Tommaso di Credi, called Tommaso

Anonymous sale, New York, Christie's, 27 January 2000, lot 129.

Florence, Galleria Moretti, Pittori attivi in Toscana dal Trecento al Settecento, 22 September - 24 November 2001.

N. Pons, Pittori attivi in Toscana dal Trecento al Settecento, Florence 2001, pp. 114-17, reproduced in colour.

The panel is stable but has been marouflaged or rebacked, presumably to stabilize two old vertical splits, in the centre and on the left side. The paint surface is reasonably well-preserved overall although the flesh tones have suffered from some wear.There is quite concentrated restoration in these parts, noteably to the Christchild and also to the splits. The remainder appears in good order with only minor intervention.
"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."

This Renaissance tondo is a characteristic work by the artist known as Tommaso, a close follower of Lorenzo di Credi who in all likelihood trained in the latter's workshop. The artist specialised in scenes such as the present one, with the three protagonists depicted conversing serenely before an extensive imaginary landscape.

Almost certainly painted for a private patron and destined for a domestic setting, the artist would have enjoyed a steady stream of commissions from the wealthy merchants of early sixteenth-century Florence.

The artist is also known as the Master of the Santo Spirito Sacra Conversazione, after an altarpiece in the church of Santo Spirito in Florence.