After a model by Guglielmo della Porta (circa 1515-1577) Italian, Rome, 17th century

Private collection, Germany

Overall the condition of the silver and gilt bronze is good, with minor dirt and wear to the surface consistent with age. There is minor tarnishing, particularly in the crevices. There is wear to the gilding on the bronze. Christ's proper left elbow is flattened at the back; this is probably part of the original conception. There are a few very minor nicks to the silver and there is a pin to the top of Christ's head. There is some rubbing to the gilding of the column at the high points. There are a few small dents to the column, particularly around the edges. The figure of Christ is attached to the column with a metal dowel that is held in place with a thin copper plate and some lead fill, visible on the reverse. There is minor general wear to the fabric of the modern stand. The figure and column are not attached to the stand.
"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 present figure of Christ at the Column is near-identical to one in the Fitzwilliam Museum, Cambridge (inv. no. MAR.M.265-1912), as well as relating to a closely similar example in the Museo Nazionale del Bargello (Avery, Coppel et al., op. cit., p. 88, fig. 45). The model has been firmly attributed to the Lombard sculptor Guglielmo della Porta, whose main activity took place in Rome under the patronage of Pope Paul III Farnese. A drawing from Guglielmo's sketchbook depicts the same composition as part of a Flagellation group (Avery, op. cit., p. 153, fig. 2), of which there are several versions in bronze relief, including one at the V&A (inv. no. A.1-1977). Many of Guglielmo's models were stolen by his son in 1585, resulting in the existence of copies produced by skilled Roman goldsmiths in the following decades. The present figure is likely to be one such work, exhibiting remarkable finesse and attention to detail.

RELATED LITERATURE
V. Avery, Renaissance and Baroque Bronzes from the Fitzwilliam Museum, Cambridge, exh. cat. Daniel Katz Ltd, London, 2002, pp. 150-153, no. 19; C. Avery, R. Coppel and M. Estella, Guglielmo della Porta. A Counter-Reformation Sculptor, cat. Coll & Cortés Fine Arts, Madrid, 2012, pp. 74-97