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Time unveiling Truth

Fernandino Maria Campani

Art Funded
2007
Dimensions
Diameter: 24.5 cm
Vendor
Private collection
The maoloica plate is part of a service, known as the Rockingham Service made for the Earl of Malton (later second Marquis of Rockingham) of Wentworth Woodhouse and seemingly brought back after his Grand Tour.

It is a characteristic example of Campani’s work, illustrating a picturesque eroticized allegory. The service was dispersed to Italian private collections in 1948 and this is the first piece known to be acquired by a collection in the UK.

Provenance

Italian private collection.

Tin-glazed earthenware

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Art we’ve helped buy at Ashmolean Museum

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Silver bowl
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Chalgrove II Hoard
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Cattle and Haystack, Twilight & Essex Fields
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Basin with the arms of Spannocchi
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Autumn Landscape
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Attendant bodhisattva
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Assyrian relief
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Animals and birds in a landscape
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Anglo-Saxon bowl
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An Allegory of Justice and Vanity
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Album of portrait drawings
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Album of drawings
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Abraham and Hagar Surprised by Sarah
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A View of Southampton water
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A View of Mr Finche's Park
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A view of Golding, Constable's House at East Bergholt
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A View of Culzean Castle, Ayshire
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A Study of Henry Irving as Becket
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A Seated Bodhisattva
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A Portrait of Mrs Fuseli
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A painted fan on silk
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A Mourning Knight
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A Man leading a Horse
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A Highland Scene - 'In Connernara'
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A Head of a Woman
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A Farmyard with a Well
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A drawing of the Virgin and Child
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A collection of Japanese metalwork sword fittings
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A collection of 45 gold snuff boxes and objects of vertu
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A Bowl of Pears & Seated Woman
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A Beach Scene with Fisherfolk
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9th century seated Buddha
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3 Drawings
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21 pieces of Meiji ceramics
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2 Imari plates
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10-Louis Piece of Louis XIII
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10 landscape drawings
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1) Coastal scene with coach and retinue; 2) Coastal scene with ship aground
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Nominally inspired by Lucretius' De rerum natura, Piero di Cosimo's The Forest Fire takes its scientific subject and embellishes it with fantastical creatures from the artist's imagination: Bulls, bears, lions and deer-like creatures with human faces all flee wearily from a fire.

Rubens' portrait of Thomas Howard, 2nd Earl of Arundel dates from about 1629. The Earl was a great collector, and Rubens had painted the earl's wife a few years earlier on a visit to Antwerp. This drawing in pen and ink with a chalk base is unusually informal, reflecting perhaps the comfortable relationship between artist and patron.

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