Overview

No overview available.

Inscription

center, flanking the shield: 15 [shield] 32

Marks and Labels

Kann collection labels 30, 203; printed label of 1890 Seillière sale, "81"

Provenance

Edmé-Unité Jacquot-Préaux, Paris (sale, Paris, 9-11 January 1850, no. 185).[1] Adrien-Joseph Rattier, Paris (sale, Paris, 21-24 March 1859, no. 51).[2] Baron Achille Seillière, Château de Mello (Oise) (sale, Paris, 5-10 May 1890, no. 81).[3] 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

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: 64, as Faenza.
1942
Works of Art from the Widener Collection. Foreword by David Finley and John Walker. National Gallery of Art, Washington, 1942: 14, as Faenza.
1983
Wilson, Carolyn C. Renaissance Small Bronze Sculpture and Associated Decorative Arts at the National Gallery of Art. Washington, 1983: 118, no. 7, as Faenza.
1988
Guidotti, Ravanelli, C. "Maioliche faentine datatei un disco di censo con lo stemma Cattoli del 1532.2." Faenza (1988): pl. 1.
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: 129-130, repro. 129.

Technical Summary

The plaque, which has warped in the kiln, is of buff-brown earthenware, covered on the front and much of the sides with a white tin glaze, which has run somewhat. On the reverse is a series of curving parallel grooves, apparently where the plaque was removed from the wheel. The painting is in blue, green, ocher, yellow, and white. On the rim are patches of repair and overpaint, especially between five and seven o'clock, and between nine and ten o'clock. Since the piece was made, two holes for suspension have been drilled at twelve o'clock; two more at six o'clock have been filled and repainted at the front.

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