Michele Tosini, called Michele di Ridolfo del Ghirlandaio

This thick panel is flat, stable, and has two batens running horizontally across the top and bottom quarter of the reverse of the panel. Additionally, the panel has never been thinned and bears an old inscriptions as well as collector's and custom seals. Overall the picture presents a strong image. When viewed under UV, it is apparent that numerous retouches have been applied throughout the composition, though the majority have been applied in small, careful brushstrokes and are generally not applied broadly, as the losses are tiny, due to pinpoint flaking associated with air babbled in the gesso preparation. Some notable areas of retouching are located in the face and neck of the Madonna, as well as in her yellow drapery; in the face and left arm of the Child; and much of the flesh of St. John. The face of St. John has thinned somewhat. Despite the retouches which are visible under UV, to the naked eye it becomes quite clear that they have been expertly applied and are not disturbing. The original paint is in good condition and has retained very nice coloration. This, coupled with the careful restoration results in a strong image. In a carved and giltwood frame.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Michele Tosini began his artistic training in Florence with Lorenzo di Credi and Antonio del Ceraiolo, and later entered the workshop of Ridolfo Ghirlandaio.  By the mid-1520s, the two were frequent collaborators and Tosini had adopted his mentor's name, going by Michele di Ridolfo del Ghirlandaio.  Trained in the early 16th century Florentine style of Fra Bartolomeo and Andrea del Sarto, Tosini was slow to adopt the new Mannerist sensibility; however, by the 1540s, the influence of Bronzino and Salviati is evident in his work.  In the 1550s and towards the end of his career, Tosini worked on a number of significant commissions, including the fresco decoration of the Salone dei Cinquecento in the Palazzo Vecchio, Florence -- on which he collaborated with Vasari -- and the city gates of Florence.  

Another version of this composition, aslo by Tosini,  was formerly in the collection of the Earls of Haddington (their sale London, Sotheby's 8 July 1987, lot 1).  Tosini often repeated his most successful compositions, altering only minor details.  For example, in the present lot, the landscape background is more fully articulated than in the Haddington picture, and the placement of the hills visible through the archway at left differs significantly.  The figures are clearly based on Mannerist prototypes, and it is easy to see the influence of Bronzino in the modelling of the Virgin's drapery and in the figures of the Christ Child and the young Baptist.