Anonymous sale, London, Christie's, 25 April 2001, lot 108.

The painting is slightly warmer in tone than the catalogue illustration would suggest. The oval panel has a slight bow and there is spacefor a central baton support, now missing on the reverse. The paint surface is in good overall condition with no apparent damage or loss of paint except for evidence of old woodworm damage which has resulted in two very minor holds in the paint surface, in the hair and in the background centre left, as can both be seen in the catalogue illustration. There are also two old cracks in the paint surface, the first from the panel edge lower left and the second beneath John's elbow lower centre with some associated creases, both of which can again be seen in the catalogue illustration. Examination under ultraviolet reveals a discoloured varnish and some very minor scattered retouchings. There is also retouching to a horizontal line of old damage in the hair measuring approx. 3 in. Otherwise the panel seems to be in good overall condition. Offered in a tabernacle frame with a punchwork inlay in good overall condition.
"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 composition is known in two other versions: one in the Worcester Art Museum which is given to Andrea del Sarto, and another last recorded as in the collection of Mr. and Mrs. O'Connor Lynch, New York and published in 1966 by Lada Nikolenko as by Bacchiacca.¹ In both other versions Saint John wears a band over his head decorated with vine leaves while in the present work just the shadow of a headband is visible. The vine leaves were most likely added to the original at an early date in an attempt to transform the subject into Bacchus. The O'Connor Lynch version shows Saint John wearing a leopard-skin tunic whereas in both the Worcester and present versions his tunic is of a more plain, pinkish material.

Pentimenti are visible in and around the hand, forearm and hair, indicating the artist's preparatory process in the execution of this work. It is possible that, like the other two versions, the panel was originally rectangular in shape, cut to an oval at a later date.


1. See A. Natale, Andrea del Sarto, Milan 1999, p. 196, reproduced fig. 196; and L. Nikolenko, Francesco Ubertini called Il Bacchiacca, New York 1966, pp. 56-7, reproduced fig. 65.