Lot 399: AFTER MODELS BY GUGLIELMO DELLA PORTA (CIRCA 1515-1577) PROBABLY EXECUTED BY ANTONIO GENTILI OR JACOB CORNELISZ COBAERT ITALIAN, ROME, CIRCA 1570-1580 | Large altar Cross

the painted miniature of The Deposition attributed to Giovanni Battista Castello, Il Genovese (1547-1637)

153 by 69cm., 60¼ by 27 1/8 in. overall

gilt bronze, mounted on a possibly associated ebony veneered wood cross inlaid with silver, and an ebony veneered wood base set with a miniature on vellum and pietre dure in gilt copper frames

Overall the condition of the altar is good, with minor dirt and wear to the surface consistent with age. The altar is made in sections, some of the gilt bronze elements are a little loose. There are a few small lacunae in the gilt bronzes, such as to Christ's neck on the proper left side and his perizonium; and in the crevices of the mourner's drapery. There are some larger lacunae in the Magdalen's drapery to the front between her legs. There are also a few small stable fissures, such as in St John's drapery behind his feet. There are dirt residues to the crevices of the gilt bronzes. There are two drilled holes in the Magdalen for mounting and the figures of the Virgin and St John have pins to slot into the base (one of St John's pins is lost). There is dark spotting to the gilt bronze work. There is rubbing to the gilding in areas, in particular at Christ's proper right knee. The screw at Christ's feet is lost, and those at his hands are later. The screws connecting the terminals to the crucifix may also have been replaced. There are a few small plugs in the bronze work, including to Christ's proper right arm. There are a few holes in the gilt bronze which may be deliberate, such as to the cherub at the back on the top terminal. The wood is in good condition, with minor stable splitting consistent with the material, in particular to the moulding to the right of the painting and to the wood below the figure of the Virgin and to the base at the front right and to the left side and to the left volute. The ebony inlay has been laid in sections and stable original joints are present. There are a few probably original wood inserts, in particular to the two cornice mouldings below the crucifixion. A few sections appear to be reattached, including the front right corner of the base. There are a few non-active worm holes at the top of the base and at the back and to the top of the right volute. There are veins and some stable splits and some losses to the marble inlays. The vellum is in good condition overall, with minor wear consistent with age. There are some abrasions to the top of the base and the cross, where the Magdalen has been positioned.
"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."

“Testamento di Alessandro Gregorio Capponi, 1747”, Testamenti Capponi,  Archivio Capponi alle Rovinate, Florence;
J.M. Bauman, Miniature painting and its role at the Medici court in Florence, 1537-1627, Baltimore, 1999, p. 114

Marquess Alessandro Gregorio Capponi, Rome, until 1747;
by descent to his cousin Count Ferrante Maria Capponi, Florence, 1747;
and thence by family descent to the current owner, Florence