1 Italian Maiolica of the Renaissance - The Ashmolean Museum

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catalogue of that collection, edited by Timothy Wilson and Elisa Paola Sani (2007), no. 91. p. 32, no. 11 was acquired by the Fondazione Cassa di Risparmio di Perugia in 2006 (see introductory note) and is republished by Wilson and Sani 2006, no. 6. The correct transcription of the inscription is ell[e].d[e].sebeste.s. This albarello was lot 77 at Sotheby's, London, 20 November 1962. No. 12 was acquired by the Fondazione Cassa di Risparmio di Perugia in 2006 (see introductory note) and is republished by Wilson and Sani 2006, no. 7. The photograph of the scratch-marks beneath the base has been omitted. This albarello was lot 76 at Sotheby's, London, 20 November 1962. p. 36: An important contribution to the study of Deruta pottery is G. Busti and F. Cocchi, Museo Regionale della Ceramica di Deruta. Ceramiche policrome, a lustro, e terrecotte di Deruta dei secoli XV e XVI, Perugia/Milan 1999. Nos 13-14: Photographs of the scratch-marks beneath the base have been omitted. No. 13 has now been acquired for the Museo Regionale della Ceramica, Deruta; see G. Busti and F. Cocchi (eds), La ceramica umbra al tempo di Perugino, exhib. cat., Deruta, 2004, no. 14, with tentative attribution to the Masci workshop, Deruta. No. 14 is now in a private collection in France. I owe to the late Giuseppe Maria Nardelli the suggestion (and his permission to cite it in the Burlington Magazine, 144, June 2002, p. 362) that these jars were made for the pharmacy of the heirs of Mariano del Moro at the sign of the Moor’s head in Perugia (cf. G.M. Nardelli, Farmacie e farmacisti in Umbria, Perugia, 1998, p. 115; see also Wilson in Burlington Magazine, June 2002). A different interpretation is given by A. Piccini, “La farmacia di `Almoro’”, Fimantiquari Arte Viva no. 28-9 (2002), pp. 20-6, suggesting that the series was made for a pharmacy in Rome in memory of Barbaro Ermolao, Patriarch of Aquileia (1453- 93); Piccini interprets the arms on the British Museum spouted jar with lustre as those of the Frangipane family, whom he suggests as possible commissioners of the set. A spouted jar of spherical body, with the moor’s head, was submitted for sale at Sotheby’s in late 2003. p. 39, note 1: Two more albarellos from the "sun" series are in the Museo Nazionale della Ceramica Duca di Martina, Naples, inv. nos 833, 837; see Luciana Arbace, Museo della Ceramica Duca di Martina: la maiolica italiana (Naples 1996), nos. 38, 39. A bottle was sold at Sotheby's, 21 October 1980, lot 144. Another spouted jar and two undated albarellos were sold (alongside the spouted jar which was later in the Sackler collection) at Sotheby's, London, 20 November 1962, lots 66, 67; the spouted jar is now in an English private collection. Two more spouted jars in the possession of J.M. Béalu et fils were illustrated in CeramicAntica anno 10, no. 8 (September 2000), p. 15. See also C. Ravanelli Guidotti in CeramicAntica anno XIII, no. 8 (September 2003), pp. 56-7. p. 42, note 10: For other moor's head jars presumably later than the 1501-2 group, see Luciana Arbace, Museo della Ceramica Duca di Martina: la maiolica italiana (Naples 1996), no. 20. p. 42, note 12: The summary given here of the document published by De-Mauri is misleading. The document, of 1521, records the confraternity of Sant' Antonio in Deruta agreeing to give 4
