Tommaso

H.W. Jurgens, Nijmegen.

B. Berenson, Italian Pictures of the Renaissance, Florentine School, vol. II, Oxford 1963, pp. 207-8, reproduced pl. 1182.;
G. Dalli Regoli, Lorenzo di Credi, Pisa 1966, p. 191, cat. no. 235, where listed as by the "Maestro della Conversazione di S. Spirito".

"The following condition report has been provided by Henry Gentle, an independent restorer who is not an employee of Sotheby's. The poplar panel has been reinforced and repaired to the reverse; there is evidence of previous worm damage. There is a central horizontal repaired join, this is unstable, as are accompanying horizontal splits, causing a deformation to the panel. There are restorations to either side of the join, and to some of the cracks. Under ultraviolet light can be seen the remains of an old varnish along with a scattering of restorations across the surface, particularly to the body of Christ, the flesh of the kneeling figure, right, the entrance of the tomb and the foreground. Many areas are in a good preserved condition, the colours are strong, saturate well and show little abrasion . The varnish is slightly discoloured and its removal would improve the tonality. Offered in a modern part-gilt part-painted frame with some losses."
"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."

Tommaso (or 'Tommaso di Credi') also sometimes identifed as the 'Master of the Santo Spirito Sacra Conversazione' or the 'Master of the Czartoryski Tondo', both for eponymous reasons, was a talented artist working in the workshop or very close circle of Lorenzo di Credi.

We are grateful to Mr. Everett Fahy for confirming the attribution to Tommaso following inspection of the original.