Circle of Donato di Niccolo di Betto Bardi, called Donatello (1386/7-1466), Italian, Florence, late 15th/ early 16th century

together with a gilt and polychromed wood frame

Elia Volpi, Palazzo Davanzati, Florence;
Salvatore and Francesco Romano, Palazzo Magnani Feroni, Florence;
their sale, Sotheby's Florence, 12 October 2009, lot 72

Florence, Galleria Bellini, Collezione del Museo di Palazzo Davanzati, June 1934, no. 42

Collezione del Museo di Palazzo Davanzati, exhib. cat. Galleria Bellini, Florence, 1934, no. 42, pl. Lll

Overall the condition of the stucco is good. There is some wear and minor dirt to the surface consistent with age. There are a few minor losses to the edges of the relief. The stucco was washed with a terracotta slip and polychromed, some remnants of paint are still visible in the crevices. A layer of soot was recently removed from the object, an old restored break at the height of the Virgin's shoulders was refreshed and the object has been stabilised on a metal mount. At the same time the pigments used on the surface were analysed by C. Hassal (Report no. A643, dd. February 2010), who confirms they are likely to be pre-18th century.
"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 of the Virgin and Child in the present relief, as well as the facial types and intricate, well-modelled, drapery, bear a close relationship with a group of reliefs which the workshop of Donatello produced in the latter stages of his career. Particularly notable is the resemblance to the terracotta Madonna di Via Pietrapiana attributed to Donatello and illustrated in Darr and Bonsanti (op.cit. no. 41). The drapery of the Virgin’s veil and dress is arranged around Her contours in a similar way and the Florentine Madonna is seated on a throne with comparable volutes. The strikingly captured physical and psychological interaction between mother and child is also a trait of sculptors from Donatello’s circle.

Donatello’s workshop, like others in the Renaissance, produced multiple versions of a single composition to efficiently deal with the great demand for modern devotional objects. Gesso was often used as it was economical and easy to polychrome but some clients preferred terracotta, marble or bronze. Like the Madonna di Via Pietrapiana, a further version of the present relief therefore survives. This marble relief in the Hermitage is attributed to a Florentine sculptor active in the third quarter of the 15^th century by Androsov (op.cit.). He too mentions the similarity to Donatello’s later work and discusses its former attribution to Desiderio da Settignano, one of Donatello’s pupils. He also mentions the marble’s compositional resemblance to two reliefs by Francesco di Simone Ferrucci in the San Giovanni degli Scolopi and the Bargello (inv. no. 236).

RELATED LITERATURE
A.P. Darr and G. Bonsanti (eds.), Donatello e i Suoi. Scultura fiorentina del primo Rinascimento, exhib. cat. Forte di Belvedere, Florence and Detroit Institute of Arts, 1986, pp. 153-156, nos. 41-42, pl. XVI; S. Androsov, Museo Statale Ermitage. La scultura italiana dal XIV al XVI secolo, Milan, 2008, pp. 34-35, no. 16