. (38.5 x 33.1 cm.)

TABLEAUX

Huile sur panneau renforcé "Le Mariage mystique de sainte Catherine". Atelier de Benvenuto Tisi dit Il Garofalo. Ecole italienne. Epoque: XVIème. (Voir au dos, un cachet à la cire rouge). Dim.:58,5x45cm.

BENVENUTO TISI, IL GAROFALO (FERRARA 1481-1559) - The Madonna and Child

BENVENUTO TISI, IL GAROFALO (FERRARA 1481-1559) The Madonna and Child oil on panel 11 3/4 x 9 1/8 in. (29.8 x 23.3 cm.)

Benvenuto Tisi, il Garofalo (Ferrara 1481-1559) - The Madonna and Child, painted by Saint Luke, in a landscape

Benvenuto Tisi, il Garofalo (Ferrara 1481-1559) The Madonna and Child, painted by Saint Luke, in a landscape oil on panel 15 ¾ x 12 5/8 in. (40.5 x 32.3 cm.)

Tisi, Benvenuto gen. il Garofalo

Tisi, Benvenuto gen. il Garofalo (um 1476 Ferrara 1559) zugeschrieben. Anbetung des Kindes im Schein einer Fackel. Tempera auf Pappelholz, um 1530. 43 x 29 cm. Gerahmt. Das Bild zeigt die Szene im Stall mit dem nackten Kind im Vordergrund auf einer Decke liegend auf der Krippe, dahinter Maria und Josef betend und im Hintergrund ein Hirte mit Stab und ein Junge mit der Fackel. Vorne, links der Krippe ein Rind. - Provenienz: Rom, Gaetano I Boncompagni - Ludovisi, Fürst von Piombino, Herzog von Sora u. Arce, aus dessen Nachlaß 1777. Mch., Kunsthandel 2012.

Benvenuto Tisi da Garofalo, ca. 1481 Garofalo - 1559 Ferrara, zug.

Benvenuto Tisi da Garofalo, ca. 1481 Garofalo - 1559 Ferrara, zug. Jesus mit erhobener Segenshand Öl auf Holz. Sichtmaß-Durchmesser: 54 cm. Maße der Holzplatte, verso: 56 x 56,5 cm. Jesus im Halbbildnis, mit goldbraunen Locken, die seitlich weit über die Schultern herabziehen, knabenhaft wiedergegeben. Das Gesicht frontal dem Betrachter zugewandt, die rechte Hand zum Segensgestus erhoben, in der linken Hand die Kugel des Universums. Über dem fein senkrecht parallel gefalteten, dunkelroten Hemd mit zarter Spitzenbiese ein grüner Seidenumhang, der besonders in der linken Armbeuge mannigfach in Falten gelegt ist, mit seidenem Oberflächenglanz. Der Hintergrund zweigeteilt, rechts ein dunkler Baldachinvorhang, links ein Fensterausblick über eine schmale Steinbrüstung hinweg in eine bergige Landschaft, in der im Vordergrund eine Burganlage mit kantigen und runden Türmen steht. Dahinter hochziehende, partiell mit hellem Schlaglicht beleuchtete Berge in blauer Luftperspektive mit hinaufziehender Häusergruppe. Über den Bergspitzen gebauschte Wolken unter dunkelblauem Firmament, am Horizont ein heller Lichtstreifen, am linken Bildrand eine Baumgruppe, vor den Gebäuden entsprechend klein wiedergegeben einige Personen. Das Gesicht in harmonischer Ästhetik schön wiedergegeben, die Lippen geschlossen, die Augen auf den Betrachter gerichtet, darüber zart hinwegziehende Brauenbögen. Die Symmetrie der Körperauffassung wird noch betont durch die exakte Axialität des Nasenrückenverlaufs, der Parallelfalten am Hemd sowie dem Mittelscheitel, der zu einer Kreuzblume im Scheitel des goldenen Nimbusreifs weist. Die Malweise entspricht Werken des genannten Malers, ausgesprochen selten, aber durch das Thema bedingt, ist die betont axiale Haltung des Halbbildnisses. (890112) Benvenuto Tisi da Garofalo, circa 1481 Garofalo - 1559 Ferrara, attributed to CHRIST BLESSING Oil on panel. Dimensions of the wood panel: 56 x 56.5 cm.

