Attributed to Alessandro Algardi

Heim Gallery, London

Washington, New York, Cambridge 1979-1982, no. 17, (illus.); New York, 1981, no. 10; Chicago 1987-1988, no. 5 (illus.)

Montagu 1985, p. 343, cat. no. 33 (illus.)

Overall surface abrasions, chips and losses. The torso beneath the shoulders is associated and may be slightly later. The torso has losses as shown (arms), restorations and old staples on a vertical crack along the back. The head: surface abrasions, chips and losses. There is an approx 5 in. by 2 1/2 in. piece at the back of his head which has been reattached and filled. There is a drop of white paint at the back of his head. There is a thin clay slip or pigment applied to the surface throughout. Some surface repair, including proper left side of his neck and tip of nose. The opening where his proper left arm was broken is filled.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Montagu attributes the present head of Christ to Alessandro Algardi based on "the flow of the hair, partly modelled freely in waving masses, partly incised with the modeling tool; and the sweet expression in a face constructed in large and simple planes." (Montagu, 1985, p. 343)

The distinction between the head and shoulders and the torso is visible, with a seam running shoulder to shoulder.  Montagu notes a similarity in the clay used in the two sections, however the discrepancy in quality and the join between the two parts suggest that it is a later association.  The proper left shoulder in the seemingly autograph top section shows that the left arm was not upraised in the original composition and therefore the subject was not a crucifixion.  The pose suggests that Christ was once either coupled with a figure of Mary Magdelene in a Noli Me Tangere group, or displaying His wound to the doubting Apostle Thomas.