Lot 13: Antonio Susini (1558-1624) Italian, Florence, around 1600 After a model by Giambologna (1529-1608) , Cristo Morto bronze

bronze

measurements note 31.5 by 26.5cm., 12 3/8 by 10 3/8 in.

Grabski, J. (ed.), Opus sacrum. From the collection of Barbara Piasecka Johnson, exh. cat. Royal Castle Warsaw, 1990, cat. 56, pp. 304-307

Private Collection, Switzerland
Daniel Katz Ltd., London, 1988, from whom acquired by the present owner

The present bronze crucifix is amongst the finest known casts after Giambologna's model of the Cristo morto. It shares details with only the best corpora by Giambologna and his workshop, such as the subtle striation of the perizonium, the construction of the belly-button as an almost oval cavity with a tiny central torus, and the open mouth which leaves the upper row of teeth visible. The model used for the present cast is virtually identical to the larger version in gilt bronze in the Church of Saint Mark's, Florence (1589) and the smaller silver version in Turin (1592), which the late Herbert Keutner attributed to Giambologna. For its extremely elaborate and detailed chasing (which includes even an almost imperceptible indication of Christ's lateral wound by a short engraved curve), the present Crucifix reveals the hand of Antonio Susini, who was originally trained as a goldsmith, and together with Pietro Tacca was Giambologna's main workshop assistant, before he started to work independently in the last decade of the 16th century. Crucifixes by Giambologna and his workshop were repeatedly used by the Medici court as diplomatic gifts for prelates of the church and foreign rulers, but they also enjoyed a notable favor amongst the highest ranks of the Florentine nobility. RELATED LITERATURE
H. Keutner, Firenze 1592: Un nuovo crocifisso in argento del Giambologna, exh. cat., Turin, Antichi Maestri Pittori, 1999; E.D. Schmidt, 'Scultura sacra nella Toscana del Cinquecento,' Storia delle arti in Toscana: Il Cinquecento, ed. by R.P. Ciardi & A. Natali, Florence 2000, pp. 231-254.