Bottega Giovanni Della Robbia

Circular medallion in a healed terracotta and painted in tones of blue, yellow, green and brown; The coat of arms is enrolled in an elegant shaped shield on the blue packed cup, surrounded by garland of fruits and flowers in which lemons, pine cones, black grapes and walnuts alternating with small white, yellow and blue flowers; It is mounted in a model molded in walnut in gold, with great probability made by Giò Ponti who designed the furnishings of Villa Vittoria (ex Villino Strozzi, now Palazzo dei Congressi), since 1931 home of the well -known collector and antiquarian Alessandro Contini Bonacossi, some defects in the shield and widespread

Diam 41.5 cm

Origin: Contini Bonacossi Collection.
The work is accompanied by a certificate of free circulation.
The coats of arms and heraldic ornaments, made to reiterate theownership of the elegant palaces, underline the patronage in buildingsreligious or charges taken in the Praetori buildings of Florence and histerritory, they were a type of production that committed widely,Between the end of the fifteenth century and the beginning of the following century, the shopdei della Robbia, located in via Guelfa, where Andrea, grandson ofprogenitor Luca, inventor of the new art of the Miolica Miolica,He continued to work next to his numerous children (Marco theYoung, Giovanni, Luca the young man, Francesco and Girolamo), to whomThe three grandchildren, sons of Giovanni, as well as as well asother anonymous collaborators outside the family, in order to be able tosatisfy the increasingly numerous requests from private individuals andecclesiastical. This state of affairs sometimes makes it difficult, if notImpossible, to define a precise paternity of these works.In the specimen proposed here, if the beautiful podded cupin blue it seems even to recall the characteristics of theBest specimens of Andrea, resumed and then developed by GiovanniBetween 1510 and 1520, a certain execution of execution doesLoan for a realization entrusted to the shop. Inparticular, the less accurate execution of the garland, profiled bya modeling in ovoli seems almost to be affected, in plasticity almostcompletely diluted and in the limited compositional rigire, even morethat of the imaginative and decorative vein of John, of certain stylistic solutions of the rival shop of Santi and Bendetto Buglioni.