Italian, Trentino, mid-15th century

Overall the condition of the wood is good. There is wear and dirt to the surface consistent with age. There are areas of craquelure and losses to the polychromy, particularly to the incarnate and the gilding to the edges of the relief. The gilding and blue paint on the cloak were probably refreshed. There is some worming consistent with material which has led to some minor losses, including at the Virgin's veil and the orb. The two top corners of the seat are replaced. The proper right forearm of Christ is lost. Two of at least twelve cabochons remain. There is a metal loop screwed in the reverse for mounting. The condition of the stand is good.
"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 wood group with the Virgin and Child Enthroned would originally have been placed in a niche, within a larger altarpiece. The shallow-relief carving, gilded drapery and oval facial structures are characteristic of fifteenth-century religious wood sculpture from the Trentino area of Northern Italy. The present group compares with another mid-fifteenth-century wood Virgin and Child from Pieve Vecchia, Avio, Trentino, which is now in the Museo Diocesano Tridentino (op.cit. E. Castelnuovo, pp. 95-99, no. 9). The Virgin of this group has a similarly rounded face, with arched eyebrows, and has an analogous static pose. Her gilded drapery has the same sinuous folds, with the contrasting colour of the lining revealed in certain areas.

RELATED LITERATURE
E. Castelnuovo ed., Imago lignea: sculture lignea nel Trentino dal XIII al XVI secolo, Trento, 1989, pp. 95-99, no. 9