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
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Sitzende Madonna mit KindTerracotta, Unterglasurdekor in Hellblau, Grün und Gelb, Mangankonturen in den Inkarnaten. Keramisches Relief unter einem Rundbogen, gebildet aus einer Blattgirlande mit Zitrusfrüchten, oben ein geflügelter Engelkopf. Die Madonna mit dem auf ihrem rechten Unterarm sitzenden Jesuskind vor hellblauem Hintergrund. Separate Konsole mit großem geflügeltem Engelkopf zwischen Füllhörnern. Abbruch am Nimbus des Jesuskindes, vergilbte Retuschen am Kinn des Konsolengels, am Knie der Madonna und wenigen kleineren Stellen, Glasurchips. H 68, B 31,5 cm. Montiert auf Holz, mit rotem Samt bezogen, mit Metallöse H 77, B 40 cm.Florenz, Umkreis oder Nachfolge des Andrea della Robbia, Anfang 16. Jh.Traditionell Andrea della Robbia (1435 - 1525) zugeschrieben, wird das kleine Hochrelief heute eher in den Umkreis oder die Nachfolge des großen Florentiner Bildhauers einzuordnen sein. Möglicherweise kommt Benedetto Buglioni (1459/60 - 1521) als Schöpfer infrage, dessen Werkstatt ebenfalls glasierte Terracotten im Stil Andrea della Robbias produzierte. Ein großes Altarrelief dieser Werkstatt mit zwei Assistenzfiguren in einem weißen Arabeskenrahmen befindet sich im Rijksmuseum Amsterdam, Obj. Nr. BK-16978. Ein weiteres großes Exemplar mit einer Madonnenfigur in identischer Haltung und ähnlichem Jesuskind befindet sich in der Sammlung Museo dell'Ospedale degli Innocenti Florenz.ProvenienzSammlung Harris, London.Sammlung Dr. Richard von Schnitzler, Köln.Aus dem Besitz der Nachfahren.AusstellungenKölnischer Kunstverein 1927.LiteraturAbgebildet bei Bombe, Die Sammlung Dr. Richard von Schnitzler in Cöln, in: Der Cicerone, Heft 1/2, Leipzig 1918, S. 42 f., Abb. 7.Abgebildet bei Förster, Die Sammlung Dr. Richard von Schnitzler, München 1931, Kat. Nr. 128, Taf. LXV.Vgl. Gentilini, I Della Robbia. La scultura invetriata nel Rinascimento, Milano 6/2001, S. 399.
Musizierender Erot für das Treppengeländer des Neuen Museum zu BerlinZinkguss, vergoldet, rückseitig geschwärzt, montiert auf Sockel mit Granitfassung. Mit Sockel H 68, Kreis D 45,5 cm. Dazu ein moderner Sockel H 101 cm.Borsigwerke, um 1850, der Entwurf Gustav Blaeser, zugeschrieben, Atelier Christian Daniel Rauch.Das Neue Museum wurde ab 1841 unter der Leitung von Friedrich August Stüler als zweites Museum auf der Museumsinsel in Berlin-Mitte errichtet. Bis zur Grundsteinlegung am 6. April 1843 war man ausschließlich mit der Befestigung des Untergrunds und den Fundamenten beschäftigt. Erst dann begann der Aufbau. Die Märzrevolution verzögerte den Innenausbau, so dass die Innenräume sukzessive ab 1850 eröffnet wurden. Zur umfangreichen, kunsthistorisch bedeutenden Ausstattung des Neuen Museums zählte der Treppenaufgang, mit dessen dekorativer Ausgestaltung der im Atelier von Christian Daniel Rauch tätige Gustav Blaeser betraut war. Detaillierte Einblicke in die Ausgestaltung des Treppenhauses liefern die Entwurfsstiche aus Stülers Publikation "Das Neue Museum zu Berlin", erschienen 1862 im Verlag Ernst & Korn, Berlin. Das kunstvoll gegossene Geländer von Borsig wurde im Zweiten Weltkrieg zerstört. Es ist davon auszugehen, dass es sich bei den im Kreis musizierenden Eroten um die zwei einzigen noch