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April 1, 1972

Sir:

It is at Dr. Ulrich Middeldorf's suggestion that I am taking the liberty of writing, and I hope you will not mind my doing so.

The purpose is to obtain your help in identifying, as far as possible, the artist who carried out the marble relief, of which herewith you will find a photograph. It is on account of the merit and quality of this work that we should try to avoid relegating it to an "anonymous artist""..

This sculpture, coming from London, may be known to you. However, [[strikethrough]] [[?]] [[/strikethrough]] when acquired, it was covered with such heavy grime that its real quality may well have been hidden. I am happy to say that once relieved of this coating it appears brilliantly white, and in perfect condition. Its size is 13 1/2" x 24 1/2".

So far we have been able to find out that it is a derivation from the Agresti fresco, as proved rather convincingly by the Cert engraving. And, interesting too, is the fact that the lower center vase with satyrs can be traced to the Fontainebleau print by Fantussi.
I personally believe in a dating of ca. 1550 or slightly later, and that it is the work of a Northern artist of the Lowlands, (Holland or Belgium).
However, the extensive traveling of Flemish artists of the 15th and 16th centuries, who were active in a great many countries - France (Troyes), even in Spain, and Italy, and Germany (Augsberg, Maximilian Museum) and as far as Prague, compounds the difficulty. 

However as Dr. Middeldorf wrote that you were particularly interested in Northern Renaissance sculpture, you may have, as I hope, an opinion on this topic. 

In your Museum is an anonymous Flemish marble relief with which I am acquainted, but which differs considerably from this one. 

If I may, I would like to call your attention to the realistic heads of the participants in the Last Supper, each of them having such a marked individuality, and also the importance given the well defined hands. 

As a result of the considerable amount of research undertaken, a number of artists are suggested who could have been linked to the sculpture, but none is quite convincing. Hence these lines. 

The field of sculpture is one which I have always cherished, and as you probably know, several in your Museum have come from my firm.

Trusting you will excuse my taking up your time with this matter, and thanking you in advance for whatever information you may be able to impart, I remain,

Sincerely yours,


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Charles Avery, Esq
Dept. of Architecture and Sculpture
Victoria & Albert Museum
South Kensington, London S W 7
ENGLAND
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