Follower of Giambologna (1529-1608) Italian, Florence, mid 17th century

now mounted on a wood cross.

Sotheby's London, July 9, 2002, lot 114

General standard surface abrasions, some small areas of pitting on right side of torso and lower right side of right leg. Good plugs from original casting flaws. Rest to both upper arms and one forearm. Beautifully chased and finished hair. Reddish brown patina beneath transparent varnish and dark brown lacquer. Halo probably replaced. Wood cross somewhat later.
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.

RELATED LITERATURE
Charles Avery, Giambologna, Oxford, 1987, fig. 225
Giovanni Pratesi, Scultura Fiorentina del Seicento e Settecento, vol. III, Turin, 1993, no. 373

This corpus is clearly inspired by the sculpture of Giambologna and in particular his life-size bronze corpus, 1594-8, in Santissima Annunziata, Florence. The arrangement of the perizonium, the body type and position are analogous as are the same details in Felice Palma's corpus in the Usimabardi Chapel, Santa Trinità.

While this corpus owes much to these earlier models, the treatment to the hair with its flowing locks and drapery folds indicate a date within the second or third quarter of the 17th century.