View full screen - View 1 of Lot 59. MICHELE TOSINI, CALLED MICHELE DI RIDOLFO DEL GHIRLANDAIO  |  THE HOLY FAMILY WITH THE YOUNG SAINT JOHN THE BAPTIST.
59

MICHELE TOSINI, CALLED MICHELE DI RIDOLFO DEL GHIRLANDAIO | THE HOLY FAMILY WITH THE YOUNG SAINT JOHN THE BAPTIST

Estimate:

60,000

to
- 80,000 GBP

Property from Galerie Sarti, Paris

MICHELE TOSINI, CALLED MICHELE DI RIDOLFO DEL GHIRLANDAIO | THE HOLY FAMILY WITH THE YOUNG SAINT JOHN THE BAPTIST

MICHELE TOSINI, CALLED MICHELE DI RIDOLFO DEL GHIRLANDAIO | THE HOLY FAMILY WITH THE YOUNG SAINT JOHN THE BAPTIST

Estimate:

60,000

to
- 80,000 GBP

Property from Galerie Sarti, Paris

MICHELE TOSINI, CALLED MICHELE DI RIDOLFO DEL GHIRLANDAIO

Florence 1503 - 1577

THE HOLY FAMILY WITH THE YOUNG SAINT JOHN THE BAPTIST


oil on panel

unframed: 86 x 64.5 cm.; 33⅞ x 25⅜ in.

framed: 102.3 x 82 cm.; 40¼ x 32¼ in.


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The flat panel is consolidated along the panel join on the reverse by an old inset strip. The paint surface appears to the naked eye to be in good condition under a slightly discoloured varnish. Inspection under UV light reveals some restoration along the vertical panel join as well as a more concentrated area in the darker tones of the Madonna’s red robes and the darker areas in Joseph’s robes The Madonna’s veil has also been restored. Very small, localised cosmetic strengthenings are found almost throughout. In a carved wooden frame with a small loss to the reverse.


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. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color 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. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

A. Nesi, 'Bartolomeo Traballesi sacro e profano', in Nuovi Studi, 2008, 14, pp. 101 and 105 n. 27, reproduced pl. 124.

"I love the delicate play of hands, so typically mannerist, between Mother and Child. It reminds us of the loving bond between the two figures, but also provides an important horizontal axis for the design which intersects with the sharp diagonal which runs through the Virgin's veil down to the Baptist."


Edoardo Roberti


Tosini's depiction of the Holy Family is typical of Florentine painting around 1560. The figure of the Virgin mirrors that found in the artist's Nativity in Passignano Abbey (fig. 1), which also dates from this period. We find the same depiction of the hair of the Christ Child, the thick curls shining with highlights, and in the angels kneeling either side of the Virgin, the swollen upper eyelids, so typical of Tosini, and the haloes edged with a very thin gold filament. The physiognomy of the Virgin, with her straight-nosed profile, her small well-drawn full mouth and her curved eyebrows, find echoes in the allegory of The Night in the Galleria Colonna but also in the Leda from the Galleria Borghese in Rome. The artist's characteristic mannerist idiosyncracies can be seen throughout the work: in the mother's affected gesture, with her unnaturally long hands and her elbows held away from her sides; in the contrapposto pose of the Infant; and in the way the figures betray no emotion on their faces, while avoiding each other's gazes.