on scroll: CHI B / IENGV / I / DASVABARCHA / SEP /REE / PoRTo [He who steers his ship well is always in harbor]
Marks and Labels
Kann collection label 32; a circular pink label for the Manchester exhibition in 1857: "MUSEUM ART TREA[SURES] EXHIBITION LORD HASTINGS 112"; handwritten 19th century label: "Majolica-ware-glaze a 'lustre metallique'-fabric of the 16th century"
Sir Jacob Astley, 16th Baron Hastings [1797-1859], Melton Constable, Norfolk, by 1857; by descent to George Manners Astley, 20th Baron Hastings [1857-1904]; (his sale, Christie, Manson & Woods, London, 20-21 March 1888, probably no. 100). 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.
- Art Treasures of the United Kingdom: Museum of Ornamental Art, Art Treasures Palace, Manchester, 1857, not in catalogue.
- 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. 15.
- Virtue and Beauty: Leonardo's Ginevra de' Benci and Renaissance Portraits of Women, National Gallery of Art, Washington, D.C., 2001-2002, not in cat.
- Inventory of the Objects d'Art at Lynnewood Hall, Elkins Park, Pennsylvania, The Estate of the Late P.A.B. Widener. Philadelphia, 1935: 56, 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. 15.
- 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: 152-154, color repro. 153.
Earthenware, covered on the front and edge with a white tin glaze and on the back with a pockmarked semitranslucent yellowish brown glaze overlying streaks of tin glaze. The painting is in blue, with golden brown luster. The dish has warped slightly in the kiln. In the foot ring are two holes, made before firing, placed so that the dish hangs slightly askew from them. There are kiln scars on the back and edge. The glaze on the front has crawled in patches near the edge. There are small areas of overpaint, notably near the woman's mouth.