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Marks and Labels

Kann collection labels 11, 180

Provenance

Probably Alessandro Castellani, Rome (sale, Paris, 27-29 May 1878, no. 146, as Pesaro).[1] Probably A. Andrews, London (sale, Christie, Manson & Woods, London, 14-17 April 1888, no. 391); (Galerie Seligmann, Paris). Maurice Kann, Paris; (Duveen Brothers), 1908, as part of the Kann collection; purchased February 1910 by Peter A. B. Widener, Elkins Park, Pennsylvania; inheritance from the Estate of Peter A. B. Widener by gift through power of appointment of Joseph E. Widener, Elkins Park, 1942.

Exhibition History
1877
Burlington Fine Arts Club, London, 1877.
1877
The Metropolitan Museum of Art, New York, 1877.
1982
Sixteenth-century Italian Maiolica; Selections from the Arthur M. Sackler Collection and the National Gallery of Art's Widener Collection, National Gallery of Art, Washington, D.C., 1982-1983, no. 13.
2004
La Ceramica Umbra al Tempo di Perugino [Ceramics in Umbria in the time of Perugino], Museo Regionale della Ceramica di Deruta, 2004, no. 25, repro.
Bibliography
1935
Inventory of the Objects d'Art at Lynnewood Hall, Elkins Park, Pennsylvania, The Estate of the Late P.A.B. Widener. Philadelphia, 1935: 54, as Deruta with Gubbio luster, c. 1520.
1942
Works of Art from the Widener Collection. Foreword by David Finley and John Walker. National Gallery of Art, Washington, 1942: 12, as Deruta with Gubbio luster, about 1520.
1982
NGA 1982-1983, no. 13
1993
Distelberger, Rudolf, Alison Luchs, Philippe Verdier, and Timonthy H. Wilson. Western Decorative Arts, Part I: Medieval, Renaissance, and Historicizing Styles including Metalwork, Enamels, and Ceramics. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1993: 146-147, repro. 146.
2002
Mack, Rosamund E. Bazaar to Piazza: Islamic Trade and Italian Art, 1300-1600. Berkeley, Los Angeles, and London, 2002: 103-104, fig. 104.
Technical Summary

Earthenware, covered on the front with a white tin glaze and on the back with a semitranslucent yellowish brown glaze overlying blobs of tin glaze. The painting is in blue, with luster varying in color from yellow to brown, with patches and streaks of red; the luster is greenish where it overlies the blue. The dish has warped slightly in the kiln. In the foot ring are two holes for suspension, made before firing, placed so that the dish hangs correctly from them. There are kiln scars on the back and on the edge. The glaze on the front is somewhat cracked. On the rim at eight o'clock a piece has broken away and been repaired, with some overpaint. There is some wear and chipping on the outer and inner edges of the rim.