30th Jun, 2021 14:00

The Collector: Objects to Clocks

 
  Lot 13
 

A FLORENTINE GILT BRONZE RELIQUARY HEAD IN THE MANNER OF BACCIO BANDINELLI, PROBABLY 19TH CENTURY

A FLORENTINE GILT BRONZE RELIQUARY HEAD IN THE MANNER OF BACCIO BANDINELLI, PROBABLY 19TH CENTURY

depicting the head of a male saint, with arched brows, the eyes with delineated pupils, raised on a later ebonised cylindrical plinth,

the head 18cm high, 32cm high overall

The present gilt bronze head of a saint closely resembles the reliquary heads produced in Florence in the 16th century, and falls into the stylistic milieu of sculpture connected with Baccio Bandinelli, the most prominent sculptor active in early-to-mid 16th century Florence apart from Michelangelo. For example, his marble Hercules and Cacus was originally commissioned by the Florentine council as a pendant to Michelangelo’s masterpiece, David.

The present bust may have once been set into a separate base, probably in the form of a cope or saint’s robe and intended for private devotion as a reliquary bust. However, although a seam is visible to the back of the head, it does not appear to have even been formed as a separate removable section, which calls into question whether the present bust was ever intended as a true reliquary head or whether it is a direct copy of a 16th century reliquary head.

The modeling of the saint’s face closely compares with the stylistic tendencies of Bandinelli. For example, the smooth surface features of the face, elegantly arched brow lines, Romanesque nose and sharply chiseled lips inspired by classical forms are commensurate. In particular, the depth and shape of the orbitals rendered with eloquent depth and with slightly protruding convex spheres for the eyes delineated also by sharply incised lids and tear-ducts recalls also the precision of handling observed on his other bronze and marble busts. The grouped tufts of hair, textured by equidistant lateral striations which terminate in tightly coiled curls approaching the flesh, is especially evident in Bandinelli’s other works.

Technical observations:

There are two parallel-aligned circular plugs (about 1.5” apart) sealing where the casting sprues were originally attached along the back-of-the-head. Trace remnants of iron core pins remain inside the head. One was removed, and left unplugged, located behind the proper left ear. Another, in front of the ear, was trimmed and was perhaps formerly covered but oxidization has exposed its location and the gilding is lost there. The handling of the punch tool used for the after-working of the bronze is remarkably controlled, etching subtle lines where the hair terminates into the bald head of the saint and where the eyebrows are delineated by a series of carefully hammered lines moving along the ridge of the brow line. The orbs of the eyes are also delicately hammered with exception of the iris, providing a distinctive texture that enhances the hypnotic chased spiraling pupils. Such subtle details indicate the bust may have been observed up-close. Certainly, its maker had an infatuation with perfection, symmetry and balance…even down to the quantity of chased lines used to delineate each eyebrow (approximately 14 or 15 strokes each).

Sold for £1,625

Includes Buyer's Premium


 

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