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Article
In Botega di Maestro Guido Durantino in Urbino
05/1987 | 1010 | 129
Pages: 284-298
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Author:
Mallet, J. V. G. (Mallet, J. V. G.; Mallet, John)
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Illustrations
Attributed works:
1. Dish (Group I, Cat.1), Painted with The Martyrdom of St Cecilia, by Nicola di Gabriele Sbraga da Urbino, in the Workshop of Guido Durantino, 1528, Diameter 50 cm. (Bargello, Florence). 1a. Detail of the Reverse of Fig.1, Showing the Monogram of Nicola above an Inscription in His Handwriting Stating the Piece Was Made in the Workshop of 'Guido da Castello durante in Urbino 1528'.
Attributed works:
10. Dish (Group V), Painted with King Priam Receiving Helen of Troy, with a Border of Putti, Satyrs and Trophies, after a Drawing by Battista Franco. Here Attributed to Camillo Gatti. Workshop of Guido Durantino. c. 1547, Diameter 41 cm. (Victoria & Albert Museum, London).
Attributed works:
10a. Detail of the Reverse of Fig.10, Showing Capital Lettering Found on Some Other Pieces Attributable to Gatti.
Attributed works:
11. Dish (Group VI, Cat.37), Painted with The 1527 Siege of Rome, Workshop of Guido Durantino. c. 1550, Diameter 44 cm. (Lehman Collection, Metropolitan Museum, New York).
Attributed works:
11a. Detail of the Reverse of Fig.11, Showing an Inscription Stating That the Piece Was Made in the Workshop of Maestro Guido Fontana.
Attributed works:
2. Plate (Group II, Cat.16), from a Service with the Arms of the Connétable Anne de Montmorency, Painted with The Wars and Troubles of the Trojans by Land and Sea, Workshop of Guido Durantino. 1535, Diameter 30 cm. (Victoria & Albert Museum, London).
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2a. Detail of the Reverse of Fig.2. The Same Handwriting Appears on the Pieces Illustrated as Figs.3, 5 and 5a.
Attributed works:
3. Plate (Group II, Cat.13), from the Montmorency Service, Painted with the Daughters of Minyas, Workshop of Guido Durantino. c. 1535, Diameter 25.5 cm. (By Courtesy of the Trustees of the Sir John Soane Museum).
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4. Candlestick (Group II, Cat.3), from the Montmorency Service, View of the Upper Surface of the Pedestal, Painted with Alpheus and Arethusa. Uninscribed Except for the Numeral 16 in Blue Underneath. c. 1535, Diameter 19.5 cm. (Victoria & Albert Museum, London).
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5. Plate (Group II, Cat.27), Painted with Apollo, Daphne and Peneus, Workshop of Guido Durantino. 1535, Diameter 26 cm. (Former Robert Strauss Collection; Photograph Courtesy of Christie's).
Attributed works:
5a. Detail of the Reverse of Fig.5, Showing the Same Handwriting as That in Fig.2a.
Attributed works:
6. Dish (Group III, Cat.32), Painted with Mount Parnassus after Marcantonio Raimondi's Print after Raphael, Workshop of Guido Durantino. c. 1540, Diameter 45.3 cm. (Musée Vivenel, Compiègne).
Attributed works:
6a. Detail of the Reverse of Fig.6, with a Stanza on the Theme of the Difficulty of Ascending Mount Parnassus. This Is the Only Recorded Piece Inscribed Merely with the Name of Maestro Guido Durantino, with No Reference to His Workshop.
Attributed works:
7. Plate (Group IV), Painted with the Hunting of the Calydonian Boar, by Guido Durantino's Son Orazio Fontana. Marked at the Back with Orazio's Monogram. 1544, Diameter 24.1 cm. (British Museum, London).
Attributed works:
7a. Detail of the Reverse of Fig.7, Showing Orazio Fontana's Handwriting and Monogram.
Attributed works:
8. Dish (Group IV, Cat.34), Painted with the Contest between the Muses and the Pierides, after a Print by Caraglio after il Rosso Fiorentino. Monogram of Orazio Fontana on a Rock in the Right-Hand Foreground. Workshop of Guido Durantino. 1542, Diameter 44 cm. (Formerly Schloss-Museum, Berlin, Lost in World War II).
Attributed works:
8a. Detail of the Reverse of Fig.8, Showing the Handwriting of Orazio Fontana (cf. Fig.7a).
Attributed works:
9. Dish (Group V, Cat.35), Painted with the Muses and Pierides, after the Same Print as Fig.8. Here Considered Probably by Camillo Gatti. Workshop of Guido Durantino. c. 1545-50, Diameter 46cm. (Fitzwilliam Museum, Cambridge). Reproduced in Colour on the Front Cover.
Attributed works:
9a. Detail of the Reverse of Fig.9, Showing Handwriting Believed to Be That of Camillo Gatti, Concluding with the Statement That the Piece Was Made in Guido Durantino's Workshop.