Circle of Andrea del Verrocchio (c. 1435-1488) Italian, Tuscany, circa 1500

the base with an old paper label inscribed in ink: 211/2 and: 11.12.79

Sotheby's London, 9 April 1981, lot 89

There are numerous restored breaks running through the terracotta, including through the hair and neck, through the chest and at the proper left arm. There are a number of metal pins holding the restorations together, including to the back, front and proper left side. There is wear to the polychromy throughout. There are a few losses, including a larger loss at the proper right shoulder below the hair. There is a large filled section to the back. There is splitting to the wood base consistent with the material, a few chips and rubbing to the gilding. This lot was sold in 1981 with a thermo luminescence test certificate stating that this bust was last fired between 370 and 570 years ago, dated 23rd July 1980.
"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 symmetrical facial features, domed forehead, central parting of the hair and forked beard of this idealised bust of Christ, are ultimately derived from Verrocchio's celebrated figure of the Redeemer from his monumental Christ and St. Thomas bronze group on Orsanmichele in Florence, which was begun in 1467. This conception became one of the canonical models for Christ, profoundly influencing generations of Florentine artists long after Verrocchio's death.

Like the Verrocchio model, the present figure of Christ gazes downwards, his head tilted to one side. An interesting comparison is made in a terracotta bust of Christ attributed to Pietro Torrigiani (1472-1528) in the Museo d'Arte Sacra, San Gimignano (Bule et al., op. cit., fig. 90), which is also inspired by Verrocchio's bronze. Note, in particular, the similar unsymmetrical arrangement of the drapery. A further relevant comparison, notably in the turned head and in the modelling of the beard, is found in a Florentine bust of Christ, dating to the second half of the 15th-century, in the Victoria and Albert Museum (inv. no. 6862-1860).

The present bust is particularly well modelled and, in its calm serenity, conveys the sense of 'authenticity', which Butterfield suggests made Verrocchio's model of Christ such a successful and enduring image (op. cit.).

RELATED LITERATURE
J. Pope-Hennessy, Catalogue of Italian Sculpture in the Victoria and Albert Museum. Volume I: Text. Eighth to Fifteenth Century, London, 1964, pp. 209-210, no. 197; S. Bule, A. P. Darr and F. Superbi Gioffredi, Verrocchio and Late Quattrocento Italian Sculpture, Florence, 1992, p. 129, fig. 90; A. Butterfield, The Sculptures of Andrea del Verrocchio, New Haven/ London, 1997, pp. 56-80;  B. Boucher (ed.), Earth and Fire. Italian Terracotta Sculpture from Donatello to Canova, exh. cat. The Museum of Fine Arts, Houston, and The Victoria and Albert Museum, London, New Haven/ London, 2001, pp. 150-151, no. 22

This lot was sold in 1981 with a thermo luminescence test certificate stating that this bust was last fired between 370 and 570 years ago, dated 23rd July 1980.