North Italian, circa 1400

There is dirt and wear to the surface consistent with age. There are restored, slightly open, breaks at the necks and Christ's head is slightly loose. There may be well concealed restored breaks elsewhere including at the Virgin's arms and drapery at her legs (there are fissures here). There are further stable hairline fissures. The back appears to have been largely strengthened with fresh stucco. This is particularly apparent at the Virgin's head. There are wood and brick ballast supports to the back. The wood base may be later. The crown is probably a later addition. There are a few small losses, including to the Virgin's proper right index finger, her thumb, her crown and a piece of drapery on the proper right side at the arm. There are also some losses and restorations to the Virgin's drapery at the bottom. There are further minor losses to the Christ child's fingers and thumb. There are several paint layers and it is possible that some of the paint has been refreshed. There are some losses to the paint, in particular at the high points. The wood base is in good condition with some stable splitting to the wood consistent with the material. Otherwise the condition is stable.
"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 present wood carving of the Virgin and Child follows a composition often referred to as Sedes sapientiae, an arrangement which has its roots in the Byzantine tradition of presenting the Virgin frontally, enthroned, with the Christ Child seated on Her left leg. The Sedes sapientiae composition was central to the Marian cult during Romanesque times, with the Virgin appearing in her dual role both as Mother of God and of man, simultaneously presented with Christ seated on Her knee, whilst being enthroned as Queen of Heaven.

Compare to the two Milanese stone groups of the Virgin and Child from the Loggia degli Osii and the Ospedale Maggiore illustrated in the catalogue for an exhibition by Galleria nella Longari, 1997, pp. 34-36, especially for the drapery, juxtaposition of the two figures and the frontal presentation. The frontal gaze of the Virgin and monumental form are also reminiscent of the elaborate Virgin and Child by Andriolo de Santi from the Tympanum from the church of San Lorenzo, Vicenza (Poeschke, op. cit., fig. 256).

RELATED LITERATURE
J. Poeschke, Die Skulptur des Mittelalters in Italien: Gotik, Munich, 2000, fig. 256