Italo-Flemish, 16th century

Romano Art Gallery, Rome, 1989;
Barbara Piasecka Johnson;
sold Sotheby's London, 9 July 2009, lot 3

Overall the condition of the alabaster is good. There are some losses to the surface, including losses to the angel's nose, the fingers at his proper left hand and some losses around the base. There are a number of darker veins running through the alabaster, which are consistent with the material.
"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 relief compares with the work of the Flemish sculptor and architect Jacques Dubroeucq (c. 1505-1584), who is believed to have trained in Italy and is famed for his alabaster sculptures for the rood screen in the collegiate church of St Waudru, Mons. The loose, flowing drapery, which wraps around the angel's legs, revealing the anatomy, draws a close comparison with a number of figures from St Waudru, notably the personification of Prudence (Didier, 1985, op. cit., p. 64). Dubroeucq shows a keen interest in exploring the textures of feathers and scales in his work at St Waudru, in an analogous manner to the treatment of the angel's wings in the present relief, see, in particular, the lectern and Angel Gabriel from the Annunciation group (M. De Reymaeker, op. cit., p. 22). The prominent eyelids and parted lips also find a parallel in Dubroeucq's figure of St David playing the harp from St Waudru (Didier, 2000, op. cit., pl. 38).

RELATED LITERATURE
R. Didier, Jacques Dubroeucq. Sculpteur et Maître-Artiste de L'Empereur (1500/1510-1584), Brussels, 2000, pl. 38; M. De Reymaeker, 'A la (re)découverte de Jacques Du Broeucq,' and R. Didier, 'Les oeuvres du sculpteur Jacques Du Broeucq,' in Jacques Du Broeucq, sculpteur et architecte de la Renaissance, ex. cat., Mons, 1985, pp. 11-30, 31-102