Michele Tosini, detto anche Michele di Ridolfo del Ghirlandaio (1503 - 1577) , ambito di Ritratto di nobildonna Olio su carta applicata su tavola 44,5 x 33,5 cm Elementi distintivi: due sigilli in ceralacca al verso con stemmi Medici - Toledo; una etichetta recente al verso con riferimento a "ritratto di Eleonora di Toledo", Bronzino Stato di conservazione. Supporto: 70% (consunzione, tarli, fessurazioni) Stato di conservazione. Superficie: 70% (cadute di colore, ritocchi, soprattutto lungo le fessurazioni del legno, trasposte nella carta) Come ci segnala Carlo Falciani (comunicazione del 2 aprile 2023), il dipinto appartiene alla ritrattistica borghese abbastanza diffusa a Firenze nella metà del Cinquecento. Lo stile appare legato alla grande bottega di Michele Tosini, meglio noto come Michele di Ridolfo del Ghirlandaio, il che suggerisce che l'opera sia nata nel suo ambito. Il soggetto - pur presentando alcune similitudini con l'immagine tarda di Eleonora da Toledo ( 1522-1562), dipinta da Allori verso il 1560, in cui la duchessa di Toscana ha ormai il volto smagrito per l'età - va ricercato in una committenza meno prestigiosa, non necessariamente legata ai signori di Firenze, rimanendo forse spiegabile la presenza dei sigilli ducali con il riuso successivo, per controfondare la carta, di una contemporanea tavola toscana. Ringraziamo il Prof. Carlo Falciani per il supporto nella catalogazione dell'opera.
Michele Tosini, detto anche Michele di Ridolfo del Ghirlandaio (1503 - 1577) , ambito di Ritratto di nobildonna Olio su carta applicata su tavola 44,5 x 33,5 cm Elementi distintivi: due sigilli in ceralacca al verso con stemmi Medici - Toledo; una etichetta recente al verso con riferimento a "ritratto di Eleonora di Toledo", Bronzino Stato di conservazione. Supporto: 70% (consunzione, tarli, fessurazioni) Stato di conservazione. Superficie: 70% (cadute di colore, ritocchi, soprattutto lungo le fessurazioni del legno, trasposte nella carta) Come ci segnala Carlo Falciani (comunicazione del 2 aprile 2023), il dipinto appartiene alla ritrattistica borghese abbastanza diffusa a Firenze nella metà del Cinquecento. Lo stile appare legato alla grande bottega di Michele Tosini, meglio noto come Michele di Ridolfo del Ghirlandaio, il che suggerisce che l'opera sia nata nel suo ambito. Il soggetto - pur presentando alcune similitudini con l'immagine tarda di Eleonora da Toledo ( 1522-1562), dipinta da Allori verso il 1560, in cui la duchessa di Toscana ha ormai il volto smagrito per l'età - va ricercato in una committenza meno prestigiosa, non necessariamente legata ai signori di Firenze, rimanendo forse spiegabile la presenza dei sigilli ducali con il riuso successivo, per controfondare la carta, di una contemporanea tavola toscana. Ringraziamo il Prof. Carlo Falciani per il supporto nella catalogazione dell'opera.