existierenden Originalelemente jenes Geländers handelt.Der 1813 in Düsseldorf geborene Bildhauer Gustav Blaeser arbeitete ab 1834 im Atelier von Christian Daniel Rauch in Berlin und nahm ab 1836 an den Akademieausstellungen teil. Bekannt wurde Blaeser durch die Reliefbildnisse seiner Künstlerkollegen und des Architekten Karl Friedrich Schinkel. Für die Porträts wählte er, inspiriert von der della Robbia-Werkstatt und der Baukeramik der Renaissance, das Tondoformat, dessen profilierter Rahmen die Reliefs der Dargestellten umschließt. Diese Kreisrahmung findet sich auch bei den durchbrochenen figürlichen und stilisierten Darstellungen des Treppengeländers. Die Motive waren inspiriert von den Exponaten, den Objekten aus der Antike und der ägyptischen Kunst.LiteraturBei Puls, Gustav Hermann Blaeser. Zum Leben und Werk eines Berliner Bildhauers. Mit Werkverzeichnis der plastischen Arbeiten, Köln 1996, S. 253 f., WVZ 75.Vgl. Stüler, Das neue Museum in Berlin mit 24 Tafeln, Berlin 1862, S. 14 ff.Zu Blaeser s. Maaz (Hg), Nationalgalerie Berlin. Bestandskatalog der Skulpturen. Das XIX. Jahrhundert, Berlin-Leipzig 2006, S. 88 ff.
Musizierender Erot aus dem Treppengeländer des Neuen Museum zu BerlinZinkguss, vergoldet, rückseitig geschwärzt, montiert auf Sockel mit Granitfassung. Mit Sockel H 68, Kreis D 45,5 cm. Dazu ein moderner Sockel H 101 cm.Borsigwerke, um 1850, der Entwurf Gustav Blaeser, zugeschrieben, Atelier Christian Daniel Rauch.Das Neue Museum wurde ab 1841 unter der Leitung von Friedrich August Stüler als zweites Museum auf der Museumsinsel in Berlin-Mitte errichtet. Bis zur Grundsteinlegung am 6. April 1843 war man ausschließlich mit der Befestigung des Untergrunds und den Fundamenten beschäftigt. Erst dann begann der Aufbau. Die Märzrevolution verzögerte den Innenausbau, so dass die Innenräume sukzessive ab 1850 eröffnet wurden. Zur umfangreichen, kunsthistorisch bedeutenden Ausstattung des Neuen Museums zählte der Treppenaufgang, mit dessen dekorativer Ausgestaltung der im Atelier von Christian Daniel Rauch tätige Gustav Blaeser betraut war. Detaillierte Einblicke in die Ausgestaltung des Treppenhauses liefern die Entwurfsstiche aus Stülers Publikation "Das Neue Museum zu Berlin", erschienen 1862 im Verlag Ernst & Korn, Berlin. Das kunstvoll gegossene Geländer von Borsig wurde im Zweiten Weltkrieg zerstört. Es ist davon auszugehen, dass es sich bei den im Kreis musizierenden Eroten um die zwei einzigen noch existierenden Originalelemente jenes Geländers handelt.Der 1813 in Düsseldorf geborene Bildhauer Gustav Blaeser arbeitete ab 1834 im Atelier von Christian Daniel Rauch in Berlin und nahm ab 1836 an den Akademieausstellungen teil. Bekannt wurde Blaeser durch die Reliefbildnisse seiner Künstlerkollegen und des Architekten Karl Friedrich Schinkel. Für die Porträts wählte er, inspiriert von der della Robbia-Werkstatt und der Baukeramik der Renaissance, das Tondoformat, dessen profilierter Rahmen die Reliefs der Dargestellten umschließt. Diese Kreisrahmung findet sich auch bei den durchbrochenen figürlichen und stilisierten Darstellungen des Treppengeländers. Die Motive waren inspiriert von den Exponaten, den Objekten aus der Antike und der ägyptischen Kunst.LiteraturVgl. Stüler, Das neue Museum in Berlin mit 24 Tafeln, Berlin 1862, S. 14 ff.
