Maestro Giorgio Andreoli

Selected work

From the studio

5 works, from the studio to here.

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  Plate with Arms of the Vitelleschi Family

  Plate with Arms of the Vitelleschi Family

  Maestro Giorgio Andreoli · tin-glazed earthenware with gold luster (maiolica) · 1527

  Italian nobles of the 1500s often expressed their wealth, social status, and sophistication by ordering large sets of maiolica that sometimes carried their coats of arms or even likenesses, usually in profile as in portraits of the period. Reserved for use at festival events such as a wedding or commissioned to mark a special occasion or an important visit, elaborately decorated utilitarian vessels in maiolica were prized as works of art by their owners and displayed as such in their residences. Image and data from the Cleveland Museum of Art, released under Creative Commons Zero (CC0).

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  Plate Depicting the Myth of Cadmus

  Plate Depicting the Myth of Cadmus

  Maestro Giorgio Andreoli · tin-glazed earthenware with gold lustre (maiolica) · 1526

  Obeying the command of an oracle, Cadmus followed a cow to Boeotia, or “oxen-land.” There he slayed a dragon and buried its teeth in the ground. From the teeth grew a crop of warriors who fought each other until only the strongest five remained. Cadmus invited the victors to join him, and together they built the city of Thebes, where the mythological hero, Hercules (or Herakles) was later born. Image and data from the Cleveland Museum of Art, released under Creative Commons Zero (CC0).

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  Charger with Arms of the Vigeri Family

  Charger with Arms of the Vigeri Family

  Maestro Giorgio Andreoli · tin-glazed earthenware with gold and red lustre (maiolica) · 1524

  Italian nobles of the 1500s often expressed their wealth, social status, and sophistication by ordering large sets of maiolica that sometimes carried their coats of arms or even likenesses, usually in profile similar to portrait paintings of the period. Reserved for use at festival events such as a wedding or commissioned to mark a special occasion or an important visit, elaborately decorated utilitarian vessels in maiolica were prized as works of art by their owners and displayed as such in their residences. Image and data from the Cleveland Museum of Art, released under Creative Commons Zero (CC0).

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  Plate: Diana and Acteon

  Plate: Diana and Acteon

  Maestro Giorgio Andreoli · tin-glazed earthenware with gold and red lustre (maiolica) · 1522

  Alfred Pringsheim was a German Jewish collector. During Kristallnacht, in November 1938, the SS seized Pringsheim's maiolica collection from his home in Munich. It was stored in the annex to the Bayerishches National Museum, Munich. In March 1939, the German Ministry of Trade authorized export of Pringsheim's maiolica collection to London for auction at Sotheby's, provided that 80% of the proceeds up to £20,000 and 70% of the remainder be paid to the German Gold Discount Bank in foreign currency. Pringsheim was to receive the remaining proceeds. In exchange, Pringsheim and his wife were allowed to emigrate to Switzerland. After the war, the Pringsheim heirs received restitution of the sale proceeds paid to the Reichsbank. Image and data from the Cleveland Museum of Art, released under Creative Commons Zero (CC0).

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  Charger Depicting the Three Graces

  Charger Depicting the Three Graces

  Maestro Giorgio Andreoli · tin-glazed earthenware with gold lustre (maiolica) · 1520

  During the Renaissance, an understanding of classical antiquity was perceived to be a sign of social, intellectual, and economic distinction. Scenes from Greco-Roman mythology were prominently featured on maiolica, covering the surface in a style called istoriato (decorated with stories). This depiction of the three graces was likely based on an engraving by the Renaissance printmaker, Marcantonio Raimondi. Image and data from the Cleveland Museum of Art, released under Creative Commons Zero (CC0).

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