Michele Tosini di Ridolfo Ghirlandaio (1503-1577), La mort de Cléopâtre, huile sur panneau, 44x32,5 cmNote: Cachets anciens au verso: Douane Toscane autour du XVIIIe s. cachet inconnu
MADONNA MIT JESUSKIND UND JOHANNESKNABEN Öl auf Holz. Verso eine vertiefte Querleiste. 69 x 53,5 cm. In teilvergoldetem Prunkrahmen. Vor weiter grau-blauer Flußlandschaft und Gebirgszügen das Dreiviertelbildnis der Madonna in rot-blauem Gewand, in ihrem Schoß den nackten Jesusknaben haltend, der den neben ihm stehenden Johannesknaben umarmt. Dieser trägt als Attribut ein Fellgewand und darüber einen rötlichen Umhang. Beide haben ihr Gesicht Maria zugewandt, die ihren Blick erwidert. Malerei in der typischen Manier des 16. Jahrhunderts. Anmerkung: Michele Tosini, genannt „Michele di Ridolfo del Ghirlandaio“, war Schüler von Lorenzo di Credi (1459-1537), und arbeitete 1525 mit Ridolfo Ghirlandaio (1483- 1561) zusammen, wodurch er seinen Zunamen erhielt. Nach 1556 war er Assistenz von Giorgio Vasari (1511- 1574), mit dem er im Palazzo Vecchio in Florenz wirkte. (1350426) (18)
(Florence 1503–1577) Portrait of a young man, half-length, holding gloves and a sword, oil on panel, 98.5 x 64.5 cm, framed Provenance: Private collection, Virginia, circa 1960; art market, USA; where acquired by the present owner We are grateful to Heidi Hornik for confirming the attribution after examining the present painting in the original and for her help in cataloguing this lot. Michele Tosini, also known as Michele di Ridolfo del Ghirlandaio, was the head of the Ghirlandaio workshop in Florence from 1560–1577 (see H. J. Hornik, Michele Tosini and the Ghirlandaio Workshop in Cinquecento Florence, Eastbourne/Portland 2009). Giorgio Vasari, his good friend and Mannerist colleague, names him ‘Michele di Ridolfo’ in the second, 1568-edition of the Vite to confirm Michele’s association with the successful Ghirlandaio workshop. Vasari states that Michele produced art ‘with spirit and without effort’ and both of these characteristics are evident in this portrait and reflect the mature style of the master. The present portrait is an elegant example of Florentine painting from the late 1560s by Michele Tosini while he was the capo of the Ghirlandaio workshop. The attribution of Tosini portraits from this period are often confused with Francesco Salviati (1510–1563), who significantly influenced Michele (see Portrait of a Florentine Nobleman, Saint Louis Art Museum, inv. no. 415:1943). Another portrait of a nobleman by Tosini, conserved in the North Carolina Museum of Art (inv. no. G.55.10.1, see fig. 1) proves an authoritative and viable comparison in connoisseurship. The Ghirlandaio workshop was known for its reliability, productive nature and talented painters, first under Domenico (1448–1494) and then his son Ridolfo (1483–1561). Michele Tosini was the adopted son of Ridolfo del Ghirlandaio and continued the workshop production after Ridolfo’s death in 1561. Michele is influenced by Andrea del Sarto (1486–1530) and Franceso Salviati in the 1530s and 1540s, respectively, in Florence. Prior to entering the Ghirlandaio workshop, Michele was in the High Renaissance workshop of Lorenzo di Credi (1459–1537). Michele steadily brings the new ‘Mannerist’ style into the Ghirlandaio workshop while still working under Ridolfo’s tutelage in the 1540s and 1550s (see Madonnna and Child with Saint John the Baptist, Saints and Bishop Buonafede, Museo di San Salvi, Florence). Ridolfo’s conservative High Renaissance style gives way to La Maniera, or Mannerism (Late Renaissance), through the innovation of Michele Tosini. Michele’s son, Baccio (1534–1582), continued this innovation and adaptation of the contemporary style, as well as the fine reputation of the Ghirlandaio workshop after Michele’s death in 1577 (see H. J. Hornik, The Testament of Michele Tosini, in: Paragone, vol. 46, no. 543–545, 1995, pp. 156–67). In past scholarship, Tosini’s mature work (1560–1577) has been commended for its ability to imitate the styles of Vasari and Michelangelo instead of being recognised as progressive. Tosini is well documented as a well-connected businessman and excellent organiser. Heidi Hornik’s recent archival studies have documented that Tosini was a leading force in major Florentine projects and commissions (private and public), confraternity activities, as well as (previously known) in the formation and early leadership of the Accademia del Disegno. Tosini and the Ghirlandaio workshop painted the ceiling of the Sala Grande in the Palazzo Ducale between 1563–1565 for Duke Cosimo I de’ Medici, participated in the funeral decorations for Michelangelo in 1564, and prepared apparati for the marriage of Francesco I de’ Medici and Giovanna of Austria in 1565 (for specific information on the role Tosini and the Ghirlandaio workshop played in these public and private projects, see H. J. Hornik, Michele Tosini and the Ghirlandaio Workshop, pp. 34–53). The