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拍品專文
The inscription translates as 'admire this example of the punishment of love, of that love which does great harm to what is right, which draws with it into the precipice, there to lie afflicted, the unjust and impious man who follows it'.
The scene on the bowl, from Dante's Inferno, is derived from two engravings; 'the punishment of love' on the left (including the central female figure) is taken from an engraving attributed to Justus Sadeler, thought to have been executed in the 1590s or slightly later (a shell-shaped dish with the same subject was sold in these Rooms on 22 April 2008, lot 48). The right-hand scene is taken from Agostino Carracci's engraving Eta d'Oro of circa 1590-94. The engravings are after the paintings Castigo d'Amore and Eta d'Oro now attributed to the Flemish artist Paolo Fiammingo (1540-96), having previously been attributed to Agostino Carracci.
For other known examples and a discussion of Rombaldoni (1619-79), who is recorded as having worked at Urbania, see Julia E. Poole, Italian maiolica and incised slipware in the Fitzwilliam Museum Cambridge, Cambridge, 1995, pp. 303-304, no. 375. His style included the use of bold cross-hatching, and he used an HR or IR monogram or sometimes his name in full to identify his work.
The scene on the bowl, from Dante's Inferno, is derived from two engravings; 'the punishment of love' on the left (including the central female figure) is taken from an engraving attributed to Justus Sadeler, thought to have been executed in the 1590s or slightly later (a shell-shaped dish with the same subject was sold in these Rooms on 22 April 2008, lot 48). The right-hand scene is taken from Agostino Carracci's engraving Eta d'Oro of circa 1590-94. The engravings are after the paintings Castigo d'Amore and Eta d'Oro now attributed to the Flemish artist Paolo Fiammingo (1540-96), having previously been attributed to Agostino Carracci.
For other known examples and a discussion of Rombaldoni (1619-79), who is recorded as having worked at Urbania, see Julia E. Poole, Italian maiolica and incised slipware in the Fitzwilliam Museum Cambridge, Cambridge, 1995, pp. 303-304, no. 375. His style included the use of bold cross-hatching, and he used an HR or IR monogram or sometimes his name in full to identify his work.