Camillo Rusconi

Principi Chigi, Rome; Private Collection, Germany; Alex Wengraf, Ltd., London

Montagu 2006, p.824, fn.34; Montagu 2007, fig. 2(illus.)

Surface abrasions, some dents, and pitting. Some casting flaws and original plugs and pins throughout. The surface has been abraded and the gilding has been rubbed throughout, particularly on his chest and back and sides under his arms. The piece may have once been lacquered. There is a reddish powder residue in some crevices of hair and drapery. Very minor wear to later wood cross.
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.

RELATED LITERATURE

Lòpez 2001

The model for this "bellisimo bronzo dorato..." (Montagu 2007, op.cit., fig.2, p.63) was originally ascribed to Cafà, partially due to its Chigi provenance and the fact that Cafà worked for the Chigi Pope Alexander VII. Subsequently, an attribution to Algardi was convincingly proposed by Montagu based on documented drawings of a nearly identical corpus by him, as well as engravings by Grimaldi dated 1644 that credit Algardi with the design.

Barucca, however, first proposed in 2001 (López 2001, op.cit., p.192), that the model for the large silver corpus by Giovanni Giardini (1715), made for the Cathedral of S. M. Assunta, Mantelica (Montagu 2007, op.cit., fig.1),  which is closely linked to that of the present bronze, originated in Rusconi's circle. Montagu went on to suggest that Giardini was likely to have cast his silver sculpture directly from Rusconi's model. Stylistically the composition is clearly linked to Rusconi ; both Rusconi and Giardini also shared a patron, Marchese Niccolò Pallavicini , who commissioned the silver version.