Workshop of Michele da Firenze (c. 1404-1457), Italian, Florence, first half 15th century

Overall the condition of the terracotta is good. There is wear and some dirt to the surface consistent with age. There are some small losses to the painted surface due to craquelure. There are various areas of overpainting including on the top of the head, to the sides of the Virgin's nose and her proper right cheek, the proper left forearm of the Child and His mantle.There are several areas of restoration around the edges of the drapery including to the veil on the proper right side of the Virgin's head, the area around the proper left hip and possibly around the proper right foot and around the proper right side of the base. There is an area of losses to the underside on the proper left side and a large chip to the front right corner and some further minor chips. The statue seems to be a hollow cast and has two holes at the reverse to prevent firing cracks.
"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 group can be compared to other depictions of the Virgin and Child attributed to Michele da Firenze including the terracotta standing Madonna and Child in the Bargello Museum, Florence. The looping folds of drapery below the waist and the framing device of the zig-zag hem of the cloak to the Virgin's either side are repeated. A particularly characteristic detail is the s-shaped fold in the Virgin's veil above her forehead. This detail is found in both the present group and the Bargello terracotta, as well as in a painted terracotta relief of the Virgin and Child in the Bargello and in the relief of The Adoration of the Magi at S. Anastasia, Verona.

Michele da Firenze is celebrated for his work in terracotta. His early independent work comprised mostly private devotional terracottas, such as the Virgin and Child with Saints or the Virgin and Child with six Angels both in the Victoria and Albert Museum, London (inv. nos. 7572-1861 and 73-1866). His work clearly shows a debt to his master Ghiberti, whom he assisted on the Baptistery doors in Florence between circa 1404 and 1407. The present group retains a gentle gothic sway, recalling Ghiberti's first set of Baptistery doors and perhaps suggesting a date early in the 15^th century.

Michele da Firenze is believed to have made the terracotta monument to Francesco Roselli in S. Francesco, Arezzo and his masterpiece is the Pellegrini Chapel in S Anastasia, Verona (executed in 1433–8) where he substituted the frescoes customary to chapel walls for a series of accomplished painted terracotta reliefs of the Life of Christ. 

A Thermoluminescence test has been carried out by Oxford Authentication Ltd (sample no. N110r30) which dates the last firing of the terracotta to 400 to 700 years ago.

RELATED LITERATURE
J. Pope-Hennessy, Italian Gothic Sculpture, London, 1955, p. 216, fig. 97; J. Pope-Hennessy, Catalogue of Italian Sculpture in the Victoria and Albert Museum, London, 1964, vol. I, pp. 65-70, figs. 68-9; R. C. Proto Pisani & G. Gentilini, Il Cotto dell'Impruneta: Maestri del Rinascimento e le Fornaci di Oggi, ex. cat., Impruneta, 2009, pp. 72-5, no. II.5