Tisi, Benvenuto gen. il Garofalo

Tisi, Benvenuto gen. il Garofalo (um 1476 Ferrara 1559) zugeschrieben. Anbetung des Kindes im Schein einer Fackel. Tempera auf Pappelholz, um 1530. 43 x 29 cm. Gerahmt. Das Bild zeigt die Szene im Stall mit dem nackten Kind im Vordergrund auf einer Decke liegend auf der Krippe, dahinter Maria und Josef betend und im Hintergrund ein Hirte mit Stab und ein Junge mit der Fackel. Vorne, links der Krippe ein Rind. - Provenien

Benvenuto Tisi, Garofalo (Ferrara 1481-1559)

Benvenuto Tisi, Garofalo (Ferrara 1481-1559) The Madonna and Child with Saint Catherine oil on panel 24¾ x 20 3/8 in. (62.8 x 51.7 cm.)

Benvenuto Tisi, il Garofalo (Ferrara 1476-1559)

Benvenuto Tisi, il Garofalo (Ferrara 1476-1559) The Nativity oil on panel 7 x 7 in. (17.8 x 17.8 cm.)

Benvenuto Tisi, il Garofalo (Ferrara 1476-1559)

Benvenuto Tisi, il Garofalo (Ferrara 1476-1559) Saint Jerome in the Wilderness oil on panel 14½ x 16 1/8 in. (36.9 x 41 cm.)

Benvenuto Tisi, Il Garofalo (Ferrara c. 1476-1559)

Benvenuto Tisi, Il Garofalo (Ferrara c. 1476-1559) Madonna col Bambino e santi olio su tavola 65x44 cm.

Benvenuto Tisi, Il Garofalo (Ferrara 1476-1559)

Benvenuto Tisi, Il Garofalo (Ferrara 1476-1559) San Giacomo Maggiore olio su tavola 51,5x39,5 cm. Al retro, etichetta del County Museum di Los Angeles, con numero di inventario 47.26

GAROFALO, BENVENUTO TISI DA (copy circa 1550)

GAROFALO, BENVENUTO TISI DA (copy circa 1550) (1481 Ferrara 1559) Vision of Saint Augustin. Circa 1550. Oil on panel . 66.5 x 84 cm. GAROFALO, BENVENUTO TISI DA (KOPIE UM 1550) (1481 Ferrara 1559) Vision des Heiligen Augustinus. Um 1550. Öl auf Holz. 66,5 x 84 cm. Dieses Gemälde mit der Vision des Heiligen Augustinus geht auf den Prototypen von Garofalo in der National Gallery in London (Inv. 81, Holz, 64 x 81 cm) zurück. Es zeigt die Szene, in der Augustinus (um 354-430) die Schriften über die göttliche Trinität überarbeitet, als ihn ein kleines Kind (Jesusknaben) überrascht, in dem es versucht mit einem Löffel das Meer in ein Loch im Sand zu löffeln. Augustinus erklärte dem Knaben, dass dies unmöglich wäre, worauf dieser ihm zu Verstehen gibt, dass auch sein Versuch, die göttliche Trinität zu beschreiben, ein ebenso unmögliches Unterfangen darstellt. Neben dem Heiligen Augustinus steht die Heilige Katharina von Alexandria und oben links blickt die Heilige Familie mit einer Schar musizierender Engel auf das Geschehen. Das Gemälde in London ist in die Jahre um 1530 zu datieren; eine spätere Kopie existiert in der Art Gallery in Glasgow (Inv. 155, Holz, 61,6 x 82,5 cm). Die hier angebotene Version dürfte um 1550 entstanden sein und zeigt stilistische Parallelen mit dem 'Maestro dei dodici apostoli' aus Ferrara. Wir danken Prof. Mauro Natale für diesen Katalogeintrag.

