AN URBINO ISTORIATO DISH

CIRCA 1530, PROBABLY THE 'PAINTER OF THE APOLLO BASIN'

细节

AN URBINO ISTORIATO DISH
CIRCA 1530, PROBABLY THE 'PAINTER OF THE APOLLO BASIN'
Painted with Adam and Eve in recumbent pose in a walled garden, a pick and a sphere nearby, Cain between them holding a convex mirror, flames leaping from a hole in a large cylindrical altar on the left, Abel aloft holding a ribbon inscribed in pseudo Hebrew, the head of the sacrifical lamb just visible in the flames, the wall behind with steps at the right by a tree, within a blue line and yellow band rim (chip principally to reverse of rim, further slight chipping to rim, restored area to border at 9 o'clock disguising cracks)
11 in. (28.1 cm.) diam.

来源

Visconti Venosta Collection
Anonymous sale, Christie's, London, 3rd October 1983, lot 233.

出版

C. Gamba, La raccolta Visconti Venosta, 1921-22, Vol. I, p. 508.
Carmen Ravanelli Guidotti, ''Adame Eva' su di un Istoriato al Museo di Faenza e su altri simili', Faenza, N. 6, 1979, pp. 302-311, pl. XCIXa.
J.V.G. Mallet, 'Il Pittore del Bacile di Apollo', in Gian Carlo Bojani (ed.), La Maiolica Italiana del Cinquecento, Il Lustro Eugubino e l'Istoriato del Ducato di Urbino, Florence, 2002, pp. 89-90.

荣誉呈献

Dominic Simpson

查阅状况报告或联络我们查询更多拍品资料

dsimpson@christies.com +44 (0)20 7752 3024

登入

浏览状况报告

拍品专文

The painter is almost certainly the painter identified by John Mallet as the 'Painter of the Apollo Basin'.1 The subject is taken from an engraving which has been variously attributed to Giulio Bonasone after Amico Aspertini, to Aspertini himself, to Agostino Veneziano, or to the School of Marcantonio Raimondi (see p. 67). The painter omits the Angel driving Adam and Eve from Paradise, walking along the wall (with the steps to Paradise) on the right of the engraving, and Eve's spindle is also omitted. The sphere is thought to represent Eve's sentence to painful childbirth.2 A coppa in Faenza with the same scene rendered in a more condensed format includes the distant figures of the Angel, Adam and Eve.3 A plate in the Rijksmuseum, Amsterdam, which is much closer to the present dish depicts the same scene, but the distant figures of Adam and Eve are derived from a print by Marcantonio Raimondi print after Michelangelo instead.4 The closest piece to the present lot is illustrated by Carmen Ravanelli Guidotti, ibid., 1979, pl. XCIXb, where she lists it as being in the Henry Harris Collection, and she discusses the above pieces. For two pieces in the British Museum attributed to this painter, see D. Thornton and T. Wilson, Italian Renaissance Ceramics, A Catalogue of the British Museum Collection, London, 2009, Vol. I, p. 293, no. 172 and Vol. II, pp. 528-529, no. 328.

1. Mallet assembled a group of pieces which he attributes to the same hand as the author of a dated basin at Pesaro; see Mallet, ibid., 2002, pp. 85-112. The 1983 sale stated that the present lot was painted by Maestro Nicolò di Urbini, and that the scroll is inscribed Mr. N. di Urbini.
2. C.R. Guidotti, ibid., 1979, p. 304.
3. See C.R. Guidotti, Donazione Paolo Mereghi, Ceramiche Europee ed Orientali, Museo Internazionale delle Ceramiche, Faenza, Catalogue, Bologna, 1987, pp. 199-200, no. 80.
4. See Giovanni Conti, L'Arte della Maiolica in Italia, 1980, no. 281 (and nos. 279 and 280 for the print source and Michelangelo painting), and see Guidotti, ibid., pl. Ca and Cb.