Circle of Cristoforo Solari (circa 1460-1527) Northern Italian, Lombardy, first third 16th century

Overall the condition of the marble is good with minor dirt and wear to the surface consistent with age. The bust may have been cut down from a larger statue or have fitted into shoulders. There is a small loss to the end of the nose. The sides of the bust, particularly at the proper left shoulder and proper right side, are left rough, indicating losses. There are minor abrasions in particular to the hair. There is naturally occurring veining to the marble including a vein to the proper left side of the face; further veins to the back of the head and upper back. Abrasions to below the proper right eye and to the chest and to the cabochon. There is a chip to the centre of the forehead. There are a few chips in the hair including to one of the lower ringlets on the proper right side and to some of the ringlets by the proper left eye. A few minor orange stains. There is general wear to the wood plinth consistent with age.
"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 remarkable, expressive, head of Christ, with furrowed brow, opened mouth and intense stare, is imbued with profound pathos. Stylistically it relates to North Italian sculpture from the early 16th century, specifically works by the Milanese-born sculptor Cristoforo Solari, known as il Gobbo (circa 1468/70-1524). The thick locks of hair which trail down the broad neck recall Solari's monumental figures of Adam and Job (or Lazarus) both in the Museo del Duomo in Milan. Solari produced several works with bearded men with similarly broad faces and expressive features, note also the head of a Roman Emperor from his Saint Catherine of Alexandria in the Metropolitan Museum of Art (inv. no. 2012.328). The thick hair with prominently delineated locks and open mouthed facial expression may also owe a debt to Tullio Lombardo (circa 1455-1532), who was principally active in Venice and was heavily influence by Roman portrait sculpture. Compare the expression of the present figure with those of the attendants from Tullio's relief with the Miracle of the Miser's Heart in the Santo, Padua, circa 1520-1525. The subtle cloth border around the present figure's chemise is particularly delicately carved.

RELATED LITERATURE
A. Markham Schulz, 'Cristoforo Solari at Venice: Facts and Suppositions, Prospettiva, Iiii-Ivi, 1988-1989, pp. 309-316; A. Luchs, 'Two Hercules Sculptures by Cristoforo Solari', Burlington Magazine, cxxxix, December, 2007, pp. 844-846; M. Ceriana, 'Tullio Lombardo, Sculptor and Architecto', in A. Luchs, Tullio Lombardo and Venetian High Renaissance Sculpture, National Gallery of Art, Washington, New Haven and London, 2009, pp. 34-35, fig. 8; A. E. Werdehausen, et al. "Solari (i)." Grove Art Online. Oxford Art Online. Oxford University Press, accessed March 21, 2017, http://www.oxfordartonline.com/subscriber/article/grove/art/T079583pg5.