Attributed to Agostino de Fondulis

Heim Gallery, London

Heim Summer 1972, no. 40; Washington, New York, Cambridge 1979-1982, no. 1 (illus.); New York 1981, cat. no. 3, Chicago 1987-1988, no. 1

Sgarbi 2006, p.100

Surface abrasions and flaking polychromy (various layers remaining). Small losses and restorations throughout. Old restorations include: neck, tip of nose, part of beard, small area of brow (surface), small chips to ears (restored), proper right underarm area. Otherwise stable overall. Well modeled.
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.
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RELATED LITERATURE

Bandera 1997

The dramatic realism portrayed in the present bust of Christ is analogous to the pathos evident in the work of sculptors such as Niccolò dell'Arca (1435-94) and Guido Mazzoni (active 1473-1518) both of whom worked in Lombardy.  This bust was previously given to the circle of Mazzoni, partly based on strong comparisons with the facial types in his famous Lamentation group from Sant'Antonio di Castello, Venice (now in the Museo Civico, Padua).

Sgarbi (op. cit.), however, discusses another nearly identical bust of Christ as the Man of Sorrows and suggests that the profound emotion  and quiet majesty of the Sackler and Sgarbi busts share similarities with the work of Lombard artists such as Agostino de Fondulis, who trained with his father Giovanni, with followers of Donatello. Agostino's naturalistically painted terracotta Pietà group with 14 figures for the church of S Maria Presso S Satiro was inspired both by Paduan late Gothic naturalism and by the classicism of Andrea Mantegna.

The iconography of the present bust was most commonly adopted in Florence and developed in the workshop of Verrocchio in the latter part of the 15^th century. The profoundly personal depiction of suffering, underscored by the adept modeling of the high cheekbones, arched eyebrows, deep creases around the eyes and neck and beautifully spiralled twists of hair was intended for domestic veneration.