| 中文版 English

具体要求

其它要求

-
关闭
AN URBINO MAIOLICA TEMPIETTO CIRCA 1570-1600, PROBABLY PATANAZZI WORKSHOP
美国 北京时间
2022年10月23日 开拍 / 2022年10月21日 截止委托
拍品描述 翻译
AN URBINO MAIOLICA TEMPIETTO
CIRCA 1570-1600, PROBABLY PATANAZZI WORKSHOP
Modeled as a Roman temple with an open domed top, its roof with ochre, manganese and blue ground panels painted with foliate scrollwork, above green-ground friezes painted with black foliate scrollwork surmounting a marble entablature, three sides of the temple with faux wooden doors between columns, the canted sides with faux stonework, the reverse with green masonry and a possible indistinct inscription to lower proper left
19 in. (48.3 cm.) high

AN URBINO MAIOLICA TEMPIETTO CIRCA 1570-1600, PROBABLY PATANAZZI WORKSHOP Modeled as a Roman temple with an open domed top, its roof with ochre, manganese and blue ground panels painted with foliate scrollwork, above green-ground friezes painted with black foliate scrollwork surmounting a marble entablature, three sides of the temple with faux wooden doors between columns, the canted sides with faux stonework, the reverse with green masonry and a possible indistinct inscription to lower proper left 19 in. (48.3 cm.) high Anonymous sale; Sotheby's, London, 4 June 1996, lot 3. Acquired by Ann and Gordon Getty from the above.
Lot Essay When the present lot surfaced on the market in 1996, the sale catalogue suggested the possibility that what appears to be an indistinct inscription on the reverse could be the name Orazio, for Orazio Fontana, the prominent Urbino maiolica workshop owner.(1) The letters 'O' and 'A' do appear to be reasonably clear, but if these are part of an inscription it is unlikely to relate to Orazio Fontana as this tempietto is more likely to have been made slightly after his death in 1571.(2) Towards the end of the 16th century, maiolica desksets and ornamental sculptural pieces were popular at the court of Urbino. A monumental and very elaborate deskset in the Metropolitan Museum of Art, New York, (3) is marked as being made in the Patanazzi workshop and dated 1584. Wilson notes that the main producers of these sculptural objects were Antonio Patanazzi or his son Francesco, who took over the workshop after Antonio’s death in 1587, but they may not have had a monopoly on them’.(4) Please see www.christies.com for a further discussion about the function of the present temple, which is likely ornamental only. Footnotes 1. Orazio was active in his father’s workshop as an istoriato painter, and he is thought to have been the author of a series of pieces bearing dates between 1541 and 1544 and monograms which are decipherable as 'ORATIO'. His father, Guido Durantino, who had adopted the name Fontana by 1541, was the most prominent workshop owner in mid-16th century Urbino. A large istoriato plate bearing a monogram on the front and an inscription on the reverse which stated that it was made in the workshop of Guido Durantino in 1542 was in the Schlossmuseum, Berlin, until it was destroyed in the Second World War. For an illustration of this piece, see T. Wilson and E. Sani, Le maioliche rinascimentali nelle collezioni della Fondazione Cassa di Risparmio di Perugia, 2006, pp. 128-129. In 1565 Orazio set up his own workshop, independent from his father’s. For a large ormolu-mounted maiolica jar inscribed FATE.IN BOTEGA.DE ORATIO.FONTANA (made in the workshop of Orazio Fontana), see D. Thornton and T. Wilson, Italian Renaissance Ceramics, A catalogue of the British Museum collection, London, 2009, pp. 333-337, no. 197, where the authors note other pieces with similar inscriptions on p. 335 and on p. 336, note 14. 2. Orazio predeceased his father, and his workshop passed to his nephew Flaminio Fontana. By 1580 it seems Flaminio’s workshop ‘was being run by his collaborator and relative, Antonio Patanazzi’, cf. T. Wilson, The Golden Age of Italian Maiolica-Painting, Catalogue of a Private Collection, Turin, 2018, p. 383. 3. T. Wilson, Maiolica: Italian Renaissance Ceramics in the Metropolitan Museum of Art, New York, 2016, pp. 300-303, no. 106. 4. T. Wilson, ibid., 2018, p. 388.

本场其它拍品

  • 竞价阶梯
  • 快递物流
  • 拍卖规则
  • 支付方式
竞价区间 加价幅度
0
10
100
50
500
100
1,000
200
2,000
250
5,000
500
10,000
1,000
20,000
2,000
50,000
5,000
100,000
10,000
+

价格信息

拍品估价:40,000 - 60,000 美元 起拍价格:40,000 美元  买家佣金:
落槌价 佣金比率
0 - 1,000,000 26.00% + VAT
1,000,000 - 6,000,000 20.00% + VAT
6,000,000 - 以上 14.50% + VAT
服务费:平台服务费为成交总金额(含佣金)的3%

拍卖公司

Christie's
地址: 20 Rockefeller Plaza New York
邮编: NY 10020
向卖家提问

小贴士

1. 一般拍卖公司接受的付款方式有以下几种:
现金、信用卡、转账汇款、银行支票、个人支票以及PayPal支付。
使用PayPal支付时,请留意需要在账单金额的基础上额外加上 4% 的手续费。
2. 信用卡的种类有以下几种:
3. 转账汇款时请注意银行手续费
海外拍企会要求足额到账,所以请您在汇款时,选择足额到账,或在汇款金额的基础上加上汇款手续费(如25美金)。
4. 国际转账汇款时, 您需要知道海外拍卖行以下汇款信息:
* 收款人名称
* 收款人地址
* 收款人银行账号
* 收款银行国际编码(8位字母数字组合,必填项, 如: BFKKAT2K)
* 收款银行清算码(9位数字组合,选填项)
* 收款银行名称
* 收款银行地址
5. 运输相关事项
有的海外拍卖行会替您安排和协调运输, 您只需要支付相关的运费及保险费(如您需要)即可;有的海外拍卖行会推荐几家长期合作的运输公司, 这些运输公司有着良好的信誉和高质量的工作效率,您大可放心。您只需要提供您的收货地址, 竞得拍品账单。 运输公司会根据您提供的信息给您报价, 您可以在其中选择最优的报价者来承担运输任务。然后就是付款了, 信用卡是最常用的支付手段, 当然还有其他像PayPal,转账等。
6. 进口通关可能出现的关税
国际运送的包裹在进口清关过程中如需支付关税,需由包裹接受人(即买家)自行承担。 征收标准:具体征收标准和额度以海关通知和解释为准。
7. 禁拍拍品
海外拍卖会可能会出现中国法律禁止交易的物品,如枪支、管制刀具、象牙、犀角等;中国买家不得通过本平台参与上述物品的拍卖活动;任何情形下,买家均须对自己的竞拍行为独立承担责任。
服务热线:400-608-1178
查看全部小贴士