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Dish

CultureItalian
Dateca. 1475
MediumEarthenware with tin glaze
DimensionsOverall: 3 1/4 × 13 1/4 inches (8.26 × 33.66 cm)
Credit LinePurchase: William Rockhill Nelson Trust
Object number35-19
On View
On view
Gallery Location
  • 108
DescriptionLarge dish with a stylized design of a sphinx and a diapered border in mangan-brown and green (verde ramina). Two round holes in edge of dish.Exhibition History

Italian Maiolica in Midwestern Collections, Indiana University Art Museum, Bloomington, IN, September 4-October 8, 1977, no. 35.

The Meeting of Two Worlds: The Crusades and the Mediterranean Context, The University of Michigan Museum of Art, Ann Arbor, MI, May 9-September 27, 1981, no. 23.

Gallery Label
The technique of using tin in pottery glazes came to Italy from the Islamic world about 1200.  The north Italian town of Orvieto was an early center of production. The wares produced there and in the surrounding area were decorated with distinctive designs in copper green and manganese purple or brown, and virtually all the known examples were excavated from archeological sites.
Provenance

Charles Fairfax Murray (1849-1919), Florence, by 1919;

Probably purchased at his posthumous sale, Sammlung Murray/Florenz, Paul Cassirer und Hugo Helbing, Berlin, November 6-7, 1929, lot 1, by dealer A. S. Drey, Munich, 1929-1935 [1];

Purchased from A. S. Drey, New York, by The Nelson-Atkins Museum of Art, Kansas City, MO, 1935.

NOTES:

[1] This dish is illustrated in Plate 1 of the sale catalogue. This photo very closely matches the Nelson-Atkins dish, although with a slight change in the position of two lines near the center of the plate. However, a hand-drawn map of breaks in the plate (copy in the NAMA curatorial file) appears to match the pattern of breaks visible in the sale catalogue photograph, including a break through the area where the lines seen in the catalogue photo do not match the current appearance of the Nelson-Atkins plate. The plate may have been retouched following the November 1929 sale, but prior to its 1935 purchase by the Nelson-Atkins, at which time the lines may have been drawn more symmetrically than they previously appeared. Based on the match between the pattern of breaks as seen in the sale catalogue photo and the map in the NAMA files, it is likely the Nelson-Atkins plate is the same piece purchased by Drey at the Murray sale. Drey is listed as the purchaser in an annotated copy of the catalogue held by the Universitäts-Bibliothek Heidelberg.

Published References

Sammlung Murray/Florenz (Berlin: Paul Cassirer and Hugo Helbing, 1929), 9, plate I (repro.).

Bruce Cole, Italian Maiolica in Midwestern Collections, exh. cat. (Bloomington, IN: Indiana University Art Museum, 1977), 74-75, no. 35.

Christine Verzar Bornstein and Priscilla Parsons Soucek, The Meeting of Two Worlds: The Crusades and the Mediterranean Context, exh. cat. (Ann Arbor: The University of Michigan Museum of Art, 1981), 46-47, (repro.).

Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: Nelson-Atkins Museum of Art, 2008), 46, (repro.).

Catherine Futter et al., Ceramics: Highlights of the Nelson-Atkins Museum of Art (Kansas City, MO: Nelson-Atkins Museum of Art, 2016), 77, (repro.).

Information about a particular artwork or image, including provenance information, is based upon historic information and may not be currently accurate or complete. Research on artwork and images is an ongoing process, and the information about a particular artwork or image may not reflect the most current information available to the Museum. If you notice a mistake or have additional information about a particular artwork or image, please e-mail provenance@nelson-atkins.org.


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