North Italian, 16th century

each standing on an orb, holding a cornucopia surmounted by a pricket

The overall condition is good. The polychromy and gilding are refreshed. There are some minor losses. There is some minor worming to both figures. There is some wear to the surface consistent with age. Angel with right arm raised: There is a restored break with old glue to the cornucopia and the left forearm. There is a chip to the foliate decoration of the cornucopia. There are a few restored breaks to the wings and there is a small loss to the tip of one feather. Angel with left arm raised: There are visible joints at both shoulders with some old glue visible, there is some restoration to the right wrist and around the cornucopia. There are a few restored breaks to the wings.
"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."

This rare surviving pair of angel-torchères would most probably have formed part of an elaborate wood altarpiece. The sculptor has devoted much attention to detail with intricate breast plates and greaves embellishing the calves of their legs, incorporating a base with bifid mermaids and angels reminiscent of bronze bases of the high Renaissance. This use of classically inspired friezes in polychrome and gilt wood sculpture is found in Lombardy from the late fifteenth century.  For examples of such practices note the altarpieces of Giovan Angelo del Maino in particular that in Como Cathedral (1514) as illustrated by Pescarmorna. A further comparison can be made with the altarpiece, circa 1520, in the church of St. Maurice in Ponte as illustrated in the Valtellinese exhibition catalogue.

RELATED LITERATURE
Scultura lignea Sacri in Valtellina e Valchiavenna e preziosi tra Gotico e Rinascimento, Museo valtellinese di storia e arte (2005) no. 18, pp. 102-7; D. Pescarmona, " Le esperienze comensi di Giovan Angelo del Maino, le docorazioni grottesche" in Scultori e intagliatori del legno in Lombardia nel Rinascimento (Milan, 2002) pp.164-71