CIRCLE OF ANDREA DEL VERROCCHIO (CIRCA 1435-1488), ITALIAN, FLORENCE, LATE 15TH CENTURY | BUST OF CHRIST THE REDEEMER
CIRCLE OF ANDREA DEL VERROCCHIO (CIRCA 1435-1488), ITALIAN, FLORENCE, LATE 15TH CENTURY | BUST OF CHRIST THE REDEEMER
CIRCLE OF ANDREA DEL VERROCCHIO (CIRCA 1435-1488), ITALIAN, FLORENCE, LATE 15TH CENTURY | BUST OF CHRIST THE REDEEMER
CIRCLE OF ANDREA DEL VERROCCHIO (CIRCA 1435-1488), ITALIAN, FLORENCE, LATE 15TH CENTURY | BUST OF CHRIST THE REDEEMER
CIRCLE OF ANDREA DEL VERROCCHIO (CIRCA 1435-1488), ITALIAN, FLORENCE, LATE 15TH CENTURY | BUST OF CHRIST THE REDEEMER
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CIRCLE OF ANDREA DEL VERROCCHIO (CIRCA 1435-1488), ITALIAN, FLORENCE, LATE 15TH CENTURY | BUST OF CHRIST THE REDEEMER

Estimate: 25,000 - 35,000 GBP

CIRCLE OF ANDREA DEL VERROCCHIO (CIRCA 1435-1488), ITALIAN, FLORENCE, LATE 15TH CENTURY | BUST OF CHRIST THE REDEEMER

Estimate: 25,000 - 35,000 GBP

Lot Details

Description

CIRCLE OF ANDREA DEL VERROCCHIO (CIRCA 1435-1488)

ITALIAN, FLORENCE, LATE 15TH CENTURY

BUST OF CHRIST THE REDEEMER


terracotta, with remnants of polychromy, on a gilt and polychromed wood base

with a label to the reverse inscribed: Collection Vecht / Amsterdam / No. 155

bust: 44.5cm., 17½in.

52cm., 20½in. overall

Condition Report

Given the age and fragility of the material, the condition is good overall, with some wear and dirt to the surface consistent with age. There are several restored breaks to the head with visible joints, notably around the neck and the hair at the back, along the proper right side of the forehead (where there is light coloured fill), and the top and back of the head, where there is an area of plaster fill and dark overpaint. Part of the joint at the back of the head has chipped revealing the white gesso material. There is a further restored break below the shoulders, with a joint slightly visible at the chest, and there appear to be some further old, concealed restorations to the head such as the tip of the nose. There are a few minor losses and chips, in particular to the edge of the mantle on the proper left side and to the hair on the proper right side. There is a small open crack to the collar. There are remnants of blue and red polychromy to the garments.

There are minor losses to the wood base, apparently the result of past worming. There is an open split or joint to the base at the back. There is wear to the gilding and polychromy on the wood base.


"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."

Saleroom Notice

This Lot will be stored at New Bond street and not as stated in the printed catalogue.

Cataloguing

Provenance

Collection Vecht, Amsterdam, no. 155;

L.M.G. Arntzenius, Amsterdam, between circa 1927-1957;

by inheritance to his wife Yvonne Georgi, Hanover, until 1975;

private collection, Germany, acquired from the above;

private collection, Berlin, acquired in 1980;

acquired from the estate of the above by the present owner

Catalogue Note

The facial type of this beautiful bust, including the oval shape, serene expression, typically heavily lidded eyes, and the thick locks of hair, is ultimately derived from Andrea del Verrocchio's figure of Christ in Orsanmichele, Florence, whose idealised features influenced representations of Christ by his workshop and followers. Another version of the present model in the sacristy of Santa Felicita, Florence, has been attributed to Agnolo di Polo (1470-1528), a Verrocchio pupil, based in part on a stylistic comparison with his bust of Christ the Redeemer in the Museo Civico, Pistoia (dated to 1498).


RELATED LITERATURE

F. Caglioti and A. De Marchi (eds.), Verrocchio: Master of Leonardo, exh. cat. Palazzo Strozzi, Florence, 2019, pp. 298-313; https://qspace.library.queensu.ca/handle/1974/24197 [accessed 20 October 2019]


A Thermoluminescence Analysis Report from Oxford Authentication, Ltd. dated 23 October 2019 states that sample N119p89 taken from the present lot, was last fired between 400 and 700 years ago (1319-1619 AD).

CIRCLE OF ANDREA DEL VERROCCHIO (CIRCA 1435-1488), ITALIAN, FLORENCE, LATE 15TH CENTURY | BUST OF CHRIST THE REDEEMER
CIRCLE OF ANDREA DEL VERROCCHIO (CIRCA 1435-1488), ITALIAN, FLORENCE, LATE 15TH CENTURY | BUST OF CHRIST THE REDEEMER
Lot Closed