Ghirlandaio workshop also received commissions from the Vallombrosan Benedictines both in Florence at Santa Trinità and in the Badia di Passignano. Recently discovered documents also prove that Michele Tosini held official leadership positions in three of the major confraternities of sixteenth-century Florence – the Compagnia di Santa Maria della Croce al Tempio (Neri), Santa Maria del Croce (Tempio), and Gesù Pellegrino (see H. J. Hornik, Michele Tosini and the Ghirlandaio Workshop, pp. 19–53). The present portrait was painted during this mid-century period when Michele Tosini was at his most influential, most sought after for commissions, and was meeting regularly with members of the major families of the city such as the Strozzi and the Medici, as well as the powerful religious orders, for instance the Vallombrosans and Dominicans. The green background is quite typical of the period and compliments the strong ginger coloring of the sitter’s beard and hair. The three-quarter view of the head allows the brown eyes to directly engage the viewer. The positioning of the eyes and the delicacy with which they are painted further reveal Tosini’s ability in disegno. The sitter, perhaps in his thirties, wears a black, rounded cap with his right ear visible. His red hair is slightly disheveled beneath the cap and continues down the face connecting with the beard and moustache. Tosini uses chiaroscuro to model the left side of the sitter’s face. The white lace of the neckline is highlighted and frames the head delicately while moving the viewer’s eye to the black garments. The sitter wears two layers of textured, black garments. The external cloak or mantle is a thick heavy cloth that covers the shoulders and arms draping the figure entirely with left edge crossing over the left shoulder much like a toga. The mantle, although visibly substantial, flows well and the shape of the shoulders and elbows can be understood beneath its luxurious folds while revealing the sleeves of his internal layer of clothing. The cloak has a stitched edging that clearly outlines the garment and gives it an elegant, Mannerist line. That edging can be traced around the right and left necklines, over the left shoulder, down the center of the composition across the sitter’s middle section (revealing the textured internal garment) and back across the left shoulder and down the sitter’s left side. Sections of the cloak seem to also have a silk lining that further adds to the luxury and status of this sitter. The internal garment is best seen in situ and photographs are insufficient to observe the textured squares of silk around the neck, under the external cloak in the center of the canvas, and on the left sleeve. Although the sitter’s right arm is mostly covered by the cloak, much of the textured silk undergarment of his left sleeve is revealed beneath the draped exterior cloak. The left elbow is outlined by the cloak, but the sleeve of left arm and wrist are twisted in a Mannerist pose. There is a sword held by the left, affected hand in an artificial manner. The white lace is visible outlining the edge of the sleeves at the wrists of both arms. Golden gloves, echoing the same color as the handle of the sword are beautifully rendered in the nobleman’s right hand. Although there was damage in the lower right corner of the picture, it does not deter from the affected hand position that is very much characteristic of La maniera. The hands, like the face, show the aptitude of Tosini in drawing, modulation, and the application of paint. His techniques and skills are quite evident in this painting. The Portrait of a Florentine Nobleman in the North Carolina Museum of Art, along with several other securely attributed Tosini portraits, offers an informative comparison (see also sale, Sotheby’s, London, 7 July 2021, lot 28, as Michele Tosini, Portrait of a man, seated, with his dog). Michele Tosini had established a distinguished facial type found in multiple figures in the dated (1561) and documented Strozzi Chapel fresco cycle outside of Florence in Paolini, San Casciano (see H. J. Hornik, The Strozzi Chapel by Michele Tosini: A Visual Interpretation of Redemptive Epiphany, in: Artibus et Historiae, vol. 46, 2002, pp. 97–118). Although the North Carolina portrait is on panel, both paintings utilise the same green background, three-quarter profile view of the head with a direct glance at the viewer, length of the sitter in the composition, and several textured layers of stylish black drapery indicative of the fashion of the day. The present portrait is an important addition to the oeuvre of Michele Tosini, called Michele di Ridolfo del Ghirlandaio, who lived well and worked successfully in Late Renaissance Florence. The portrait, dated to 1565–1570, can be placed in the most productive and mature phase of Tosini’s career as he led the prestigious Ghirlandaio workshop through the style of the day – La Maniera.
