Overview

No overview available.

Inscription

in front of the figure's face: crowned N

Marks and Labels

Kann collection labels 8, 177

Provenance

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.[1]

Exhibition History
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. 16.
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: 55, as Deruta, 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, about 1520.
1982
NGA 1982-1983, no. 16.
1983
Wilson, Carolyn C. Renaissance Small Bronze Sculpture and Associated Decorative Arts at the National Gallery of Art. Washington, 1983: 124-125, no. 4, repro., as Deruta, first third of sixteenth century.
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: 147-149, repro. 148.
Technical Summary

Earthenware, covered on the front and partially on the edge with a white tin glaze, on the back with a pockmarked semitranslucent creamy brown glaze overlying streaks of tin glaze. The painting is in blue, with luster varying from yellowish gold to patchy pink. In the foot ring are two holes, made before firing, placed so that the dish hangs correctly from them. There are several kiln scars on the back, beneath the rim and the curving sides of the well. Slight cracks run from the edge at six o'clock and ten o'clock. There is wear and chipping on the outer and inner edges of the rim, with extensive overpaint on the outer edge. The glaze on the front is somewhat scratched.