plaque en argent, Allemagne du Sud, début du XVIIème siècle

représentant la descente de croix d'après Annibale Carrache, poinçon de contrôle pour Vienne 1806-1822 uniquement, cadre en bois

Associated Literature:
Ingrid Weber, Deutsche, Niederländische und Französische Renaissanceplakettern 1550-1650, Munich 1975 no. 802
J.W. Frederiks, Dutch Silver, The Hague, 1952, no. 133

Split at join of three women's heads, tiny hole at chin of Christ. light overall wear but general condition good, excellent quality of 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. 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."

La gravure d'Annibale Carrache, source de cette plaque, est datée 1597 et intitulée Caprarola d'après le Palais Farnèse où Carrache travailla pour le cardinal Odoardo Farnèse. J. W. Fredericks attribue la plaque à l'école d'Arent van Bolton. I. Weber en revanche la considère comme étant de l'Allemagne du Sud, probablement Augsbourg. Elle  cite un exemple aux dimensions quasi similaires de celle proposée ici, conservé à l'Université du Kansas, Museum of Art.


The Annibale Carraci print from which this plaque derives is dated 1597 and titled `Caprarola' after the Palazzo Farnese where Carraci worked for cardinal Odoardo Farnese. Fredericks attributes the plaque to a follower of Arent van Bolton. Weber disagrees and attributes it  to South Germany, probably Augsburg. She records a silver example with approximately the same dimensions as the present example in the University of Kansas, Museum of Art.