ANTONIO DEL CERAIOLO | The Madonna and Child with the infant Saint John the Baptist

In the possession of the family of the current owner since the late 19th century.

The panel is uncradled, bowed, and has one horizontal baton and two blocks affixed to the reverse. The paint surface is clean, the varnish is clear and even, and the pigments appear very bright and fresh. There are small losses and associated visible retouchings along two restored vertical cracks, the largest starting at the centre of the upper margin and approx. 26 cm. long, the second starting along the centre of the lower margin and approx. 5 cm. long (probably the cause for the baton and blocks on the reverse). There are a handful of discoloured pin prick retouchings scattered in the Baptist's red cloak and the Madonna's nose. Inspection under ultraviolet light reveals these, as well as a few further spots, one in the Madonna's chest, and in the lower right corner, but the paintings appears in overall excellent condition. Offered in a gesso gilt frame.
"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."

The artist responsible for this well-preserved Renaissance panel was a pupil of Lorenzo di Credi for many years and later studied under Ridolfo Ghirlandaio. After he left Ridolfo's workshop, Antonio del Ceraiolo built up his own, somewhat conservative practice, painting a number of altarpieces, two of which are mentioned by Giorgio Vasari in his biography of Ridolfo.¹ A similar painting to the present work, differing in the placement of the Christ Child and Saint John, as well as in the details of the landscape, is in the Cincinnati Art Museum (inv. no. 1954.138). Two other versions have been sold in these Rooms, one 7 December 2017, lot 109, and the other, less ornate and with the Christ Child shown clothed, 22 May 1968, lot 97. Affixed to the reverse of the panel is an 18th-century label (fig. 1) on which Ignazio Hugford, Pietro Botti, Pietro Marchesini and Francesco Bartolozzi, Florentine artists and members of the Accademia di San Luca, claim the present work to have been executed by Raphael.

1 G. Vasari, Lives of the Painters, Sculptors and Architects, trans. Gaston du C. de Vere, New York 1996, vol. II, p. 483.