Florentine School, 16th Century

Acquired by the father of the present owner in 1925.

The panel is flat and unbeveled and is cradled on the reverse. A small fragment in the upper right corner approx. 1 by 1 in. is loose thought the paint surface overall appears stable. There is a small paint loss to the upper left corner and a further very minor loss to the chin and collar, a loss to the lettering upper left and a small, fine vertical crack upward from the lower edge approx. 1 in. The surface is covered by a yellowed dirty varnish and the painting would present a fresher image if this were to be removed and reapplied. The old varnish impedes an inspection under UV though there is possible old minor retouching to the left side of the face, shadow below the chin and left side of the collar. The painting is offered unframed and would benefit from a light clean and revarnish.
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.

The numerous posthumous portraits of Dante Alighieri are testament to the Florentine poet's enduring reputation.  He remained a popular subject long after his own death, particularly among Florentine painters of the sixteenth century, the most famous example perhaps being the allegorical portrait formerly given to Bronzino in the National Gallery, Washington (inv. no. 1961.9.57) showing the artist in a landscape holding a book.  Here, Dante's highly stylised features, with small, round eyes and smoothly molded cheeks and mouth bear the distinct influence of Jacopo da Pontormo.  Another anoymous version of this portrait, formerly with Moratilla, Paris, is listed in the Zeri archive, though the present work is more accomplished and refined in its execution.