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A GUBBIO MAIOLICA LUSTRED ISTORIATO FOOTED BOWL
A GUBBIO MAIOLICA LUSTRED ISTORIATO FOOTED BOWL
A GUBBIO MAIOLICA LUSTRED ISTORIATO FOOTED BOWL
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These lots have been imported from outside of the … Read more
A GUBBIO MAIOLICA LUSTRED ISTORIATO FOOTED BOWL

CIRCA 1515-20, PROBABLY WORKSHOP OF MAESTRO GIORGIO ANDREOLI

Details
A GUBBIO MAIOLICA LUSTRED ISTORIATO FOOTED BOWL
CIRCA 1515-20, PROBABLY WORKSHOP OF MAESTRO GIORGIO ANDREOLI
Painted in pale-blue, dark-blue, yellow, green and white, enriched in gold and ruby lustre, the centre with Vulcan fashioning Cupid’s wing on an anvil, Cupid seated nearby with a lustre blindfold over his eyes, before a rocky outcrop and a distant mountainous river landscape, the gold-lustred border reserved with four pointed oval foliate panels divided by grotesques with dolphins issuing cornucopiae and winged putti heads
8 1⁄4 in. (21 cm.) diameter
Provenance
Anonymous sale; Sotheby's, London, 7 December 1971, lot 12.
Special notice

These lots have been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

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Lot Essay


This footed bowl bears strong similarities to the bowl in the Ashmolean Museum, Oxford, painted with a Saint and dated 1520.1 Timothy Wilson has attributed the Ashmolean bowl to the author of the large lustred plate painted with the Judgement of Paris in the Dutuit Collection, Musée du Petit Palais, Paris, dubbed ‘The Painter of the Judgement of Paris’. The Paris plate is inscribed with M[aestr]o Giorgio 1520 adi2 de otobre 1520 B.D.S.R iugubio, leaving no doubt about where the piece was made.2 Other pieces identified as being by this painter include a lustred bowl in the V&A Museum, London, painted with St. Francis,3 an armorial tondino in the British Museum with a grotesque border including winged putti heads and dolphins4 and a shallow bowl in the Metropolitan Museum of Art, New York.5

1. Timothy Wilson, Italian Maiolica and Europe, Oxford, 2017, pp. 248-249, no. 109.
2. Françoise Barbe et al., La faïence italienne au temps des humanistes 1480-1530, Château d’Ecouen October 2011-February 2012 Exhibition Catalogue, Paris, 2011, pp. 112-113, no. 57.
3. Elisa P. Sani, Italian Renaissance Maiolica, London, 2012, p. 96, figs. 113 and 114.
4. Dora Thornton and Timothy Wilson, Italian Renaissance Ceramics, A catalogue of the British Museum collection, London, 2009, Vol. II, pp. 490-491, no. 296.
5. Timothy Wilson, Maiolica, Italian Renaissance Ceramics, Verona, 2016, pp. 218-219, no. 72.

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