Giovanni della Robbia (Firenze 1469 - 1529/1530) seguace del XVI secolo Madonna del Latte Cartapesta/ papier mâché 78 x 46 cm 135 x 65,5 cm con cornice Conservata in una teca del XIX/XX secolo. L'opera riprende, con leggere varianti, la Madonna del Latte di Giovanni della Robbia conservata presso la chiesa della Madonna della Tosse di Ponsacco nei pressi di Pisa. Giovanni della Robbia (Florence 1469 - 1529/1530) follower of the 16th century Madonna del Latte (The Nursing Madonna) Papier-mâché 78 x 46 cm 135 x 65,5 cm with frame Preserved in a 19th/20th century display case. The artwork reproduces, with slight variations, the Madonna del Latte by Giovanni della Robbia preserved in the church of the Madonna della Tosse in Ponsacco near Pisa.
DELLA ROBBIA GIOVANNI (1469 - 1529). And workshop. Madonna with Child and the young St John the Baptist, with lunette and winged angels in glazed polychrome terracotta. The Italian Soprintendenza considers this lot to be a work of national importance and requires it to remain in Italy; it cannot therefore be exported from Italy. Literature: J. Cavallucci, E. Molinier, ""Les Della Robbia. Leur vie et leur oeuvre"", Parigi 1884, p. 246; C. Beni, ""Guida illustrata del Casentino"", Firenze 1889, p. 198; M. Cruttwell, ""Luca & Andrea della Robbia and their successors"", Londra 1902, p. 353; C. Beni, ""Guida illustrata del Casentino"", Firenze 1908; L. Burlamacchi, ""Luca della Robbia"", Londra 1908, p. 116; Elenco degli Edifici Monumentali, XXXVI, Provincia di Arezzo, Roma 1916, pp. 89, 90; A. Marquand, ""Giovanni della Robbia"", Princeton 1920, p. 181; C. Beni, ""Guida del Casentino"", Firenze 1958, p. 199; F. Niccolini, ""Nuova guida del Casentino"", Arezzo 1968, p. 193; C. Beni, ""Guida del Casentino"", Firenze 1983, p. 222; A. Batistoni, ""Pivieri dell’Alto Casentino, Comunità Montana del Casentino"", Stia 1992, p. 130; L. Bencistà, Arte a Pratovecchio, «Corrispondenza», XXI, 1, 39, San Giovanni Valdarno 2001, pp. IV-V; A. Bellandi, ""Per un Atlante delle emergenze storico-culturali nel territorio del Parco"", Borsa di studio indetta dal parco nazionale delle foreste casentinesi, Monte Falterona e Campigna: Indaginesulle emergenze storico-culturali meritevoli di tutela e attenzione nel territorio del Parco, Anno: 2000/2001 Responsabilità scientifica: Istituto per i Beni artistici, culturali e naturali della RegioneEmilia Romagna, p. 23 (https://www.parcoforestecasentinesi.it/sites/default/files/images/cartella_ricerca/Borsa%20di%20studio%20Bellandi.pdf); Vivere Pratovecchio, Semestrale dell’Amministrazione Comunale di Pratovecchio, Anno I, Numero I, 2002, p. 28; G. Landi, ""Pratovecchio. Terra d’illustri memorie"", Pratovecchio Stia, Arti Grafiche Cianferoni 2014, p. 208; G. Landi, ""Bruciano le stagioni. Storia di una famiglia"", s. d. (2019?), s. p. (p. 5, 42?). The high relief object of this report has a particularly troubled history even if, at the same time, common to many other similar artefacts still present in Casentino but no longer in their original location, or migrated from this valley to other shores. With over fifty works, the Casentino is presented as the valley where the concentration of glazed sculptures is more extensive than in other areas of Tuscany. The altars made by Andrea della Robbia and by the Verna Convent furnishing workshop and the polychrome terracottas of Santa Maria delle Grazie near Stia modeled by Benedetto Buglioni at the end of the fifteenth century, represent the two most relevant episodes. To these works, which decorate religious buildings, we must add other reliefs, tabernacles and liturgical furnishings widely spread in the Casentino area. [...] since 1884, in the town of Pratovecchio the artistic literature indicates the presence of artefacts by della Robbia: a Madonna and Child by Andrea della Robbia, today in the church of Santa Maria Assunta in Stia, but coming from a chapel along the road between Stia and Pratovecchio which was demolished with the construction of the railway in 1888, the tabernacle of Borgo di Mezzo, today attributed to Marco della Robbia, son of Giovanni, with the Madonna and Child and Saints Sebastian and Saint John the Baptist, still on site, a Eucharistic tabernacle attributed to Giovanni della Robbia in the nearby parish church of Santa Maria a Casalino and the Madonna with Child and