beneath foot: a dome and .F.
Marks and Labels
Formerly a Pierpont Morgan inventory number painted on underside: PM 3134
Casamorata collection, Le Macine, Florence. (Giuseppe Pacini, Florence). (Stanislas Baron, Paris), by 1882. Ambroise Milet [1829-1916], Sevres, by 1893. Alfred André [1839-1919], Paris; his son, Léon Alexandre André [1873-1954], Paris; purchased 1905 by J. Pierpont Morgan [1837-1913], London and New York; his estate; (Duveen Brothers, Inc., London, New York, and Paris); purchased 16 October 1917 by Joseph E. Widener, Elkins Park, Pennsylvania; inheritance from Estate of Peter A.B. Widener by gift through power of appointment of Joseph E. Widener, after purchase by funds of the Estate; gift 1942 to NGA.
- Possibly Loan Exhibiton of the Pierpont Morgan Collection, The Metropolitan Museum of Art, New York, 1914.
- Palazzo Vecchio: comittenza e collezionismo medicei, Palazzo Vecchio, Florence, 1980, no. T, repro. 403.
- A Collector's Cabinet, National Gallery of Art, Washington, D.C., 1998, not in cat.
- Magnificenza! The Medici, Michelangelo, and the Art of Late Renaissance Florence (in Italy, L'ombra del genio: Michelangelo e l'arte Firenze, 1537-1631), Palazzo Strozzi, Florence; Art Inst. of Chicago; Detroit Inst. of Arts, 2002-2003, no. 102.
- Davillier, Jean Charles. Les origines de la porcelaine en Europe. Paris and London, 1882: 116-117, no. 32, repro.
- Vogt, Georges. La Porcelaine. Paris, 1893: 83 fig. 30.
- Ricci, Seymour de. "La porcelaine des Medicis." Faenza (1908-1918): 31, no. 41.
- Grollier, Charles de. Manuel de l'amateur de porcelaines. 2 vols. Paris, 1914: 1:364, no. 2314.
- Possibly Loan Exhibition of the Pierpont Morgan Collection. Exh. cat. The Metropolitan Museum of Art, New York, 1914.
- Inventory of the Objects d'Art at Lynnewood Hall, Elkins Park, Pennsylvania, The Estate of the Late P.A.B. Widener. Philadelphia, 1935: 69.
- Liverani, Giuseppe. Catalogo delle porcellane dei Medici. Piccola Biblioteca del Museo delle Ceramiche in Faenza, 2. Faenza, 1936: 37, no. 52.
- Works of Art from the Widener Collection. Foreword by David Finley and John Walker. National Gallery of Art, Washington, 1942: 14, as Medici Ware, Small ewer.
- Liverani, Giuseppe. "Ampliamenti al catalogo delle porcellane medicee." Faenza 45 (1959): 10.
- Palazzo Vecchio: comittenza e collezionismo medicei. Exh. cat. Palazzo Vecchio, Florence, 1980: 403.
- Wilson, Carolyn C. Renaissance Small Bronze Sculpture and Associated Decorative Arts at the National Gallery of Art. Washington, 1983: 174, repro.
- Cora, Galeazzo, and Angiolo Fanfani. La porcellana dei Medici. Milan, 1986: 86-87, repro.
- Le Corbeiller, Clare. "A Medici Porcelain Pilgrim Flask." The J. Paul Getty Museum Journal 16 (1988): 125, fig. 9, as c. 1582-1585.
- Spallanzani, Marco. "Medici porcelain in the collection of the last grand-duke." The Burlington Magazine 132 (1990): 316-320.
- 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: 238-241, color repro. 239.
- National Gallery of Art Special Issue. Connaissance des Arts. Paris, 2000:62.
- Alinari, Alessandro. La Porcellana dei Medici: Bibliografia ragionata e catalogo essenziale. Ferrara, 2009: 76, repro.
The flask is of imitation porcelain, of a type usually classified as soft paste, which is somewhat translucent and looks pinkish when light is shone through it. The flask is covered inside and out, except beneath the foot ring, with a transparent glaze of slightly "orange-peel" texture with numerous small bubbles in it. There is more severe bubbling within and around the foot ring and around the neck. The painting is in underglaze blue, with the design drawn in purplish blue black. There is some cracking of the glaze and some abrasion, with minor repairs, at the end of the spout.
 Professor David Kingery and Dr. Pamela Vandiver stated on examining this flask that it was thrown on the wheel, unlike most pieces, which they say are mold made.