Tommaso di Credi, called Tommaso

With Arte Antica, Milan, from whom acquired by the present owner in 1981.

The colours of the original are a touch more yellow than they appear in the catalogue illustration. The stable, support appears to consist of three vertical panels backed to the reverse by a single, piece of canvas. The paint surface is secure with the details of the original execution still evident under a dirty somewhat yellowed varnish. As well as the panel joins there is are a handful of old, restored cracks running down from the top margin, the most notable of which is upper left, approx. 17 cm long upper left, running down from the upper margin. This crack runs through a knot in the wood which was probably the cause of the crack. The blues of the Virgin’s robes have degraded in colour and the skin tones are a little thin. The is an old, restored L shaped damage of approx. 4 by 6 cm in Christ’s left thigh. Two campaigns of restoration are evident. The older campaign is visible to the naked eye, mainly in the Virgin’s hair and dress, but does not clearly fluoresce under UV light as a result of the aforementioned varnish. A second campaign of retouching is not generally visible to the naked eye but does fluoresce under UV light in the aforementioned cracks, along the margins and scattered elsewhere. There is a 2 cm squared patch of restoration to the left of the Virgin’s elbow. Offered in glazed, carved gilt wood frame in fair condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Another treatment of this composition, in tondo format, is in the Drzavni Museum, Dubrovnik. Dalli Regoli lists it under works ascribed to the Maestro della Conversazione di Santo Spirito.¹


1. See G. Dalli Regoli, Lorenzo di Credi, Pisa 1966, p. 191, cat. no. 236, reproduced fig. 267.