Workshop of Alessandro Algardi (1598-1654) Italian, Rome, 17th century

with an old Christie's label printed twice with the Christie's logo, stamped twice: 05 DEC 1989 inscribed twice in ink: 77 and inscribed twice in pencil and red ink: 2.349

Christie's London, 16 December 1986, lot 34

Overall the condition of the bronze is good with dirt and wear to the surface consistent with age. There are a few areas of particular wear to the patina, including to the executioner's proper right arm. There are a few specks of paint. The edge of the roundel is rough and there is a loss to the bronze at the top left edge, possibly due to a past mount. There are two small holes to the top edge for the wire mount.
"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."

Along with Gianlorenzo Bernini, Alessandro Algardi was the most important and distinguished sculptor in Rome in the mid-seventeenth century. In October 1634, he was commissioned to model a monumental freestanding group, the Beheading of St Paul, for the altar of La Basilica di San Paolo in Bologna. Designs for the altar had already been drawn up by Bernini. However, the task fell to Algardi, and the resulting magnificent monumental sculpture in marble can be seen on the high altar today.

In 1648, Algardi added to this a bronze relief for the decoration of the altar-frontal, below the marble group. The present sculpture is an extremely finely chased cast derived from this model. It continues the narrative of the marble group: St. Paul’s severed head now lies on the ground. The relief represents the story that, as his head hit the ground three times, three springs welled up from within the Earth. Algardi depicts the horror and shock of the executioner with an exaggerated arm gesture as the water flows before him. It provides a dramatic counterpoint to the narrative moment of the marble group, wherein the executioner is composed and empowered.

The present sculpture is a particularly refined cast of the famed model, which exists in marble, terracotta, silver, bronze, clay and gilt-bronze versions. The finer details, such as the musculature of the executioner and the figure on the left gently kissing St. Paul’s feet, are crisp and delicate. Another bronze relief version of The Beheading of St. Paul is in the Victoria and Albert Museum (inv. no. A.68-1962).

RELATED LITERATURE
J. Montagu, Alessandro Algardi, New Haven / London, 1985, vol. II, pp. 369-376, no. 69; M. H. Ravalli, Allesandro Algardi scultore, Rome, 1972, pp. 141-143, no. 49; J. Montagu, Algardi, l'altra faccia del barocco, exh. cat. Palazzo delle Esposizioni, Roma, 1999, p. 142, no. 21