Benvenuto Tisi, Il Garofalo (Ferrara 1481-1559)

Benvenuto Tisi, Il Garofalo (Ferrara 1481-1559) The Madonna and Child oil on panel laid down on panel, unframed 29¾ x 22 3/8 in. (75.6 x 56.8 cm.)

Benvenuto Tisi, called il Garofalo Ferrara 1481 - 1559 , The Circumcision oil on panel, unfinished, unframed

Benvenuto Tisi, called il Garofalo , Ferrara 1481 - 1559 The Circumcision oil on panel, unfinished

oil on panel, unfinished

Benvenuto Tisi, called il Garofalo Ferrara 1481 - 1559 , a bishop seated with his left hand on a book, two young men kneeling nearby and a third standing behind, in an architectural setting pen and brown ink and wash over traces of black chalk,

bears old attribution in pen and ink: Polidoro pen and brown ink and wash over traces of black chalk, heightened with partly oxidised white, within a niche drawn in pen and ink and oxidised white

Benvenuto Tisi, il Garofalo (Ferrara 1481-1559)

Four studies of Saint John the Baptist holding a lamb pen and brown ink, brown wash, heightened with white, on light brown paper, upper left corner made up 5 1/2 x 8 3/8 in. (137 x 214 mm.)

BENVENUTO TISI, CALLED IL GAROFALO FERRARA 1481 - 1559

THE PROPERTY OF TRAFALGAR GALLERIES THE ADORATION WITH A SHEPHERD measurements note 16 3/8 by 20 1/4 in.; 41.5 by 51.5 cm. oil on panel NOTE This charming and evocative Adoration with a Shepherd is an example of Garofalo's youthful style, demonstrating his early fascination with Venetian prototypes and compositional devices. It is in fact an autograph replica of an early work of the artist (formerly with Matthiesen, London, see Paintings from Emilia, 1987, pp. 33-35, cat. no. 2) dating to circa 1508. There are a number of similar depictions by Garofalo of the Nativity or Adorations of the Magi or Shepherds from early in his career (see Ferrara, inv. 171; Strasburg inv. 274, Berlin, inv. 261, and others). There must have been a strong demand for highly finished easel pictures of these subjects that he was perfectly suited to fill; indeed he produced such small paintings throughout his career. The present composition clearly denotes the artist's familiarity with the works of Giorgione. Longhi hypothesized that such influences must have resulted in a visit to Venice by Garofalo at some time in the years between 1505 and 1508 (see R. Longhi, Officina Ferrarese, 1934). Indeed documentary evidence has subsequently appeared that proves the artist was absent from Ferrara in 1508 (as outlined by Fioravanti Baraldi, op. cit, pp. 11, 90). Vasari noted that the two were friends (Vite, 1568, ed. Milanesi, vol. VI, p. 468). The palette of this panel is quite different from Garofalo's earlier examples. The tonality of the painting is much less restrained. The distant landscape in particular, with its strong blues, shows the influence of Dosso Dossi, who became court painter at Ferrara in 1512. This could date the present painting to about 1514, when Dosso's influence becomes apparent in Garofalo's work, but while he still retains his giorgionismo. We are grateful to Dr. Anna Maria Fioravanit Baraldi who confirms the attribution to Garofalo.

