View full screen - View 1 of Lot 28. Portrait of a man, seated, with his dog |《坐著的男子與一隻小狗》.
28

Michele Tosini, called Michele di Ridolfo del Ghirlandaio

Portrait of a man, seated, with his dog |《坐著的男子與一隻小狗》

VAT reduced rate

Estimate:

400,000 - 600,000 GBP

Michele Tosini, called Michele di Ridolfo del Ghirlandaio

Michele Tosini, called Michele di Ridolfo del Ghirlandaio

Portrait of a man, seated, with his dog |《坐著的男子與一隻小狗》

Portrait of a man, seated, with his dog |《坐著的男子與一隻小狗》

Estimate:

400,000 - 600,000 GBP

Michele Tosini, called Michele di Ridolfo del Ghirlandaio

Florence 1503 - 1577

Portrait of a man, seated, with his dog 


oil on poplar panel

116 x 86 cm.; 45⅝ x 33⅞ in.


米謝爾・托斯尼 - 或稱米謝爾・迪・里鐸夫・德・吉爾蘭達奧

佛羅倫斯,1503 - 1577年

《坐著的男子與一隻小狗》


油彩楊木畫板

116 x 86 公分;45⅝ x 33⅞ 英寸

The following condition report is provided by Henry Gentle who is an external specialist and not an employee of Sotheby's:


Michele Tosini

A man and his dog

Oil on panel, in an ornate gilt and blue painted frame with some chips.


The soft wood panel is in a good preserved state.

There are horizontal tapering battens retained to the reverse and evidence of old wood worm infestation.


Two vertical joins can be detected; one through the background , the sitter's proper right shoulder and down through his right fingers and in to his thigh, the other through the sitter's left arm and into his proper left thigh.

These joins are stable and there is minimal repaired paint loss along them.


The paint layer is well preserved; under U-V light minor scattered re-touchings can be seen to the pale stockinged thighs, to reduce dark cracks and minor blemishes; likewise through the forehead and the nose of the sitter.

The sitter's hair has had some recent augmentation.


The naturally sketchy background is in good original condition and the vigorous brushwork here, through the tunic and the dog's fur, is apparent.


Removal of the remains of a discoloured layer through the darker passages of the tunic would improve the tonality and the modelling.


Impasted paint to the collar, cuffs, buttons and sword hilt are intact.


The painting presents well and is in a good overall condition.


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.

With Wengraf, Vienna, by 1937 (as by Francesco Salviati);

Anonymous sale (‘The Property of a Gentleman’), London, Phillips, 15 December 1998, lot 63 (as Studio of Francesco Salviati);

There acquired by the present owner.

P. Costamagna, ‘De l’idéal de beauté aux problèmes d’attribution. Vingt ans de recherche sur le portrait florentin au XVIème siècle’, in Studiolo, 1, 2002, pp. 211-212, fig. 26;

P. Costamagna, in Leonardo Da Vinci, Michelangelo, and the Renaissance in Florence, Ottawa 2005, (D. Franklin ed.), pp. 318-9, no. 116;

G. Brouhot, in Florence. Portraits à la cour des Médicis, exh. cat. Paris 2015, (C. Falciani ed.), pp. 140-141, no. 26.

Ottawa, Museum of Fine Arts of Canada, Léonard de Vinci, Michel-Ange et la Renaissance à Florence, 29 May – 5 September 2005, no. 116 (here and henceforth as Tosini);

Paris, Musée Jacquemart-André, Florence. Portraits à la cour des Médicis, 11 September 2015 - 25 January 2016, no. 26.