Circle of Pietro Bernini (1562-1629), Italian, Rome, early 17th century

Overall the condition of the marble is good. There is weathering, some minor wear and dirt consistent with age. An area on the forehead was scratched/ made rough. There are a few minor chips including some to the edge of the base.
"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."

The sinuous carving of the hair and hollowed-out eyes of the present bust of Christ relate closely to Pietro Bernini's New Testamentical marbles in the churches of Rome. With its contemplative expression, the present marble is particularly comparable to Bernini's St. John the Baptist in the Sant' Andrea della Valle. Moreover, the drapery falls in the soft, regular folds also employed in the bust of Antonio Coppola in the San Giovanni dei Fiorentini.

Besides short periods of training in his native Florence and Rome Pietro Bernini spent his early career carving sculpture for the provincial churches in the environs of Napels. His works there reveal the influence of much earlier sculptors such as Benedetto da Maiano and Antonio Rosselino. Upon his return in Tuscany in 1594 he joined forces with Giovani Caccini and later Michelangelo Naccherino working on major commissions and modernising his style. He arrived in Rome in 1605 or 1606 as an established sculptor immediately attracting the papal commissions that would establish him as one of the foremost sculptors of the 17th century. In Rome Bernini's Mannerist style is characterised by his swift handling of the toothed chisel and deep undercuttings. His pupils included Giovanni Finelli and, most notably, his son Gianlorenzo.

RELATED LITERATURE
H.-U. Kessler, Pietro Bernini (1562-1629), Munich, 2005, figs. 95 and 105