Pier Francesco di Jacopo Foschi Florence 1502 - 1567

With Sestieri, Rome (as by Pontormo)

A. Pinelli, "Pierfrancesco di Jacopo Foschi," in Gazette des Beaux Arts, vol. 69, Paris 1967, p. 99, p. 105, no. 25, reproduced 

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 extremely heavy panel has a couple of different reinforcements on the reverse, some horizontal battens accross the top and bottom, and a dovetail to support the original join to the panels through the left background and shoulder of the figure. The paint layer is quite dirty. Some more recent instability has developed through the right side of the head and shoulder. The picture has not been cleaned for a number of years and there is a good deal of very old dirt and varnish on the surface and small discolored retouches which are clearly visible to the naked eye, addressing small chips, losses and cracks. The only large restorations are situated in the upper left background where a couple of larger losses have been restored. This picture will clean well and the restorations being all visible, are not an indication that the picture has any major condition concerns, although the paint layer does need to be consolidated.
"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."

Foschi received his training from two of the most influential artists of cinquecento Florence – Andrea del Sarto and Jacopo Pontormo; he worked in the former's studio until his death in 1530, and in 1536 assisted the latter with the fresco decorations (now destroyed) of the loggia of the Villa Medici of Careggi, just outside of Florence. 

The present portrait, which is datable to the 1530s, reveals the profound influence that both artists, but especially Pontormo, had on Foschi's style.  It shares with the portraits of Pontormo a deep psychological intensity and sense of intimacy.  Highly typical of both Foschi and Pontormo's manner is the placement of the sitter in the forefront of the picture plane, the sculptural treatment of drapery rendered in sharp, delineated planes, the angularity of the sitter's physiognomy, and the muted palette of blacks, browns and grays, highlighted with dashes of white, as seen here in the book at lower left and the delicate lace collar and ties peeking out of the sitter's jacket.  Indeed, this Portrait of a Young Man may be compared in concept with Pontormo's 1534 Portrait of Alessandro de Medici, now in the John G. Johnson Collection, Philadelphia Museum of Art, Philadelphia.  Both portraits depict a young man at work (one drawing, the other writing) in an austere interior, the simplicity of which serves to focus our attention on the psychological state of the sitter.

We are grateful to Dr. Simone Giordani, who, based on photographs, has confirmed the attribution of this portrait to Pier Francesco Foschi.  He dates the portrait to the 1530s.