MICHELE TOSINI, CALLED MICHELE DI RIDOLFO DEL GHIRLANDAIO (BADIA DI PASSIGNANO The Madonna and Child with the infant Saint John the Baptist oil on panel 32 x 26 in. (82.5 x 66 cm.)
MICHELE TOSINI, CALLED MICHELE DI RIDOLFO DEL GHIRLANDAIO (BADIA DI PASSIGNANO 1503-1577 FLORENCE) An Allegory of Fortitude oil on panel 28 5/8 x 21 5/8 in. (72.7 x 55 cm.)
Michele Tosini detto MICHELE RIDOLFO GHIRLANDAIO Tuscany 1503 - 1577 Florenz Madonna and child and St. John the Baptist Oil on wooden panel 92.5 x 68 cm (with frame 114.5 x 89 cm) Provenance: Private collection Geneva, Switzerland Michele Tosini was born in Badia di Passignano in Tuscany in 1503. After initial studies with the renowned painters Lorenzo di Credi and Antonio del Ceraiolo, the artist entered the famous workshop of the master Ridolfo Ghirlandaio. His skill and diligence, marked by great talent, Ghirlandaio later allowed him to take his name. He was not only a highly talented painter, but also ambitious. Thus Michele Tosini became a successful portraitist whose works were often mistaken for Bronzino's. Religious motifs and allegorical scenes were also part of his repertoire. In 1563 he assisted Giorgio Vasari in founding the Accademia del Disegno. Subsequently, the two brush virtuosos collaborated on the decoration of the Salone dei Cinquecento in Palazzo Vecchio. Not only influenced by Vasari, Michele Tosini was also inspired by elements of Michelangelo's art. In later years of his work, Tosini received several commissions to paint Florentine city gates. The artistic commission for the altar in the chapel of Villa Caserotta near San Casciano and for paintings on the tabernacle of the high altar of Santa Maria della Quercia in Viterbo also fell to Michele Tosini. After Ridolfo Ghirlandaio's definitive departure from the workshop, Tosini took it over and henceforth bore the master's name. At that time, this studio was one of the largest and most prestigious in the Medici city of Florence. The theme of the Holy Family or Mary with the two boys, like portrait painting, is one of the most important themes in the work of the painter Michele Tosini. In ever-changing variations, the artist has depicted this scenery for well-heeled clients in incomparable mania. The colors are fresh and fragrant. Mary sits in front of a landscape and the two little boys Christ and John are intimately turned to each other, while Mary reads a book. A guardian angel watches the tranquil scene over Mary's right shoulder. This is a magnificent, representative painting from the late Florentine Renaissance.
(Firenze 1503 - 1577) (attr.) Madonna with the sleeping Child and the infant Saint John Oil on panel, 88x66 cm. Framed (defects and restorations) La composizione riprende una fortunata invenzione della bottega di Michele Tosini, molto replicata e nota attraverso molteplici versioni che presentano anche significative varianti. Il prototipo di Michele Tosini viene identificato con la Sacra Famiglia e San Giovannino, conservato al Museo dell'Hermitage di San Pietroburgo (inv.1531); un'altra celebre versione, oggi agli Uffizi, è assegnata alla mano di Francesco Brina (inv. 1890), allievo di Michele di Ridolfo del Ghirlandaio. Come in altre repliche, quella qui presentata, recupera le figure della Vergine e del Bambino ma si differenzia rispetto agli esemplari appena citati per l'assenza di San Giuseppe, che lascia spazio al paesaggio, e per la diversa posizione di San Giovannino che non è posto in alto a destra dietro la Vergine, ma la affianca sul lato sinistro della composizione. Expertise Enos Malagutti; Aldo Bertini, 24.3.1963 (come Francesco Brina) IT (attr.) Madonna con Bambino dormiente e San Giovannino Olio su tavola, cm 88x66 In cornice (difetti e restauri) La composizione riprende una fortunata invenzione della bottega di Michele Tosini, molto replicata e nota attraverso molteplici versioni che presentano anche significative varianti. Il prototipo di Michele Tosini viene identificato con la Sacra Famiglia e San Giovannino, conservato al Museo dell'Hermitage di San Pietroburgo (inv.1531); un'altra celebre versione, oggi agli Uffizi, è assegnata alla mano di Francesco Brina (inv. 1890), allievo di Michele di Ridolfo del Ghirlandaio. Come in altre repliche, quella qui presentata, recupera le figure della Vergine e del Bambino ma si differenzia rispetto agli esemplari appena citati per l'assenza di San Giuseppe, che lascia spazio al paesaggio, e per la diversa posizione di San Giovannino che non è posto in alto a destra dietro la Vergine, ma la affianca sul lato sinistro della composizione. Expertise Enos Malagutti; Aldo Bertini, 24.3.1963 (come Francesco Brina)
MICHELE TOSINI, CALLED MICHELE DI RIDOLFO DEL GHIRLANDAIO (BADIA DI PASSIGNANO The Madonna and Child with the infant Saint John the Baptist oil on panel 32 x 26 in. (82.5 x 66 cm.)
