Alessandro Algardi (1598-1654) Italian, Rome, mid 17th century

on modern hexagonal base

Overall the condition of the bronze is very good with minor wear to the gilding consistent with age. There are a few smal casting flaws including a small hole to the centre back, a hole to below the drapery under the left arm and a small hole to the drapery at the left elbow. There are two small screw holes to the front of the base for previous attachment. There is a hole at the back of the hair for the attachment of a halo.
"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 gilt-bronze Virgin of the Immaculate Conception demonstrates delicate tooling and carefully differentiated surface textures that impart the hand of a master-sculptor.  Alessandro Algardi, together with his rival Gian-Lorenzo Bernini, was one the foremost sculptors in Rome in the 17^th century.  The small bronzes attributed to Algardi's hand retain the majesty of his large scale works.  

In her 1989 monograph, Jennifer Montagu attributed a gilt-bronze Virgin of the Immaculate Conception formerly with Matthiesen Fine Art to Algardi based on its stylistic similarity to other works in the sculptor's oeuvre, more specifically the fall and flow of the drapery folds and the cursory treatment of the back of the bronze.  She has likewise given the present Virgin to the master sculptor, explaining that the two bronzes were most probably cast from the same mould.  As the Matthiesen bronze was stolen from the collection, the comparison between the two versions can only be made from a photograph.  However, there are distinct differences in composition and cold working, which was probably re-worked by Algardi both in the wax and after the bronze was cast.  The Matthiesen bronze was integrally cast with a cloud and crescent moon and exhibits distinct tooling on the fold of the Virgin's cloak which is not evident in the present bronze.  This Virgin Immaculata has more delicately worked surfaces and distinction in facial features. 

RELATED LITERATURE
J. Montagu: Alessandro Algardi (New Haven and London, 1985) vol. II, p. 347-8, no. 42