The Grand Ducal Galleria dei Lavori Italian, Florence, early 17th century

There are some surface scratches, notably in the bottom right corner and on the tree on the left side, with minor surface dirt otherwise the condition is good.
"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 beautiful pietra dura panel relates closely to another of similar proportions also representing the Agony in the Garden in the Prado (see fig.1). Published by A. Gonzalez-Palacios in Las Colecciones Reales Españolas de Mosaicos y Pedras Duras, Madrid, 2001, no. 8, the Spanish panel is documented in the collection of Fernando VII from 1834.  Both relate to the group of panels conceived and made at the beginning of the 17th century for the Cappella dei Principi in the Basilica di S. Lorenzo, Florence; a project, however, which was never completed.

Produced by the famous Florentine Galleria dei Lavori, this series of religious subjects were based on designs by the painters Bernardino Poccetti (1548-1612), Ludovico Cigoli (1559-1613) and Giovanni Bilivert (1576-1644). The Madrid panel is of seminal quality and is considered the best example of this group and includes a cartouche centred by an elegant figure of the Fame, whose design is attributed to Poccetti. From 1606, Poccetti dedicated most of his activity to the altar of the Cappella dei Principi. All the panels in this group show clear similarities with those made in Prague for the Emperor Rudolf II by the Castrucci brothers, notably in the treatment of the landscapes.

RELATED LITERATURE
A. Giusti, Pietre Dure, Turin, 1992, fig. 21, p. 78; fig. 50, p. 144; A. Giusti, Splendori di Pietre Dure, Florence, 1988, p. 62; W. Koeppe and A. Giusti, Arts of the Royal Court, exh. cat., Metropolitan Museum of Arts, New York, 2008, no. 29, p. 154