San Giovannino, object of our intervention, coming from a tabernacle placed on the facade of Casa Brocchi then transferred to the counter-façade for a long time of the Church of the Most Holy Name of Jesus. The work depicts the Madonna seated on a slightly molded bench supporting the little Jesus on her right leg. Jesus, who lost his right arm, still evident in the older photos, when the building was transferred from the facade of Palazzo Brocchi to the propositura. he holds a small yellow apple in his left hand. The Madonna wears a large, regal blue cloak lined with green, closed on the chest by a precious clasp composed of a ruby set and surrounded by a string of pearls, over a purple tunic - the red, absent in Della Robbia's palette, is replaced by manganese - surrounded by a sash and edged at the wrists in yellow gold. To the left of the Virgin, San Giovannino, with his hands joined and dressed in a rustic camel skin tunic, alluding to his life as a hermit, looks towards the Child Jesus. His figure also reveals a sophisticated 'old-fashioned' taste made even more explicit in the Roman style of the shoes that the child wears. On either side of the Madonna's head, in the arch furrowed by a sky streaked with thin blue and yellow clouds, two cherubs unfurl, each with three pairs of large blue and purple wings, and above the white Dove of the Holy Spirit from whose mouth emanates a stream of golden light. On the basis of the relief scrolls the inscription, mutilated in the initial part, in black capital letters on a white background, REGINA CELI LETARE ALLELVIA, a famous Marian antiphon which in the liturgy is mainly recited in place of the Angelus, in the Easter season, but also recited daily within the prayer of the Liturgy of the Hours. This same phrase returns to the base of the throne where the Madonna and Child sit in a large altarpiece, recently restored, created by Giovanni della Robbia in the early 1520s for the Dominican convent of Santa Lucia in Camporeggi and transferred following the Napoleonic suppressions of 1808 in the Pulci Berardi Chapel of the Basilica of Santa Croce in Florence. This work can be dated to the early 1520s and proves to be one of the most virtuous and successful examples of Giovanni della Robbia's mature style, as well as presenting many elements that return identical in the pratovecchino relief. Giovanni della Robbia (1469-1529/30), one of Andrea's five sons, together with his brothers Luca the Younger, Girolamo, Marco and Francesco, the latter two later becoming Dominican friars, had embarked on his father's career. Compared to Luca the Younger, who remained close to his father to lead the workshop producing works almost exclusively for religious purposes, Giovanni turned to a wider and more varied public, diversifying the type of production and also experimenting with works intended for profane use or for home furnishings. His works are often characterized by a highly eclectic, decorative and didactic taste, exercised through a lively color scheme and an exuberant wealth of details for which he looks with an attentive eye to the famous pictorial models of the Florentine tradition (Ghirlandaio, Perugino, Lorenzo di Credi) and to the contemporary pictorial proposals from which he then also absorbs all the anxieties deriving from the incipient mannerism. Giovanni della Robbia carried on the family tradition, adding a wider range of colors to the original palette: blue, green, brown and yellow enamels give his creations an unusual chromatic dynamism that must have also passed into the style of his son Marco (1503- 1527). [...] One of the works created in Giovanni's workshop and which is closest to ours is undoubtedly the relief with the Madonna and Child preserved in a road tabernacle in the village of Civitella in Val di Chiana, at the Porta Senese, dated 1522 and commissioned by a local landowner. The work, although with many losses, first of all the figure of the young San Giovanni, probably kneeling at the feet of the Virgin - as in the relief of the museum of Sant'Agata del Mugello - is surrounded by the typical Della Robbia garland with fruits and leaves it is natural to wonder if it was originally present in our sculpture as well. (For the history of the locations of the work, please refer to the complete file available on request). Cm 42,00 x 75,00.
