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拍品专文
The print upon which the artist based this piece is Marco Dente’s engraving of Venus and Cupid riding two sea creatures. The present coppa appears to be painted by the same hand as a plate painted with a putto standing on a dolphin which is now in a private collection in Assisi(1). The Assisi plate is inscribed with a large C to its reverse, and a plate at Ecouen painted with Diana and Actaeon is inscribed with a large C with a paraph and a small letter o on the reverse(2). The maiolica scholars Giulio Busti and Franco Cocchi have suggested that the ‘Co’ refers to Nicola Francioli, an important maiolica painter in Deruta who was the uncle of Giacomo Mancini, another leading painter in Deruta (known as ‘El Frate’). Nicola Francioli sometimes signed documents simply with ‘Co’. This abbreviation of Nicola must presumably have been his nickname.
The style of pieces by ‘Co’ is so close to pieces which have previously been attributed to the ‘Painter of the Diruta plate’(3) that Busti and Cocchi have argued that the two painters were in fact the same painter, but this identification has yet to become fully accepted.(4)
1. See Giulio Busti and Franco Cocchi, La ceramica umbra al tempo di Perugino, Museo Regionale della Ceramica, Deruta, February – July 2004 Exhibition Catalogue, Milan, 2004, pp. 128-129, no. 37. For the reverse of this plate see Timothy Wilson, Italian Maiolica of the Renaissance, Milan, 1996, p. 56, where it was attributed to the ‘Painter of the San Francesco Pavement’ (who was so-called after pavement tiles installed in the churches of S. Angelo and S. Francesco, both in Deruta). It is now accepted that the ‘Painter of the San Francesco Pavement’ was Nicola Francioli.
2. For the Diana and Actaeon piece at Ecouen, see Jeanne Giacomotti, Les majoliques des Musées nationaux, Paris, 1974, no. 541.
3. The painter is named after a plate in the Victoria & Albert Museum painted in a style very similar to ‘Co’ which is inscribed fatto in diruta (made in Deruta) on the reverse.
4. See the 2004 Museo Regionale della Ceramica exhibition catalogue cited above. This exhibition put this theory to the test by exhibiting key works by ‘Co’ and the ‘Painter of the Diruta plate’ alongside each other.
The style of pieces by ‘Co’ is so close to pieces which have previously been attributed to the ‘Painter of the Diruta plate’(3) that Busti and Cocchi have argued that the two painters were in fact the same painter, but this identification has yet to become fully accepted.(4)
1. See Giulio Busti and Franco Cocchi, La ceramica umbra al tempo di Perugino, Museo Regionale della Ceramica, Deruta, February – July 2004 Exhibition Catalogue, Milan, 2004, pp. 128-129, no. 37. For the reverse of this plate see Timothy Wilson, Italian Maiolica of the Renaissance, Milan, 1996, p. 56, where it was attributed to the ‘Painter of the San Francesco Pavement’ (who was so-called after pavement tiles installed in the churches of S. Angelo and S. Francesco, both in Deruta). It is now accepted that the ‘Painter of the San Francesco Pavement’ was Nicola Francioli.
2. For the Diana and Actaeon piece at Ecouen, see Jeanne Giacomotti, Les majoliques des Musées nationaux, Paris, 1974, no. 541.
3. The painter is named after a plate in the Victoria & Albert Museum painted in a style very similar to ‘Co’ which is inscribed fatto in diruta (made in Deruta) on the reverse.
4. See the 2004 Museo Regionale della Ceramica exhibition catalogue cited above. This exhibition put this theory to the test by exhibiting key works by ‘Co’ and the ‘Painter of the Diruta plate’ alongside each other.