Tommaso d'Antonio Manzuoli, called Maso da San Friano

Mrs. Irene von Cseh, New York.

V. Pace, "Maso da San Friano," in Bollettino d'Arte, ser. V, LXI, 1976, p. 77, reproduced fig. 23.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's. This panel needs to be reexamined by a restorer. There is a vertical crack running through the heads of St. John and Christ. The panel has a cradle and the paint layer is slightly unstable in a few areas along the top. The painting appears to be quite dirty. There have been restorations in the past which are faintly visible under ultraviolet light in some areas and more strongly visible in others. This picture not only requires restoration but has received a fair amount in the past. However, the draftsmanship and the quality are plainly obvious and careful conservation will be beneficial.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

First published in 1976 by Valentino Pace in his catalogue raisonné article on Maso da San Friano in Bollettino d'Arte (see Literature), the attribution to Maso da San Friano was also supported by Zeri in his fototeca.  Although relatively little is known of Maso's early training, he was a disciple of Andrea del Sarto and Pontormo, as can be seen in the monumental construction of his figures as well as in his color palette, which is derived from Pontormo's coloristic sensibility.  Held in high regard by his contemporaries, Maso received an important commission in 1570-1571 for work on the decoration of the studiolo of Francesco I in the Palazzo Vecchio, completing two works -- The Diamond Mine and The Fall of Icarus -- for his patron.   

Pace dates this work to circa 1565-1570 on the basis of comparison to the Madonna and Child Adored by Angels and the Infant Saint John the Baptist in the Birmingham Museums and Art Gallery (acc. no. 1966P41), which he dates to circa 1560-1565.  Although the figures of the Baptist are nearly identical in each, Pace believes that the present work must be slightly later in date because the dramatic foreshortening of the Christ Child is more successful and the gravity and solidity of the figures anticipate his works in the studiolo.  It appears that this work was left unfinished, as the red ground layer is clearly visible in the cloak of Saint Joseph as it comes over his left shoulder and down his chest.