MICHELE TOSINI MICHELE DI RIDOLFO DEL GHIRLANDAIO Badia di Passignano/Tuscany 1503 - 1577 Florence Madonna and child and St. John the Baptist Oil on wood 92.5 cm x 68 cm, (114.5 cm x 89 cm with frame) Provenance: Private collection Geneva, Switzerland Michele Tosini Badia di Passignano 1503 - 1577 Florenz Maria mit dem Kind und dem Johannesknaben Öl auf Holz 92,5 x 68 cm (114,5 x 89 cm mit Rahmen) Michele Tosini wurde 1503 in Badia di Passignano in der Toskana geboren. Nach anfänglichen Studien bei den renommierten Malern Lorenzo di Credi und Antonio del Ceraiolo trat der Künstler in die berühmte Werkstatt des Meisters Ridolfo Ghirlandaio ein. Durch sein, von großem Talent geprägtem Können und seinen Fleiß erlaubte Ghirlandaio ihm später seinen Namen anzunehmen. Er war nicht nur von Gott mit der Gnade des Talents gesegnet, sondern auch ehrgeizig und strebsam. So wurde er ein erfolgreicher Portraitist dessen Werke immer wieder mit denen Bronzinos verwechselt wurden. Er malte auch religiöse Motive und allegorische Szenen. Im Jahr 1563 assistierte er Giorgio Vasari bei der Gründung der Accademia del Disegno. In Folge arbeiteten diese beiden begnadeten Künstler bei der Dekoration des Salone dei Cinquecento im Palazzo Vecchio zusammen. Nicht nur von Vasari beeinflusst, inspirierten Michele Tosini auch Elemente der Kunst Michelangelos. In späteren Jahren seines Schaffens erhielt Tosini mehrere Aufträge für die Bemalung von Florentiner Stadttoren. Auch bei der künstlerischen Vergabe für den Altar in der Kapelle der Villa Caserotta bei San Casciano und für Gemälde am Tabernakel des Hochaltars von Santa Maria della Quercia in Viterbo fiel die Wahl der Auftraggeber auf Michele Tosini. Nach dem endgültigen Ausscheiden Ridolfo Ghirlandaios aus der Werkstatt übernahm Tosini diese und trug fortan den Namen des Meisters. Zu dieser Zeit war dieses Atelier eines der größten und renommiertesten in der Medici Stadt Florenz. Das Thema der Hl. Familie oder der Maria mit den beiden Knaben, ist so wie die Portraitmalerei, zu den bedeutendsten Themen im Schaffen des Malers Michele Tosini zu zählen. In immer wieder wechselnden Variationen hat der Künstler für betuchte Auftraggeber diese Szenerie in unvergleichbarer Manier dargestellt. Die Farben sind frisch und duftig. Maria sitzt vor einer Landschaft und die beiden kleinen Knaben Christus und Johannes sind einander inniglich zugewandt während Maria ein Buch liest. Ein Schutzengel beobachtet die beschauliche Szenerie über die rechte Schulter Marias. Dies ist ein großartiges, repräsentatives Gemälde aus der Spätzeit der Florentiner Renaissance.
