Maiolica Albarelli Jars

30

TULIPS AND CARNATIONS IN A VASE

turKey (izniK), 17th century

heiGht: 24.8 cm Width: 24.8 cm

An underglaze-painted tile in shades of cobalt blue and turquoise against a bluish white ground with a symmetrical design of a vase with floral sprays, flanked to either side by a cypress tree. The design is painted with great spontaneity, freshness and movement.

The tile is vertically arranged and depicts a pair of tulips and seven carnations all growing from a central vase. The low globular vase is decorated with a pair of addorsed stylised tulip sprays. Framing the vase to either side is a group of small stylised flowers, which fill the ground. The tulips and carnations all arc outwards and a single turquoise cusped lotus palmette can also been seen just above the vase nestling within the floral stems. To either side, the tile is framed by part of a large cypress tree painted in vibrant turquoise. This tile would have originally been part of a much larger continuous pattern.

Tiles of similar age and composition can be seen in the Topkapi Palace, decorating part of an exterior wall of the harem. As the Ottoman court began to withdraw its official patronage in the mid seventeenth century, potters turned elsewhere and sought new markets abroad. Large quantities of tiles were exported to Egypt, and both the mosque of Ibrahim Agha in Cairo and the Coptic church of Deir Abu Seifein are decorated with similar blue and turquoise tiles.1

Reference: 1. John Carswell, Iznik Pottery, 1998, p. 107, pl. 85.

31

TWO MAIOLICA ALBARELLI JARS

northern italy (faenza)

turKish man albarello jar circa 1555 heiGht: 24.5 cm

diameter: 12.8 cm

bearded man albarello jar dated 1555 heiGht: 24.5 cm

diameter: 12.8 cm

Two underglaze-painted earthenware albarelli (apothecary) jars in shades of cobalt blue, yellow, green and ochre against a white ground and depicting portraits of bearded gentlemen in side profile, Latin labels and decorative fields of trophies, including musical instruments and manuscripts.

The jars, although not specifically a pair, share many common features; not only in size, shape and date but also colour and design. Each is decorated in two horizontal sections with scrollwork and trophies serving as the background for the portraits contained within green oak-leaf cartouches. The sections frame a centrally placed pharmacy label in cobalt blue on a white ground.

The jar with the Turkish figure depicts a bearded gentleman sporting an impressive white turban with ochre finial, usually worn by highranking officials, who gazes over a manuscript he holds in his left hand. It is suggested therefore that this is a man of learning; his serious and concentrated expression merely confirms this. He wears a plain but substantial robe over a yellow tunic below, his grey and manicured beard standing out against the yellow background of the cartouche. The pharmacy label below him reads:

CONFETIO DE CINAM

This seems to be a slightly misspelled Latin phrase, translated as: “Container from China”, suggesting that this jar would have held medicinal contents of Chinese origin.

Below the label and against a dark cobalt ground are stylised images of musical instruments and manuscripts which float in an elaborate and overlapping composition around the lower body of the jar. Surrounding the gentleman above and against an ochre ground are further instruments as well as the head and shoulders of an impressive suit of armour. Borders of yellow and green oak leaves frame the central field above and below.

The second jar features a portrait of a bearded classical figure looking down and slightly to his right, as if he has been suddenly interrupted. His finely painted grey hair and beard contrast with his tanned face