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拍品专文
It is not certain what this unusual form of dish was used for; it may have been intended for spices or used as a sweetmeat, or perhaps as a salt. For a dish of the same form in the Metropolitan Museum, New York, see Timothy Wilson, Maiolica, Italian Renaissance Ceramics in the Metropolitan Museum of Art, Verona, 2016, pp. 192-193, no. 60. Wilson notes that the design of interwoven oak branches on the reverse is derived from the rovere or oak tree in the Della Rovere family’s coat of arms. The Della Rovere family were the Dukes of Urbino from 1508, and Cipriano Piccolpasso(1) recorded that these designs, which he calls cerquate (oak leaf patterns) in his treatise, were ‘much used with us [in the Duchy of Urbino] for the veneration and duty we owe to the Oak Tree, under the shadow of which we live happily, so that it can be called painting in the Urbino maiolica style’(2).
For six other known examples, each also with cerquate-molded exteriors, see Wilson, ibid., p. 352, notes 1 and 2 where they are listed. The example formerly in the Fernand Adda Collection, Paris, also included a striped foot edged with a garland, similar to the present lot; see Bernard Rackham, Islamic Pottery and Italian Maiolica, Illustrated Catalogue of a Private Collection, London, 1959, no. 440, pl. 189, B.
1. Cipriano Piccolpasso, a native of Castel Durante, wrote a treatise on the making of maiolica in about 1557 under the patronage of Cardinal François de Tournon. The work was never published but, incredibly, survived in a single manuscript which is now in the collection of the Victoria & Albert Museum, London.
2. Cipriano Piccolpasso, Li tre libri dell’arte del vasajo (The Three Books of the Potter’s Art), facsimile 1980 edition, Vol. 1, fol. 671, Vol. 2, p. 113.
For six other known examples, each also with cerquate-molded exteriors, see Wilson, ibid., p. 352, notes 1 and 2 where they are listed. The example formerly in the Fernand Adda Collection, Paris, also included a striped foot edged with a garland, similar to the present lot; see Bernard Rackham, Islamic Pottery and Italian Maiolica, Illustrated Catalogue of a Private Collection, London, 1959, no. 440, pl. 189, B.
1. Cipriano Piccolpasso, a native of Castel Durante, wrote a treatise on the making of maiolica in about 1557 under the patronage of Cardinal François de Tournon. The work was never published but, incredibly, survived in a single manuscript which is now in the collection of the Victoria & Albert Museum, London.
2. Cipriano Piccolpasso, Li tre libri dell’arte del vasajo (The Three Books of the Potter’s Art), facsimile 1980 edition, Vol. 1, fol. 671, Vol. 2, p. 113.