Attributed to Antonio Salvi (1450-1527) Italian, Florence, second half 15th century and later

Overall the condition of the cross is good. There is wear and some minor dirt to the surface consistent with age and handling. There is some rubbing to the gilding. The arms and bronze framing is slightly bent and dented. The enamel plaquette from the top arm of the cross is lost; the others are slightly loose. There are losses to the enamel which reveal the engraving on the plaques. The floral decorations at the crossing have some minor wear to the silvering and are slightly loose. There are two drilled holes at the cross' base.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This gilt bronze cross has been attributed by Giuseppe Cantelli to the Florentine goldsmith Antonio Salvi. This pupil of Antonio Pollaiuolo is best known for his reliquaries of St. Gerome and St. Anthony Abbott in the Museo dell'Opera del Duomo, Florence, and for a pax now in the Bargello. The model of the Crucified Christ, which for its compact anatomy recalls Masaccio's famous model, continued to be used in Florentine goldsmith's workshops, as is evidenced by a late, worn cast on a cross now in the church of San Lorenzo in Bovecchio, in Barberino di Mugello, which is dated 1584. By contrast, the present figure is crisply cast and of an admirable quality. Losses in the three translucent enamels at the ends of the present cross have been filled probably in the 19th century by a restorer, who modestly signed his name ("A. PIANO") on the lowermost enamel plaque showing a Dominican saint, possibly St. Dominic himself.

RELATED LITERATURE
A. Paolucci, 'Le opere d'arte', La comunità cristiana fiorentina e toscana nella dialettica religiosa del Cinquecento, exh. cat., Florence 1980, no. 56, pp. 231-2; G. Cantelli, Storia dell'oreficeria e dell'arte tessile in Toscana, Florence 1996, fig. 2, p. 185