HAROLD RATHBONE (1858-1929), DELLA ROBBIA POTTERY, BIRKENHEAD BOWL, 1896 incised and glazed terracotta, incised factory mark, signed and dated HAROLD RATHBONE 1896 24.5cm diameter Provenance: The Collection of Michael Archer OBE FSA (1936-2022), Keeper, Ceramics and Glass Department, Victoria & Albert Museum, London
RUTH BARE (1880-1962) FOR DELLA ROBBIA POTTERY, BIRKENHEAD VASE, 1899 glazed terracotta, incised maker's marks, incised artist's initials and date RB/ 1899, 40cm high; together with TWO MUGS, CIRCA 1890, glazed terracotta, decorated by Charles Collis and Jessie Sinclair, incised maker's marks, incised and painted artist's marks, 12.5cm high (3) Provenance: The Collection of Michael Archer OBE FSA (1936-2022), Keeper, Ceramics and Glass Department, Victoria & Albert Museum, London
A late 19th Century Della Robbia of Birkenhead pottery jardinière, the footed circular body, heavily relief moulded with face masks and shells united by fruiting garlands over stiff leaf and oak leaf borders, picked out in tonal green and blue, incised galleon mark with numerical codes and underglaze green FMW, width 42cm.
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,
ELL for Della Robbia Pottery ceramic vase, with garlic neck, decorated with Art Nouveau stylised plant design in pink and green colourway, signed ELL, coloured by Hannah Jones with painters mark and incised Della Robbia mark to the base, 34cm high Overall display wear, marks and scratches, consistent with age. Crazing to the glaze. Minimal losses to the glaze in places. Overall glaze imperfections as expected due to the firing.
ELL for Della Robbia Pottery ceramic vase, with garlic neck, decorated with Art Nouveau stylised fleur de lis design in green, blue and yellow colourway, signed ELL and incised Della Robbia mark to the base, 34cm high Overall display wear, marks and scratches, consistent with age. Crazing to the glaze. Minimal losses to the glaze in places. Overall glaze imperfections as expected due to the firing. Base is also numbered 822.
French Bronze High Relief Plaque of a Boys Choir by Ferdinand Barbedienne (1810-1892) after Luca della Robbia (Italian, 1400-1482), the relief bronze plaque replicates one of the panels of the marble Cantoria found at the Sacristy of the Masses in the Duomo Cathedral in Florence and portrays a children's choir, incised 'F. BARBEDIENNE FOUNDER' bottom left, hanging loops to top, 19 5/8 x 14¾. (49.8 x 37.5cm.). *Nice dark patina, good.
Della Robbia - a late 19th century art pottery jug, having stylised incised floral designs, in blue and greens, green glazed curved handle, incised ship mark and initials 'D F R' to base, also initialled LW, approx. 12.8cm high. Further details: small hairline cracks to top rim, chip to spout, glaze chips to edges and nibbles to body sides, some crazing, age related general wear.
DELLA ROBBIA; a pale green ground bottleneck vase with terracotta and dark green decoration, painted mark to base and initialled 'AS', height 23cm.Condition Report: Light rubbing to top and foot rim, crazing visible throughout. Small patch to lower section where glaze has not taken, otherwise appears good condition with no obvious signs of faults, damage or restoration.
After Luca Della Robbia (1400-1482), a tin glazed plaque depicting a group of choir boys copied from one of the ten Cantoria or singing gallery panels at Florence cathedral.Dimensions:- 22cm width, 33cm height, biggest depth 9cm. Condition- some general wear to include chips to corners, wear to glaze in places, etc.
