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The Rejection of Joachim's Offering
Painter:
Mengaroni, Ferruccio
(Attributed to)
Woodcutter:
Dürer, Albrecht
(After)
Maiolica panel, painted in polychrome with The Rejection of Joachim's Offering.
Reddish-orange earthenware, visible on the edges, covered on both sides with pale blue tin glaze, which is extremely shiny on the front and crazed on the reverse. Painted in shades of blue, green, yellow, orange, brown, manganese-purple, black, and white. Rectangular.
The Rejection of Joachim's Offering by the High Priest. The High Priest and his assistants stand behind a cloth-covered table surrounded by a crowd of men, one of whom holds a kid and is accompanied by a small boy. Anna stands with her hands clasped in the foreground to right, while Joachim presents his kid to the High Priest. In the background, there is a partly drawn green curtain in front of a wall with three windows and an archway opening into a vaulted chamber.
History note: Leopold Hirsch; Christie's, 8 May 1934, Catalogue of the important collection of English and French furniture, Chinese and continental porcelain, miniatures, bronzes, objects of art and tapestry, the property of Leopold Hirsch Esq. (deceased) late of 10 Kensington Palace Gardens, W. 8., lot 109; sold to Spero. Louis C.G. Clarke, Cambridge
L.C.G. Clarke Bequest
Depth: 1.1 cm
Height: 26.0 cm
Width: 17.7 cm
Method of acquisition: Bequeathed (1960) by Clarke, Louis Colville Gray
20th Century
Circa
1900
CE
-
1925
CE
The Rejection of Joachim's Offering was the first scene in the pictorial cycle of the legend of Joachim and Anna, the parents of the Virgin. Joachim made his offering on a feast day, but it was rejected because persons who had not fathered a child in Israel were not permitted to make sacrifices. The source for design on this panel was either the woodcut in the Life of the Virgin by Albrecht Dürer (1471-1528), c. 1505-6 , which appeared in book form in 1511, or the engraving by Marcantonio Raimondi after Dürer. The windows and the weeds growing out of the wall on the maiolica panel do not occur in the original, nor Marcantonio's engraving after it. Although Renaissance maiolica painters often adapted their sources this panel was suspected of being an early 20th century pastiche, and this was confirmed by thermoluminescence analysis by the Oxford Research Laboratory for Archaeology and the History of Art (report dated 19 November 1993, sample 581m41) which estimated that the sample taken was last fired less than 100 years ago. Possibly it was painted by Ferruccio Mengaroni (1875-1925), a highly talented maiolica painter in Pesaro.
Renaissance
Renaissance Revival
Decoration composed of high-temperature colours ( blue, green, yellow, orange, brown, manganese-purple, black, and white) tin-glaze
Tin-glazing
: Reddish-orange earthenware, visible on the edges, covered on both sides with pale blue tin glaze, which is extremely shiny on the front and crazed on the reverse. Painted in shades of blue, green, yellow, orange, brown, manganese-purple, black, and white.
Painting
Accession number: C.91-1961
Primary reference Number: 76350
Stable URI
Owner or interested party:
The Fitzwilliam Museum
Associated department:
Applied Arts
This record can be cited in the Harvard Bibliographic style using the text below:
The Fitzwilliam Museum (2024) "The Rejection of Joachim's Offering" Web page available at: https://data.fitzmuseum.cam.ac.uk/id/object/76350 Accessed: 2024-11-23 09:55:00
To cite this record on Wikipedia you can use this code snippet:
{{cite web|url=https://data.fitzmuseum.cam.ac.uk/id/object/76350
|title=The Rejection of Joachim's Offering
|author=The Fitzwilliam Museum|accessdate=2024-11-23 09:55:00|publisher=The
University of Cambridge}}
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https://data.fitzmuseum.cam.ac.uk/api/v1/objects/object-76350
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<figcaption class="figure-caption text-info">The Rejection of Joachim's Offering</figcaption>
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