Italian, Venice, last quarter 15th century

with an old Sotheby's label printed with the Sotheby's logo and with two green stickers each printed and inscribed in ink: SOTHEBYS NEW YORK / 7

Cyril Humphris, London
his sale, Sotheby's New York, 10 January 1995, lot 7

Overall the condition of the stone is good with dirt and wear to the surface consistent with age. There is a layer of darkened varnish or dirt throughout the surface, which is worn thin in several areas such as the faces. There are minor chips to the Virgin's drapery, including at the sides and to the end of one fold at the front on the proper right side. There is a loss to Christ's genitals. There are a few larger chips to the bottom and to the proper right side of the Virgin. There are remnants of gilding to the putto. There is a hole to the top of the Virgin's head. There are two iron mounts each to the Virgin's head and to the Child's head. There is an iron mount to the reverse. There are remnants of a composite material to the crevices, especially to the sides and reverse. There is a hole to the underside, with remnants of lead inside.
"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 and facial types of this Virgin and Child are the characteristics of a Venetian sculptor active in the last quarter of the 15th century. Comparisons can be made with the work of Giovanni Giorgio Lascaris, who adopted the pseudonym of Pyrgoteles, the ancient Greek lapidist. Lascaris was active in the workshop of Pietro Lombardo in the 1480's when he produced his only known signed work, the Madonna and Child on the tympanum on S. Maria dei Miracoli in Venice. Note also Lascaris' Madonna Mocenigo in the Doge's Palace, Venice.

RELATED LITERATURE
L. Planiscig, Venezianische Bildhauer der Renaissance, Vienna, 1921, pp. 177-206, fig. 196; A. M. Schulz, Giambattista and Lorenzo Bregno. Venetian Sculpture in the High Renaissance, Cambridge/ New York, 1991, pp. 10-11