View full screen - View 1 of Lot 20. Sold Without Reserve | TOMMASO D'ANTONIO MANZUOLI, CALLED MASO DA SAN FRIANO |  PORTRAIT OF A GENTLEMAN, THREE-QUARTERS, HIS ARM RESTING ON A WRITING TABLE.
20

Sold Without Reserve | TOMMASO D'ANTONIO MANZUOLI, CALLED MASO DA SAN FRIANO | PORTRAIT OF A GENTLEMAN, THREE-QUARTERS, HIS ARM RESTING ON A WRITING TABLE

Reserves

Estimate:

25,000

to
- 35,000 USD

Sold Without Reserve

Sold Without Reserve | TOMMASO D'ANTONIO MANZUOLI, CALLED MASO DA SAN FRIANO | PORTRAIT OF A GENTLEMAN, THREE-QUARTERS, HIS ARM RESTING ON A WRITING TABLE

Sold Without Reserve | TOMMASO D'ANTONIO MANZUOLI, CALLED MASO DA SAN FRIANO | PORTRAIT OF A GENTLEMAN, THREE-QUARTERS, HIS ARM RESTING ON A WRITING TABLE

Estimate:

25,000

to
- 35,000 USD

Lot sold:

56,250

USD

Sold Without Reserve

TOMMASO D'ANTONIO MANZUOLI, CALLED MASO DA SAN FRIANO

Florence circa 1532 - 1571

PORTRAIT OF A GENTLEMAN, THREE-QUARTERS, HIS ARM RESTING ON A WRITING TABLE


oil on panel

panel: 32½ by 25½ in.; 82.6 by 64.8 cm.

framed: 44½ by 36 in.; 113 by 91.4 cm.


The support consists of two planks joined vertically with one horizontal support beam on the reverse. The panel is very slightly convex with a small gap between the panel and the frame at all four corners. The paint surface is stable despite vertical cracks corresponding with the wood grain, especially to the left of the figure. A diagonal and triangular scratch is visible at the sitter's right shoulder, and an inconsistency in the surface at the center of the sitter's chest could be due to an old repair. Under UV inspection, the aforementioned repairs are visible, as well as finely applied retouching in the sitter's hair and scattered retouches in the folds of his garment. The face is largely unretouched. Offered in a carved ebonized wood frame with decorative gilding.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.

According to Vasari, Maso studied with Pierfrancesco Foschi, which accounts for the simplicity and precision of his style as seen in this elegant portrait. Maso avoided the Mannerist style of his Florentine contemporaries, but he still received commissions from the Medici, including his decorations for the studiolo of Francesco I. The present work shares compositional and stylistic similarities with a group of portraits attributed to Maso by Peter Cannon Brookes in 1966 and dated between the mid-1550s and 1570.1 The gentleman portrayed here apparently wished to emphasize his wealth as well as his intellect. Maso depicted gloves in the sitter’s right hand, a gold ring on his left pinky finger, a richly embroidered carpet on the table, and an inkwell sitting atop a book, all of which indicate worldly status.


1. See P.C. Brookes, "The Portraits of Maso da San Friano," in Burlington Magazine vol. 108 no. 764, pp. 560-568, especially figs. 24, 25, 34.