A Florence (Cantagalli) glazed terracotta blue and white arched plaque, 20th century, impressed mark CANTAGALLI FIRENZE MARCA DEPTA to reverse, modelled in the Renaissance Della Robbia style with the Virgin Mary kneeling by the Christ child, observed by angels and God above, against a blue ground and within a moulded egg-and-dart ornament arched frame, 66high, 43cm wideProvenance: The Property of the Late Reverend John Watson.
A Florence (Cantagalli) glazed terracotta roundel plaque, late 19th century, painted brown cockerel mark to lower edge, modelled in the Renaissance Della Robbia style with a youth in blue robe and blue backdrop to centre, surrounded by a flowering and fruiting robbiana, approx. 44cm diameterProvenance: The Property of the Late Reverend John Watson.
A 19th Century Italian pottery bas relief maiolica wall plaque in the manner of Della Robbia depicting Madonna and child on a blue background within a fruit decorated arched border over an egg and dart decorated base inscribed with initials verso in monogram "SC" and No. 139, 40 cm wide x 49 cm deep CONDITION REPORTS 30 cm long horizontal crack across the middle and chips to bottom right and to left hand middle fruit near the start of the crack and further chip to top right of the arch
EMILY MARGARET WOOD (BRITISH, 1865-1907) FOR DELLA ROBBIADouble sided twin-handled vase, no.21, 1900Terracotta, slip and sgraffito decorated with a classical figure with a lyre, seated in an Arcadian scene with a sunrise and rabbits; the reverse with a seated figure with peacocks and a setting sun; the handles mounted with stylised bird heads, painted in colours by Lizzie Wilkins.41 cm highSgraffito signed with Della Robbia galleon mark, 1900, EMW, No 21 and painted L W.Footnotes:The vase bears two artists marks, one for the sgraffito artist Emily Margaret Wood (1865-1907) and the other for the painter/colourist Lizzie Wilkins. Emily Wood was well regarded for her depictions of botany and nature and was a keen member of the 'Liverpool Naturalists Field Club'. The main figural subject could be 'Erato', one of the muses and goddess of lyric poetry, whose attributes are a Lyre, myrtle wreath, and roses.For further information on this lot please visit Bonhams.com
A Della Robbia vase by Charles Collis, shouldered twin-handled form, incised and painted with Art Nouveau flowers on long entwined stems, in orange, green and red on a green ground, incised factory mark, C monogram and 888, painted monogram, paint flakes, 23.5cm. high ProvenanceFrom the collection of Ian and Rita Smythe
A Della Robbia Pottery Water Vase by George Seddon and Annie Smith, slender, shouldered form incised and painted with flower and fan panels, in yellow, turquoise and green on a brown ground incised factory mark, JS monogram, painted ADS, handle re-stuck, 29.5cm. high ProvenanceFrom the collection of Ian and Rita Smythe
A Della Robbia twin-handled Moorish vase by John Cecil Shirley and Ruth Bare, dated 1917, shouldered form with applied twin-handles, incised and painted with kingfishers flying and perched on reeds by a river, in shades of blue, yellow and green, incised Della Robbia mark, C Shirley and 17, painted RB monogram 26cm. high LiteraturePeter Hyland The Della Robbia Pottery, ACC Books, page 212 figure 228 for a comparable vase by Shirley illustrated.
