Italian, Florence or Siena, second half 15th century

numbered: 35313 in black ink on the reverse and with a metal plaque inscribed: ANTONIO FEDERIGHI DEI TOLOMEI SIENESE ACTIVE 1439-1490

Stefano Bardini, Palazzo Bardini, Florence, by 1918
His sale, American Art Association New York, 23-27 April 1918, lot 338 (there catalogued as by Antonio Federighi)

The relief has had some restored breaks. Overall standard wear, surface abrasions and some losses. Losses to paint The frame has some cracks, worming and flaking paint with some areas of refreshed paint. Two foliate decorations on arch of frame are later. Back panel behind Madonna also later.
"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 fine Tuscan stucco relief is characteristic of both Florentine and Sienese sculpture from the 15th century. The Virgin's veil with multiple folds around her forehead, her elongated proportions and her delicate and diminutive facial features are specific elements used by sculptors such as Jacopo della Quercia and Michele da Firenze. Two related reliefs of the Virgin and Child ascribed to Michele Da Firenze and his circle are in the Victoria and Albert Museum, London and are illustrated by Pope-Hennessy (op.cit., vol. III, pp. 46 and 47, pls. 71 and 72, nos. 59 and 60). The carefully placed folds in the Madonna's veil and the proportions, as well as the relationship between the Virgin and Child are worthy of note. Another relief that is comparable, both in its proportions and where the sculpture is cut off around her upper thigh, is in the Bode Museum, Berlin and was given by Schottmüller to a Florentine artist active between 1400 and 1430 (op.cit., no. 5).

RELATED LITERATURE
F. Schottmüller, Die italienischen und spanischen Bildwerke der Renaissance und des Barocks in Marmor, Ton, Holz, und Stuck, Berlin, 1913, p. 5, no. 5
J. Pope-Hennessy, Catalogue of Italian sculpture in the Victoria and Albert Museum, London, 1964, vols. I and III