.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
拍品专文
This piece is an important addition to a very small group of pieces which act as documents of the maiolica made, painted and lustred in Gubbio, as well as a document of the work of Francesco ‘Urbini’. On pieces which were made elsewhere and then sent to Gubbio for lustring, the lustred initials of Maestro Giorgio Andreoli’s workshop only identify the workshop in which they were lustred, giving no indication of where they were made and painted. Importantly, however, the inscription on the present lot is in blue, indicating that it was fired along with the principal painted decoration and that therefore, the plate must have been made, painted and lustred at Gubbio.
To date no mention of Francesco ‘Urbini’ has been found in any surviving documents which relate to the pottery centers of Gubbio, Deruta or Urbino. However, evidence from signed or dated maiolica pieces by him was collated by John Mallet and published in 1979(1). This currently unpublished piece is an exciting addition to the group.
The name Francesco ‘Urbini’ comes from the plate dated 1537 which is in the collection of the Victoria & Albert Museum(2). The name suggests a connection with Urbino, where, if he was there, he may have worked in association with Francesco Xanto Avelli(3). Dated lustred pieces bear dates between 1531 and 1536, and two of these pieces (dated 1534) are marked as being made at Gubbio(4). Mallet suggests that Francesco 'Urbini' probably worked at Gubbio for the 1531-1536 period, and in 1537 he was working at Deruta, as confirmed by the Victoria & Albert Museum plate cited above.
The inscription filius hic prodigus mortuus fuerat & Reuixit perierat & i[n]ue[n]tus est / In ugubio translates as ‘this prodigal son was dead and lives again; he was lost and is found. [made] in Gubbio’. Francesco Urbini used Lucas van Leyden’s engraving The Return of the Prodigal Son of circa 1510 as the source of his inspiration.
1. J.V.G. Mallet, ‘Francesco Urbini in Gubbio and Deruta’ in Faenza, N. 6, 1979, pp. 279-296.
2. The Victoria & Albert Museum’s plate, painted with Apollo and Daphne, is dated 1537 and the inscription ends with franco, Urbini, i[n] Deruta, see Mallet, ibid., 1979, pl. XCVII, figs. A and b.
3. Mallet, ibid., 1979, p. 284, mooted this possibility because of the connection between the prints both artists used as inspiration for their decoration; Francesco Urbini’s inscriptions are similar in spirit to Xanto’s inscriptions and his work in 1531 is closer in style to Xanto’s, suggesting that he may perhaps have been working at Urbino in about 1530.
4. The present lot and a coppa in the Boymans-van Beuningen Museum, Rotterdam. For the Rotterdam piece, see the Beuningen Museum Exhibition Catalogue, Rotterdam, 1955, and J.V.G. Mallet, ibid., 1979, pl. XCV, figs. a and b. Also see Gaetano Ballardini, Corpus della Maiolica Italiana, 1933-38, Vol. II, 155, 162 (where it is erroneously classified as Urbino, repeating the mistake made in the 1892 sale catalogue).
To date no mention of Francesco ‘Urbini’ has been found in any surviving documents which relate to the pottery centers of Gubbio, Deruta or Urbino. However, evidence from signed or dated maiolica pieces by him was collated by John Mallet and published in 1979(1). This currently unpublished piece is an exciting addition to the group.
The name Francesco ‘Urbini’ comes from the plate dated 1537 which is in the collection of the Victoria & Albert Museum(2). The name suggests a connection with Urbino, where, if he was there, he may have worked in association with Francesco Xanto Avelli(3). Dated lustred pieces bear dates between 1531 and 1536, and two of these pieces (dated 1534) are marked as being made at Gubbio(4). Mallet suggests that Francesco 'Urbini' probably worked at Gubbio for the 1531-1536 period, and in 1537 he was working at Deruta, as confirmed by the Victoria & Albert Museum plate cited above.
The inscription filius hic prodigus mortuus fuerat & Reuixit perierat & i[n]ue[n]tus est / In ugubio translates as ‘this prodigal son was dead and lives again; he was lost and is found. [made] in Gubbio’. Francesco Urbini used Lucas van Leyden’s engraving The Return of the Prodigal Son of circa 1510 as the source of his inspiration.
1. J.V.G. Mallet, ‘Francesco Urbini in Gubbio and Deruta’ in Faenza, N. 6, 1979, pp. 279-296.
2. The Victoria & Albert Museum’s plate, painted with Apollo and Daphne, is dated 1537 and the inscription ends with franco, Urbini, i[n] Deruta, see Mallet, ibid., 1979, pl. XCVII, figs. A and b.
3. Mallet, ibid., 1979, p. 284, mooted this possibility because of the connection between the prints both artists used as inspiration for their decoration; Francesco Urbini’s inscriptions are similar in spirit to Xanto’s inscriptions and his work in 1531 is closer in style to Xanto’s, suggesting that he may perhaps have been working at Urbino in about 1530.
4. The present lot and a coppa in the Boymans-van Beuningen Museum, Rotterdam. For the Rotterdam piece, see the Beuningen Museum Exhibition Catalogue, Rotterdam, 1955, and J.V.G. Mallet, ibid., 1979, pl. XCV, figs. a and b. Also see Gaetano Ballardini, Corpus della Maiolica Italiana, 1933-38, Vol. II, 155, 162 (where it is erroneously classified as Urbino, repeating the mistake made in the 1892 sale catalogue).