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

(Nancy Kaufman) #1
Notes


  1. Duveen 1876-1981, no. 25892, boxes 11, 13, 15, 17, 100, 191. When the
    plate was sent to New York in 1916 its price was thirty-five hundred
    dollars; this price was reduced in 1923 (the year of its sale) to two thou­
    sand dollars. An invoice of February 5, 1924, lists the buyer as A. Selig-
    man, Rey and Co., New York.

  2. See the portrait medal of the sultan by Costanzo da Ferrara, illustrated
    in Wilson 1983, 42, no. 2 (obverse).

  3. See Weiss 1966, frontis., pis. 6, 9-12, 14-16.

  4. See catalogues of Hotel Drouot, Sotheby's, and Christie's sales cited
    above under provenance and bibliography.

  5. Rasmussen 1989, 100-104, no. 62.

  6. See Rackham 1928A, 435-45; Rackham 1929, 88-92.

  7. It is unclear whether, in addition to directing a workshop, "Giovanni
    Maria" was also a potter. For documentary references see Negroni 1985,
    14 , 17 n. 28, 18 n. 29; Berardi 1984, 9.

  8. Wilson 1989, 26-27, no. 9; Fortnum 1896, pi. 19 (attributed to Faenza of
    ca. 1520).

  9. Rackham 1928A, pt. 2, 90, fig. 22; Rackham 1940, 1: no. 532; 2: pi. 83
    (attributed to Castel Durante of ca. 1515).

  10. Timothy Wilson in National Gallery 1993, 130-33.

  11. Wilson 1989, 26.

  12. The reverse decoration on maiolica plates is often very useful when
    attempting to identify a distinctive hand or center of production.

  13. Solon 1907, fig. io; Rackham 1929 , 90, fig. 21; Wilson 1987A, no. 119
    (attributed to "perhaps the Marches or Venice" of ca. 1505-25).

  14. Rackham 1929, 89, fig. 20; Rackham 1940, 1: no. 529 ; 2: pi. 83.

  15. Chompret 1949, 2: fig. 92; Falke 1914-23, 2: no. 157, pi. 84.

  16. Giacomotti 1962, 29 (attributed to Castel Durante or Cafaggiolo
    of ca. 1510).

  17. This plate is purportedly signed "Zoan Maria in Casteldurante." That
    this signature has never been reproduced and was not noted by previous
    scholars when documenting the object—when the plate was on loan to
    the Victoria and Albert Museum, London, in the 18 60s, for example—
    suggests that the signature is spurious. The plate itself was given a
    thermoluminescence test at Oxford in 1991 with results indicating it
    was created between 250 and 400 years ago, consistent with its pre­
    sumed date of ca. 1520 (Magnani 1991, 21 and cover).

  18. Like a candelabra, that is, arranged symmetrically around a central axis.

  19. Omodeo, 1970, 48, no. 8; Lessmann 1979, no. 16, pi. 17.

  20. Wilson 1987A, no. 176; Wilson 1987B, 186 n. 8.

  21. Piccioli 2000, 65-82.


Plate with a Winged Putto 13 3
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