Lot 19
19
AFTER DESIDERIO DA SETTIGNANO (1428-1464), FLORENTINE, LATE 15TH OR EARLY 16TH CENTURY
AFTER DESIDERIO DA SETTIGNANO (1428-1464), FLORENTINE, LATE 15TH OR EARLY 16TH CENTURY
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These lots have been imported from outside the EU … Read more PROPERTY FROM THE MICHAEL HALL COLLECTIONS
AFTER DESIDERIO DA SETTIGNANO (1428-1464), FLORENTINE, LATE 15TH OR EARLY 16TH CENTURY

VIRGIN AND CHILD

Details
AFTER DESIDERIO DA SETTIGNANO (1428-1464), FLORENTINE, LATE 15TH OR EARLY 16TH CENTURY
VIRGIN AND CHILD
White marble relief; in a parcel-gilt polychrome wood Renaissance-style altar frame; with three labels with inscriptions to the reverse

17 ½ x 13 ¾ in. (44 x 35 cm.), the relief; 27 ½ x 24 in. (70 x 61 cm.), overall
Literature
New York, American Bible Society, Icons or Portraits? Images of Jesus and Mary from the Collection of Michael Hall, July 26 - Nov. 15 2002, E. Heller ed., cat. no. 6, pp. 40-1.

COMPARATIVE LITERATURE:
Florence, Bargello Museum, Desiderio da Settignano, 22 Feb. - 3 June 2007, M. Bormand, B.P. Strozzi and N. Penny, cat. no. 19.
Exhibited
Fine Arts Museums of San Francisco.
New York, Mobile, Evansville and Sacramento, American Bible Society, Mobile Museum of Art, Evansville Museum of Arts and Sciences and Crocker Museum of Art, Icons or Portraits? Images of Jesus and Mary from the Collection of Michael Hall, July 2002 - Jan. 2004, cat. no. 18.
Special notice
These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

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Lot Essay

This relief is a simplified version of Desiderio da Settignano's Foulc Madonna from Santa Maria Nuova, Florence, and now in the Philadelphia Museum of Art. Two casts in painted stucco indicate the popularity of the composition, which has been attributed to Desiderio by Bode, Pope-Hennessy and Zuraw and more recently included in the monographic exhibition on the artist in Florence. The present relief conforms exactly with Desiderio's, save for the closed lips and the treatment of the hair, while the flanking cherubin in the sky are omitted, which is also the case in two stucco casts. Avery has suggested that the author of our relief may have worked for one of the Ferrucci dynasty of sculptors (C. Avery in Icons or Portraits, loc. cit.).

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