Attributed to Giovanni Maria Butteri

The picture is lighter and the colours slightly warmer than the catalogue illustration would suggest. Painted on what appears to be a flat single cradled panel. The paint surface appears to be in good overall condition except for an old repaired split in the panel running down the right hand side, as can be seen in the catalogue illustration. There also appears to be two vertical minor further splits running from the centre of the top most panel edge. The first, measuring approximately 8 inches, runs from the 'D' to the right hand eyebrow. The second, measuring approximately 4 inches, runs from the 'P' to his hairline directly above his left eyebrow. There is also very minor retouching to cracking in the paint surface in the knuckles of his right hand (lower left). As well as a very minor vertical split measuring approximately 3 inches running from the lower panel edge to the thumb of his right hand. In a raking light, two further minor small patches of retouching are visible, the first in the sitter's forehead, and the second in the background, upper left. Examination under ultraviolet confirms the presence of the aforementioned retouching and reveals further scattered flecks of cosmetic retouching, concentrated in the darker pigments of his costume and his dog. There is a thick, discoloured varnish overall. However, the painting is in good overall ready to hang condition. Offered in a gilt frame in good 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."

Giovanni di Piero Bini was from a wealthy Florentine mercantile family. His father Piero owned the chapel in the church of Santo Spirito which holds Pierfrancesco di Jacopo Foschi's altarpiece of The Transfiguration. This portrait, which dates from the year of the sitter's death, would doubtless have formed part of a series of family portraits, all similarly inscribed with the sitters' identities, as is the case for the pendant of the present work which depicts Giovanni's brother Piero.

The attribution to Butteri, one of the studiolo painters, was first proposed by Dott. Carlo Falciani (written communication to the present owner). The artist was a pupil of Agnolo Bronzino and assisted Alessandro Allori on numerous occasions. He is perhaps best known for his signed panel from 1572 depicting the Glassblower's Workshop for the wall dedicated to the element of fire in the studiolo of Francesco I de' Medici in Florence. For Dott. Falciani the careful description of the hair and moustache, which provide a jagged contrast to the sitter's smooth skin, are typical of Butteri's style and point to the influence of Alessandro Allori. The use of highlights on the sitter's forehead and in the white handkerchief he is holding are also typical of the Allorian idiom.