This compositional type is attested in other plaquettes with slight variations in finish - such as those in the Bode-Museum, Berlin[4]; The Wallace Collection, London[5]; and a version formerly in the Grassi Collection, Florence[6], which features more substantial modifications. The design is further reflected in small terracotta reliefs, including examples at the Musée du Louvre in Paris[7] and the Bode-Museum in Berlin[8], as well as in painted stucco reliefs incorporated into contemporary wooden tabernacles, such as those at the Victoria and Albert Museum in London[9] and the Museum of Fine Arts in Budapest[10]. These objects were meticulously modelled from the plaquettes through mould-based reproduction techniques, underscoring the widespread appeal and replication of Donatello's original invention

Additionally, several more autonomous marble versions derive from this same composition, partially identified by scholars[11], reflecting the widespread popularity of this model among sculptors influenced by Donatello's innovations. The most faithful to the plaquettes - with certain details akin to the aforementioned variant from the Grassi Collection - remains venerated at Santa Maria Assunta in Orbignano near Lamporecchio (Pistoia). This work was previously attributed to Bartolomeo Bellano[12], but has more recently, and correctly, been ascribed to Andrea Guardi[13]. Guardi, an active sculptor in the following years, produced other marble representations of the Madonna, including one housed in the National Museum of San Matteo in Pisa and another in the Cathedral[14]. These works, although displaying minor variations (such as differences in the Virgin's posture), confirm Guardi's familiarity with this typology - occasionally reinterpreted with the Child positioned on the opposite side. Further marble derivations from the same Donatellesque model, either meticulously replicated or sensitively adapted, include a relief of the Virgin preserved in the Christian Museum at the Vatican, attributed to a skilled pupil of Donatello, possibly Andrea dall'Aquila; another venerated at Santa Maria delle Nevi in Sinalunga, likely sculpted by a more modest follower active between Siena and Rome; and an elegant medallion by the Venetian sculptor Antonio Rizzo, now held at the Rijksmuseum in Amsterdam[15]. More recently, a monumental tabernacle from the Rocca Brancaleone in Ravenna[16] has been added to this corpus. An inscription suggests it was created by Marino di Marco Cedrini from Rimini between 1458 and 1460, further exemplifying the enduring influence and adaptability of Donatello's original composition, particularly in the Adriatic region.

The authorship and dating of the Washington plaquette, as well as its finest bronze replicas - such as the specimen housed in the Bode-Museum in Berlin - have been the subject of considerable scholarly debate for some time. For a comprehensive review of this discourse, I refer to the detailed bibliographic analyses by Alison Luchs[17] and Anna Jolly[18] as well as more recent contributions by Jeremy Warren[19] and by Michael Riddick (2020). In earlier literature, these works were attributed directly to Donatello[20]. However, subsequent scholarship has proposed that they may instead be the work of a pupil active in Donatello's workshop around the mid-fifteenth century, during his period in Padua[21]. This theory is supported by stylistic parallels with the reliefs of the Altare del Santo and the evident influence of Donatello's work on Venetian art - ranging from the squarcionesque painters to the sculptor Antonio Rizzo[22]. An alternative hypothesis suggests that these plaquettes were produced during Donatello's final years in Florence. Under this attribution, the works would be credited to Bertoldo di Giovanni, in the context of his collaboration on the pulpits of San Lorenzo[23].

A prevailing scholarly consensus today dates the invention of this composition to around 1430, possibly towards the latter part of the third decade. This dating is supported by the striking architectural parallels with the Banquet of Herod relief on the baptismal font of the Baptistery of Siena, executed by Donatello between 1423 and 1427[24]. However, the precise circumstances regarding when and by whom these plaquettes were physically produced remain unclear. Michael Riddick's recent proposal (2020) attributing them to Michele di Giovanni da Fiesole, known as 'Il Greco,' for the period between 1445 and 1454, does not appear conclusive. Additionally, it is challenging to ascertain whether Donatello's master model was realised as a finished work in bronze, marble, or terracotta, or whether it existed as a preliminary sketch in clay or wax, or even as a simple drawing[25].

