in center reverse, flanking an "owner's mark" incorporating a double cross and a letter S: 1525 / Mo.Go.
Marks and Labels
Duveen (?) label: "The design is probably after Robetta"
Probably Emile Gavet, Paris. Richard Zschille, Leipzig (sale, Christie, Manson & Woods, London, 23 June 1899, no. 92, repro.) (Duveen Brothers); purchased 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.
- Exposition Universelle Internationale, Trocadéro, Paris, 1878.
- 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. 42.
- Darcel, Alfred. "Le moyen âge et la Renaissance au Trocadéro; XIV. Les faïences italiennes." Gazette des Beaux-Arts 2d ser., 18 (1878): 977.
- Exposition Universelle Internationale. Exh. cat. Trocadéro, Paris, 1878.
- Falke, Otto von. Sammlung Richard Zschille; Katalog der italienischen Majoliken. Leipzig, 1899: no. 92, repro.
- Ballardini, Gaestano. Corpus della maiolica italiana. 2 vols. Rome, 1933-1938: 1: no. 17, figs. 165, 297.
- Inventory of the Objects d'Art at Lynnewood Hall, Elkins Park, Pennsylvania, The Estate of the Late P.A.B. Widener. Philadelphia, 1935: 60.
- Works of Art from the Widener Collection. Foreword by David Finley and John Walker. National Gallery of Art, Washington, 1942: 13, as Gubbio (Maestro Giorgio Andreoli).
- NGA 1982-1983, no. 42.
- Wilson, Carolyn C. Renaissance Small Bronze Sculpture and Associated Decorative Arts at the National Gallery of Art. Washington, 1983: 119, no. 2.
- Fiocco/Gherardi 1988-1989, 2:416, 420, n. 10, 570.
- 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: 177-179, repro. 178.
The shallow plate, which has warped slightly in the kiln, is of earthenware, covered front and back with a white tin glaze which is slightly pockmarked on the front and heavily so on the back. The edge is molded into ridges front and back. The painting is in blue, green, near black, yellow, orange brown, and white (the drawing being in blue), with golden-brown and red luster. Only one kiln-spur mark is visible on the front (near the head of Cupid). The inner and outer edges of the rim are somewhat chipped.