The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com, an independent restorer who is not an employee of Sotheby's. This panel has not been restored for some time. The reverse of the panel has been cradled. While the paint layer itself is stable, some of the old cracking to the wood is now visible. There are small bumps and curves running vertically throughout the composition where the wood is slightly uneven. The paint layer is quite dirty. While no retouches are clearly visible under ultraviolet light, there are probably some restorations underneath the varnish that could be reconsidered. There is an original surface which is not visibly damaged in the heads of the cow and the donkey on the right and in the red fabric of the Madonna's dress. However, very broad and aimless restorations can be seen in the brick wall beneath Joseph's elbow that do not seem to serve any particular purpose. Therefore, while cleaning the picture will presumably remove broad areas of similar restorations, the original paint layer should be surprisingly undamaged in many areas. While retouches will be necessary, the end result will be worthwhile.
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This composition is based on a Nativity tabernacle by Bastiano Mainardi, now situated on the corner of via Brozzi and via Pistoiese, Florence.¹  The composition follows the classic, triangular Florentine paradigm, popularized by Raphael, creating a harmonious and balanced setting for the figures.  The Madonna’s face and hands are beautifully executed and the artist’s fluid handling lends a porcelain-like quality to her flesh, heightened by the refined delicacy of the transparent veil surrounding her face and neck.

1.  B. Berenson, Italian Pictures of the Renaissance, Florentine School, London 1968, vol. I, p. 126.