Lot 17: JACOPO SANSOVINO (1486-1570) ITALIAN, VENICE, CIRCA 1550 | Relief with the Madonna and Child

polychromed and gilt cartapesta on wood board, within a partially gilt wood frame

137 by 113cm, 53 7/8  by 44 ½ in. overall.

polychromed and gilt cartapesta on wood board, within a partially gilt wood frame

Given the relative fragility of cartapesta (which can be likened to papier maché) and the age of the relief, the condition of the surface is good overall with dirt and wear consistent with age. In general terms, the condition is consistent with that of other known cartapesta reliefs. The relief was conserved by K. F. Hempel between 1962 and 1964. During the conservation process, Mr Hempel noted that the surface at that time was composed of several oil-based paint layers and discovered that there were two tempera paint layers below the later oil paint layers. It was his conclusion that the second tempera layer was applied shortly after the application of the first, as there was very little “time” or dirt layer between the two, with the result that both tempera paint layers had nearly fused into one. He therefore had to use mechanical means to remove the second tempera paint layer. Much of the painted surface that can be seen today is this first tempera paint layer, which Hempel understood to date to the 16th century. However, the gilt decoration of the sash, collar and clasp of the cloak was believed by Hempel to be later; stylistically it would appear to date to the early 17th century. The secondary tempera paint layer remains on the Virgin’s hands and at Christ’s proper left arm; this was not removed by Hempel due to the fragility of the surface. At the Virgin’s red robe, the darker vermilion traces represent the original pigmentation, whereas the lighter red is later layered oxides. The paint surface on the green-blue mantle was, according to Hempel, largely the underpainting which was glazed with copper resinate. Where the polychromy is described as having been repainted in the below description, this refers to Mr Hempel’s interventions in the 1960s. The relief was preserved behind a glass screen at Castle Howard on the advice of Mr Hempel. Thanks to this, it has remained in much the same condition as it was immediately after the conservation work had been carried out. In the conclusion of his report subsequent to the completion of the conservation work, Hempel noted that the basic structure of the cartapesta canvas and wood was sound. The entire ensemble was further strengthened by being affixed to a modern plywood board with various metal hooks and mounts in the back. A copy of Mr Hempel’s report on the conservation work is available on request. There are several areas of repainting, which appear to be the work of Mr Hempel, over areas where the original tempera surface has been lost, including: to Christ's chest from the nape of the neck across the proper right pectoral; to His abdomen on the proper left side; to the upper part of His proper right arm; to parts of His proper left arm; to His proper left cheek and chin; to the drapery below Christ's proper left leg; to the top of the Virgin's nose; to part of Her cheek and under Her chin and to Her neck. There are further small areas of repainting throughout, notably to the red paintwork; to the edges of the blue cloak; to the blue background beside and behind Christ's head; and to the drapery falling from the Virgin's proper right knee. There is craquelure and there are minor losses to the polychromy throughout, and in particular to Christ's proper left arm and to Christ's hair. There is also more minor craquelure to the painted surfaces of the blue ground throughout. A section of the Virgin’s proper right thigh and parts of the proper left thigh were reconstructed by Mr Hempel and subsequently repainted by him. These are identifiable by the yellow-green pigmentation and the waxy nature of the surfaces. As is consistent with the other reliefs, the group has been nailed onto a wood board. It is possible that the relief was originally applied to an earlier board and the present one is a pre-19th century replacement. There is wear around the edges of the group, where it has been attached to the wood board with nails, some of which are visible. The union between the cartapesta group and board was strengthened by Hempel with the application of polyvinyl acetate emulsion. Two major gaps in the board were filled with balsa, and glue was also employed. The cartapesta was created in sections within moulds which were then glued together to form the entire composition (see catalogue note for full description of the facture of the present relief). As such, there are joints or casting lines visible in the composition, and some have opened into minor stable fissures. Some of the more visible joints include: one running from the drapery at the Virgin's proper right side at the bottom, running horizontally through to Her thigh; and another which runs in an arc across the Virgin's abdomen. The slightly open joints include those at the base of the necks; at Christ's drapery below His proper right hand, and across Christ's body below the abdomen. There is craquelure to the surface throughout. There are various fissures and some losses and reattachments to the cartapesta, notably in the Virgin's headdress, particularly above Her hair, and this area is slightly unstable. There are some glue residues to some of the joints and also to the edges of the group. There is wear to the frame throughout, including losses to the edges. There is evidence of non-active worming to the surface, in particular at the top left corner.
"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."

Castle Howard Archives, Lady Rosalind Howard, later 9^th Countess of Carlisle, personal account book, J23/105/14, p.35, ‘Pinti, Bas Relief of Madonna & child by Sansovino, £40’;
Castle Howard Archives, MS Duthie Sculpture Catalogue, 1882, annotation with the arrival of the Sansovino relief in the Private Chapel;
J. Pope-Hennessy, Catalogue of Italian Sculpture in the Victoria and Albert Museum, cat. Victoria and Albert Museum, London, vol. I, London, 1964, pp. 321-323;
U. Middeldorf, Sculptures from the Samuel H. Kress Collection: European Schools XIV-XIX Century, London, 1976, p. 75;
D. Lewis, ‘Jacopo Sansovino, Sculptor of Venice’, D. Rosand (ed.), Titian: His World and legacy, New York, 1982, p. 188, no. 36
B. Boucher, The Sculpture of Jacopo Sansovino, New Haven and Yale, 1991, p. 349, no. 47;
J. Ozone, ‘One of Many: A Cartapesta Relief by Jacopo Sansovino’, Facture: conservation, science, art history, I, Washington D.C., 2013, p. 104

Raffaelle Pinti (circa 1826-1881);
his sale, London, 5 May 1882, there acquired by Rosalind Frances Howard, later Countess of Carlisle (1845-1921);
George James Howard, later 9^th Earl of Carlisle (1843-1911), and Rosalind Frances Howard, later Countess of Carlisle, Private Chapel, Castle Howard, North Yorkshire, 1882;
thence by family descent