each year to the rector of the church of Sant' Antonio in Perugia otto piatelletti, otto tondi ed otto scudellini col segno del tab[ellionato] depinti con le arme in azzurro di esso rettore. The reference is not to pharmacy jars but perhaps to plates with an owner's mark on the reverse, such as the Gubbio dishes of 1524-25 published by Wilson 1987, nos 164-168. p. 43: In caption, for BACK read UNDERSIDE. p. 44, no. 15: An albarello with differently arranged ornament, but probably from the same workshop, inscribed DIA M O SCO was in the Chamberlin sale, Christie's, London, 14-15 December 1937, lot 179. Another similar albarello was sold at Christie’s, Milan, 7-8 November 2000, lot 797 and is now in a private collection in Italy. Giulio Busti informs me (2000) that he thinks the attribution of no. 15 to Deruta to be correct. It has now been acquired by the Museo Regionale della Ceramica, Deruta; see G. Busti and F. Cocchi (eds), La ceramica umbra al tempo di Perugino, exhib. cat., Deruta, 2004, no. 6, as Deruta, late 15 th cent. pp. 45-48, nos. 16, 17: The colour illustrations have been reversed: no. 16 is the one with armorials; no. 17 is the one with DIANAB. Giulio Busti informs me (2000) that he believes no. 16 (with the Tolomei arms) to be from Siena (though the Tolomei are recorded to have had a branch also in Umbria); and no 17 (DIANAB) to be from Deruta. Mario Luccarelli (2002) agrees. Nos 16, 17: These pieces were placed under sequestro giudiziario in 1999 and returned to the owner in 2003. Both were acquired by the Fondazione Cassa di Risparmio di Perugia in 2006 (see introductory note) and are republished by Wilson and Sani 2006, nos 8, 9. p. 45, col. 1, lines 21-23: Delete: in particular, the motif...Sienese tiles and albarellos. p. 45, col. 1, line 30: Insert after available for study: The fact that no, 17, which in other respects looks to be of Deruta type, has what seems a characteristically Sienese motif of large and small overlapping arches against a dark background (nos 157 and 158 have a more elaborate version of the motif) indicates the continuing uncertainty in these attributions. p. 48, note 4, line 3: for nos read no. No. 18: This piece was placed under sequestro giudiziario in 1999 and returned to the owner in 2003. It was acquired by the Fondazione Cassa di Risparmio di Perugia in 2006 (see introductory note) and is republished by Wilson and Sani 2006, no. 10. p. 49, caption: for BACK read UNDERSIDE pp. 52-3, nos 19, 20: These jars have recently been acquired for the Museo Regionale della Ceramica, Deruta; see G. Busti and F. Cocchi (eds), La ceramica umbra al tempo di Perugino, exhib. cat., Deruta, 2004, no. 16, as Deruta, first decade of the 16 th century. pp. 54-5, no. 21: Subsequently Frizzi Baccioni collection, Scarperia, Florence; now private collection, Assisi. Published in La via della ceramica tra Umbria e Marche (2010), no. 1.11. 5
Page 1 and 2: Italian Maiolica of the Renaissance
Page 3: di Santa Fina, Siena 2000, p. 55; 7
Page 7 and 8: p. 72, note 1: Another lustred exam
Page 9 and 10: Nos 53, 54, 55: These pieces were p
Page 11 and 12: p. 143, no. 67: The jar was subsequ
Page 13 and 14: No. 83: The photograph of the rever
Page 15 and 16: No. 89: This plaque was offered for
Page 17 and 18: pp. 145-151 as the painter "S", pos
Page 19 and 20: e la coppa di Tiberio", Faenza 82 (
Page 21 and 22: was acquired by the Fondazione Cass
Page 23 and 24: No. 130: Add to bibliography: F. Ra
Page 25 and 26: Florence, 19 December 2002, lot 172
Page 27 and 28: Suzanne Higgott has pointed out to
Page 29 and 30: p. 424, col. 1, note 2: For Wilson
Page 31 and 32: no. 182, the one with land animals
Page 33: Bibliography G. Liverani 1976. For

1 Italian Maiolica of the Renaissance - The Ashmolean Museum

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