MICHELE TOSINI, CALLED MICHELE DI RIDOLFO DEL GHIRLANDAIO (BADIA DI PASSIGNANO 1503-1577 FLORENCE) Saint Francis, in a trompe-l'oeil niche oil on panel, shaped top 391⁄2 x 197⁄8 in. (100.4 x 50.5 cm.)
Michele Tosini (Florence 1503-1577) Portrait of a young man, bust-length, in black costume with a white collar oil on panel43.5 x 35.1cm (17 1/8 x 13 13/16in). Provenance: Sale, Christie's, New York, 27 January 2010, lot 273Sale, Sotheby's, London, 14 April 2011, lot 34Dr. Carlo Falciani has confirmed the attribution to Michele Tosini upon examination of the original.
CertificateProf. Federico Zeri, 19.11.1990The pose of Venus is reminiscent of Michelangelo's recumbent female allegory of night on the sarcophagus of Giuliano de' Medici in San Lorenzo in Florence. Symbolic depictions, such as allegories of love, were highly popular motifs in Italy at this time. The Renaissance saw the creation of many variations or copies of such allegories, often incorporated into cycles illustrating the love poetry of Dante, Petrarch or Boccaccio. Michelangelo's nudes were hugely inspirational for many Florentine artists, including Vasari, Bronzino, Tosini and del Brina, and they made numerous copies of his works. Prof. Federico Zeri attributed the present work to Tosini upon first-hand examination. The work possesses certain satirical, caricaturesque qualities, evident in the strange mask held aloft by the putto and the lurid colours. A further version of this image is housed in the Galleria Colonna in Rome. It differs from the present work in that Cupid there does not hold the mask before his face, which here perhaps represents deception and disappointment in love. The work's atmosphere is one of surreal and grotesque allure.
TOSINI Michele (suiveur de), école ITALIENNE du XVIème siècle [IT]. Vierge à l'Enfant avec le petit saint Jean Baptiste, huile sur panneau parqueté (66 x 51 cm).
Tosini, gen. Michele di Ridolfo del Ghirlandaio, Michele 1503 Florenz - 1577 ebenda, Nachfolge Maria mit dem Kind und dem Johannesknaben Öl auf Holz. 57 x 42,5 cm. Parkettiert. Min. besch. Rest. Rahmen min. besch. Vgl. zur vorliegenden Komposition zwei Gemälde Michele Tosinis, die im englischen Auktionshandel angeboten wurden (Christie's London, 14. Juli 1997, Kat.-Nr. 356; Christie's London, 10. Juli 2015, Kat.-Nr. 143).
HEILIGE FAMILIE MIT ELISABETH UND DEM KNABEN JOHANNES Öl auf Pappelholz. 64 x 47 cm. Dieses beachtenswerte Gemälde auf Holz, das mit Sicherheit für eine bedeutende florentinische Familie zur häuslichen Andacht geschaffen wurde, weist viele Stilmerkmale von Michele Tosini, genannt di Ridolfo del Ghirlandaio, auf. Tosini lernte zuerst bei Lorenzo di Credi und wurde dann Schüler und Anhänger von Ridolfo, dem Sohn von Domenico Ghirlandaio, mit dem er zwischen 1525 und 1545 an verschiedenen Altären arbeitete. In den mittleren Dekaden des 16. Jahrhunderts gehörte Tosini zu den gefragtesten Malern der florentinischen Kunstszene. Er gehörte zu jenen moderaten Malern, die sich mit Hochachtung an den großen Vorläufern ihrer Zunft orientierten, natürlich in primis an Michelangelo, jedoch vorsichtig auch die Einflüsse des blühenden Manierismus, zum Beispiel von Bronzino, Salvati und Vasari, aufnahmen. Das vorliegende Werk beweist eine meisterliche Maltechnik. Die fünf Figuren werden sicher und flüssig dargestellt und auch die Bildaufteilung ist klar und ausgewogen und wird belebt durch die eingefügte greise Figur der Elisabeth. Die Gestik und der Ausdruck der Figuren ist nüchtern, was ganz typisch für die Werke von Tosini ist, vor allem für seine klein- bis mittelformatigen Werke religiösen Inhalts. Zieht man nun einige Werke aus obengenannter Kategorie zum Vergleich hinzu, so stößt man auf eindeutige Ähnlichkeiten zum Beispiel mit den beiden Versionen der „Heiligen Familie mit dem jungen Johannes“ im Museo Brandi in Fiesole und in der Hermitage in Sankt Petersburg, aber auch mit der „Madonna mit Kind und Johannesknaben“ aus der Sammlung des Earl of Haddington, die am 8. Juli 1987 bei Sotheby's versteigert wurde. (1031157) (11) Michele Tosini, called “Michele di Ridolfo del Ghirlandaio” 1503 Florence - 1577, attributed HOLY FAMILY WITH SAINT ELIZABETH AND THE INFANT SAINT JOHN THE BAPTIST Oil on poplar panel. 64 x 47 cm.
