Manner of Francesco di Cristofano called Franciabigio

With Satinover Galleries, New York, circa 1913.

S. Regan McKillop, Franciabigio, London 1974, p. 202, listed under variants.

The following condition report is provided by Hamish Dewar who is an external specialist and not an employee of Sotheby's: The panel is cradled. The painting has a slightly dry and uneven varnish layer. The paint surface appears to be stable. Inspection under ultra-violet light shows very opaque varnish layers and three small retouchings are visible but there may be other retouchings beneath the opaque varnish layers which are not visible under ultra-violet light. Overall the painting is in good condition. The work is framed.
"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."

A later copy after a painting traditionally attributed to Franciabigio, formerly in the collection of W. Vasel, London. Susan Regan McKillop, in her catalogue raisonné of the works of Franciabigio attributes the Vasel painting to Tommaso di Stefano.¹ 

1. S. Regan McKillop, Franciabigio, London 1974, p. 202.