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center reverse: 1539 / da duo gra serpe / Laocaonte ucciso-

Marks and Labels

Kann collection labels 16, 185; unnumbered extract in French from 19th century sale catalog, attributing the painting to "Xantho" (now in object folder, NGA Curatorial Records)


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
Sixteenth-Century Italian Maiolica; Selections from the Arthur M. Sackler Collection and the National Gallery of Art's Widener Collection, National Gllery of Art, Washington, D.C., 1982-1983, no. 54.
Inventory of the Objects d'Art at Lynnewood Hall, Elkins Park, Pennsylvania, The Estate of the Late P.A.B. Widener. Philadelphia, 1935: 62.
Works of Art from the Widener Collection. Foreword by David Finley and John Walker. National Gallery of Art, Washington, 1942: 13, as Urbino (Francesco Xanto Avelli?), with Gubbio luster.
NGA 1982-1983, no. 54.
Wilson, Carolyn C. Renaissance Small Bronze Sculpture and Associated Decorative Arts at the National Gallery of Art. Washington, 1983: 121, no. 4.
Fiocco/Gherardi 1988-1989, 2:580.
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: 215-217, color repro. 216.
Technical Summary

Earthenware, covered front and back with a somewhat pockmarked off-white tin glaze. The painting is in blue, green, gray, yellow, orange, brown, black, and white, with reddish and orange-gold luster. There are two neat kiln-support marks on the front near the edge. The edge is severely chipped and the luster somewhat worn. There are minor patches of overpaint.