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拍品专文
The inscription on the reverse translates as ‘Behold on the gridiron patient Lawrence who, all fired up with divine passion so as to enjoy that great delight of rendering his soul to God, feels no pain. On the 29 of July 1531’. St. Lawrence was a deacon of the Roman church who was martyred upon a grill over hot coals during the persecution of Christians under the reign of Emperor Valerian. This version of the scene is taken from Marcantonio Raimondi’s engraving The Martyrdom of St. Lawrence of circa 1525, after Baccio Bandinelli(1).
This charger was previously attributed to Francesco Xanto Avelli, but it is by a different hand. The painter’s style demonstrates the heavy influence of Xanto, particularly in its treatment of the figures’ robes, which are colored and shaded with a level of drama that is typical of Xanto’s earlier work(2). It is possible that the painter may have worked in close proximity to him.
The handwriting on the reverse of the present lot appears to be by the same hand as inscriptions on two pieces which are inscribed as being made in the workshop of Guido Durantino, one in the Musée Vivenel, Compiègne(3), and one in the Hermitage, St. Petersburg(4). The painting on the obverse, however, does not appear to be by the same hand as these two dishes.
The style of painting appears to be very similar to a coppa in Arezzo painted with God appearing to Isaac(5). Although both the present lot and the Arezzo coppa follow their print sources faithfully, leaving little room for individual expression of style, the handling of the leg of the seated central figure on the present lot is identical with Isaac’s leg on the Arezzo piece, and the shaded socket of his eye and neck muscles are also very similar to some of the faces and necks on the present lot.
It is currently unclear what the inscription GOBO on a tablet in the foreground of the scene refers to. In 1863 William Chaffers suggested that it could stand for Guidubaldo. If this is the case, it presumably cannot refer to the Dukes of Urbino as the Guidubaldo I had died twenty-three years earlier in 1508 and Guidubaldo II didn’t become Duke of Urbino until 1538.
1. The scene was drawn by Baccio Bandinelli as a cartoon for the Church of San Lorenzo in Florence, but when the commission didn’t materialize, Bandinelli employed Marcantonio Raimondi to engrave it.
2. In particular, the figure second from the right on the first floor of the building (with his back turned) is shaded in blue and highlighted in yellow in a manner very reminiscent of Xanto. This method of coloring clothing even influenced Nicola da Urbino; see Timothy Wilson, ‘A personality to be reckoned with: some aspects of the impact of Xanto on the work of Nicola da Urbino’, Faenza, XCIII, IV-VI, 2007, pp. 253-258.
3. J.V.G. Mallet, ‘In Botega di Maestro Guido Durantino in Urbino’, The Burlington Magazine, no. 1010, May 1987, p. 290, figs. 6 and 6a.
4. A.N. Kube, Italian Majolica XV-XVIII Centuries, Moscow, 1976, no. 71.
5. A mark on the back of the Arezzo piece is similar to a mark on pieces by the ‘Argus Painter’, but the present charger is not by the ‘Argus Painter’. For the Arezzo piece, see Charles Dominique Fuchs, Maioliche Istoriate Rinascimentali, del Museo Statale d’Arte Medioevale e Moderna di Arezzo, Arezzo, 1993, p. 228, no. 153 and p. 59 (for a large color illustration).
This charger was previously attributed to Francesco Xanto Avelli, but it is by a different hand. The painter’s style demonstrates the heavy influence of Xanto, particularly in its treatment of the figures’ robes, which are colored and shaded with a level of drama that is typical of Xanto’s earlier work(2). It is possible that the painter may have worked in close proximity to him.
The handwriting on the reverse of the present lot appears to be by the same hand as inscriptions on two pieces which are inscribed as being made in the workshop of Guido Durantino, one in the Musée Vivenel, Compiègne(3), and one in the Hermitage, St. Petersburg(4). The painting on the obverse, however, does not appear to be by the same hand as these two dishes.
The style of painting appears to be very similar to a coppa in Arezzo painted with God appearing to Isaac(5). Although both the present lot and the Arezzo coppa follow their print sources faithfully, leaving little room for individual expression of style, the handling of the leg of the seated central figure on the present lot is identical with Isaac’s leg on the Arezzo piece, and the shaded socket of his eye and neck muscles are also very similar to some of the faces and necks on the present lot.
It is currently unclear what the inscription GOBO on a tablet in the foreground of the scene refers to. In 1863 William Chaffers suggested that it could stand for Guidubaldo. If this is the case, it presumably cannot refer to the Dukes of Urbino as the Guidubaldo I had died twenty-three years earlier in 1508 and Guidubaldo II didn’t become Duke of Urbino until 1538.
1. The scene was drawn by Baccio Bandinelli as a cartoon for the Church of San Lorenzo in Florence, but when the commission didn’t materialize, Bandinelli employed Marcantonio Raimondi to engrave it.
2. In particular, the figure second from the right on the first floor of the building (with his back turned) is shaded in blue and highlighted in yellow in a manner very reminiscent of Xanto. This method of coloring clothing even influenced Nicola da Urbino; see Timothy Wilson, ‘A personality to be reckoned with: some aspects of the impact of Xanto on the work of Nicola da Urbino’, Faenza, XCIII, IV-VI, 2007, pp. 253-258.
3. J.V.G. Mallet, ‘In Botega di Maestro Guido Durantino in Urbino’, The Burlington Magazine, no. 1010, May 1987, p. 290, figs. 6 and 6a.
4. A.N. Kube, Italian Majolica XV-XVIII Centuries, Moscow, 1976, no. 71.
5. A mark on the back of the Arezzo piece is similar to a mark on pieces by the ‘Argus Painter’, but the present charger is not by the ‘Argus Painter’. For the Arezzo piece, see Charles Dominique Fuchs, Maioliche Istoriate Rinascimentali, del Museo Statale d’Arte Medioevale e Moderna di Arezzo, Arezzo, 1993, p. 228, no. 153 and p. 59 (for a large color illustration).