ATTRIBUTED TO PAULUS VAN VIANEN (1570-1614) AND WORKSHOPSOUTHERN GERMAN OR BOHEMIAN, PRAGUE, EARLY 17TH CENTURY | The Metamorphosis of the Heliades

J. W. Frederiks, Dutch Silver vol. IV: Embossed Ecclesiastical and Secular Plate from the Renaissance until the End of the Eighteenth Century, The Hague, 1961, no. 81, pl. 95 (as Vertumnus and Pomona); 
I. Weber, Deutsche, Niederländische und Französische Renaissanceplaketten, 1500-1650, Modelle für Reliefs an Kult-, Prunk- und Gebrauchsgegenständen, Munich, 1975, p. 384, no. 948,8

Overall the condition of the roundel is very good, with minor dirt and wear to the surface consistent with age. There are several minor nicks and scratches, notably to the left hand woman's proper right leg.
"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 roundel with a scene from Ovid's Metamorphoses is part of a larger set of mythological roundels published by Ingrid Weber as workshop or circle of Paulus van Vianen (op. cit. no. 948,8). This attribution is enforced by a comparable series of mythological roundels in the Ashmolean Museum, which are similarly given to 'Paulus van Vianen and workshop' (Warren, op. cit. nos. 476-481). The present scene shows the Heliades, the sisters of Phaëthon. After his fall, and having lamented his death for four months, they were changed into poplar trees to guard his tomb. Their mother is shown holding one of her daughters - Ovid describes her as trying to break of branches in desperation to save her children (Book 2, lines 344-366).  

RELATED LITERATURE
J. Warren, Medieval and Renaissance Sculpture: A Catalogue of the Collection in the Ashmolean Museum, Oxford, Volume 3 - Plaquettes, Oxford, 2014, nos. 476-481