BENVENUTO TISI, CALLED IL GAROFALO FERRARA 1481 - 1559

THE BEHEADING OF ST. BARTOLOMEW measurements note 17 1/8 by 28 1/8 in. ; 43.5 by 71.5 cm. inscribed in an old hand on reverse: Di Benvenuto/ do Garofalo oil on panel, unframed, a predella PROVENANCE Church of San Bartolomeo, Ferrara, until at least 1752; Private collection, Treviso; Private collection, Rome. LITERATURE G. Frabetti, L'autunno dei manieristi a Ferrara, Ferrara 1978, pp. 8-9 and 81, reproduced fig. 5b (as by "Garofalo (or workshop)"); A. Fioravanti Baraldi, in La Pinacoteca Nazionale di Ferrara, Bologna 1992, pp. 144-5, under no. 166; A. Fioravanti Baraldi, Il Garofalo: Benvenuto Tisi, pittore (c.1476-1559): catalogo generale, Rimini 1993, p. 260, under no. 189. NOTE This panel originally constituted the predella to Garofalo's signed and dated altarpiece showing The Adoration of the Magi with Saint Bartholomew painted in 1549 for the Church of San Bartolomeo, the main altar panel of which is today in the Pinacoteca Nazionale di Ferrara (inv. 156; reproduced in color in Fioravanti Baraldi, see Literature, 1992, p. 143). The church was annexed to the Abbazia di San Bartolo, an abbey formerly of the Benedictine and then of the Cistercian Order, whose insignia appears beside the date on the main panel. The altarpiece is first recorded by Giorgio Vasari in Garofalo's Vita and is described in detail in an 18th-century manuscript by Brisighella (published by M.A. Novelli, Descrizione delle pitture e sculture della città di Ferrara di Carlo Brisighella, Ferrara 1990, p. 572): the main central panel showed The Adoration of the Magi with Saint Bartholomew (now in the Pinacoteca Nazionale, Ferrara); the finial showed The Martyrdom of Saint Bartholomew (in the collection of Avventi in Ferrara in 1838 but since untraced); and the predella showed The Beheading of Saint Bartholomew (the present panel). During the Napoleonic era, as noted by Avventi (F. Avventi, Il Servitore in piazza - Guida per Ferrara, Ferrara 1838, pp. 83-5) and Cittadella (L.N. Cittadella, Indice manuale delle cose più rimarcabili in pittura, scultura, architettura della città e borghi di Ferrara, Ferrara 1844, p. 95), the altarpiece was taken to Milan and then to Paris, only to be returned to Ferrara at the end of the French rule: it was probably at around this time that the altarpiece was dismembered, for the present predella is recorded as having been in the winter chancel of the church from 1752 (as relayed by Fioravanti Baraldi, see Literature, 1993, p. 260). It was not until Frabetti's relatively recent publication that the picture was reassigned to Garofalo himself (see Literature, 1978). In the main panel of the altarpiece, mentioned above, Saint Bartholomew is shown quite youthful and bearded, holding the knife with which he was flayed as well as his flayed skin. The representation in the predella of the saint as an écorché, with his flayed skin tied around his waist, is highly unusual and would have provided an interesting contrast to the idealised view of him in the main panel above. For the provenance and literature of the altarpiece see Fioravanti Baraldi, under Literature, 1992, cat. no. 166, and 1993, cat. no. 189. We are grateful to Dr. Anna Fioravanti Baraldi for confirming her opinion that the present predella is by Garofalo and from the St. Bartholomew altarpiece.

Benvenuto Tisi, il Garofalo (Ferrara c. 1481-1519)

The Madonna and Child oil on panel 20 3/4 x 16 1/4 in. (52.7 x 41.3 cm.)

Benvenuto Tisi, il Garofalo (Ferrara c. 1481-1519)

The Madonna and Child oil on panel 20 3/4 x 16 1/4 in. (52.7 x 41.3 cm.)

Benvenuto Tisi, il Garofalo (Ferrara circa 1476-1559)

A bishop seated on a throne, with two standing figures black chalk, pen and brown ink, brown wash in an inscribed arch 7 1/4 x 4 5/8 in. (182 x 118 mm.)