Italian, Florence, circa 1470

There is dirt and wear to the surface of the marble consistent with age. The top right corner is reattached and there are losses to both top corners. The tip of the Virgin's nose is lost and there are abrasions to Christ's nose. Two of the fingers of the Virgin's proper right hand are lost, part of the middle finger is reattached (with some losses), and there are losses to the third finger. The little finger of her left hand is lost. A large section of Christ's proper right hand and the drapery he holds is reattached; there are also losses here. Much of Christ's feet are lost. There are several losses to the Virgin's headdress. There are smaller losses throughout. The surface appears to be weathered. There is naturally occurring veining to the marble, including to the Virgin's abdomen and Christ's face. There are are channels for mounts to both the top and bottom edges of the relief. There are two grooves to the top edge and another at the right side. The marble would benefit from professional cleaning.
"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 tender depiction of the Madonna and Child was made by a Florentine workshop working within the circle of Andrea Verrocchio towards the end of the fifteenth century. The skilful and successful treatment of the difficult three-quarter view with the deft interaction between the Mother and Child show the command of the sculptor. Rather than standing stiffly beside her the Child is seated, partly draped and engages with His mother's hand, whilst she gazes down affectionately in contemplation. 

Several elements can be compared with the work  formerly ascribed to the Master of the Marble Madonnas and identified by Bellandi as Gregorio di Lorenzo; note in particular the relief in the Victoria and Albert Museum (inv. no. 6737-1860), cat. no. III.1.36.  The depiction of the Virgin in the Madonna Fontebuoni,  in the Museo del Bargello, Florence (inv. no. S116), which has been variously atrributed to the workshop of Verrocchio, Francesco Simone Ferrucci and now to Rustici is particularly similar to the present piece. The treatment of the hair with its sensitive undercutting, the veil, the eyes, mouth and ear as well as the movement of the drapery, in particular the sleeves and the sculpting of the hand, are close, but with the child seated rather than standing.

RELATED LITERATURE
A. Bellandi, Gregorio di Lorenzo. Il maestro delle madonne di marmo, Morbio Inferiore, 2010, nos. III. 1. 1., III. 1. 26., III. 1. 34., III. 1. 45, III. 1. 54, III. 1. 60, III. 1. 62; T. Mozzati, B. Paolozzi Strozzi and P. Sénéchal (eds.), I grand bronzi del battistero. Giovanfrancesco Rustici e Leonardo, Florence, 2010, pp. 290-7, 312-5, nos. 15, 16, 23.; P.L. Rubin and A.Wright, Renaissance Florence, the Art of the 1470's, exh. cat. National Gallery , London 1999, cat. no. 28; A. Butterfield, The Sculptures of Andrea  del Verrochio, New Haven & London 1997, fig. 110