La coppia di figure a tutto tondo in terracotta modellata e dipinta a tempera raffiguranti i due Santi assisati San Francesco e Santa Chiara fondatori dei due ordini francescani vissuti tra il XII e XIII secolo giungono a noi in uno stato conservativo buono con larga parte della originale cromia a tempera data a freddo sul biscotto sopra una preparazione leggerissima e si presentano composte in una parte superiore ed una inferiore per favorire la perfetta cottura dopo l’esecuzione della modellatura. La poetica espressiva e artistica dei due Santi piena di pragmatismo realistico tanto da farli apparire dialoganti tra loto ed altri confronti formali e stilistici fanno annoverare le due opere, come spiega Giancarlo Gentilini in una scheda critica, \“tra i capolavori\” di Giocanni Della Robbia ad ulteriore conferma dell’esaustivo studio fatto da Mirko Santanicchia nel marzo 2006 che in seguito verrà ripreso e pubblicato sul mensile specialistico \“ceramica antica\” (\”Un San Francesco e una Santa Chiara di Giovanni della Robbia\” XVII, 8 (184), 2007 pp. 28-35) Le opere sono corredate da esame di termoluminescenza
Giovanni ROBBIA DELLA (1469-1529), after Italian Majolica Bust of St. John the Baptist Broken in the middle and restored, monogrammed on the reverse, late 19th / 20th c. 17 x 9 cm, frame: 31.5 x 17.4 cm
*Giovanni DELLA ROBBIA (1469-1529), attributed to Portrait bust of Raphael (?) Terracotta, glazed, with a collector's label on the inside 32.5x22cm, height 44cm According to the collector's label, the bust comes from the estate of the art historian Prof. Dr. Eugen Luthgen (1882-1946), who taught at the University of Munster from 1937 to 1944. According to the label, the bust was damaged during the bombing of Munster in 1943. Taking into account a restoration of the bust after the damage caused by the bombing, similarities with portraits of Raphael can be seen, as indicated on the label. His self-portraits are an example, but also the bronze bust on his tomb in the Pantheon, the plaster bust in the Capella San Severo, Perugia or the bust of the artist Pietro Fontana (1787-1858). Also noteworthy in this context is the facial reconstruction of Raphael by the University of Rome in 2020. The damage to the lower part of the terracotta bust could result from an original niche situation, like, for example, the terracotta busts of Della Robbia in the courtyard of the Certosa di Firenze di Galluzzo monastery.
Manifattura di ambito robbiano ,probabilmente Giovanni della Robbia (1469 -1530) o seguaci Cornice circolare ad altorilievo in terracotta invetriata policroma Firenze, fine XV secolo d 50 cm (esterno) d 30 cm (interno) Manufacture of the Della Robbia area, probably Giovanni della Robbia (1469 -1530) or followers An high relief circular frame in polychrome glazed terracotta Florence, late 15th century d 50 cm (external) d 30 cm (internal)
Giovanni DELLA ROBBIA (1469-1529) attr. "Profil d'un Saint" terre cuite à couverte émaillée polychrome, dans un cadre de la Renaissance en bois. 16,6 x 8,5 cm
Terracotta invetriata policroma. Dimensioni: diametro esterno cm 47 circa; diametro interno cm 34,5. Conservazione: piccoli rifacimenti e restauri La cornice rotonda, costituita da una ghirlanda di tralci con fiori e foglie modellate ad altorilievo, era destinata ad incorniciare medaglioni araldici, rilievi con raffigurazioni sacre o profane A Firenze alla fine del XV ed all’inizio del XVI secolo ci fu una grande richiesta di terrecotte invetriate, arte in cui eccelsero le botteghe dei Della Robbia e dei Buglioni
Terracotta invetriata policroma. Dimensioni: altezza totale cm 23; diametro cm 30 circa. Conservazione: rotture, cadute di smalto, mancanze; alcune parti riprese in restauro. Piedistallo moderno in legno Coperchio per anfora a forma di mazzo con foglie, frutta, ortaggi ed animato da un ranocchio; da una lucertola e da una chiocciola Verso il 1490 Andrea della Robbia, artista versatile ed intraprendente, nipote del famoso Luca dal quale eredita il segreto della terracotta invetriata, comincia la produzione di raffinati vasi ornamentali sui quali poneva come coperchio proprio queste composizioni vegetali Per opere simili vedi ad esempio G.Cora, Storia della maiolica di Firenze e del contado secoli XIV e XV, Firenze 1973, tavv. 307-308; G.Gentilini, I della Robbia - La scultura invetriata del Rinascimento, Milano 1992, II, p. 306
HAUT-RELIEF EN TERRE CUITE POLYCHROME VERNISSÉ REPRÉSENTANT UN APÔTRE ATTRIBUÉ À GIOVANNI DELLA ROBBIA (1469-1529), DÉBUT DU XVIE SIÈCLE H.: 42 cm. (16 ½ in.)
