French or Spanish, 12th century

The relief is an architectural fragment, and as such there are losses around the edges and the surface at the edges is roughly hewn. The heads of both main figures are lost, and only the top of the head of the figure in the bed is visible. There are further chips and minor losses, including to the bottom edge, to the column between the two figures, and to the proper right hand of the figure on the right. There are minor abrasions and scratches to the surface throughout. There are some discoloured traces of polychromy to the hand of the figure with the book. The modern metal stand is in good condition with minor wear to the surface.
"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 survival of Romanesque art shows two figures holding attributes standing next to the head of a bed: most likely, the original scene would have shown either an Adoration or the Death of the Virgin. See, for instance, the relief of the Nativity on the façade of the Cathedral at Poitiers, where the head of the bed is similarly depicted as on the present lot (Camus et al., op. cit., p. 250). Considering the rounded shape and tapering form of the relief, it was probably once part of a larger capital. Further comparisons for the present relief appear in both French and Northern Spanish art, particularly in towns that were connected with the pilgrim's route towards Santiago de Compostela. Compare the drapery on two capitals in Jaca, showing an Annunciation and Abraham (Durliat, op. cit. figs. 217, 219, 220) and a further capital with Christ and two Angels, formerly in the Church of Santa Maria de Lebanza, Palencia (O'Neill, op. cit., no. 98). Romanesque stone capitals are some of the most important survivals of French and Spanish Romanesque art, and with its long narrow folds and disproportionately large hands, the present relief fits well within this corpus. 

RELATED LITERATURE
M. Durliat, La Sculpture Romane de la route de Sain-Jacques, de Conques à Compostelle, Mont-de-Marsan, 1990, pp. 236-242; J. O'Neill (ed.), The Art of Medieval Spain, A.D. 500-1200, exh. cat. The Metropolitan Museum of Art, New York, 1993, no. 98, p. 219-220; M. Camus, E. Carpentier and J. Amelot, Sculpture romane du Poitou - Le temps des chefs d'oeuvre, Paris, 2011, figs 34, 197, 263-4, 426