- 320
Italian, Florence, circa 1480
Estimate
7,000 - 9,000 USD
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Description
- head of Christ or Saint John the Baptist
- terracotta
- Italian, Florence, circa 1480
upon later wood base.
Condition
Losses, surface abrasions, and restorations throughout. Consolidation and restoration in some locks of hair, throughout back of crown of head, and back of neck. Restored breaks in beard and to hair on back of proper right side of head. Nose reattached. Chips and abrasions to 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
The influence of the Florentine masters, like Verrocchio, on sculptors throughout the region was far-reaching. The dense coils of hair positioned at the edges of the face, the central parting of the beard and the general appearance of the face recall Verrocchio’s Christ in his Christ and St. Thomas group from Orsanmichele, as well as his figure of David in the Bargello. However, this terracotta head reveals a tangible sense of pathos intensified by the furrowed brow, vigorously modeled eyebrows, sunken cheeks and recessed eye sockets.
A group of busts of Christ variously attributed to both the Tuscan sculptor Matteo Civitali (1436–1502) and Gregorio di Lorenzo, who was documented as working in Florence from 1455 to 1495, demonstrate several of the same characteristics including the pointed nose with narrow bridge and the rather elongated face. The curiously large ears, visible between the parted ringlets, is apparent in a large number of di Lorenzo’s busts, including Ecce Homo in the Narodni Galerie, Prague (see Alfredo Bellandi, Gregorio di Lorenzo, il maestro della Madonne di marmo, Morbio Inferiore, 2010, figs. 38, 187 and 188, cat. no. III).
A group of busts of Christ variously attributed to both the Tuscan sculptor Matteo Civitali (1436–1502) and Gregorio di Lorenzo, who was documented as working in Florence from 1455 to 1495, demonstrate several of the same characteristics including the pointed nose with narrow bridge and the rather elongated face. The curiously large ears, visible between the parted ringlets, is apparent in a large number of di Lorenzo’s busts, including Ecce Homo in the Narodni Galerie, Prague (see Alfredo Bellandi, Gregorio di Lorenzo, il maestro della Madonne di marmo, Morbio Inferiore, 2010, figs. 38, 187 and 188, cat. no. III).
A Thermoluminescence Analysis Report from Oxford Authentication, Ltd. dated 10 December 2013 states that sample N113m26 taken from the present lot was last fired between 300 and 500 years ago (1513-1713 AD).