拍品 152
152
AN URBINO MAIOLICA ISTORIATO FOOTED DISH
AN URBINO MAIOLICA ISTORIATO FOOTED DISH
AN URBINO MAIOLICA ISTORIATO FOOTED DISH
2 更多
AN URBINO MAIOLICA ISTORIATO FOOTED DISH

CIRCA 1540-1550, PROBABLY FONTANA WORKSHOP

细节
AN URBINO MAIOLICA ISTORIATO FOOTED DISH
CIRCA 1540-1550, PROBABLY FONTANA WORKSHOP
Painted with Greek soldiers bursting through the arches of a Trojan temple interior, Neoptolemus with his right arm raised and with a dagger over Polyxena wrestled to the ground, before three circular plinths, one with a statue of Achilles or Mars, the reverse inscribed Re piro ucise pulisena in blue within the foot, with a printed Alphonse de Rothschild collection label
10 1⁄8 in. (25.8 cm.) diameter
来源
Count Ferdinando Pasolini Dall’Onda, Faenza.
Count Benvenuto Pasolini Dall’Onda.
Baron Alphonse de Rothschild (1827-1905).
Baron Édouard de Rothschild (1868-1949).
Confiscated from the above by the Einsatzstab Reichsleiter Rosenberg following the Nazi occupation of France in May 1940 (ERR no. R 4067).
Recovered by the Monuments Fine Arts and Archives Section from the Altaussee salt mines, Austria, and transferred to the Munich Central Collecting Point, 23 June 1945 (MCCP no. 390/3).
Returned to France on 9 January 1946 and restituted to the Rothschild family.
By descent to the present owners.
出版
Luigi Frati, Del Museo Pasolini in Faenza, Descrizione, Bologna, 1852, no. 139.
Collections de M. le baron Alphonse de Rothschild, circa 1900 (n.d.), Vol. I.

拍品专文

The inscription translates as ‘King Pyrrhus killed Polyxena’, informing us that this dish depicts the death of Polyxena, the youngest daughter of King Priam and Queen Hecuba of Troy. She was sacrificed on the tomb of Achilles, the Greek hero to whom she had been betrothed, and in whose death she was complicit. According to the legend, she was killed by Achilles’ son Neoptolemus (also called Pyrrhus). By calling him king, the maiolica painter confused him with King Pyrrhus, who was not a mythical character at all, but instead a historical ruler of Epirus and Macedonia.

The style of painting is close to that of Francesco Durantino, a prolific and influential painter who worked in the Urbino workshops of Guido de Merlino and Guido Durantino in the 1540s, before working elsewhere.

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