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Lot 262
A PLASTER RELIEF DEPICTING DEMETER, TRIPTOLEMOS AND PERESEPHONE
FIRST QUARTER 20TH CENTURY
Closed5 October 2011
Price Realised
EUR 2,500
More Information
Specialist note
This relief has been removed from one of the large houses at Avenue Tervuren in Brussels.
The original marble votive relief of the Eleusenian deities, the so-called Big Eleusenian Relief dates from 440-430 BC and was found at Eleusis, Attica. It is now in the National Archaeological Museum in Athens.
It is the largest (220 x 152 cm) and most significant votive relief. Dedicated to the sanctuary of Demeter and Kore at Eleusis, Attica, it represents the Eleusenian deities in a scene of mystic ritual. At the left, Demeter, wearing a peplos and holding a scepter in her left hand, offers ears of wheat to Triptolemos, son of the Eleusenian king Keleos, to bestow on mankind. At the right, Persephone, wearing a chiton and a mantle and holding a torch, blesses Triptolemos with her right hand. The magnificent representation and, particularly, the large scale of the work suggest that it was not a votive, but rather a cult relief. It must have been famous in antiquity, which accounts for its being copied in Roman times. One of those copies is in the Metropolitan Museum of Art, in New York.
The original marble votive relief of the Eleusenian deities, the so-called Big Eleusenian Relief dates from 440-430 BC and was found at Eleusis, Attica. It is now in the National Archaeological Museum in Athens.
It is the largest (220 x 152 cm) and most significant votive relief. Dedicated to the sanctuary of Demeter and Kore at Eleusis, Attica, it represents the Eleusenian deities in a scene of mystic ritual. At the left, Demeter, wearing a peplos and holding a scepter in her left hand, offers ears of wheat to Triptolemos, son of the Eleusenian king Keleos, to bestow on mankind. At the right, Persephone, wearing a chiton and a mantle and holding a torch, blesses Triptolemos with her right hand. The magnificent representation and, particularly, the large scale of the work suggest that it was not a votive, but rather a cult relief. It must have been famous in antiquity, which accounts for its being copied in Roman times. One of those copies is in the Metropolitan Museum of Art, in New York.