After a model by Giambologna (1529-1608) Italian, Florence, 17th century

Overall the condition of the bronze is good, with minor dirt and wear to the surface consistent with age. There is wear to the gilding, including tarnishing and rubbing at the high points; the back of the figure appears not to have been gilt. There are remnants of what appears to be subsequently applied gilding to the hair at the back. The outlines of some original casting plugs and patches are slightly visible, including at the proper left hip, the proper left side of the chest, the proper left shoulder, and the proper right arm at the back. There are several minor nicks and scratches, including to the feet and nose, and particularly to the hands, where there is also minor warping. There is some greenish residue to the proper left arm.
"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."

Among the bronze crucifixes created by Giambologna and his workshop, this particular model of the Cristo Vivo is unusual in its large size and the scarcity of recorded casts. Two prime versions of the present model are known, one in Madrid, Monastery of the Descalzas Reales, and another sold at Sotheby’s London, 9 July, 2004, lot 7; both are thought to have been cast by Antonio Susini under the supervision of Giambologna. A third, unattributed, cast of the model sold at Sotheby’s London, The Winter Collection, 10 December 2015, lot 28.

The origin and development of crucifixes in Giambologna’s workshop is discussed in the catalogue of the 1978 Giambologna exhibition (Avery and Radcliffe, op. cit., pp. 45-47), where it is noted that the figures of the Cristo Morto appear to be earlier than those of the Cristo Vivo, the latter of which seem to originate from 1590 onwards, possibly in response to the precepts of the Council of Trent. The present, rare cast corresponds to the largest size in which these models were produced.

RELATED LITERATURE
C. Avery and A. Radcliffe, Giambologna 1529-1608, Sculptor to the Medici, exh. cat., Arts Council of Great Britain, London, 1978