Attributed to Prospero Spani, called Il Clemente (1516-1584) Italian, Emilia, circa 1560-1570

inscribed to the reverse in ink: ...598 and with a 20th-century printed paper label: 67 / 10

With Heim Gallery, London, circa 1960's/1970's;
private European collector

Overall the condition of the marble is good, with dirt and wear to the surface consistent with age. There appears to be a restored break running through the proper right side of the torso, particularly visible at the back. There is a prominent vein running through the proper left side of the torso, which has been strengthened with dowels and restoration is visible at the back.There is a filled section next to the restored break at the back. There are some, possibly original, inserts at the back in the centre below the neck and several running through the strut in the centre of the back. There is some evidence of restoration in these areas. The tip of the nose is reattached and there is some restoration. There is some further naturally occurring veining to the marble, including some slightly open veins to the chest on the proper right side. There is a small loss to the tip of the strap at the chest, and there is wear to the buckle. There are various minor scuff marks, in particular to the breast plate. There are naturally occurring inclusions to the marble, including to the breast plate and at the proper right shoulder. There is a series of small inclusions to the proper left side of the forehead at the top, and around the proper left eye. There are a few small chips and abrasions, including some small chips to the eyelids, above the proper right eye, and to the top of the forehead on the proper right side. There is general wear and minor abrasions to the high points in the hair. There are some very small chips and abrasions, including some small filled holes, including to the bottom of the breast plate. There are some small holes and some small scratches to the proper left shoulder. Part of the proper right shoulder has been left roughed out at the back. The socle is old but possibly associated. There are various small chips and abrasions around the edges, and possible losses to the tops of the titular plaque - there may have been upper scrolls matching the lower ones. There are some dirt stains, in particular to the socle and the breast plate.
"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 imposing Renaissance marble bust finds its closest comparisons in the work of the Emilian sculptor Prospero Spani, called Il Clemente. Trained by Antonio Begarelli, Prospero Spani operated principally in Reggio Emilia, where he worked on the Duomo and various tombs and executed commissions for Duke Ercole II d’Este and his son Duke Alfonso II d’Este. The present bust finds strong comparables in Spani’s Portaits of Gasparo Scaruffi and Lucrezia Scaruffi Malaguzzi in the Musei Civici, Reggio Emilia (inv. nos. 304, 307). Note the same almond-shaped, prominently incised, eyes, and the hair, boldly carved in stylised curling tufts. This unusual treatment of both facial and head hair is a defining feature of the present bust and can be seen throughout Spani’s oeuvre. For the beard, with stylised tufts of varying length and firmly closed mouth with prominent bottom lip, compare with Spani’s Bust of Dionigi Ruggeri in the Musei Civici, Reggio Emilia (inv. no. 357) as well as the Bust of Antonio Bernardi from the eponymous monument in the collegiata at Mirandola (Bacchi, op. cit., p. 115). The sitter’s side glance, with pupils set to the proper left, finds precedent in Spani’s Bust of Gherardo Mazzoli again in Reggio Emilia (inv. no. 354) and reflects the sculptor’s interest in creating portraits which engage with the viewer.



The conception of the present bust, with armoured deep truncation, displaying the full length of the breastplate, is fundamentally indebted to Leone Leoni, in particular the marble Bust of Charles V in the Museo del Prado, Madrid. The influence of Leone and Pompeo Leoni on Spani has been discussed by Andrea Bacchi in relation to the Emilian sculptor’s Bust of Ercole II d’Este in the Galleria Estense, Moderna, which was likewise conceived in the 1550’s for Ercole II who also commissioned a medal from Pompeo Leoni around this time (Bacchi, op. cit., pp. 106-109). The similarity between Spani’s bust of Ercole II and Leoni’s Charles V may be explained by the Duke’s wish to be assimilated to the Emperor using this imposing portrait sculptural form. The present bust ultimately follows the model established by Spani in the 1550’s with the Bust of Ercole II d’Este. However, it presents the sitter not as a god with emblematic relief figures of Hercules, but as a soldier. The sculptor has evidently taken great care to lend a sense of verism to the portrait, with the addition of straps and pins, which recall the button clasps on the Gasparo Scaruffi and the fur and chains on the Gherardo Mazzoli. These additions stand out on the smooth flat planes of the armour. The arabesque etched pattern around the collar is the sole ornamentation and closely parallels the foliate designs seen bordering the copes on Spani’s SS Venerio, Gioconda, Caterina, Massimo and Prospero from the Duomo in Reggio Emilia, which were executed in the 1570’s (see Bacchi, op. cit., pp. 192-194, no. 22). The breastplate is stylistically consistent with Italian armour circa 1560 with etched and gilt decoration. Compare, for example with the Italian circa 1560 breastplate in the Wallace Collection (inv. no. A53), which was owned by Cornelio Bentivoglio (1519/20-1585) who served the Este Dukes throughout his life and, in 1566, joined Alfonso II d'Este and Emperor Ferdinand II in their Hungarian campaign against the invading Ottoman Turks.

There is a striking likeness between the present bust and contemporary portraits of Duke Alfonso II d’Este, who reigned between 1559-1597, and for whom Spani executed sculptures of Hercules and Marco Emilio Lepito for the Palazzo Estense, Modena. Duke Alfonso would have been aged Sitter identifications in Renaissance sculpture can often be tenuous. However, in this case, the prominent, pointed, nose, square jaw, and trailing moustache make a compelling case for an identification as Alfonso II d’Este, Duke of Ferrara, Modena and Reggio, and the grandson of Lucrezia Borgia.

RELATED LITERATURE

N. Artioli and E. Monducci, Prospero Sogari Spani Clementi scultore reggiano (1516–1584): Regesti e documenti, Modena, 1990; A. Bacchi, Prospero Clemente: Uno scultore manierista nella Reggio del ’500, Milan, 2001; Maria Cristina Chiusa. "Spani." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 24 May. 2017.