A Della Robbia Pottery vase by Charles Collis, ovoid with modelled handles, incised and painted with wild roses, in red, yellow, green and blue on a tan ground, incised mark, 656 and C artist mark, minor glaze loss, professional restoration to top rim, 12.5cm. high ProvenanceFrom the collection of Ian and Rita Smythe
A Della Robbia Pottery vase by Annie Smith, slender, shouldered cylindrical form, painted with arched panels of foliage in green, turquoise, blue and yellow, incised mark, incised L and painted AS artist monogram, 28.5cm. high ProvenanceThe private collection of Gretchen Andersen, The Lacquer Chest
Della Robbia/Buckley Pottery interest: Charles Collis slip decorated bottle vase for William Powell, Buckley, dated 1911, having a narrow elongated neck and decorated with a slip trailed swirling band in yellow and green glazes, brown ground, incised marks, signed, height 37cmNB: Collis's mother was born in Buckley, Flintshire, and for a short period during the later months of 1911, he attended William Powell's pottery in order to assist with the development of slip glazes (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
Große Reliefplatte "Singende Knaben"Majolika weiß und blau glasiert, Gruppe von sieben singenden Knaben auf Sims mit Zungenfries nach dem Marmorrelief "Cantoria 1" von Luca della Robbia aus den Jahren 1432/38, 45 x 31 cm, Gewicht 3.000 gr., Italien 19. Jhd., unten links alt repariert, oben rechts drei kleine, alt retuschierte Chips, leicht alt retuschiert, sonst guter Zustand mit kleinen Glasurunreinheiten und Altersspuren (ausführlicher Zustandsbericht auf Anfrage), rückseitig altes Sammlungsetikett 0124 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, das vorliegende Exemplar gehört zu den frühen Ausformungen wohl noch aus der ersten Hälfte des 19. Jahrhunderts
HANNAH JONES FOR DELLA ROBBIA POTTERY; a footed dish with sgraffito and painted stylised floral decoration, diameter 24cm.Condition Report: Surface wear, scratches and wear to the glaze, fine glaze hairline terminating from the rim which goes into the body, approx 2.5cm, this is very faint and appears to be on the back of the dish only.
ANN LOUISE JONES AND HARRY PRICE FOR DELLA ROBBIA POTTERY; a footed dish with stylised scrolling detail to the centre, inside floral and mosaic style motifs, diameter 26cm.Condition Report: Glaze crazing, four fine hairline cracks terminating from the rim into the body of the piece, the largest being 4.5cm in size, numerous glaze chips to the edge.cracks appear to be hairlines rather than firing cracks.
DELLA ROBBIA; a good Arts and Crafts ceramic vase with stylised floral decoration on a green glazed ground, height 16.5cm.Condition Report: Numerous glaze chips and crazing as expected, there is a crack terminating from the rim which runs into the body, approx 4cm, minor staning to the crazing to the underside.
A collection of eight Della Robbia pottery items,1889-1900, comprising five plates, a bowl, a jardinière and a vase, all incised with stylised designs, all variously incised with marks and painted monograms, plates 12.5 to 26.5cm diameterbowl 11.5cm diameterjardinière 11.5cm highvase 16cm high (8)Provenance: David Sheard, Doncaster. Condition ReportJardiniere - crazing to body - crack to rim, base with small white restored area. Large plate 26.5cm cracked plate 20.5cm - flaking to the rim bowl - With two chips to the rim under the glaze. With general flaking to the rim, Vase - chips and flakes to the rim - appears to lack cover?The two smaller plates with rubbing and wear to the glaze.All with crazing commensurate with age.
Della Robbia Bowl by Annie Beaumont and Violet Woodhouse Della Robbia albarello vase, incised by Annie Beaumont and painted by Violet Woodhouse, with repeating acanthus leaf decoration in green and yellow, on a brown ground, the underside has incised 'DR' text with ship logo, incised 'AB' monogram and painted 'Violet' signature19cm highSome firing faults to the top rim and areas of the body.
Della Robbia charger by GHS Della Robbia charger by GHS, possibly George Seddon, with incised decoration of dolphins swimming in the turbulent sea, painted in blue, green and teal, underside with incised 'DR' text with ship logo, dated 1901, no.28335.5cm diameterChipped to the edge with cracks running through the plate, previously broken into several pieces and heavily reglued and restored. Please view all additional images.
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