ATTRIBUTED BENEDETTO BRIOSCO (1460–1514) AND WORKSHOP, ITALIAN, LOMBARDY, CIRCA 1500 | RELIEF WITH THE VIRGIN AND CHILD SURROUNDED BY ANGELS
Estimate: 12,000 - 18,000 GBP
ATTRIBUTED BENEDETTO BRIOSCO (1460–1514) AND WORKSHOP
ITALIAN, LOMBARDY, CIRCA 1500
RELIEF WITH THE VIRGIN AND CHILD SURROUNDED BY ANGELS
marble, on a modern metal stand
relief: 29 by 21cm., 11½ by 8¼in.
34cm., 13⅜in. including stand
Overall the condition of the marble is good, with minor dirt and wear to the surface consistent with age. There is a loss to the relief at the lower left corner. The Christ Child's proper right arm is lost, and there is a loss to the rosary. There is some natural dark veining to the marble, notably above the Virgin and through her halo. There is some surface dirt, in particular in the crevices. There are some residues to the swirl of the Virgin's cloak on the lower right side. There is some rubbing to the high points of the faces.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
This delicate relief bears a close stylistic resemblance to a marble relief of the Virgin and Child with Saint Anne and Saint John the Baptist formerly in the collection of Stefano Bardini, Florence, which has been attributed to the Lombard sculptor Benedetto Briosco (see Fondazione Federico Zeri, Fototeca Zeri, entry no. 79402). Compare the theatrical effect of the curtain drawn back by Angels, the 'triangular' figural composition, and the semi-circular swathes of drapery. Briosco, who trained in Milan, collaborated with Giovanni Antonio Amadeo on the facade of the Certosia di Pavia before executing numerous other ecclesiastical commissions in northern Italy, including the crypt reliefs in the Duomo of Cremona, in which a similar figural style can be observed.
C. Hill (ed.), Courtauld Institute Illustration Archives, Archive 2: 15th & 16th Century Sculpture in Italy, Part 8: Lombardy, 1978, nos. 2/8/76-86