Footed Bowl

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Object Name: 
Footed Bowl
Accession Number: 
Overall H: 15.3 cm; Rim Diam: 22.8 cm
Not on Display
glass made about 1500
enameled about 1875-1899
Primary Description: 
Low bowl of S-profile with outward-folded rim, lower part with costolature a mezza stampatura, consisting of twelve ribs. Pedestal foot with twelve ribs and applied thread on the rim. Bowl decorated on outside with frieze of alternating cartouches and festoons. Each of the six cartouches of barbed quatrefoil outline contains the same profile portrait of a young couple with Florentine headdresses, the faces painted in white with details in black, the hair rendered in gold, the lady’s costume and the man's hat in blue, and the man's shirt in brownish-red. The green festoons are cross-tied in the center with white bands, of which some blue fabric, arranged in trefoil-shape, is emerging towards the top and the bottom. Above and below the festoons are sitting cherub’s heads with white face, golden hair, and brownish-red wings. The entire leftover space is densely stippled with small white dots, which also occur, though less densely, on the festoons. Above the frieze, a gilded and white enameled band fills the space to the rim, consisting of s-shaped large white dots, a golden band with spared circle, line, and curlicue decoration, and golden teeth alternating with small white dots. Below the frieze, between the ribs, arrangements of three large tailed dots are alternating, in blue below the portraits, and in white below the festoons. The ribs of the bowl and foot are covered with gold, that has largely been worn off.
Mallett & Son (Antiques) Ltd., Source
Enameling glass during the Renaissance: In the footsteps of glass artists between Venice and France
Musee national de la Renaissance 2021-10-12 through 2022-02-14
A production as precious as the transparent glasses that made the reputation of Venice and the island of Murano, the enamelled and gilded glasses of the Renaissance were particularly prized from the end of the 15th century. So much so that, at the beginning of the 16th century, glass workshops all over Europe set about developing their own production, particularly in France. Combining the contributions of the history of art, archeology and scientific analyses, the exhibition will thus attempt to clarify the attributions (Venice? Way of Venice?) and the dating (between the 15th and 19th centuries) of these works that we thought we knew so well.
The Collection of the Late Baroness Batsheva de Rothschild (2000-12-14) illustrated, p. 78; BIB# 75145