Tiziano Vecellio, called Titian

An exciting rediscovery of a masterpiece by Titian, “The Madonna and Child with St. Mary Magdalen”, whose execution can be dated to between 1555 and 1560, is being brought to light after being hidden from public view in various private collections for more than two centuries. The picture is remarkable for its sophisticated composition and emotional depth, both typical features of Titian’s mature work. The superb quality of the brushwork and the excellent condition of the painted surface give this picture the edge over other versions of the same subject hanging in some of the world’s leading museums, such as the Hermitage, the Gallerie degli Uffizi and the Museo di Capodimonte. The work was acquired by the Sebright family in the 18th century from an unnamed Milanese Palazzo and remained in their collection at Beechwood Park until 1937, when the house and contents were sold by Christie’s. After that it briefly resurfaced in 1947 when it was shipped to Rome to be relined and was shortly thereafter sent to a private collection in New York.
Fascinating details relating to Titian’s studio practices were revealed when the painting was X-rayed in 2024; this showed a window on the left that was later covered, demonstrating how Titian modified and changed the composition as the work progressed. Moreover, the Child originally had a sunburst halo, no coral necklace, his right hand was turned upward, and the Virgin’s mantle covered her knee. The most striking reworking, however, is in the figure of the Magdalen which initially, was painted by Titian as a male figure, complete with beard, offering something to the Child (although it is unclear what).
According to Prof. Dal Pozzolo, a plausible explanation could be that the picture may have been conceived, and largely painted, for someone who died before it was completed, or who may never have collected it from the artist. At that point, it remained in his studio until he decided, a few years later, to turn the figure into St. Mary Magdalen, delegating the change to an assistant, whom we can almost certainly identify as Girolamo Dente, a painter who had been his most trusted collaborator for many years.