Giuseppe Rusnati (Italian, 1647-1713): A monumental carved white marble bust depicting Cesare II Visconti, 3rd Marquis of CislagoThe noble sitter wearing armour, an embroidered jabot, elaborate curling long wig and flowing vest, draped on the shoulders, raised on a contemporary coloured marble tapering rectangular pedestal, the bust, 99cm high, 210cm high overall including pedestal (2)Footnotes:ProvenanceCollection of Count Francesco Castelbarco Albani, Italy,Sotheby's, Palazzo Capponi, Florence, May 22, 1973, Sale of the Collection of Count Francesco Castelbarco Albani,Sotheby's London, Dec 10, 2002 Lot 126Private Collection Milan, ItalyBotticelli Antichita, Florence, Italy,Acquired from the above by the present ownerIn 1973 at the Sotheby's sale in Florence, the catalogue entry for the present lot read as follows: 'Exquisite Baroque bust in marble of an unknown Nobleman...probably Roman, late seventeenth century.' That same year in the bi-monthly magazine Antichita Viva, the present lot featured in the section which highlighted the most important artworks to have been offered at auctions in Florence. The footnote on this occasion mentioned that the bust was one of the 'last Viscounts of Cislago.'Cesare II, third Marquis of Cislago was son of Tebaldo (Milan, 1601-1674). When Cesare II died in 1716 the Cislago banch of the Visconti family died out too and the title was inherited by Carlo Francesco Ercole Castelbarco Visconti. This would possibly therefore explain why in 1973 in the Sotheby's sale in Florence, Count Francesco Castelbarco Albani did not know the identity of the subject. Cesare II succeeded his father in 1674 and it is possible that he commissioned a marble bust to commemorate his rise to power. He was born in 1643 meaning that he would have been in his mid thirties when the bust was completed.Rusnati was born in 1647, probably in Gallarte and completed his training in Rome between 1671 and 1673. When he returned to Milan he faced the financial crisis that affected the Fabbrica del Duomo. As such it was only in 1678 that he completed his first statue for the prominent Cathedral of Florence. If Rusnati worked outside of Milan it is very possible that Cesare Visconti would have chosen him to carry out the commission of the self portrait. In fact, the Viscounts of Cislago were lords of Gallarte, the place thought to be where Rusnati was born. In addition when one considers that Rusnati would have just returned from his training in Rome, he must have been an attractive candidate since he would have been well versed in the latest portrait artists such as Bernini. Although no portraits created by Rusnati were initially thought to have survived, closer examination of the sculptors works of a sacred nature mean that stylistic parallels can be drawn. The drapery, for example, can be seen in the terracotta model for a statue of David which was intended for the Cathedral in Milan. There are also two works which date later than the present lot in the Assunta Collegiate church of Gallarte which demonstrate Rusnati's distinctive treatment and inventiveness.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
