We found 1297 price guide item(s) matching your search
There are 1297 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
Lot 137
After Giovanni Della Robbia, Italian, 1469-1529, a polychrome decorated terracotta bust of St John as a boy, 19th century, with blue tunic and sheepskin vest, on a shaped giltwood and polychrome plinth, the bust - 36cm high, 34cm wide, 21cm deep; 45cm high, 43cm wide, 22cm deep overallThe lot is accompanied by a thermoluminescence test certificate from Oxford Authentication dating the item to 200-300 years old.Provenance: North Mymms Park, Hertfordshire, home of Mary Morgan, J. Pierpont Morgan's sister.Note: The current lot has similarities to a bust by Giovanni della Robbia gifted to the Metropolitan Museum of Art, New York, by J. Pierpont Morgan, 1917, 17.190.1408.
Lot 3
Attributed to The Harold Rathbone Della Robbia Studios Birkenhead A terracotta glazed blue and white relief Panel, with two standing Saints, 54cms x 19cms (21" x 7 1/2"), another bow fronted ditto with Young Saint holding a Cross, 48cms x 24cms (19" x 19 1/2") and one other larger ditto The Madonna & Child, 51cms x 39cms (20" x 15"). (3)
Lot 1458
A T.W. Lemon & Son Arts and Crafts pottery vase, circa 1926-1939, the squat body and slightly flared neck applied with three scroll handles and covered in a streaky green/grey glaze, incised 'T.W. Lemon Weston S. Mare' to base, height 19.2cm, together with an Art Deco pale blue glazed pottery vase, early 20th century, the shouldered ovoid body with three handles, printed mark to base, height 17.7cm, a small Della Robbia mottled green glazed jug, height 10.3cm, a Brannam three-handled pot and a Dicker Ware ashtray (minor faults).
Lot 211
After Della Robbia, A pottery wall plaque. Possibly Cantigalli, circa 1900, moulded in relief with a group of choir boys, height 49cm, width 31cm, together with a similar later plaque, with polychrome painted border (2).Choir boys- A repaired corner, and two areas of restoration on the underside (see additional images)Polychrome plaque- No condition issues.
Lot 235
DELLA ROBBIA; a 'Dragon' jug of yellow ground, with green and red stylised leaf decoration in panels, and figural dragon head spout, inscribed to base 'DWR', height 25.5cm.Condition Report: Crazing throughout, some glaze loss to rim and under the handle, firing cracks to top of the handle, looks as though there has been some overpainting or glaze failure.
Lot 45
'The Apple Gatherer' a rare Della Robbia Pottery large tile plaque designed by Cassandra Annie Walker, dated 1900, cast in low relief with an Art Nouveau maiden picking apples, glazed in colours, in wooden frame, incised Della Robbia mark, dated 3/1900, 46.5 x 56.5cm. ProvenanceAn Important Private collection. ExhibitedAutumm Exhibition, Walker Art Gallery 1900, an example of this tile plaque shown, priced at £2.10s.
Lot 56
ANNIE BEAUMONT AND ANNIE SMITH FOR DELLA ROBBIA; an art pottery vase with incised floral decoration, height 22cm. Condition Report: Very small shallow chip to the top rim, the top rim is slightly rough but no apparent chipping, fine crazing to the glaze, otherwise good condition with no chips, cracks or restoration.
Lot 104
GIOVANNI DELLA ROBBIA AND WORKSHOP- A POLYCHROME TERRACOTTA ROUNDEL 16TH CENTURY Decorated with a garland of fruits and flowers 74cm diameter Literature: R. Dionigi (ed.), Stemmi robbiani in Italia e nel mondo. Per un catalogo araldico, storico e artistico, Florence 2014, p. 120 n. 45. For a very similar but smaller example of a polychrome glazed terracotta frame, please see Pandolfini Florence, Sculptures And Works Of Art From Middle Age To 19th Century, 12th June 2024, lot 24. An example of a tin glazed Tondo from this workshop and from this period is held as part of the Robert Lehman Collection in the Met Museum (Accession Number: 1975.1.2039). Lehman Della Robbia Tondo link This lot is accompanied with a thermoluminescence test report from 2016, by Ciram 0616-OA-158R-2. Condition Report: thermo test 2016- add into c/r when uploadedCondition Report Disclaimer
Lot 1028
DELLA ROBBIA, a twin handled vase, decorated with sprays of pansies, on a green ground, incised marks to the base, D C R with a ship mark, 861, initial L J, 33cm highCondition Report: Overall in good condition. light general glaze cracking. Small areas of glaze loss around handles, possibly due to manufacture and not damage. This vase could be improved with a good clean. There are areas of dirt build up to the handle joints which fluoresce under UV.
Lot 51
Charles Collis and John Fogo - Della Robbia - A large red earthenware vase of twin handled shouldered form, incised with continuous band of flowering tulips, in peach pink and sea green, over ivory panels, green glazed interior, handles and foot, incised ship mark and decorator's monograms JF and C and no.836 and 203, height 30cm.
Lot 2370
A large Della Robbia pottery charger by Charles Collis, circa 1900, the central domed boss with yellow flowerhead within a well and raised outer border, all incised and painted with stylized leaves and flowers, the underside with incised maker's marks and numbered '913', diameter 50cm (crack).
