his head bowed down and with crown of thorns, the muscular torso draped with a perizonium, gold and red translucent lacquer over golden-brown patina.

Duveen Brothers, New York, purchased 1947

RELATED LITERATURE

P. Torriti, Pietro Tacca da Carrara, Genoa, 1975, pp. 81-90.

F. Falletti, Pietro Tacca, Carrara, La Toscana, Le Grandi Corti Europee, 2007, pp. 75-98, 186-187.

Remains of beautiful translucent gold and reddish lacquer over golden-brown patina. There appears to be a surface lacquer or environmental reaction visible predominantly on the back, inside of legs, on his face and back of torso and arms. This has the appearance of a flaking lacquer and could be a type of verdigris and seems to be removable. Loss of two fingers on proper right hand. Beautiful quality and chasing.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The present bronze is based on several large crucifixes by Pietro Tacca, including one in San Lorenzo de El Escorial (Falletti, op.cit. p.77) and another in the Cathedral of Pisa (Falletti, op.cit. p.82).  The crucifix in Pisa, which relates closely to the present figure, forms part of a tomb of the Archbishop Matteo Rinuccini and has long been accepted as an autograph work by Tacca. Note the similar lean muscular arms, the position of the head and facial type, and the design of the folds in the perizonium.  However, the present crucifix has a more elongated body, lacking the dramatic swing to the hips, a trait shared with another crucifix by Tacca in the Cattedrale dei Santi Alberto e Marziale (Falletti, op.cit. p.79). 

In differentiating between his work, the work of his master, Giambologna, and his son Ferdinando Tacca, scholars note Pietro's ability to render a sense of great pathos.  It is difficult to specifically date crucifixes attributed to Pietro, as his style remained consistent throughout the years between the execution of the Escorial crucifix (circa 1616) and ꧋that made for the tomb of Rinuccini in Pisa.