Further support for an early dating of the lost Donatello prototype comes from an accurate copy of two figures on paper, preserved in the Musée Condé in Chantilly. This drawing, attributed to the circle of Pisanello, is likely dated to 1432/33, and certainly no later than 1440. In recent decades, this drawing has frequently been referenced by scholars examining the plaquettes[26]. Less attention, however, has been given to the composition's close connection with two painted stucco reliefs, nearly identical to one another, which serve as tabernacles in the streets of central Florence - one in Piazza dei Donati and the other in Via delle Seggiole[27]. These reliefs are attributable to Donatello's workshop and are believed to date to the mid-1420s. The reliefs feature the same foreshortened figure of the Virgin, enveloped in a voluminous cloak, distinguished by the pronounced prominence of her left shoulder and the elevated posture of the Child standing on the parapet (in the second relief, the Child is also embraced by the Virgin). However, the outstretched hands in the familiar gesture of "welcoming" are not yet present.

It is also noteworthy that this particular iconographic invention may first appear in the Madonna and Child of the tomb of Cardinal Rinaldo Brancaccio, located in the Neapolitan church of Sant'Angelo a Nilo. This monument was sculpted by Donatello and his "companions" between 1425 and 1428 in Pisa[28]. Recently, Gabriele Donati[29] has suggested that this work reflects the hand of the young Andrea Guardi, who is plausibly believed to have trained during this period in the workshops overseen by Donatello and Michelozzo[30].

Donati's proposal is substantiated by Guardi's evident preference for this Donatellian typology, as convincingly demonstrated by the Madonna of Orbignano and the two aforementioned Pisan reliefs. Of these, the relief in the Cathedral explicitly echoes the Madonna from the Brancaccio monument, reinforcing the attribution of the present marble to the same artistic milieu.

Furthermore, this work can be confidently attributed to the Pisan master on the basis of clear stylistic considerations, which will be examined in greater detail. Compared to the presumably earlier Orbignano version, this piece reflects a more autonomous reinterpretation of the plaquette composition, showcasing Guardi's evolving artistic language.

The sculptor, therefore, removes the small columns and the perspectival recess of the architectural frame, granting greater prominence to the niche motif flanked by two spandrels adorned with Gothic-style foliage - a decorative vocabulary more familiar and suited to his artistic sensibilities. He omits the embroidery on Mary's garment while partially covering the Child's legs, accentuating His sex as an allusion to the Word made flesh.

In addition, the sculptor introduces a particularly original and sophisticated iconographic variation in the articulation of the outstretched hands, which now extend beyond the virtual boundary of the image to foster a more tangible and expressive connection with the viewer.

Noteworthy is the subtle yet significant detail of the Virgin's two fingers bending towards her palm as she holds a veil linking her right hand to that of the Child - another allusion to the Incarnation of Christ. This gesture simultaneously evokes the act of blessing. The three outstretched fingers symbolise the Trinity, while the two bent fingers represent the dual nature of Christ, encompassing both His humanity and divinity.

Andrea Guardi, a prolific sculptor with a remarkably complex career[31], began his apprenticeship under the guidance of his father, the stonecutter Francesco di Guardo, possibly in Bologna and Padua (1424). It is likely that he frequented Donatello's workshop in the mid-1420s. Guardi enjoyed significant success, working predominantly in Naples on multiple occasions between 1428 and around 1450, and in Pisa from 1441 until his death in 1476.

His career also saw periods of activity around 1435 in Ancona, Rome, and Florence, followed by commissions in various centres along the Tyrrhenian coast, including Noto (1444-45), Genoa (c. 1455-60), Carrara (c. 1460-65), and Piombino (c. 1465-70). Guardi was also engaged in the Pisa-Carrara region, with notable projects in Lari (c. 1445-55), Fivizzano (1452), Fosdinovo (1465), and other locations.

Guardi may thus be regarded as a pivotal figure in the dissemination of Donatellian visual culture across western Tuscany, southern Italy, and Liguria, often adapting it with great skill to suit the more traditionalist tastes of the Aragonese-influenced noble clientele.

Several of Andrea Guardi's works stand out for their monumental significance. Among these are his contributions to the grand Funerary Monument of King Ladislaus of Durazzo (c. 1428-32), the Tomb of the Great Seneschal Sergianni Caracciolo (c. 1442-43), and the Sanseverino Tomb (c. 1445-50), all located in the Neapolitan church of San Giovanni a Carbonara.

In Pisa, his principal works include the Altar of San Ranierino (1451-52), the Tomb of Bishop Pietro Ricci (c. 1455), originally situated in the Cathedral and now housed in the Museo dell'Opera del Duomo, and the Choir Screen of Santa Maria della Spina (1461), currently preserved in the Museo Nazionale di San Matteo.

