.jpg?w=1)
拍品专文
The palette and the border on the neck suggest that this albarello may have been made in Naples. For a jar in the British Museum with a similar border on the foot, see Dora Thornton and Timothy Wilson, Italian Renaissance Ceramics, A catalogue of the British Museum collection, London, 2009, Vol. I, p. 84-85, no. 53, which is attributed to Naples.
The decoration, with compact horizontal layers of peacock feather eye ornament, is very rare. For a shorter albarello in Berlin with related peacock feather eye pattern (with the addition of a label named in Gothic script on the lower part and painted in a much brighter palette), see Tjark Hausmann, Majolika. Spanische und Italienische Keramik vom 14. Bis zum 18. Jahrhundert, Kataloge des Kunstgewerbemuseums Berlin VI, Berlin, 1972, pp. 113-114, no. 86. For an albarello of a very different form, with bands of peacock feather eye pattern between raised ribs, see Joseph Chompret, Repertoire de la Majolique Italienne, Paris, 1949, Vol. II, p. 49, fig. 381, and also Giuliana Gardelli, Italika, Maiolica Italiana del Rinascimento, Faenza, 1999, pp. 90-91, no. 43.
The decoration, with compact horizontal layers of peacock feather eye ornament, is very rare. For a shorter albarello in Berlin with related peacock feather eye pattern (with the addition of a label named in Gothic script on the lower part and painted in a much brighter palette), see Tjark Hausmann, Majolika. Spanische und Italienische Keramik vom 14. Bis zum 18. Jahrhundert, Kataloge des Kunstgewerbemuseums Berlin VI, Berlin, 1972, pp. 113-114, no. 86. For an albarello of a very different form, with bands of peacock feather eye pattern between raised ribs, see Joseph Chompret, Repertoire de la Majolique Italienne, Paris, 1949, Vol. II, p. 49, fig. 381, and also Giuliana Gardelli, Italika, Maiolica Italiana del Rinascimento, Faenza, 1999, pp. 90-91, no. 43.