Antonio Susini (1558-1624) Italian, Florence, around 1600 After a model by Giambologna (1529-1608)

Private Collection, Switzerland
Daniel Katz Ltd., London, 1988, from whom acquired by the present owner

Grabski, J. (ed.), Opus sacrum. From the collection of Barbara Piasecka Johnson, exh. cat. Royal Castle Warsaw, 1990, cat. 56, pp. 304-307

Overall the condition of the bronze is very good. There is some minor wear and dirt consistent with age. There is some wear to the back of the hands and heels due to mounting/ laying down. There are two minor nicks to the back of the proper right hand around the stigmato. There is some excess wax in the curls at the back of the hair. There are two very small holes due to casting flaws in the perezonium on the proper right side of Christ and in his hair at the back of his head.
"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."

The present bronze crucifix is amongst the finest known casts after Giambologna's model of the Cristo morto. It shares details with only the best corpora by Giambologna and his workshop, such as the subtle striation of the perizonium, the construction of the belly-button as an almost oval cavity with a tiny central torus, and the open mouth which leaves the upper row of teeth visible. The model used for the present cast is virtually identical to the larger version in gilt bronze in the Church of Saint Mark's, Florence (1589) and the smaller silver version in Turin (1592), which the late Herbert Keutner attributed to Giambologna. For its extremely elaborate and detailed chasing (which includes even an almost imperceptible indication of Christ's lateral wound by a short engraved curve), the present Crucifix reveals the hand of Antonio Susini, who was originally trained as a goldsmith, and together with Pietro Tacca was Giambologna's main workshop assistant, before he started to work independently in the last decade of the 16th century. Crucifixes by Giambologna and his workshop were repeatedly used by the Medici court as diplomatic gifts for prelates of the church and foreign rulers, but they also enjoyed a notable favor amongst the highest ranks of the Florentine nobility.

RELATED LITERATURE
H. Keutner, Firenze 1592: Un nuovo crocifisso in argento del Giambologna, exh. cat., Turin, Antichi Maestri Pittori, 1999; E.D. Schmidt, 'Scultura sacra nella Toscana del Cinquecento,' Storia delle arti in Toscana: Il Cinquecento, ed. by R.P. Ciardi & A. Natali, Florence 2000, pp. 231-254.