摹古列爾摩·德拉·波爾塔（約1500 - 1577年）之作品 意大利，羅馬，應為十六世紀末

Standard surface abrasions and minor losses. Expertly restored and virtually invisible vertical break below right arm of cross between gap in figures through edge of drapery far right edge. some restoration to minor repairs to upper corner and upper edge, some small areas of refreshed gilding.
"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 Descent from the Cross is one of Guglielmo della Porta’s best documented and most popular compositions. An autograph marble version of similar dimensions to the present example is in the collection of the Castello Sforzesco in Milan. Indeed, the existence of a number of drawings of the Descent in one of Gulgielmo's sketchbooks, now in the Kunstmuseum, Düsseldorf (fig. 1) , demonstrates the artist’s interest in the composition. There are several bronze versions, one of which was from the J. Pierpont Morgan Collection and is now in the University of Michigan Museum of Art, Ann Arbor, and there are examples in other materials such as cartapesta and terracotta, all attesting to the popularity of the subject.

Guglielmo, originally from the Lombard region, was first recorded in Rome in 1546.  Michelangelo recommended him to the prestigious Farnese family for whom he restored antiquities, including the legs for the Farnese Hercules in the Museo Nazionale, Naples. He was subsequently employed by the Farnese Pope Paul III, whose tomb he constructed for St. Peter’s Basilica.

The Passion of Christ was a prevalent subject in Guglielmo’s work. Pope Julius III commissioned an equestrian monument of Charles V that was to include reliefs with scenes of the Passion and later Guglielmo worked on a series of Passion reliefs for Pius IV that, according to Vasari, were meant to be incorporated into a door at Saint Peter’s.

One of the works of art recorded in the artist’s estate inventory was a clay model of the Descent from the Cross. The composition was admired by other artists and in the years following Guglielmo’s death, the composition was reproduced in a variety of materials.

RELATED LITERATURE
R. Coppel, "Guglielmo della Porta in Rome" and C. Avery, "Guglielmo della Porta's relationship with Michelangelo", Guglielmo della Porta. A Counter-Reformation sculptor, exh. cat. Coll y Cortés, Madrid, pp. 40-41, fig. 18 and pp. 118-121, figs. 68-69
G. Vasari, Lives of the Painters, Sculptors and Architects, trans. Gaston du C. de Vere, New York, 1996, vol. II, pp. 842–845
M. P. Garberi, Il Castello Sforzesco delle raccolte: pittura e scultura, Milan, 1974, pp.98-99, no. 741