Skip to main content
Want more images or videos?
Request additional images or videos from the seller
1 of 4

Unknown
Moroccan, Fez or Meknes: Tall bowl (Jobbana) with geometric designs

About the Item

Provenance: Collection of Emily Johnston De Forest and Robert Weeks De Forest, New York, by 1911-until 1942; thence by descent until 2018. Literature: Edwin Atlee Barber, Catalogue of the Mexican Maiolica Belonging to Mrs. Robert W. De Forest by The Hispanic Society of America, New York, 1911, p. 64, cat. no. 66 (no 1. only). This beautifully decorated earthenware pot is a striking example of a 19th-century Moroccan jobbana. Traditionally accompanied by a domed or bell-shaped lid with a finial top, these vessels originally were used to store butter and cheese or to churn milk. The name, jobbana, derives from the Arabic word for cheese—jubna. The exterior of the bowl is decorated with ornamental motifs in bright blue applied over a yellow under-glaze. The organic diamond shapes separated by bands of intricate filigree and geometric patterns mirrored top and bottom are characteristic of ceramicware from Fez and Meknes, as is the reddish color of the clay visible beneath the yellow glaze and in the few areas of small losses. The blue oxide used on vessels of this type allow us to date our jobbana to the middle of the 19th century. An example executed on a similar scale and retaining its original lid is in the Brooklyn Museum (Fig. 1). This beautifully decorated earthenware pot is a striking example of a 19th-century Moroccan jobbana. Traditionally accompanied by a domed or bell-shaped lid with a finial top, these vessels originally were used to store butter and cheese or to churn milk. The name, jobbana, derives from the Arabic word for cheese—jubna. The exterior of the bowl is decorated with ornamental motifs in bright blue applied over a yellow under-glaze. The organic diamond shapes separated by bands of intricate filigree and geometric patterns mirrored top and bottom are characteristic of ceramicware from Fez and Meknes, as is the reddish color of the clay visible beneath the yellow glaze and in the few areas of small losses. The blue oxide used on vessels of this type allow us to date our jobbana to the middle of the 19th century. An example executed on a similar scale and retaining its original lid is in the Brooklyn Museum (Fig. 1).
  • Dimensions:
    Height: 7.875 in (20.01 cm)Width: 10.5 in (26.67 cm)
  • Medium:
  • Period:
  • Condition:
  • Gallery Location:
    New York, NY
  • Reference Number:
    1stDibs: LU1025777991
More From This SellerView All
  • Head of a Young African Man
    Located in New York, NY
    Provenance: Private Collection, Spain. This intriguing and enigmatic sculpture depicts the head of a young African man emerging from a circular opening ...
    Category

    Early 1800s Figurative Sculptures

    Materials

    Terracotta

  • Portrait of Ni-Polog
    Located in New York, NY
    Signed, dated, and inscribed on the verso: Malvina Hoffman/ Den Pasar/ “Nipolog”-/ © 1932/ Bali Provenance: The artist; her estate. Literature: Mal...
    Category

    1930s Realist Sculptures

    Materials

    Terracotta

  • A Guardian Angel and a Child
    Located in New York, NY
    Provenance: Cornelius Vanderbilt, New York; by whom gifted in 1880 to: The Metropolitan Museum of Art, New York (80.3.673); deaccessioned and sold: Christie’s, New York, 12 June 19...
    Category

    17th Century Old Masters Portrait Paintings

    Materials

    Terracotta, Gesso

  • The Three Magi
    Located in New York, NY
    Provenance: Private Collection, Spain. Known as Peruvian alabaster for its translucency and workability, Piedra de Huamanga is a highly prized material from the province of Ayacucho in Peru. In the 17th and 18th centuries, local craftsman in the town of Huamanga began to specialize in the production of small-scale, polychrome religious sculptures made from this distinctive stone. Huamanga sculptures are among the most accomplished examples of carving from the Spanish Americas, where polychrome wood sculpture was a far more common sculptural medium. These works, which were created as independent sculptures or as sculptural groups—such as our three Magi—were intended for ecclesiastical as well as domestics settings. Our three figures likely formed part of a larger Nativity group—a New World variant of the tradition of the Neapolitan Crèche...
    Category

    Late 18th Century Figurative Sculptures

    Materials

    Alabaster

  • The Infant Saint John the Baptist with a Lamb
    Located in New York, NY
    Provenance: James Byrnes, Los Angeles (1917-2011) Giusto Le Court was born Josse or Justus de Corte in the Flemish city of Ypres. His father Jean was a sculptor and presumably his earliest training was with him before he entered the studio of Cornelis van Mildert. The young artist was clearly influenced by the dominant Flemish sculptor of the time, Artus Quellinus the Elder, with whom he may have worked on the decoration of the Amsterdam City Hall. Following the lead of many northern artists he travelled to Rome, perhaps more than once, before settling in Venice around 1655. It was there, as one of a colony of expatriate artists, that he made his name as a sculptor. One of his first Venetian commissions was for the monument to Alvise Mocenigo in the Church of San Lazzaro dei Mendicanti, where Le Court sculpted the marble figures of Strength and Justice. He also collaborated with the celebrated architect Baldassare Longhena, most famously for the high altar of Santa Maria della Salute, where he carved the multi-figured altarpiece depicting the Queen of Heaven Expelling the Plague. The present marble sculpture depicts the infant Saint John the Baptist, reclining, wearing his traditional hair-shirt, embracing a lamb, and holding the bottom of his attribute, a reed cross. Attached to his shirt is a baptismal cup, with which he would become associated later in his life. Veneration of the infant Saint John the Baptist was prevalent throughout Italy and images of the saint in childhood—often called “Giovannino,” or little John...
    Category

    17th Century Renaissance Sculptures

    Materials

    Marble

  • Persistence
    Located in New York, NY
    Provenance: Sables de Fontainbleau, Seine-et-Marne, France “Gogottes” are natural creations formed out of sands deposited in Northern France during the Oligocene Period, approximately 30 million years ago. Much later, in a process that has only recently become understood, groundwater rich in silica flowed through the sands...
    Category

    15th Century and Earlier Naturalistic Abstract Sculptures

    Materials

    Sandstone

You May Also Like

Recently Viewed

View All