Antonio Maria and Giovanni Antonio Aprile together with Antonio della Scalla, Italian, Genoa, 1532

J. de Contreras, Escultura de Carrara en España, Madrid, 1957, pp. 5-19, figs. 21-5

Overall the condition of the marbles is very good. There is minor wear consistent with age. The relief with the helmet, particularly its lower right corner, has specks of cement spilt on it. There are some minor chips to both marbles, particularly to the edges of the shields, lower edge of the helmet and the frame. There is a larger chip to the top left corner of the frame of the left relief with the shields.
"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."

The present pair of marble reliefs originate from the tomb of the Marques and Marquesa de Ayamonte, installed in the convent church of San Francisco in Seville in 1532. When the convent was demolished in 1840 the marbles went into the family of the executors of the property. In 1882 the Duquesa de Medina de las Torres had the tomb and retable re-installed in the convent church of San Lorenzo near Santiago de Compostela. The present panels were not included in the new architectural setting and remained in family possession. The panels use the same decorative motifs of rippling ribbons and foliate edging around the border, which also appear on the two panels installed below the figures of the Marques and Marquesa in the location at San Lorenzo.

These panels are a fascinating witness to a period of cultural exchange between Genoa and the great Spanish cities of Seville and Toledo. The wealth of gold from the Americas funded a Spanish passion for the Italian renaissance. The great commercial centre of Genoa saw the opportunity and, having lost French trade due to ongoing fighting between Italy and France, turned its attention to Spain. Trade routes between Genoa and Seville were used for the importation of marble from Carrara and artists from Lombardy and Liguria flocked to the Spain for work. Amongst them were the brothers Antonio Maria and Giovanni Antonio Aprile. Theirs was a cleverly arranged business, with an accomplished sculptor, Antonio della Scalla in charge of production in Carrara whilst the brothers travelled between Spain and Italy acquiring and managing commissions. Their contracts were registered with the Casa de Banca de Niccolo di Cattaneo. The archives of the bank show that the tomb of the Marques and Marquesa di Ayamonte was one of the few large-scale commissions to be completed as imports of marble from Carrara were interrupted by the Italo-French war.