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

3ic Vincenzo Campi (Italian, i 5 30/35-1 591). La fruttivendola (detail),

1583. Oil on canvas. Sold Sotheby's, London, December 9, 1987.
      Photo: Courtesy of Sotheby's.

figure of Fortitude embracing a column (her attribute),

and a woman seated against a tree holding a distaff—in

another private Italian collection,-^12 and a crespina with

a woman holding a dog, in the Herzog Anton Ulrich-

Museum, Braunschweig.^13 All of the above examples dis­

play a remarkable variety of shape and decoration. Three

of them—including the Getty crespina—appear to have

been created in the same mold.^14

Notes

1. Hind 1938-48, 2: pi. 144, A.IV.15.


2. Ravanelli Guidotti 1998, 366-67, figs. 1-2; Rackham 1959, no. 317 in
   fig. 125; Kube 1976, no. 17.


3. It is possible that either Faentine potters brought these designs with
   them on their transfer to Montelupo or else that ceramic clientele
   influenced local pottery production to provide them with examples of
   objects they had seen elsewhere and desired for themselves. For ex­
   amples see Berti 1998, 350-56, nos. 252-64.


4. See, for example, crespine farcite (filled) created in Faenza and then later
   in Montelupo, Ravanelli Guidotti 1990, 287-88, 298, 304-5, no. 148;
   Berti 1998, 345~47, figs. 239, 242-43, 245.


5. Norman 1976, 1: 126-27, no. C56.


6. Rasmussen 1984, 110-12, no. 72.


7. Giacomotti 1974, 305-7, no. 935; Rackham 1940, 1: no. 302; 2: pi. 50.


8. Giacomotti 1974, 305-6, no. 934.


9. Rackham 1940, 1: nos. 300-301; 2: pi. 50.
   10. Rackham 1959, no. 318, fig. 124; Watson, 50-51, no. n; Falke 1907,
   114, fig. 52; Hausmann 1972, 174-76, no. 131.
   11. Ravanelli Guidotti 1992, fig. 34m
   12. Wilson 1996, 128-34, nos- 60-62.
   13. Lessmann 1979, 102, no. 24.
   14. The other two bowls are those at Sevres (Giacomotti 1974, no. 934) and
   the piece published by von Falke (1907, 114, fig. 52).

Molded Dish with an Allegory of Love IJ "J