Workshop of Pietro Tacca (1577-1640) Italian, Florence, first half 17th century

Private collection, Spain

Overall the condition of the bronze is good with minor dirt and wear to the surface consistent with age. There is dirt and dark spotting throughout, in particular to the arms, upper body and chest. There are a few paint marks, notably to the proper left arm. There is a hole in the back of the hair and holes in the hands and feet for the stigmata. There are a few small spots of greening, notably to below the proper right pectoral. There are a few small lacunae, including to between the feet.
"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."

This very finely cast Cristo Vivo follows a rare model which has been associated with the school of Giambologna in relating to the master's own figure of Christ crucified alive (Avery and Radcliffe, op. cit., nos. 98-103). Two other casts, one in bronze and one in silver, were exhibited by Michael Hall and were respectively attributed to Ferdinando Tacca and a close follower of Giambologna 'perhaps' Pietro Tacca (Hall, op. cit., nos. 29-30). This present Cristo Vivo exhibits the technical virtuosity associated with the workshop of Pietro Tacca, note the hair which falls in cascading curls, the deliberately unsymmetrical moustache and the excellent casting of the fingers and toes. The chasing in the perizonium is superb and could only be the work of a leading master. It is probable that bronze was cast by Cosimo Capello, Pietro Tacca's principal studio assistant.

RELATED LITERATURE
C. Avery and A. Radcliffe, Giambologna 1529-1608. Sculptor to the Medici, exh. cat Royal Scottish Museum, Edinburgh; Victoria and Albert Museum, London; Kunsthistorisches Museum, Vienna, 1978, pp.  140-144, nos. 98-103; M. Hall, Giambologna. An exhibition of sculpture by the master and his followers from the collection of Michael Hall, Esq., exh. cat. Salander-O'Reilly Galleries, New York, 2000, pp. 88-91, nos. 29-30