Italian Ceramics: Catalogue of the J. Paul Getty Museum Collection

Notes

1. Duveen 1876-1981, no. MM.87, boxes 164, 193.


2. See notes 13, 16, and 27 below.


3. At least four different hands can be identified, falling into the following
   groups: the jar with the Annunciate Angel in the Louvre and the two
   Getty pieces; the two jars with young men in courtly costume, the jar
   with the figure of Gluttony, and the jar with a woman before a winged
   phallus; the two jars in the Corcoran depicting Eros and Anteros,- and,
   finally, the jar with a putto and trident and one with a violin.


4. Watson 1986, 46-47, nos. 8-9.


5. Klesse 1966, 147, no. 270.


6. Giacomotti 1974, 62, no. 245.


7. Rackham 1932, 343, fig. 4; the albarello with a cupid bearing a tree
   trunk is now in a private collection, Florence (see Conti 1980, no. 142)


8. Falke 1914-23, 1: nos. 86-87, pi- 5^1 -


9. This work is cited as being in the Grassimuseum, Leipzig (Rasmussen
   1984, 84), although in correspondence with the Getty Museum dated
   June 17, 1986, the Leipzig museum shows no record of the object.


10. Rasmussen (1984, 84, no. 13) located this jar in the Museo Civico,
    Bologna, although it appeared in a 1987 Florentine sale (Semenzato,
    November 11, lot 305). See also Ballardini 1934, pi. 12; Bolognesi
    1955 , pi. 3a. This figure is based on an engraving by Marcantonio
    Raimondi entitled Young Woman Watering a Plant (Oberhuber 1978,
    27 : no. 383 [292]), which, in turn, because of stylistic similarities, may
    have been based on a print by Jacopo de' Barbari.


11. Rackham 1915, 5 1, pis. IIIo-p.


12. Conti 1980, no. 130 (incorrectly described as located in the Museum
    fur Kunst und Gewerbe, Hamburg).


13. Rasmussen 1984, 85, no. 129.


14. Arbace 1996, 91-94, no. 112. The subject is based on a print by
    Marcantonio Raimondi after Francesco Francia (reprod. in Oberhuber
    1978 , 27: no. 377-1 [286]) in which a woman holds a flaming urn,
    symbol of sexual passion.


15. Sold at Sotheby's, Zurich, December 5, 19 91, lot 6 6.


16. Sold at Sotheby's, Zurich, December 5, 1991, lot 67.


17. Mazzucato 1990, no. 35; Tittoni Monti and Guarino 1992, 84. Al­
    though this jar lacks the B° mark and includes, unusually, an inscrip­
    tion of its pharmaceutical contents, the similarity of its shape,
    decorative scheme, and various decorative motifs—such as the circle
    and line pattern above the foot (identical to that on the Good Shepherd
    jar in Paris) and the foliate and rosette pattern on the reverse (identical
    to that on the jar in Naples)—confirms its inclusion in the group.


18. Giacomotti 1974, 62-63, nos. 234, 244, 246.


19. Decorated with a cupid bearing a tree trunk and rope (see note 6 above).


20. Caiger-Smith 1985, 80, pi. 23.


21. Hind 1909-10, 1: 369, no. 16; Faietti and Oberhuber 1988, 132-34,
    no. 22.


22. A similar image of a lame peasant embellishes a jar formerly in the Im-
    bert collection (sale cat., Sotheby's, London, March 11, 1980, lot 38).
    Other examples of women with distaffs adorning maiolica objects in­
    clude a brocca of the early sixteenth century from Rimini that sold at
    auction in Milan (sale cat., Semenzato Nuova Geri Sri, November 5,
    1986, lot 123; the figure is unconvincingly identified as "possibly
    Atropos") and a crespina of ca. 1540 from Faenza, attributed to the
    workshop of Virgiliotto Calamelli (Conti 1984, no. 37).

.

23. For example, Maerten van Heemskerck's Portrait of Anna Pietersd
    Codde and Cornelis Bos's engraving The Righteous Wife, both illus­
    trated in Grosshans 1980, pis. 4, 147.


24. See, for example, Israhel van Meckenem's Battle for the Pants, repro­
    duced in Marie 1971, 2: fig. 486.


25. See, for example, an anonymous northeastern Italian engraving of an al­
    legory of sensual pleasures (Levenson, Oberhuber, Sheehan 1973, 526-
    27); Barthel Beham's print Spinning Room (1524; Geisberg 1974,
    no. 154); and two sixteenth-century paintings of lovers by Pieter
    Pietersz. (Renger 1970, figs. 78-79). Alison Stewart (1986, 286) has
    pointed out that late medieval French, English, and German words for
    spindle could mean phallus, presumably because of their similar shapes.
    Even today the Italian filare (to spin wool) colloquially refers to making
    love or courting (Cortelazzo and Zolli 1979, s.v. "fila"). Examples on
    maiolica objects of the distaff portrayed as sexual instrument include
    a plate by Maestro Giorgio Andreoli dated 1528 in the Museo Civico,
    Arezzo, showing Hercules suggestively pointing a distaff at Queen
    Omphale, whom he served as a slave.


26. Ravanelli Guidotti 1990, 160.


27. Servolini 1944, pi. LXVIII, nos. B.io-11.


28. Falke 1914-23, 1: nos. 85a-b, pi. 5o; Fiocco and Gherardi 1986,
    pi. 96a; Milliken 1940, 33-34. The subject and style of the panel
    figure together with the passages of alia porcellana decoration on the
    body relate this jar most directly to the Temperance albarello formerly
    in the Ducrot collection, Paris (see note 10 above).


29. Roth 1987, 72-73, no. 8.


30. Otto von Falke in Rackham 1915, 50.


31. Alinari and Spallanzani 1997, 3 8 - 40, no. 13.


32. Gardelli 1999, 202-11.


33. Bolognesi 1955, 8; the existence of a Betini factory in Faenza, however,
    was questioned by Fortnum (1896, 254) when he noted that the in­
    scription BE FAVE [N]T [I]CIE following the names of three women
    (Chornelia, Zetila, and Xabeta) might more convincingly be read bella
    Faentina (beauty of Faenza). This pavement is illustrated in Liverani
    i960, pi. 12.


34. Rubini 1990, 27-28; Ravanelli Guidotti 1990, 199-200, no. 109;
    Governale 1989, 72-73; Fiocco and Gherardi 1986, 290-94,
    pis. 94-98.
    3 5. See Pompeis et al. 1985, 3-36.


35. For more information on neutron activation analysis as an analytical
    tool see conclusion of the Introduction.


36. Berti 1998, 286-91, nos. 114-26; Berti 1999, 287, nos. 125-28.


37. Berti 1998, 271, 284, nos. 86-87,^111 ; Berti 1999, 286, no. 124.


38. Berti 1998, 254-58, 264, nos. 45-56, 69.


39. Berti 1998, 309-11, nos. 158-64. B/B° related piece is a drug jar that
    sold at Sotheby's, London, June 29, 1964, lot 35.


40. Berti 1998, 264, no. 69.


41. Giacomotti 1974, 73, no. 289; Berti 1998, 346, nos. 241-42.


42. Especially those with "petal-back" decoration on the reverse. See Busti
    and Cocchi 1987, pi. Via; Busti and Cocchi 1999, 148, no. 31.


43. Batini et al. 1986, 39-41 and cover,- Fiocco and Gherardi V1994, espe­
    cially 241, 248-49, figs. 138, 143.

Two Jars I2J