Italian, Florence, 17th century

private collection, Florence;
with Massimo Vezzosi, Florence

Florence, Jacopo Sansovino, Annibale Carracci ed altri contributi, 2007, no. 4

K. Watson (ed.), Jacopo Sansovino, Annibale Carracci ed altri contributi, Florence, 2007, no. 4, pp. 42-53 (entry by C. Pizzorusso)

Overall the condition of the bronze is good with minor dirt and wear to the surface consistent with age. The patina may have been refreshed at some point. There is some rubbing to the patina at some of the high points and extremities, including: at the rib cage, knees, back of the fingers and knuckles, heals and toes. There is also some rubbing to the high points of the drapery. There are a few minor nicks, including to the proper right leg (thigh and knee at the proper right side, and to the shin). Nicks to Christ's back. There are a few small lacunae, including to under the perizonium. There is minor dark spotting to the patina, particularly to the legs. There is minor wear to the cross, including evidence on non active worming.
"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."

This fine bronze crucifix with its refined modelling and goldsmith-like tooling is an example of a variant that emerged from the workshop of Giambologna and his assistants and pupils in Florence in the late 16th and early 17th centuries.

Katherine Watson discusses the origin and development of these bronzes in the catalogue of the 1978 Giambologna exhibition (Avery and Radcliffe, op. cit., pp. 45-47), where she notes that the figures of the Cristo Morto appear to be earlier than those of the Cristo Vivo, the latter of which seem to originate from 1590 onwards, possibly in response to the precepts of the Council of Trent. The variants are known in three different sizes: 23cm, 30cm and about 35cm high. The present figure corresponds to the largest size. 

Corpora by Giambologna and his workshop were repeatedly given by the Medici court as diplomatic gifts for prelates of the church and foreign rulers, and also enjoyed favour amongst the highest ranks of the Florentine nobility.

RELATED LITERATURE
C. Avery and A. Radcliffe, Giambologna 1529-1608, Sculptor to the Medici, exh. cat., Arts Council of Great Britain, London, 1978