Additionally, the elaborate Altarpiece of Spinetta il Campofregoso in the Cathedral of Carrara (c. 1460-65) warrants particular mention.

Guardi also produced notable marble reliefs intended for private devotion[32]. Examples such as the Madonna of Orbignano and the relief in the Museo di San Matteo in Pisa - previously discussed for their derivation from the same Donatellian model - reveal striking parallels to the Madonna currently under consideration.

These works exhibit common features, including incisive and vigorous stiacciato marble carving, the matronly physiognomy of Mary depicted in three-quarter view with a pronounced projection of one shoulder, and the voluminous drapery of her mantle, flowing in a similar fashion. The Christ Child is characterised by plump features, often animated by tousled locks of hair, while the slightly awkward gestures of the figures further contribute to their distinctive charm.

Additional hallmarks include the fluted halo of the Madonna - frequently differentiated from the cruciform halo of Christ - and the robust niche adorned with Gothic foliage within the spandrels of the arch.

These formal and iconographic characteristics frequently reappear in Guardi's Marian imagery. They are also evident in the Madonna in Adorazione del Bambino housed in the Bode Museum in Berlin and the Madonna col Bambino (Madonna della Rosa), formerly part of Oscar Huldschinsky's Berlin collection[33]. The latter composition, clearly inspired by Donatello's Madonna dell'Accoglienza, features a distinctive variation in the unusual symmetrical gesture of Mary's and the Child's outstretched hands, joined in the act of offering a rose by holding its stem.

The significance and prestige of the Madonna col Bambino under consideration are further elevated by its notable provenance. Originating from a private American collection - at one point attributed to 'Andrea del Francisco Guardi' - the work appeared in 1910 during the first of two highly publicised auctions of the extensive collection belonging to the wealthy banker Maurice Kann (Frankfurt am Main, 1839 - Paris, 1906) (figs. 3-5).

Kann, who had settled in Paris in 1866 alongside his brother Rodolphe (1845-1905), became renowned for his expansive art collection, particularly prised for its holdings of 17th-century Dutch masters[34]. Following Maurice's death, his son Edouard skilfully organised the sale at Galerie Georges Petit[35], where the piece was presented as 'École de Donatello'.

Further research has established that, prior to its acquisition by the Kann family, the relief belonged to the renowned Florentine antiquarian Stefano Bardini (Città di Castello, 1836 - Florence, 1922). This is corroborated by a period photograph, likely dating to around 1880-1890, preserved in the Stefano Bardini Historical Photographic Archive (no. 1826), now part of the Municipality of Florence and currently undergoing reorganisation (fig. 2).

In this photograph, the relief is already mounted within a wooden and painted stucco tabernacle, a detail also recorded in the reproduction of the 1910 Kann sale catalogue, which continues to accompany the piece to this day. A metal plaque, presumably added in the mid-20th century, was later affixed to the tabernacle, correctly identifying the author as "Andrea del Francesco Guardi," although the origins of this attribution remain unknown.

The Bardini archive also contained a second, possibly earlier, photograph of the marble relief (now lost but preserved through a photocopy), depicting the piece without the tabernacle. This suggests that the tabernacle was added by Bardini, consistent with a well-documented practice[36]. Another glass plate in the same archive (no. 4440) reveals that Bardini also possessed the Madonna in Adorazione del Bambino, now housed in the Bode Museum, Berlin. The Berlin Museum acquired this piece in Florence in 1888, reportedly from Siena, where it was initially believed to be a Sienese work. However, Ulrich Middeldorf later reattributed it to Guardi in an annotation[37].

It is indeed plausible that the Berlin Madonna by Guardi, acquired by Bardini prior to 1888, originally came from Siena. However, due to the current challenges in accessing Bardini's archive, it remains difficult to determine precisely when and where Bardini obtained the Madonna under discussion.

What can be ascertained is the manner in which the piece entered Maurice Kann's collection. Recent archival research[38] reveals that the Kann brothers were advised by the esteemed Wilhelm von Bode, who had maintained close relations with Bardini since 1875. Bardini served as a principal supplier to the Berlin Museum during Bode's tenure[39], and the Kann brothers acquired numerous paintings and other works of art from the Florentine dealer.

Among these acquisitions was a marble relief - identifiable as the Madonna under discussion - purchased by Maurice Kann between October and November 1890. This acquisition was likely recommended by Bode, who may have provided Maurice with a photograph of the piece, possibly sourced from the same glass plate preserved in the Bardini archive.

