托馬索·迪·克雷蒂 - 或稱托馬索

Pavel Pavlovich Demidoff (1839-1885), 2nd Prince of San Donato (as by Verrocchio, according to the inscription on the reverse;
With D'Atri, Paris, by 1949 (according to the Zeri Photo Archive).

The following condition report has been provided by Karen Thomas of Thomas Art Conservation LLC., 336 West 37th Street, Suite 830, New York, NY 10018, 212-564-4024, info@thomasartconservation.com, an independent restorer who is not an employee of Sotheby's. This painting is in good condition overall. The landscape and garments are in very good condition overall, and the central figure of the Madonna is likewise well preserved. Some wear following the horizontal brushstrokes of the thickly-applied ground layer is visible in the shadows of the Madonna's face but does not strongly affect the appearance. Retouching applied to knit together rubbing in the angels' faces and hands is difficult to discern even under strong ultraviolet (UV) illumination. Strengthening has been applied to the child's back and the hand that cradles the child. Narrow bands of restoration, clearly recognizable under UV, are found along the panel joins located between the left angel and Mary and to the right of Mary's head. The varnish is clear and evenly glossy. The thick wood panel is comprised of five vertically grained boards, and has three newer crossbattens inserted into what appear to be the original channels cut into the reverse. The picture displays a mild lateral convex warp. This picture has no need of conservation treatment and may be displayed in its current state
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

This tondo is a characteristic work by Tommaso di Credi, also known as the Master of the Santo Spirito Sacra Conversazione, after an altarpiece in the church of Santo Spirito in Florence, depicting the Madonna and Child enthroned.¹ Tommaso, who specialised in scenes such as the present one destined for a domestic setting, was a close follower of Lorenzo di Credi and in all likelihood trained in his workshop. Lorenzo’s influence is visible throughout the composition, from the expansive landscape and arrangement of figures, to the pose of the Madonna and the physiognomy of the child. The numerous pentiments, however, particularly in the Virgin's hands, attest to the independent spirit of the artist. A similar design, with the landscape receding either wide of the central vertical axis formed by the Madonna and Child with the tree behind them, can be found in another tondo sold New York, Christie's, 29 January 2014, lot 133, for $581,000.

Prince Demidoff was a great collector of Russian origin who became Florentine by adoption, his grandfather Nicholas having been posted as Russian ambassador to Tuscany in 1819. The celebrated and varied family collection is now divided between the most important museums in the world, among them the Wallace Collection, London, and the Hermitage, Saint Petersburg.

1. G. Dalli Regoli, Lorenzo di Credi, Pisa 1966, p. 190, cat. no. 225, reproduced fig. 259.