拍品專文
We are grateful to Everett Fahy for the attribution.
The existence of the artist was first noted by Roberto Longhi on the photo-mount of a 'Madonna' (ex-Atri collection, Paris; present location unknown) in the Kunsthistorische Institut in XXX. Longhi commented that the 'Madonna' is by the same hand as the ex-Spiridon panel, 'The Story of Joseph' (present location unknown) and is not to be confused with early Granacci. (cf. E. Fahy, Some Followers of Domenico Ghirlandajo, 1976, pp. 198-9).
The artist is also known from a second panel, 'Joseph receiving Jacob and his Brethren' (ex-Torloni collection, Villa Albani, Rome). This and the ex-Spiridon panel appear to have come from the Palazzo Borgherini in Florence, which was decorated by Granacci, Pontormo, Andrea del Sarto, Bacciacca and others. The artist earliest works, such as the tondo of 1492 in Leipzig, are based on prototypes from the Mainardi workshop
The existence of the artist was first noted by Roberto Longhi on the photo-mount of a 'Madonna' (ex-Atri collection, Paris; present location unknown) in the Kunsthistorische Institut in XXX. Longhi commented that the 'Madonna' is by the same hand as the ex-Spiridon panel, 'The Story of Joseph' (present location unknown) and is not to be confused with early Granacci. (cf. E. Fahy, Some Followers of Domenico Ghirlandajo, 1976, pp. 198-9).
The artist is also known from a second panel, 'Joseph receiving Jacob and his Brethren' (ex-Torloni collection, Villa Albani, Rome). This and the ex-Spiridon panel appear to have come from the Palazzo Borgherini in Florence, which was decorated by Granacci, Pontormo, Andrea del Sarto, Bacciacca and others. The artist earliest works, such as the tondo of 1492 in Leipzig, are based on prototypes from the Mainardi workshop