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TOMMASO D'ANTONIO MANZUOLI, CALLED MASO DA SAN FRIANO, Portrait of Sinibaldo Gaddi, post 1564
TOMMASO D'ANTONIO MANZUOLI, CALLED MASO DA SAN FRIANO, Portrait of Sinibaldo Gaddi, post 1564
TOMMASO D'ANTONIO MANZUOLI, CALLED MASO DA SAN FRIANO, Portrait of Sinibaldo Gaddi, post 1564
TOMMASO D'ANTONIO MANZUOLI, CALLED MASO DA SAN FRIANO, Portrait of Sinibaldo Gaddi, post 1564
TOMMASO D'ANTONIO MANZUOLI, CALLED MASO DA SAN FRIANO, Portrait of Sinibaldo Gaddi, post 1564
TOMMASO D'ANTONIO MANZUOLI, CALLED MASO DA SAN FRIANO, Portrait of Sinibaldo Gaddi, post 1564
TOMMASO D'ANTONIO MANZUOLI, CALLED MASO DA SAN FRIANO, Portrait of Sinibaldo Gaddi, post 1564
TOMMASO D'ANTONIO MANZUOLI, CALLED MASO DA SAN FRIANO, Portrait of Sinibaldo Gaddi, post 1564
TOMMASO D'ANTONIO MANZUOLI, CALLED MASO DA SAN FRIANO, Portrait of Sinibaldo Gaddi, post 1564

TOMMASO D'ANTONIO MANZUOLI, CALLED MASO DA SAN FRIANO

Portrait of Sinibaldo Gaddi, post 1564
Oil on panel
116 x 92 cm
45 5/8 x 36 1/4 in
Enquire
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Provenance

Probably commissioned by Niccolo Gaddi (1537 – 1591), Florence;

Luigi Koelliker Collection, Milan, until approximately 15 years ago when acquired by a:

Private collection, Florence, from whom acquired by the present owner.

Exhibitions

Florence, Palazzo Strozzi, Il Cinquecento a Firenze: “maniera moderna” e controriforma, 21 September 2017 – 21 January 2018.

Literature

L. Conigliello, ‘Jacopo Ligozzi tra turchi, fantolini e disegni di architetture’, Paragone, s. III, nos. 84-85, 2009, pp. 52-53, note 25 (as Jacopo Ligozzi);

A. Nesi, ‘Problemi di ritrattistica cinquecentesca: Maso da San Friano ed altri pittori a lui contemporanei’, Arte Cristiana, XCVIII, 2010, pp. 189-190, reproduced in black and white on p. 192, fig. 17;

A. Fenech Kroke, in Florence. Portraits à la cour des Médicis, exh. cat., (ed.) C. Falciani, Brussels 2015, pp. 173, 183, under cat. no. 37;

C. Acidini Luchinat, ‘Ritratto di Sinibaldo Gaddi’, in Il Cinquecento a Firenze: “maniera moderna” e controriforma, exh. cat., (eds.) C. Falciani & A. Natali, Florence 2017, p. 150, cat. no. IV.2, reproduced in colour on p. 151.

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