Italian, Florence, first quarter 16th century

Private collection, Boston, until 2007;
Sotheby's New York, 26 January 2007, lot 236

Overall the condition of the bust is good with minor dirt and wear to the surface consistent with age. In 2007 the bust had a polychromed surface; this has been removed. Some traces of polychromy survive. There are a number of stable fissures in the terracotta, including at the bridge of the nose and below the chin in the neck, around the larynx. The fissures at the nose and chin may indicate past fractures. There are a few small holes and pits in the terracotta, such as at the back of the head. There are some small losses at the edges, in particular at the shoulders and at the back of the bust. There is a fissure with a loss at the edge at the chest at the front proper left side. There are several drilled holes: at the top of the head; nape of the neck; and behind the proper right ear. It is possible there could be some restorations to the edges of the ears and lobes.
"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 bust has the individual character of a portrait, perhaps of a scholar or statesman. The bust finds its closest parallels in works created by the esteemed Benintendi family, who were famed for their lifelike wax and clay votive figures. Compare, for example, with the Bust of Cardinal Giovanni de' Medici which is attributed to Antonio d'Orsino Benintendi and is in the Victoria and Albert Museum (inv. no. A. 29-1982; Panzanelli, op. cit., pp. 100-101, no. 1).

RELATED LITERATURE
J. Pope-Hennessy, Donatello Sculptor, New York, 1993, p. 141, figs. 127 and 128; B. Boucher (ed.), Earth and Fire. Italian Terracotta Sculpture from Donatello to Canova, Museum of Fine Arts, Houston, and Victoria and Albert Museum, London, 2001, pp. 150-151, no. 22; R. Panzanelli (ed.), The Color of Life. Polychromy in Sculpture from Antiquity to the Present, exh. cat. J. Paul Getty Museum, Los Angeles, 2008, pp. 100-101, no. 1

A Thermoluminescence Analysis Report from Oxford Authentication Ltd., dated 26 September 2006, indicated that sample N106Z59A was last fired between 400 and 700 years ago.

The present lot is the subject of an expertise by Dr Bruce Boucher, dated 27 July 2009.