Lot 3222
Keramikfliese, ''Singende Knaben'', w. Italien, 19. / 20. Jh., Majolika weiß und blau glasiert, Gruppe von sieben singenden Knaben nach dem Marmorrelief ''Cantoria 1'' von Luca della Robbia aus den Jahren 1432/38, 31 x 21,5 cm, 1431 erhielt Luca della Robbia einen Auftrag für zehn Marmorreliefs für die Kathedrale in Florenz, diese unter der Bezeichnung ''Cantoria'' bekannte Serie befindet sich heute im Museo dell'Opera del Duomo in Florenz, della Robbia schuf neben Marmorreliefs insbesondere auch, durch die typische blau-weiße Farbgebung unverwechselbare Majolikareliefs, seit dem frühen 19. Jahrhundert entstanden im Zuge der ''Grand Tours'' teils erstklassige Kopien dieser Reliefs,
Lot 1541
An exceptional pair of Royal Worcester Busts created by James Hadley for the "Potters Vases shown at the Paris Exhibition 1878, in terracotta depicting Luca Della Robbia and Maestro Georgio, both signed J Hadley (see Henry Sandon, Royal Worcester porcelain pls 74 and 88), both with some damage, 7 1/2" tall.
Lot 107
Richard Llewellyn Rathbone, three Arts and Crafts copper vessels, including a tea caddy of inverse baluster form with conical lid, planished trumpet form vase and a squat cylindrical candle stick, stamped marks and numbers 103 and 631, 16cm high (3)Note: brother of Della Robbia pottery owner and relation of W A S Benson, Richard Rathbone produced work for well known designers including CFA Voysey, Mackmurdo and Heywood Sumner, in collaboration with Harold Stabler. Examples of his pieces are in the collection of the Victoria and Albert Museum, London
Lot 40
After Andrea della Robbia, a Scarce Cantagalli Firenze terracotta lunette depicting the embrace of St. Francis & St. Dominic 70cm x 34.5cm Note: The larger original lunette is above the door of the hospital complex of San Paolo in Florence where It is said that the meeting between Francis & Dominic took place in C.1221.
Lot 2187
CASSANDIA ANN WALKER FOR DELLA ROBBIA; a large Art Nouveau twin handled vase, sgraffito decorated with a portrait bust of a maiden and floral sprays on a blue/green ground, signed and dated 1903, height 39.5cm.Condition Report: Large U shapped piece has been broken out of the top rim and glued back, light crazing throughout.
Lot 521
ATTRIBUTED TO GIOVANNI BASTIANINI (1830-1868), A MARBLE BUST OF A YOUNG RENAISSANCE MAN IN THE MANNER OF DESIDERIO DA SETTIGNANO, MID 19TH CENTURY 51cm high, 45cm wide Provenance: The deceased estate of a Cambridge Don During the nineteenth century architecture, paintings and sculpture evolved towards a Neo-Renaissance style driven, in part, by the popularity of the Grand Tour, republication of Vasari's "Lives", and the publication in 1813-1818 of Leopoldo Cicognara's Storia della sculture. This, together with the creation in Italy, Europe and America of private and National museums, spurred a demand for genuine, original examples of Renaissance artwork. Where this desire could not be satisfied, painters and ceramic makers were happy to provide artwork "in the manner" of their predecessors- firms like Della Robbia making clear these were not copies of imitations but new works in an earlier manner. Other manufacturers, artists and dealers were less honest. Bastianini was born in Fiesole in 1830 and worked in a nearby stone quarry until the age of 12. Following training in the studio of the sculptor Pio Fedi and apprenticeship to Giralamo Torrini he was taken on by the antiquarian dealer, Giovanni Freppa. This relationship with Freppa would prove to be both a blessing and a career blighting association for the young sculptor. Bastianini's earliest work was the reproduction of ancient sculpture which he performed with meticulous precision and during which he became familiar with the work of the masters of the 15th century. In 1864 Freppa commissioned him to produce a bust of the poet Girolamo Benivieni (1453-1542). Through a subsequent series of sales and circumstances the piece ended up in Paris and was purchased for The Louvre as a Renaissance masterpiece. The subsequent fall-out with Bastianini publicly named as the forger and mastermind behind the affair took a while to clear- but his name was never properly cleared from the taint of forgery. Anita Moskowitz has examined photographs of this work and notes that the artist's idealised busts are almost always of female subjects- with the men rendered less sympathetically and true to life. In this work the idealised depiction of the handsome young man may be a divergence of style for the artist or, perhaps, may point to the work of one of his contemporaries. Another artist re-presenting the work of earlier Renaissance masters. Literature: Anita Fiderer Moskowitz, Forging Authenticity: Bastianini and the Neo-Renaissance in Nineteenth-century Florence, Arte e Archeologia Studi e Documenti 32, Florence: Leo S. Olschki Editore, 2013. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Generally in good, clean presentable condition. Some small infills and areas of fluorescence visible under UV- to front, head possibly spot stain cleaning? section of peak to cap restored and section of infill to reverse, small edge wear and nibbles notably to base edge. Some natural darker inclusions and small dirt marks. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
Loading...