The final purchase price was negotiated at 4,000 lire, reduced from Bardini's initial request of 5,000, with Bode acting as the intermediary in the transaction[40].

In 1906, Maurice Kann entrusted Bode with the task of compiling an extensive catalogue of the art collections belonging to his late brother Rodolphe, who had passed away the previous year, as well as his own. The catalogue, published in 1907, was part of a broader intention to eventually integrate these collections into Berlin's museums.

In 1907, Rodolphe's entire collection was acquired by the prominent and enterprising English art dealer Joseph Duveen. In 1909, Duveen also purchased the finest paintings from Maurice's collection.

It is therefore plausible that the Madonna, following its high-profile sale at the Paris auction in 1910, reached America through Duveen. This theory is further supported by the fact that in 1930, Duveen acquired the marbles from the entire Gustave Dreyfus collection in Paris, many of which were subsequently transferred to the National Gallery of Art in Washington[41].

[1] Jolly 1998, pp. 147-153 n. 44.

[2] A. Luchs in Donatello 1986, pp. 166-167 n. 51.

A. Galli in Donatello Florence 2022, pp. 268-269 n. 8.13.

[3] Negri Arnoldi 1983-1984, pp. 98-100; Vertova 1989.

[4] M. Scansani in Donatello Berlin 2022, pp. 179-179 n. 25.

[5] Warren 2016, I, pp. 32-35 n. 3.

[6] Jolly 1998, p. 151 n. 44.12).

[7] M. Bormand in Un rêve 2018, p. 467 n. 453.

[8] Jolly 1998, p. 148 n. 44.2.

[9] Pope-Hennessy 1964, I, pp. 90-91 n. 72.

[10] Balogh 1975, I, pp. 59-60 n. 51.

[11] Jolly 1998, pp. 151-152 nn. 44.10-14.

[12] Negri Arnoldi 1983-1984, pp. 99-100.

[13] G. Gentilini, in Pandolfini 2017, p. 63.

A. Galli in Donatello Florence 2022, p. 268.

[14] Donati 2015, p. 217 n. 42, p. 199 n. 32.

[15] Negri Arnoldi 1983-1984, pp. 99-100.

[16] G. Gentilini, in Pandolfini 2017, p. 63; A. Galli in Donatello Florence 2022, p. 268.

[17] in Donatello 1986, pp. 166-167 n. 51.

[18] 1998, pp. 151-153 n. 44.

[19] 2016, I, pp. 32-35 n 3.

[20] Molinier 1886, p. 34 n. 64, etc.

[21] Pope-Hennessy 1965, p. 21 n. 60.

Luchs in Donatello 1986, pp. 166-167 n. 51.

[22] Chapman 1998, pp. 21-22; M. Pizzo, in Mantegna 2006, pp. 242-243 n. 47.

[23] Negri Arnoldi 1983-1984, pp. 98-100.

[24] Avery 1989, pp. 226-227.

Jolly 1998, pp. 147-148.

Warren 2016, I, pp. 32-35 n. 3.

M. Bormand in Un rêve 2018, p. 467 n. 453.

A. Galli in Donatello Florence 2022, pp. 268-269 n. 8.13; etc.

[25] A. Galli in Donatello Florence 2022, pp. 268-269 n. 8.13.

[26] Jolly 1993, p. 152 n. 44.15.

K. Christiansen in Fra Carnevale 2004, pp. 168-169 n. 12.

Warren 2016, I, pp. 32-35 n. 3 etc.

[27] reported by A. Galli in Donatello Florence 2022, p. 268.

[28] Michelozzo and Pagno di Lapo Portigiani.

[29] 2015, pp. 54-55.

[30] ibid., pp. 50-55.

[31] Finally reconstructed in detail in the thorough monograph by Gabriele Donati

(2015, supplemented by subsequent contributions from Principi 2016, Falcone 2020, and Marangoni 2022).

[32] Donati 2015, pp. 138-140.

[33] Donati 2015, p. 161 n. 5, p. 159 n. 3

[34] Prevost-Marcilhacy 2022; Watrelot 2020.

[35] Paris, December 5-8, 1910, lot 437.

[36] Belli 2017.

[37] Donati 2015, p. 161 n. 5.

[38] Lynn Catterson (2017, p. 57), Michaela Watrelot (2020), and Pauline Prevost-Marcilhacy (2022).

[39] Niemeyer Chini 2009.

[40] Prevost-Marcilhacy 2022, pp. 489, 493.

[41] Luchs 1990.