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拍品專文
The inscription a la virtu non manca (?) luco translates as ‘Luco is not lacking in virtue’, and the inscription recole de canto is probably a slightly differently-spelled version of regole de canto, the ‘rules for singing’.
The present tondino is similar to another in the Lehman Collection in the Metropolitan Museum, New York. The Lehman tondino is painted with a similar warrior in profile to the left and a similar lustred border reserved with trophies, and is dated 1519 among various inscriptions(1).Unlike the present lot, the lustred well of the Lehman tondino is painted with simulated gadroons, as is another tondino in the same collection (they were presumably once part of a set). In his catalogue of the collection, Rasmussen noted that Olga Raggio had drawn parallels between the New York tondini and nine other lustred pieces which were in the Schlossmuseum, Berlin, until 1945(2), most of which were dated 1519. Of the six which did not survive the war, one bore a profile bust similar to the Lehman Collection no. 111 and the present lot. One of the surviving pieces bears the mark of Maestro Giorgio’s workshop(3).
A tondino in the Hockemeyer Collection(4) also shows close similarities with the present lot, even including the scrolling label behind the central warrior, which is identical in form. The unusual yellow ground of the Hockemeyer tondino appears to have been lustre which did not fire successfully. Mallet compared the Hockemeyer tondino to a dish in the Musée du Louvre which has trophies on the border which are very similar to the present lot (the Louvre piece has central figures and like the Hockemeyer piece, has a partially successful lustre)(5). The underside of the Louvre dish bears an indistinct lustre inscription which has been deciphered as Giacomo and interpreted as the mark of Giacomo di Paoluccio, a prominent workshop owner in Gubbio.
The decoration of the group has much in common with pieces produced at Castel Durante, and it may be that the author of the present lot may have come from Castel Durante and could have been working in either in Giacomo di Paoluccio’s workshop, or Maestro Giorgio’s workshop, workshops which had a signed agreement to collaborate between 1501 and 1511, an agreement which may have continued(6).
1. Jörg Rasmussen, Italian Majolica in the Robert Lehman Collection, New York, 1989, p. 184.
2. Olga Raggio in Charles Sterling et al., Exposition de la collection Lehman de New York, Musée de l’Orangerie, Paris, 1957, p. 157, no. 270. Three of the nine have survived and are now in the Kunstgewerbemuseum, Berlin, cf. Tjark Hausmann, Majolika, Berlin, 1972, nos. 162-164.
3. Tjark Hausmann, ibid., pp. 218-219, no. 164.
4. J.V.G. Mallet and Franz Adrian Dreier, The Hockemeyer Collection, Maiolica and Glass, Bremen, 1998, pp. 124-125, no. 10 and pp. 221-224, and more recently, Timothy Wilson, Tin-Glaze and Image Culture, the MAK Maiolica Collection in its wider context, The MAK, Vienna, April – August Exhibition Catalogue, Stuttgart, 2022, p. 126, no. 78.
5. Jeanne Giacomotti, Les majoliques des Musées nationaux, Paris, 1974, pp. 158-159, no. 524.
6. Mallet, ibid., 1998, p. 222, citing Tiziana Biganti, ‘La Produzione di Ceramica a Lustro a Gubbio e a Deruta tra la Fine del Secolo XV e l’Inizio del Secolo XVI’ in Faenza, no. LXXIII, 1987, pp. 213, 222 and 223.
The present tondino is similar to another in the Lehman Collection in the Metropolitan Museum, New York. The Lehman tondino is painted with a similar warrior in profile to the left and a similar lustred border reserved with trophies, and is dated 1519 among various inscriptions(1).Unlike the present lot, the lustred well of the Lehman tondino is painted with simulated gadroons, as is another tondino in the same collection (they were presumably once part of a set). In his catalogue of the collection, Rasmussen noted that Olga Raggio had drawn parallels between the New York tondini and nine other lustred pieces which were in the Schlossmuseum, Berlin, until 1945(2), most of which were dated 1519. Of the six which did not survive the war, one bore a profile bust similar to the Lehman Collection no. 111 and the present lot. One of the surviving pieces bears the mark of Maestro Giorgio’s workshop(3).
A tondino in the Hockemeyer Collection(4) also shows close similarities with the present lot, even including the scrolling label behind the central warrior, which is identical in form. The unusual yellow ground of the Hockemeyer tondino appears to have been lustre which did not fire successfully. Mallet compared the Hockemeyer tondino to a dish in the Musée du Louvre which has trophies on the border which are very similar to the present lot (the Louvre piece has central figures and like the Hockemeyer piece, has a partially successful lustre)(5). The underside of the Louvre dish bears an indistinct lustre inscription which has been deciphered as Giacomo and interpreted as the mark of Giacomo di Paoluccio, a prominent workshop owner in Gubbio.
The decoration of the group has much in common with pieces produced at Castel Durante, and it may be that the author of the present lot may have come from Castel Durante and could have been working in either in Giacomo di Paoluccio’s workshop, or Maestro Giorgio’s workshop, workshops which had a signed agreement to collaborate between 1501 and 1511, an agreement which may have continued(6).
1. Jörg Rasmussen, Italian Majolica in the Robert Lehman Collection, New York, 1989, p. 184.
2. Olga Raggio in Charles Sterling et al., Exposition de la collection Lehman de New York, Musée de l’Orangerie, Paris, 1957, p. 157, no. 270. Three of the nine have survived and are now in the Kunstgewerbemuseum, Berlin, cf. Tjark Hausmann, Majolika, Berlin, 1972, nos. 162-164.
3. Tjark Hausmann, ibid., pp. 218-219, no. 164.
4. J.V.G. Mallet and Franz Adrian Dreier, The Hockemeyer Collection, Maiolica and Glass, Bremen, 1998, pp. 124-125, no. 10 and pp. 221-224, and more recently, Timothy Wilson, Tin-Glaze and Image Culture, the MAK Maiolica Collection in its wider context, The MAK, Vienna, April – August Exhibition Catalogue, Stuttgart, 2022, p. 126, no. 78.
5. Jeanne Giacomotti, Les majoliques des Musées nationaux, Paris, 1974, pp. 158-159, no. 524.
6. Mallet, ibid., 1998, p. 222, citing Tiziana Biganti, ‘La Produzione di Ceramica a Lustro a Gubbio e a Deruta tra la Fine del Secolo XV e l’Inizio del Secolo XVI’ in Faenza, no. LXXIII, 1987, pp. 213, 222 and 223.