HAUT-RELIEF EN TERRE CUITE POLYCHROME VERNISSE REPRESENTANT UN APOTRE ATTRIBUE A GIOVANNI DELLA ROBBIA (1469-1529), DEBUT DU XVIE SIECLE Le revers avec un numéro ' 27967' ; reposant sur un socle en plexiglas H.: 42 cm. (16 ½ in.)
After Studio of Giovanni Della Robbia Giovanni della Robbia (Italian, Florence 14691529/30 Florence). The Virgin (Madonna) Glazed terracotta The height of this sculpture is 18 inches and the length is 15 inches.
After Studio of Giovanni Della Robbia The Virgin (Madonna) Giovanni della Robbia (Italian, Florence 14691529/30 Florence). The Virgin (Madonna) Glazed terracotta The height of this sculpture is 18 inches and the length is 15 inches.
inscribed: ECCE . AGNIUS. DE. to the banner, and: Luca della Robbia / 16th Century / H.G. Boha Coll: / T(...?) Christina(?) Manson(?) in ink to the underside; and with a metal plaque on the base inscribed: BOTTEGA DELLA ROBBIA / SEC. XVI
with four labels inscribed respectively: GALLERIA BELLINI FIRENZE; 3a MOSTRA NAZIONALE DELL'ANTIQUARIATO Pal. Braschi Roma; M.../ PAR... / 196... / 3; 13 / 17 / 9; and GALL. BELLINI FIRENZE 2045 on the underside
A FINE 1.50 CARAT ROUND SI CLARITY J-K DIAMOND SOLITAIRE SURROUNDED BY 13 DIAMONDS 1/2 CARAT OF CLEAN WHITE DIAMONDS RING SIZE 4 1/2 TOTAL WEIGHT 2 CARATS.
44 x 46,5 cm. Italien. Ehemals zur Anbringung an einer Hauswand. Ein kleiner Cherubim hält über seinem Kopf einen trapezförmigen Rotulus, auf dem zu lesen ist: "Rinaldo Di/Nofri Rondi/ Neli Pa Ecome/Ssario MDXXVIII". Die Glasur in Blau, Gelb und dunklem Mangan vor cremeweißem Fond. Auf modernem Gestell. Bruchrest., Glasurabrieb an der Schriftrolle, der Putto mit Abplatzungen am rechten Arm, Fingern und Flügel. Literatur: Für Wappenkartuschen an Fassaden vgl. Giancarlo Gentilini, I Della Robbia e l'arte nuova della scultura invetriata, Florenz, 1998, S. 13. (941736)
Seltene, museale Majolika-Ädikula von Giovanni Della Robbia, 1469 - um 1529 Florenz Höhe: 54,5 cm. Breite: 32,5 cm. Tiefe: ca. 10 cm. Außenrahmenhöhe: 75 cm. Breite: 51 cm. Hochrechteckformat, in Ton gebrannt. Polychrome Glasur in Weiß, Blau, Grün, Goldgelb und Mangan. Die ursprünglich eingemauerte Ädikula zeigt einen perspektivisch nach innen sich schräg verjüngenden Renaissance-Rundbogen, getragen von seitlichen Pfeilern, vor denen zwei Engelsgestalten stehen, in langen Gewändern, mit gefalteten Händen und mit ins Hochrelief ziehenden Oberkörpern, die eine weitere, mittlere, hochrechteckige Ädikulanische flankieren. Der Fußboden als quadriertes, perspektivisch wiedergegebenes Paviment gestaltet, auf dem die beiden Engel stehen. Der Innenrahmen ebenfalls gebildet aus zwei seitlichen toskanischen Pfeilern, die ein gerades Gebälk tragen, weiß glasiert, im Gebälk das Gesims blau bemalt. Darüber schwebend die Taube des Heiligen Geistes wiedergegeben, die aus einem gelb glasierten, aufgespannten Velum erscheint. Im Rundbogen Kassettendekoration mit Rosetten, die oberen Ecken durch geflügelte Engelsköpfe besetzt. Der Unterrand zeigt ein schmales, querliegendes, blau gefärbtes und gelb