Italy, mid-16th century

Overall the condition of the marble is good with dirt and wear to the surface consistent with age. There is veining to the surface consistent with the material, including a few minor slightly open veins. There are small losses, including the noses, as well as to the putto's nose and hair. The surface is slightly abraded in areas, including: at Christ's proper left leg (the knee is partially worn away) and fingers, and to the left flagellator's legs. A section of Christ's proper right foot is lost and one of the toes on the right flagellator's proper left foot is lost. There is a metal mount to the reverse of the relief. The carving, which is very crisp and beautifully executed, is preserved well overall.
"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 finely carved Renaissance roundel draws for its inspiration on late Mannerist prototypes. Note, in particular, the work of Giovanni Antonio Montorsoli (circa 1507-1563), whose influence is found not only in his native Tuscany, but also in Rome, Genoa, Naples and, finally, Sicily, where he remained for ten years arriving in 1547 to work on the Fountain of Orion in Messina. Compare, in particular, with Montorsoli's relief with the Baptist of Christ in Santa Maria dei Servi, Bologna (photograph Kunsthistorisches Institut, Florence, no. 498459). The figure of St John, with his drapes suspended from a strap, recalls the left torturer in the present relief. Note also the high viewpoint.

The present marble is particularly reminiscent of Neapolitan sculpture dating to the mid to late 16th century, in particular the work of Annibale Caccavello (1515-1570) and Giovanni da Nola (fl. 1541-1573). See, for example, Caccavello's relief with the Deposition of Christ in the Caracciolo chapel in the Chiesa della Santissima Annunziata, Naples (Naldi, op. cit., fig. 123). Note also the deep ocular orbits and slightly grotesque faces in his relief with the Incredulity of St. Thomas in the Museum of Fine Arts, Budapest (Naldi, op. cit., fig. 128).

RELATED LITERATURE

R. Naldi, Giovanni da Nola, Annibale Caccavello, Giovan Domenico D'Auria. Sculture 'ritrovate' tra Napoli e Terra di Lavoro 1545-1565, Naples, 2007, pp. 41, 137, 163, 168, figs. 24, 115, 123, 128