Marks and Labels
Labels (now in object folder, NGA Curatorial Records): oval red-bordered label with "28" in pen; square label with "page 323 No 23b" (compare with 1942.9.341); Kann collection labels 4, 201
Frédéric Spitzer [1815-1890], Paris; (his estate sale, Paris, 17 April-16 June 1893, no. 1046, sold for 11,000 francs). Maurice Kann [d. 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; inheritance from the Estate of Peter A.B. Widener by gift through power of appointment of Joseph E. Widener, Elkins Park, 1942.
- 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. 24, repro.
- Molinier 1892, no. 8 bis, pl. 5, as Cafaggiolo.
- Rackham, Bernard. "Die Majolikamaler Giovanni Maria von Castel Durante, part 2." Pantheon 3 (1929): 90, as painted by Giovanni Maria.
- Inventory of the Objects d'Art at Lynnewood Hall, Elkins Park, Pennsylvania, The Estate of the Late P.A.B. Widener. Philadelphia, 1935: 33, as by Cafaggiolo, c. 1510.
- Works of Art from the Widener Collection. Foreword by David Finley and John Walker. National Gallery of Art, Washington, 1942: 12, as Caffagiolo, about 1510.
- NGA 1982-1983, no. 24, repro.
- Wilson, Carolyn C. Renaissance Small Bronze Sculpture and Associated Decorative Arts at the National Gallery of Art. Washington, 1983: 117, no. 4, as Castel Durante, c. 1520.
- Hess 1988, 94.
- Rasmussen Jörg. The Robert Lehman Collection, 10. Italian Majolica. New York and Princeton, 1989: 110.
- 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: 130-133, color repro. 131.
Earthenware, covered front and back with a brilliant-white tin glaze. The painting is in blue, yellow, orange, pale green, purple, and white; the green has bubbled slightly. On the front, near the edge, are three kiln-support marks. There is overpaint on the rim at nine o'clock, ten o'clock, and three o'clock. The glaze on the back is cracked.