Lot 4
  • 4

CIRCLE OF LEONARDO DA VINCI | Bust of Christ

Estimate
250,000 - 350,000 GBP
Sold
bidding is closed

Description

  • Leonardo da Vinci
  • Bust of Christ
  • oil on panel
  • 29.3 x 21.8 cm.; 11 1/2  x 8 5/8  in.

Literature

To be published in a forthcoming article by Cristina Geddo (as by a Milanese pupil of Leonardo, circa 1511–13).

Catalogue Note

This arresting and refined image of Christ was painted by a close associate of Leonardo da Vinci around 1510. The frontality of the design and iconography of the painting fit well with the production of the great master and his workshop, and the soft modelling of Christ’s face finds direct parallels in many of Leonardo's followers such as Giampietrino. The soft curls of His hair, the fall of His ringlets resembling the motion of water, as exemplified by numerous Leonardo drawings, are also characteristic of the Leonardeschi.1  A closely related treatment of the subject (fig. 1), signed and dated 1511 by Leonardo's student and intimate companion Gian Giacomo Caprotti, known as Salaì, was sold Sotheby's, New York, 17 January 2007, lot 34.2 As Shell and Sironi have observed, ‘Salaì represents another kind of Leonardesco; the faithful replicator of Leonardo’s models and, by his own lights, executor of Leonardo’s intentions’.3 Since two very similar works are known, both painted in a spirit so close to that of the Master, it can be reasonably proposed that the design is directly based on a lost original by Leonardo himself. It is known that the Master's prototypes were often reworked by his followers on a smaller scale with some variants, such as in the choice of colours used, for example. Indeed, the Salvator Mundi, recently on the art market, inspired many derivations such as the panel of the same subject (fig. 2), formerly in the De Ganay collection, sold Sotheby's, New York, 28 May 1999, lot 20 (as circle of Leonardo) which Professoressa Cristina Geddo has recently attributed to the young Giampietrino.4

Professoressa Cristina Geddo has examined the painting in person and her study of the work provides the starting point for this catalogue note. She will publish the picture in a forthcoming article as by a Milanese pupil of Leonardo, circa 1511–13, around the same time as Salaì's aforementioned panel was painted.



1 See, for example, Leonardo’s sheet in the Royal Library at Windsor, inv. 12579.

2 Panel, 55 x 37 cm.; the hammer price was $550,000. The work was acquired by a private collector who subsequently donated it in 2013 to the Pinacoteca Ambrosiana, Milan, where it now hangs.

3 J. Shell and G. Sironi, 'Salaì and Leonardo’s legacy', The Burlington Magazine, vol. CXXXIII, no. 1055, February 1991, p. 106.

4 Panel, 68.6 x 48.9 cm.; the hammer price was $300,000.

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