A TERRACOTTA FIGURE OF ST. JOHN THE BAPTIST
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A TERRACOTTA FIGURE OF ST. JOHN THE BAPTIST

ATTRIBUTED TO THE MASTER OF THE DAVID AND ST. JOHN STATUETTES, FIRST QUARTER 16TH CENTURY

Details
A TERRACOTTA FIGURE OF ST. JOHN THE BAPTIST
ATTRIBUTED TO THE MASTER OF THE DAVID AND ST. JOHN STATUETTES, FIRST QUARTER 16TH CENTURY
Depicted seated on a rocky outcrop, raising his left hand to his chest and holding a cup in his right; on an integrally modelled naturalistic base and a moulded wooden plinth; restorations; worming to the base
27 in. (68.7 cm.) high; 29¼ in. (74.3 cm.) high, overall
Literature
COMPARATIVE LITERATURE:
J. G. Mann, Wallace Collection Catalogues - Sculpture, London, 1931, no. S 55, pp. 21-22, pl. 15.
J. Pope-Hennessy, Catalogue of Italian Sculpture in the Victoria and Albert Museum, London, 1964, I, nos. 169-176, pp. 191-196, II, figs. 180-187.
B. Boucher, The Sculpture of Jacopo Sansovino, New Haven and London, 1991, II, no. 2, pp. 313-314, figs. 11-12.
Special notice
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Lot Essay

The present terracotta figure of the youthful St. John in the wilderness is unusually large in scale for such an early depiction. It shows the saint seated on a rocky outcrop with his hair shirt tied in knots at the shoulders and belted at the waist. His luxuriantly curling hair echoes the fur of the skin he is wearing, and both contrast with the smooth and elongated limbs and neck. The group was almost certainly originally painted, and there are holes in the top of the rock on which the saint sits at the reverse, possibly to insert real branches or foliage to enhance the realism of the setting.

The figure is closely related to a terracotta of the same subject in the Bargello, Florence, which Boucher attributes to the young Jacopo Sansovino (see Boucher, loc. cit.). That figure displays a very similar setting and pose, along with the youthful proportions and the yearning expression of the upturned face. However, the present lot is even more closely related - not least by pose - to a group of terracottas from an unidentifed master in the same circle who has been given the name 'The Master of the David and St. John Statuettes' on the basis of his prediliction for executing models of these two subjects (see Pope-Hennessy, loc. cit.). In the Wallace Collection there is a damaged terracotta St. John sitting in an identical pose, although in a somewhat less elaborate setting (Mann, loc. cit.) attributed to the master. Similarly, the Victoria and Albert Museum possesses a bust of St. John, attributed to the same hand, which is virtually identical to the present head, although the shoulders of the bust are clothed with classical drapery (Pope-Hennessy, op. cit., no. 176, fig. 187).

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