Overview

No overview available.

Inscription

on scroll: .AVE / SANTI / SSIMAMA [second "MA" in monogram] / RIA.MATE / RDEI. REG / INA.CELI [Hail most holy Mary, Mother of God, Queen of Heaven]

Marks and Labels

Kann collection labels 9, 178

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.

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. 18, detail repro.
1997
Pietro Perugino: Master of the Italian Renaissance, The Grand Rapids Art Museum, 1997-1998, no. 20, repro.
2004
La Ceramica Umbra al Tempo di Perugino [Ceramics in Umbria in the time of Perugino], Museo Regionale della Ceramica di Deruta, 2004, no. 31, 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: 57, 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. 18.
1983
Wilson, Carolyn C. Renaissance Small Bronze Sculpture and Associated Decorative Arts at the National Gallery of Art. Washington, 1983: 125, no. 1, 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: 156-158, color repro. 157.
Technical Summary

Earthenware, covered on the front and part of the edge with a white tin glaze, on the reverse with a greenish glaze. Concentric turning marks are visible on the underside. The painting is in blue with a brilliantly iridescent golden luster. In the foot ring two holes for suspension, placed so that the dish hangs askew from them, have been made after the dish was fired and glazed; a third, placed centrally, has been drilled subsequently. There is a hole in the glaze (a firing flaw) on the child's left leg. A piece has been broken from the rim at seven o'clock and repaired with some overpaint. There are small patches of overpaint on the central scene, on the edge at one o'clock, and on the inner edge of the rim, and extensive overpaint on the reverse.