eingefasstes Sockelband. In der freigehaltenen, hochrechteckigen Öffnung war ehemals ein Andachtsbild, etwa eine Mariendarstellung oder ähnliches eingebracht. Das glasierte Tonrelief von hoher Qualität mit einigen altersbedingten Abrieben, die den Gesamteindruck jedoch keineswegs stören. Am oberen rechten Rand einige Ausbrüche. Das Relief vertieft eingelassen in einen Präsentierkasten, bezogen mit altem, rotem Velours. Anmerkung: Die Werkstätten der Della Robbia wurden nacheinander geführt von Luca della Robbia (1399 Florenz - 1482), Andrea della Robbia (1435 - 1525), Giovanni della Robbia (1469 - 1529/ 30), Luca della Robbia d.J. (1475 Florenz - 1548 Paris), Girolamo della Robbia (1488 Florenz - 1566 Paris), Marco della Robbia (genannt "Fra Mattia", 1486 Florenz - nach 1532) sowie als letzter Vertreter Francesco della Robbia (genannt "Fra Ambrogio", 1477 Florenz - 1527/ 28). Bei sämtlichen der genannten Vertreter wurden neben plastischen, figürlichen und wanddekorativen Arbeiten wie Reliefs auch Ädikulen der vorliegenden Art gefertigt. Zumeist handelt es sich um klassische Aufbauformen mit seitlichen kannelierten oder dekorierten Pilastern mit Kapitellen, die ein rundbogiges oder gerade verlaufendes Gesims tragen. Im Gesims häufig geflügelte Engelsköpfe, im Zentrum meist freigelassene, rundbogige oder rechteckige Öffnung, die entweder mit einer Reliefdarstellung besetzt war oder wie in dem vorliegenden Fall mit einer Türe verschlossen werden konnte (die hier nicht mehr erhalten ist, lediglich die Türzapfenvertiefung ist noch sichtbar). Das Mittelfeld wurde dann als Tabernaculum genutzt. Die figürliche Ausgestaltung dieser Ädikulen nimmt im Laufe der Zeit zu, auch die farbige Behandlung wird später farbkräftiger und kontrastreicher. Die glasierten Tonreliefs, Ädikulen, Wandfiguren etc. begründeten den Ruhm der Familie della Robbia. Literatur: Ausstellungskatalog unter der Leitung von Giancarlo Gentilini, I Della Robbia e l'arte nuova della scultura invetriata, Fiesole, 1998, vgl. Abb. S. 146, 260, 261, 334 (dort von Benedetto Buglioni, 1459/ 60 Florenz - 1521). (890031) A Rare, Museum Quality Maiolica Aedicula by Giovanni Della Robbia, 1469 - about 1529, Florence Height: 54.5 cm. Width: 32.5 cm. Depth: approx. 10 cm. Outer frame height: 75 cm. Width: 51 cm. Note: The workshop of Della Robbia was consecutively lead by Luca della Robbia (1399 Florence - 1482), Andrea della Robbia (1435 - 1525), Giovanni della Robbia (1469 - 1529/ 30), Luca della Robbia the Younger. (1475 Florence - 1548 Paris), Girolamo della Robbia (1488 Florence - 1566 Paris), Marco della Robbia (referred to as "Fra Mattia", 1486 Florence - after 1532), as well as the last representative Francesco della Robbia (referred to as "Fra Ambrogio", 1477 Florence - 1527/ 28). Literature: Exhibition catalog edited by Giancarlo Gentilini, "I Della Robbia/ e l'arte nuova della scultura invetriata," Fiesole, Basilica di Sant Alessandro, May 19 - November 1, 1998, cf. fig. pg. 146, 260, 261, 334 (there by Benedetto Buglioni, 1459/ 60 Florence- 1521).
