Marks and Labels
Kann collection labels 31, 205
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.
- 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. 19.
- Inventory of the Objects d'Art at Lynnewood Hall, Elkins Park, Pennsylvania, The Estate of the Late P.A.B. Widener. Philadelphia, 1935: 55, as Deruta, c. 1520.
- Works of Art from the Widener Collection. Foreword by David Finley and John Walker. National Gallery of Art, Washington, 1942: 12, as Deruta, about 1520.
- NGA 1982-1983, no. 19.
- Wilson, Carolyn C. Renaissance Small Bronze Sculpture and Associated Decorative Arts at the National Gallery of Art. Washington, 1983: 124, no. 3, as Deruta 1513/1534.
- Rasmussen Jörg. The Robert Lehman Collection, 10. Italian Majolica. New York and Princeton, 1989: 64.
- 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: 142-143, repro. 142.
Earthenware, covered on the front and edge with a white tin glaze and on the back with an even yellowish semitranslucent glaze overlying streaks of tin glaze. Concentric turning marks are visible on the back. The painting is in blue (which has bubbled slightly) and, to represent red in the arms, a streaky red- brown, with yellowish golden luster. In the foot ring are two holes for suspension, made before firing, placed so that the dish hangs correctly from them. On the back, on the curving sides of the well, are two kiln scars. The dish has been cracked and repaired from eight o'clock toward the center and through the rim at two o'clock; bands of overpaint run over these repairs. There is extensive wear and chipping on the outer and inner edges of the rim.