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An Italian polychrome and gilt 'Cartapesta' arched figural relief of the Virgin and Christ Child mounted in a contemporary carved and decorated wood and stucco frame
probably Sienese or Florentine, late 15th century

Amended
Fine Decorative Arts, 1200-1900
17 November 2021, 14:00 GMT
London, New Bond Street

Sold for £17,750 inc. premium

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An Italian polychrome and gilt 'Cartapesta' arched figural relief of the Virgin and Christ Child mounted in a contemporary carved and decorated wood and stucco frame

probably Sienese or Florentine, late 15th century
the Virgin clad in an incised and richly decorated floral robe, her downcast head with fair hair and draped headdress, holding the draped nude Christ Child before a blue background and surmounted by three bell flower hung fleur-de-lis motifs within an arched moulded rectangular frame with bead and roll narrow border, the upper corners with twin grotesque mask and cornucopia decoration, the base with a matching frieze of three mask heads and cornucopia united by leafy motifs, the arched relief, 67cm x 34cm, the outer rectangular frame, 92cm high, 53cm wide, 10cm deep

Footnotes

Although the medium of Cartapesta, created from paper and cloth as a material for the plastic arts in Italy in 15th century is not intrinsically a valuable material, the process of its production is arguably a more complex and rarer one than the more familiar modern technique of papier-mâché which is made more simply using strips of paper and flour glue. As such it was held in equally high esteem to marble and bronze by Renaissances sculptors, evidenced by the Cartapesta figural relief of the Virgin Child by Jacopo Sansovino (1486-1570) which exists in versions at the Louvre and the National Gallery of Art, Washington.

Using a pestle and mortar, the Cartapesta pulp would be created from scraps of paper and linen or cotton cloth and water. A protective layer of wax was added to the mould. Canvas backing was then needed to strengthen the relief; dampened, so that it could be stretched over the mould and applied with either flour paste or animal glue. The finishing process involved applying gesso in layers to create a smooth fine surface, which was then painted and gilded.

Renaissance workshops developed their own secret methods and materials to make highly decorative objects for both secular and religious use including mirror frames and devotional reliefs of the Virgin and Child such as the present lot. Some Cartapesta objects were also made for more ephemeral use including civic festivals and religious feast days.

Saleroom notices

Please note that this relief is after an original work in pietra serena sandstone by Desiderio da Settignano (Italian, c.1430-1464) which is now in the Galleria Sabauda, Turin. However the much simplified modelling of the unrefined hard lines defining the Virgin's drapery down the left hand side of the relief and the introduction of a scroll for an inscription which has been introduced to presumably hide Christ's pudendum suggests that the piece may likely have been produced later in an age of more heightened prudery. Similarly the almost Byzantine-looking ornamentation of the Virgin's robes has been substituted for a more subtle flow and hang than Deisderio's original rendering again perhaps suggesting this later date. Literature Dr Charles Avery, 'Florentine Renaissance Sculpture', p.110, fig. 84 [passing ref. end of p. 109].

Additional information

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