This panel is of large scale and exceptional quality, placing it among the productions of the Medici Grand Ducal Workshops in Florence. The composition and choice of stones closely relate this panel to a group of pietre dure panels originally incorporated into a cabinet and depicting landscapes with ruins and fishing scenes, dated 1709 and attributed to Baccio Cappelli, now in the Museo dell’Opificio delle Pietre Dure, Florence. Cappelli was among the leading artists active at the Grand Ducal Workshops in Florence during the 18th century. The beautiful iridescent purple sky on this panel as well as the scenes depicted also relate to plaques on the famous Manchester Cabinet in the Victoria & Albert Museum (inv. no. W.43:1to2-1949), also signed Cappelli and dated 1709.

A closely related panel, formerly in the collection of Bernard Steinitz and sold Christie’s, King Street, 6 December 2007, lot 314 (£90,500), employs a similarly translucent alabaster for the clouds, a closely comparable grey-green stone for the sea, and striated pink-and-white marble for the garments of several figures, together with the same black marble for the tree trunks. The present panel is further distinguished by its close compositional affinity with the Steinitz example: both depict a coastal landscape, with small houses in the distance and figures—principally shepherds and fishermen—engaged in their daily occupations.

Further related examples include a smaller panel sold Sotheby’s, New York, 4 June 2009, lot 85 ($8,125), and a pair sold Christie’s, King Street, 6 December 2012, lot 3. Other examples were incorporated into important pieces of furniture, including the commode à encoignures by Martin Carlin and Adam Weisweiler, formerly in the Rothschild Collection, Paris, and subsequently sold Christie’s, Monaco, 11 December 1999, lot 30, and the secrétaire-à-abattant executed by Martin Carlin circa 1780, now in the Musée du Louvre.

THE GRAND DUCAL WORKSHOPS
The Medici passion for hardstones and intarsia began under Cosimo I Medici (1519-1574) who acquired numerous works in pietra dura from Rome, the centre of lapidary production in the 16th century. While there were artisans of pietra dura in and around Florence from around 1550, it was only under Cosimo’s sons Francesco I (1541-1587) and Fernando I de Medici (1539-1609) that Florence was able to compete with and eventually exceed the output of the Eternal City. Fernando I founded the Grand Ducal pietre dure manufactory, known as the ‘Galleria dei Lavori’, in 1588. The workshops would provide works of art in hardstones and porphyry not only for Grand Ducal commissions but also for foreign princes and collectors and from its early stages it distinguished itself from the Roman lapidaries for its varied production and particularly its specialism in scenes uniting nature, art and science. While Florentine pietra dura utilised stones occurring naturally in Tuscany, such as pietra paesina and Alberese, the workshops also imported valuable and costly stones from across Italy and Europe, including Sicilian jasper, Bohemian agate and black marble from Flanders. Plaques to be incorporated into cabinets, caskets, clocks, tabletops and panels for display produced by the Florentine workshops depicted complex images including birds, vases of flowers, landscapes, narrative scenes and trophies which differed from the geometric patterns favoured in Rome. The Grand Ducal Workshops attracted skilled artisans and designers from across Italy and Europe including gem-cutters from Milan and cabinetmakers from Germany and the Low Countries. Superintendents of the Galleria dei Lavori included celebrated draughtsmen and designers like Jacopo Ligozzi (1547-1627) and Giovanni Battista Foggini (1652-1725), the latter who, under the auspices of Cosimo III (1670-1723), originated rich baroque designs often incorporating flowers and birds on black paragone grounds, the culmination of which can be considered the famous Badminton Cabinet. The death of Gian Gastone (d. 1737), the last Medici Grand Duke did not spell the end of the Grand Ducal Workshops but from the mid-18th century the baroque repertoire of the manufactory, now under Habsburg control, was exchanged for realistic figures and landscapes based closely on formal paintings by artists like Giuseppe Zocchi (fl. 1750-67) and eventually for neoclassical compositions with the approach of the 19th century, by which point the workshops were known as the Opificio delle pietre dure, the name it retains to this day.