Attributed to Goro di Gregorio (active circa 1300-1334) Italian, Siena, circa 1320-1330

Overall the condition of the marble is good with wear and dirt to the surface consistent with age. There is naturally occurring veining visible on the surface throughout, and there are a few small rust coloured inclusions, consistent with material. There is an area of brownish colouration to the proper right side which may be the result of exposure to dirt or moisture. There are chips to the halo, the fingertips on the proper left hand, the lower edge, and the tip of the proper left foot. There is a drilled hole to the halo and one for mounting to the reverse. At the underside of the figure there is a remnant of an iron rod for mounting, set in lead.
"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."

Goro di Gregorio was one of the leading Tuscan Gothic sculptors operating in the second quarter of the 14th century. He is celebrated for his elegant restrained Gothic style, which is exemplified in his masterpieces, the Arca di San Cerbone in the cathedral of Massa Marittima, and the Madonna degli storpi (Virgin of the Lame) in the Museo Regionale, Messina (executed circa 1333 for Messina cathedral). The present figure of the Virgin of the Annunciation betrays the calm simplicity and delicate carving for which Goro is best known. The facial type and the wavy strands of hair recall the Madonna degli storpi, whilst the demure tilt of the head is seen in numerous of his works including in prophets and saints from the Arca di San Cerbone (Bartalini, op. cit., figs. 120 and 122). However, it is the drapery, with its broad heavy folds, occasionally in a swallow tail arrangement, falling thickly about the feet, which is most reminiscent of Goro's work. Compare, for example, with the figure of San Cerbone from the eponymous Arca, which likewise presents the figure with head draped (Bartalini, op. cit., fig. 131).

RELATED LITERATURE
R. Bartalini, Scultura gotica in Toscana. Maestri, monumenti, cantieri del Due e Trecento, Siena, 2005, pp. 89-115, figs. 102, 120, 131, 134; L. Castelnuovo-Tedesco and J. Soultanian, Italian Medieval Sculpture in The Metropolitan Museum of Art and The Cloisters, New Haven and London, 2010, pp. 180-185, no. 40