Michele Tosini, called Michele de Ridolfo del Ghirlandaio (Florence 1503-1577) The Madonna and Child with the Infant Saint John the Baptist oil on poplar panel 28 ½ x 22 ¼ in. (72.4 x 56.5 cm.)
Artwork by - Workshop of Ridolfo Ghirlandaio (Florence 1483-1561), under the direction of Michele Tosini, called Michele di Ridolfo del Ghirlandaio (Florence 1503-1577)
Michele Tosini, 1503 - 1577, zug. MADONNA MIT KIRSCHEN, DEM JESUSKIND UND DEM JOHANNESKNABEN Öl auf Pappelholz. 85 x 71 cm. Verso altes, rotes Lacksiegel. Die dreifigurige Gruppe mit betont hell aufleuchtendem Inkarnat vor grünem Laubhintergrund. Maria im Zentrum in rotem Kleid mit blauem Mantel sitzend wiedergegeben, die Körperhaltung bereits manieristisch leicht gedreht, der Oberkörper nach rechts, der Kopf nach links gerichtet, der Hals betont leicht überlängt wiedergegeben. Auf dem linken Oberschenkel sitzt das Jesuskind, das nach den Kirschen greift, die die Mutter in der rechten Hand an die Brust geführt hat, der Blick gilt dem Betrachter. Am linken Bildrand erscheint der Johannesknabe mit Kreuzstab, mit geflecktem Fellumhang. Dahinter in der oberen Bildecke Durchblick zwischen Baumlaub auf eine Häusergruppe über Felsgestein. Die Gesichtszüge der Maria in äußerster Anmut wiedergegeben, der Blick nachdenklich nach unten gerichtet, einzig das Jesuskind nimmt Blickkontakt zum Betrachter auf. Die Nimben als feine, durchscheinende Scheiben wiedergegeben, deren Kante in Gold aufgesetzt sind. Die Haltung der Figuren zeigen bereits betonten Manierismus, die Großzügigkeit der figürlichen Liniatur steht im Kontrast mit der Feinmalerei des Blattwerks im Hintergrund. Auch die Rotfarbe sowie das ins Violett ziehende Leuchten des blauen Mantels zeigen eindeutig manieristische Züge. (890871) Michele Tosini, 1503 - 1577, attributed to Madonna with Cherries, Child Jesus, and a Young John the Baptist Oil on poplar. 85 x 71 cm. On the back is a red lacquer seal. The group is enhanced by light flesh tones in front of a background of green foliage.
PROPERTY FROM A PRIVATE COLLECTION FLORENCE 1503 - 1577 THE HOLY FAMILY WITH THE INFANT SAINT JOHN THE BAPTIST oil on panel 101.6 by 77.5 cm.; 40 by 30 1/2 in.
MICHELE TOSINI, CALLED MICHELE DI RIDOLFO DEL GHIRLANDAIO FLORENCE 1503 - 1577 MADONNA AND CHILD WITH SAINT JOHN THE BAPTIST oil on panel 33 by 25 5/8 in.; 83.8 by 65 cm.