Giovanni della Robbia, 1469 Florenz - 1529 Paar prächtige Vasen Höhe: 44 cm. Um 1515/ 1520. Über zweimal gekehlter Basis breite Laibung oben abgeflacht. Laibung in drei Registern im griechischen Stil, dekoriert von unten nach oben mit Eierstab, Palmetten, einbeschrieben in Lyraformen und Mäandermuster. Darüber stark einschwingender Hals mit Fischschuppendekor bis hoch zur weiten Vasenöffnung. Je zwei Henkel in Delfinform. Vase in himmelblauer Glasur. Darüber prächtiges Bukett von Früchten, wie Trauben, Quitten, Zitrusfrüchten, Granatapfel, Kirschen, Ähren und Gurke und verschiedenen Blüten als Vasenaufsatz. Darin verborgen je ein Frosch und eine Schnecke. Vollplastisch modelliert und naturalistisch glasiert in kräftigem Gelb, Hellgrün, sattem Grün und dunklem Türkis, Cremeweiß und dunklem Violett. Farbabplat-zungen am Bukett-Aufsatz, eine Vase mit Chip an der Schulter, Bruchrestaurierungen. Anmerkung: Im Museum of Art in Philadelphia ist ein Paar Vasen erhalten, das ebenfalls eine doppelte Frieszone aufweist. Der Fruchtkorb und die Gestaltung im griechischen Stil weisen deutlich in das Formenvokabular von Giovanni della Robbia. Literatur: Beide Vasen mit Früchten sind original abgebildet in: Ausstellungskatalog Fiesole 29.5. - 1.11.1998, Giancarlo Gentilini, "I Della Robbia e l'"arte nouva" della scultura invetriata", Fiesole, 1998, S. 277f., Nr. III 19 a, b. Giancarlo Gentilini, "I Della Robbia. Il dialogo tra le Arti nel Rinascimento", Mailand, 2009, Nr. 126. (890881) Giovanni della Robbia, 1469 Florence - 1529 A Pair of Superb Vases Height: 44 cm. Circa 1515/ 1520. Vividly modeled with a natural enamel in a robust yellow, light green, lush green, dark turquoise, cream white, and dark violet. Restored. Literature:Both vases with fruits are illustrated in: Exhibition catalog Fiesole 29.5.-1.11.1998, Giancarlo Gentilini, "I Della Robbia e l'"arte nouva" della scultura invetriata", Fiesole 1998, pg. 277f., no. III 19 a, b. Giancarlo Gentilini, "I Della Robbia. Il dialogo tra le Arti nel Rinascimento", Milan 2009, no. 126.
Relieftondo Höhe: 40 cm. Durchmesser: 34 cm. Darstellung von Maria mit dem Kind in Weißglasur auf grauem Grund, umgeben von geflügelten Engelsköpfen und breitem, vollplastisch gearbeitetem Fruchtkranz, auf leicht vorstehender Basisplatte mit oben ansetzendem Akanthusvoluten-Kämpfer, gelb glasiert. Die Glasurfarben in Dunkelblau, Weiß, Grün, Hellblau, Gelb und Mangan, im Gebinde unterschiedliche Früchte zwischen Eichen- und Lorbeerblättern. Das Tondo eingelassen in eine Unterlage, diese bezogen mit schwarzem Samt. Verso alter Galerieaufkleber mit rundem, rotem Signum der Galleria Bellini Firenze (19./ 20. Jahrhundert). Ferner handgeschriebenes Nummernetikett und italienische Ausfuhrstempel. Anmerkung: Zuschreibung durch Giancarlo Centilini. Provenienz: Privatsammlung. (8514056) Giovanni della Robbia, 1469 Florence - 1529, attributed to Height: 40 cm. Diameter: 34 cm.
RELIEF ROUNDEL WITH A BUST OF THE EMPEROR VESPASIAN IN A GARLANDED FRAME with an old paper label printed: /5 and a paper label to the back inscribed in pen: 38 glazed and polychromed terracotta overall: 73cm., 28¾in. portrait roundel: 46cm., 18in.
Giovanni della Robbia (1469 - 1529), Hll. Clara und Franziskus, "Terracotta, vollrund gearbeitet, innen gehöhlt, gebrannt, farbig staffiert," "arbeitstechnisch bedingt jeweils aus 2 Teilen bestehend, Höhe" "125 cm, Altersschäden, meisterliche Skulpturen des Giovanni della" "Robbia, um 1510, (MC)"
