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拍品专文
The symmetrical a candelieri grotesque decoration and the crossed lozenges, spirals and concentric lustred bands on the reverse of the present lot are very similar to the best lustred pieces produced at Maestro Giorgio Andreoli’s workshop in this era. The inscriptions to the central tablets exhort the love of God, a value often expressed on lustred Gubbio maiolica of the period. Dated works from Maestro Giorgio’s workshop started to appear from 1517-1518, although it has been argued that a dish in the Victoria & Albert Museum, London, dated 1515, was also produced in this workshop and is therefore the first dated piece(1).
For a listing of other examples of this period (mostly in museums), see Carola Fiocco and Gabriella Gherardi, Ceramiche Umbre dal Medioevo allo Storicismo, Faenza, 1989, Vol. II, pp. 567-568. Until the Second World War there were ten comparable early Gubbio lustred plates in the Schlossmuseum, Berlin, mostly dated 1519, of which now three remain, and two of which bore the marks of Maestro Giorgio’s workshop(2).
A plate in a private collection, dated 1519 and painted with musical trophies, shares a similar feature of a winged putti head above ornament suspended from loops over the dotted wings. See Timothy Wilson, The Golden Age of Italian Maiolica-Painting, Turin, 2018, pp. 392-393, no. 173.
1. This dish does not bear the full or abbreviated mark of Maestro Giorgio’s workshop, but instead the reverse has a drawing of a hand holding a halberd. See Elisa Sani, ‘Gubbio 1515-1525. Reflections on early Lustreware’ in J.V.G. Mallet and E. Sani (ed.), Maiolica in Italy and Beyond, Oxford, 2021, pp. 86-87, figs. 5.8 and 5.9 (for the reverse), in which she argues that the polearm could refer to St. George, Giorgio’s namesake.
2. See Tjark Hausmann, Majolika, Spanische und Italienische Keramik vom 14. Bis zum 18. Jahrhundert, Berlin, 1972, pp. 216-220, nos. 162-164. For the lost pieces from Berlin, two of which bore the workshop mark of Maestro Giorgio, see Gaetano Ballardini, Corpus della Maiolica Italiana, 1933, Vol. I, no. 74, (figs. 69 and 259), no. 75 (figs. 78 and 260), no. 79 (fig. 71), no. 80 (fig. 72), no. 81 (fig. 73), no. 82 (fig. 74), no. 83 (fig. 77) and no. 84 (fig. 79).
For a listing of other examples of this period (mostly in museums), see Carola Fiocco and Gabriella Gherardi, Ceramiche Umbre dal Medioevo allo Storicismo, Faenza, 1989, Vol. II, pp. 567-568. Until the Second World War there were ten comparable early Gubbio lustred plates in the Schlossmuseum, Berlin, mostly dated 1519, of which now three remain, and two of which bore the marks of Maestro Giorgio’s workshop(2).
A plate in a private collection, dated 1519 and painted with musical trophies, shares a similar feature of a winged putti head above ornament suspended from loops over the dotted wings. See Timothy Wilson, The Golden Age of Italian Maiolica-Painting, Turin, 2018, pp. 392-393, no. 173.
1. This dish does not bear the full or abbreviated mark of Maestro Giorgio’s workshop, but instead the reverse has a drawing of a hand holding a halberd. See Elisa Sani, ‘Gubbio 1515-1525. Reflections on early Lustreware’ in J.V.G. Mallet and E. Sani (ed.), Maiolica in Italy and Beyond, Oxford, 2021, pp. 86-87, figs. 5.8 and 5.9 (for the reverse), in which she argues that the polearm could refer to St. George, Giorgio’s namesake.
2. See Tjark Hausmann, Majolika, Spanische und Italienische Keramik vom 14. Bis zum 18. Jahrhundert, Berlin, 1972, pp. 216-220, nos. 162-164. For the lost pieces from Berlin, two of which bore the workshop mark of Maestro Giorgio, see Gaetano Ballardini, Corpus della Maiolica Italiana, 1933, Vol. I, no. 74, (figs. 69 and 259), no. 75 (figs. 78 and 260), no. 79 (fig. 71), no. 80 (fig. 72), no. 81 (fig. 73), no. 82 (fig. 74), no. 83 (fig. 77) and no. 84 (fig. 79).