Michele Tosini, detto Michele di Ridolfo del Ghirlandaio (Florenz 1503 - 1577) Verkündigung Mariens/L' Annunciazione, Öl auf Holz, 94 x 68 cm, gerahmt, (Wo)
Michele Tosini, called Michele di Ridolfo del Ghirlandaio Florence 1503-1577 Portrait of a lady, half-length, in a green silk dress with gold trim, holding a glove oil on panel 31¼ x 23¼ in. 79.4 x 59.1 cm. with label on reverse, 'Eredita Rayn, Ritratto di Donna'
THE PROPERTY OF A PRIVATE COLLECTOR ALLEGORICAL FIGURE measurements note 28 3/4 by 21 1/2 in.; 73 by 54.7 cm. oil on panel PROVENANCE John Giles, Albion Street, London; His sale, London, Christie's, February 2, 1881, lot 635 (as Andrea del Sarto), for 33.12 pound, where acquired by the great-grandfather of a private collector; By whom sold ("The Property of a Gentleman"), London, Sotheby's, December 11, 1996, lot 34 (where the image was reversed in the catalogue); Anonymous sale, New York, Sotheby's, January 22, 2004, lot 15. NOTE This painting appears to belong to a group of female bust portraits, all on panel and of similar size, painted by Michele di Ridolfo at a time when he was much influenced by Vasari. Other pictures in the group include: Lucretia and Leda in the Galleria Borghese, 1959, Rome (inv. nos. 322 and 323; 73 by 51 cm. and 76 by 54 cm. respectively; reproduced in P. della Pergola, Galleria Borghese, 1959, vol. II, nos. 53 and 54, plates 54 and 55); a Saint Mary Magdalen, formerly with Colnaghi & Co. and now in a private collection, New York (see London Colnaghi & Co., Gothic to Renaissance, European Painting 1300-1600, 1988, p. 100, cat. no. 17, reproduced); and a Judith formerly in the Heathcote sale, London, Christie's, April 27, 1928, lot 41 (69 by 53.5 cm.). A similar figure holding a column, also given to Michele di Ridolfo, was with H. Shickman, New York, (according to a Witt Library mount), where the subject was identified as an Allegory of Architecture.
The Madonna and Child with the Infant Saint John the Baptist with inventory number '3766 no. 5 D. 30' (on the reverse of the frame) oil on panel 34 3/8 x 28 in. (87.3 x 71.1 cm.)
HOLY FAMILY WITH THE YOUNG SAINT JOHN THE BAPTIST measurements note 40 by 30 1/2 in.; 101.6 by 77.5 cm. oil on panel PROVENANCE Morrocchi-Di Giulio family, Florence. NOTE Tosini treated this subject several times throughout his career. In fact, he found a thriving market for these specialized paintings among his Florentine patrons. This painting can be compared to another Holy Family in the collection of the Museo Bandini, Fiesole (see B. Berenson, Italian Pictures of the Renaissance, Florentine School, Vol. II, London 1963, reproduced plate 1300), and to one sold in these rooms on January 30, 1998 lot 24. This lot is accompanied by original photo-certificates from Giuseppe Fiocco (undated) and Evelyn Sandberg Vavalà (dated Firenze 1947), and a letter from Giovanni Poggi (dated December 2, 1947), all stating the present painting to be by Tosini.
PORTRAIT OF A NOBLEMAN measurements note 25 3/4 by 20 1/2 in.; 65.4 by 52.1 cm. oil on panel PROVENANCE Anonymous sale, Paris, Palazzo Galliera, 1971, cat. no. 39, (as by Salviati). LITERATURE Luisa Mortari, Francesco Salviati, Rome 1992, p. 163, cat. no. 200, reproduced (under Doubtful or Erroneous Attributions). NOTE In a private communication, Pierluigi Carofano, gives the present portrait to Tosini based on comparison with other portraits by the artist. He compares our picture to a Portrait of a Hunter formerly in the Antinori collection, Florence.
![TOSINI Michele (suiveur de), école ITALIENNE du XVIème siècle [IT]. Vi](https://stageimg.invaluable.com/housePhotos/Galartis/19/597219/H4530-L105867249.jpg)
