Portuguese, early 18th century

Overall, the condition of the terracotta is very good, with minor dirt and wear to the surface consistent with age. The hands of the Madonna have been reattached and glue residues are visible. There are two layers of slip to the surface, a reddish and a yellowish one, which have flaked in areas, in particular to the high points. There are a few small chips, including to the drapery of the Virgin and to the edges of the base, particularly to the back. There is a hole and some minor firing fissures to the underside.
"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 glorious terracotta is distinguished by the faces of the putti who swirl in a cloud at the Virgin's feet. Note the individualised expressions: in awe, anguished, and contemplative. Subtly incorporated into this mass of bodies is a personified crescent moon. The quality of this terracotta group is very fine and compares with Italian Baroque terracottas from the same period. The composition has precedent in Portuguese 18th-century sculpture, compare, for example, with the Virgin and Child in the Museu de S. Roque, Lisbon (inv. no. 21) published in Escultura: Colecção de Escultura da Misericórdia de Lisboa Século XVI ao Século XX, Lisbon, 2000, p. 111, no. 76.