TWO FRAMED CASTELLI MAIOLICA CIRCULAR PLAQUES
VARIOUS PROPERTIES
TWO FRAMED CASTELLI MAIOLICA CIRCULAR PLAQUES

SECOND QUARTER OF THE 18TH CENTURY, PROBABLY GRUE WORKSHOP

Details
TWO FRAMED CASTELLI MAIOLICA CIRCULAR PLAQUES
SECOND QUARTER OF THE 18TH CENTURY, PROBABLY GRUE WORKSHOP
The first painted with a scene from the Old Testament of Cain slaying his brother Abel, both clad in loose robes, Cane with his arm raised to strike his brother with a bone, the second painted, perhaps in the workshop of Liborio Grue with Apollo chasing Daphne turning into a tree, Peneus reclining in the foreground with water flowing from an overturned urn into a river, flanked by female attendants, within circular gilt and brown-painted wooden frames carved with foliate ornament (the first with small crescent-shaped chip to rim at six o'clock, the second with three crescent-shaped rim chips at 4, 6 and 7 o'clock and some further minor rim chips, both with repairs to frames)
The first 9 in. (22.8 cm.) diam., the second 10 in. (25.4 cm.) diam. excluding frame; the first 13 in. (33 cm.) diam., the second 14¼ in. (36.1 cm.) diam. including frame
Provenance
Henri Leman Collection; sale Etienne Ader, Hôtel Drouot, Paris, 8 June 1951, lot 137.

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Emma Durkin
Emma Durkin

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Lot Essay

Cain and Abel, the first children of Adam and Eve, were a crop farmer and a nomadic shepherd respectively. The first plaque is derived from an engraving (which as been variously attributed to Jean Cotelle and Jean Mariette) of a scene in Genesis; the moment when Cain attacked and killed his brother Abel in the fields. A Castelli maiolica two-handled tureen and cover, attributed to Liborio Grue and decorated with the same scene is illustrated together with the print source by Carola Fiocco, Gabriella Gherardi and Giuseppe Matricardi et al., Capolavori della Maiolica Castellana dal Cinquecento al Terzo Fuoco, La Collezione Matricardi, April - October 2012, Exhibition Catalogue, Pinacoteca Civica, Teramo, Turin, 2012, pp. 188-189, no.139. Another circular plaque in the Musée de Cluny painted with the same composition is illustrated by Jeanne Giacomotti, Catalogue des majoliques des musées nationaux, Paris, 1974, p. 481, no. 1420.

The second plaque illustrates the story of Daphne and Apollo from Ovid's Metamorphoses. Cupid spitefully fired a golden arrow at Apollo, arousing his desire for the nymph Daphne, but he fired a leaden arrow at Daphne, causing her to flee from Apollo's advances. Apollo pursued Daphne, who appealed for help from her father, the river god Peneus, who transformed her into a laurel tree.

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