Skip to Main Content


in center of foot reverse: Maro Giorgio / da ugubio f. / .1520.[Maestro Giorgio Gubbio made it 1520] [reading of the "f" is uncertain]

Marks and Labels

Spitzer sale labels; typed Kann collection labels 2, 188, identifying the subject wrongly as the rape of Proserpine (now in object folder, NGA Curatorial Records)


"In the possession of Signor Marnelli," in 1873.[1] Alessandro Castellani [1823-1883], Rome; (his sale, Paris, 27-29 May 1878, no. 59); purchased by Victor Gay, Paris, for 15,000 francs.[2] Frédéric Spitzer [1815-1890], Paris; (his estate sale, at his residence by Chevallier and Mannheim, Paris, 17 April-16 June 1893, no. 1196, sold for 18,500 francs). Maurice Kann [1839-1906], Paris; purchased 1908 with the entire Kann collection by (Duveen Brothers, Inc., London, New York, and Paris); purchased February 1910 by Peter A.B. Widener, Elkins Park, Pennsylvania;[3] inheritance from the Estate of Peter A.B. Widener by gift through power of appointment of Joseph E. Widener, Elkins Park, 1942.

Exhibition History

The Metropolitan Museum of Art, New York, 1877.
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. 41, repro.
Sharing Images: Renaissance Prints into Maiolica and Bronze, National Gallery of Art, Washington, 2018, no. 12

Technical Summary

The bowl originally had a low splayed foot, which has been chipped away. It is of earthenware, covered front and back with an off-white tin glaze. The painting is in blue, green, yellow, orange-brown, and near-black, with golden-brown and deep red luster. Three kiln scars are visible on the back. A piece has been broken away at three o'clock and replaced, with some overpaint. The edge is chipped and worn, and there is overpaint on the edge at one o'clock and four o'clock.


Fortnum 1873, 196, no. 7.
Beckwith, Arthur. Majolica and Fayence. New York, 1877: 78, fig. 20, repro. front and back.
Darcel, Alfred. "Le moyen âge et la Renaissance au Trocadéro; XIV. Les faïences italiennes." Gazette des Beaux-Arts n.s., 18 (1878): 977.
Exposition Universelle Internationale. Exh. cat. Trocadéro, Paris, 1878.
Molinier 1892, no. 160, pl. 19.
Fortnum 1896, mark no. 91.
Ballardini 1933-1938: 1: no. 100, figs. 96, 274, as Castel Durante lustered by Maestro Giorgio.
Inventory of the Objects d'Art at Lynnewood Hall, Elkins Park, Pennsylvania, The Estate of the Late P.A.B. Widener. Philadelphia, 1935: 59, as Gubbio (Maestro Giorgio Andreoli).
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).
Wilson, Carolyn C. Renaissance Small Bronze Sculpture and Associated Decorative Arts at the National Gallery of Art. Washington, 1983: 118, no. 1, repro., as Gubbio (Maestro Giorgio Andreoli).
Castelli, Patrizia. A rebours 1898-1988. Giuseppe Mazzatinti e l'archivio di Mastro Giorgio. Pisa and Gubbio, 1988: 113-114, nos. 3.16, 3.18.
Fiocco/Gherardi 1988-1989, 2:423, figs. 123, 124, 568.
Rasmussen Jörg. The Robert Lehman Collection, 10. Italian Majolica. New York and Princeton, 1989: 198.
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: 169-172, color repro. 170.

Related Content

  • Sort by:
  • Results layout:
Show  results per page
The image compare list is empty.