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PROPERTY FROM THE LOYD COLLECTION (LOTS 180-207)

A CARVED OVAL PORTRAIT PROFILE RELIEF OF A BEARDED MAN, PROBABLY BACCIO BANDINELLI

ATTRIBUTED TO BACCIO BANDINELLI (1493-1560), CIRCA 1550

細節

A CARVED OVAL PORTRAIT PROFILE RELIEF OF A BEARDED MAN, PROBABLY BACCIO BANDINELLI
ATTRIBUTED TO BACCIO BANDINELLI (1493-1560), CIRCA 1550
Depicted facing to sinister; with drapery knotted around the shoulders; in a modern rectangular faux marbre frame
19 in. (48.2 cm.) high; 35 5/8 in. (90.5 cm.) high, overall

來源

Formerly in the collection of B. J. Looker, Burfield Lodge, Old Windsor.
Bought by the present owner in Christie's, London, 15th May 1984, lot 85.

出版

F. Russell ed., The Loyd Collection of Paintings, Drawings and Sculpture, revised edition 1991, no. 175, pl. 85.
COMPARATIVE LITERATURE:
J. Pope-Hennessy, Catalogue of Italian Sculpture in the Victoria and Albert Museum, II, 1964, no. 474.
I. Galicka and H.Sygietynska, 'A newly discovered self-portrait by Baccio Bandinelli,' The Burlington Magazine, December 1992, no. 1077, pp. 805-7.

注意事項

No VAT will be charged on the hammer price, but VAT at 15% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

拍品專文

In terms of style and composition, the highly accomplished profile portrait offered here relates very closely to a series of drawings and sculpted profile portraits of bearded men unanimously accepted as being by the controversial mannerist artist Baccio Bandinelli. In their article relating to the self-portraits by Bandinelli, Galicka and Sygietynska (loc. cit.) discuss, among others, two signed marble reliefs in the Museo del Opera del Duomo and in the Jablonna Palace, near Warsaw (ibid., pl. 45). Seen in the greater context of his oeuvre, these reliefs seem with little doubt to be self-portraits. In each instance one sees the same treatment of the short, cropped, hair, the strong forehead, the thick-set neck and long curling beard. The present lot shares these characteristics, however, it depicts a younger man, possibly in his fifties, and shows none of the obvious signs of aging. Here the sitter is carved without the visible temporal artery, pouches under the eyes and distended jugular artery which are seen on the other reliefs suggesting that this marble may also be a portrait of Bandinelli, but carved at an earlier date.