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

Christie's, London, 7 July 1987, lot 133

Overall the condition of the relief is good with minor dirt and wear to the surface consistent with age. The top corners are reattached. The bottom left corner is lost and there are small chips to the edges of the relief. There are a few further minor chips and abrasions including one to the Virgin's cheek. Christ's last two toes on his proper left foot are lost. There is some past worming to the wood frame and minor splitting consistent with the material. There are slightly open joints in the corners of the frame and there may be some restorations, including to the bottom right corner next to the relief. There are losses to the wood at the back at the bottom probably due to worming.
"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 charming relief is close in composition to Donatello's Pazzi Madonna in the Bode Museum, Berlin (Goldschneider, op. cit. p. 45, no. 149). A further compositional comparison can be made with a Donatello workshop bronze plaquette in the Victoria and Albert Museum (inv. no. 7474-1861) in which Christ's legs are similarly positioned. The present relief would have been used as a private devotional image and possibly suspended above a door as was the convention with panel paintings.

RELATED LITERATURE
Depth of Field: the place of relief in the time of Donatello, exhib. cat. Henry Moore Institute, Victoria and Albert Museum, Leeds and London, 2004, p. 82, no.15; L. Goldschneider, Donatello, London and Oxford, 1941, p. 45, no. 149